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Category Archives: sexism

I have already written here many times about the draconian fascist anti-speech laws of the censorious DICKtatorship known as the Netherlands. There is no freedom of speech in the Netherlands whatsoever. What kind of expression is legal in the Netherlands?  Here are some descriptions of American torture porn that Dutch children, and actually children across the whole of Europe, can watch on the American part of the internet right now, and there is nothing that the EU or the UN, or the Dutch Public Prosecutor or the Dutch police are going to do to stop this kind of American misogynist sexist torture porn from entering European homes and affecting European kids. Every single film scene described in the segment quoted below is supposedly legal and sanctioned by law under the First Amendment. Why is such footage of unrepentant hatred towards women allowed to be streamed into Europe, where we supposedly have anti-hate laws which are supposed to protect women? Because Americans are above the law on the internet and they get to dump and pour their sexist misogynist filth into other countries:

I recently became the recipient of three secret torture videos (complete with captions and descriptions). The anonymous senders said they trusted I’d “make good use” of them. So, with this important mission in mind, please allow me to introduce a horrifying but illuminating glimpse into the terrorist mindset.

The first footage showed a bruised and battered captive stripped naked and being kept in a small cage, a cage too small to allow the person to either stand or lie flat at full extension. The victim was wearing some kind of collar which was connected to cage itself by a long chain leash of sorts.

We next see a terrorist enter the room, open the cage, and disconnect the chain. He uses the chain leash to lead the captive out on all-fours. Interestingly, the victim makes no effort to resist but perhaps the caption explains why: “Pacification through terror.”

The last few minutes of the video involves the hate-fueled torturer pushing the captive into a prone position, face-up, and then straddling them — knees pinning the victim’s arms to the filthy floor. At this point, the sadist begins to pummel the captive’s face and upper body with punches in what looks like a MMA match without a referee. The sound of clenched fists hitting flesh is nauseating.

Video #2 begins with the victim already naked, on all-fours, and seemingly under the influence of some kind of sedative or narcotic. Three torturers are in the room.

One roughly holds the captive’s head in position so they can see what’s happening. A second terrorist inserts a clear plastic tube into the victim’s anus. At the other end of the tube is a large plastic funnel. The third abuser holds a pail filled with water.

Swimming in the water are live silvery fishes about six inches long and maybe 1.5 inches in diameter. He lifts the pail up and pours several of the fishes into the funnel. Gravity forces the fish to swim through the clear tube and into the victim’s anus.

The clip ends with a shot of the captive’s expressionless face, eyes rolling back in their head. Caption: “It should be more compliant after this treatment.”

Finally, we see another naked victim being held in an intricate restraint on a tall table. Their spread legs are held in place with knees bent up towards their chest, arms cuffed to the table at the wrists, and head held in place by a thick iron collar that’s also attached to the table.

Judging from the open cuts, bruises, welts, and scars, the victim has been subjected to a brutal beating. A terrorist stands close by, holding a small jar bearing the label “Fire Sauce.” He uses a medium-sized paintbrush to stir the sauce, bringing the gooey brush close to the victim’s nose. The victim recoils. This substance is obviously quite potent.

The laughing sadist then uses the brush to slowly and meticulously “paint” the hot sauce onto the victim’s shaved genitals. The result: harrowing shrieks and howls of agony — made even more unforgettable by the words used to describe the terror tactics: “Cannot move, cannot scream, cannot rest, cannot escape. Can only endure.”

I turned off the last video and wondered: What kind of hate must one feel to perform such torture and to film it? Who are these savages and who is funding them? ISIS? CIA? Mossad? Al Qaeda? Did this cruelty take place at Gitmo or perhaps a secret prison in North Korea?

But just then, a second e-mail arrived to reveal the origin of all three videos of sadistic abuse. And what a relief to learn it was a false alarm! The source was a popular social media website.

It wasn’t terrorism. It wasn’t torture. It wasn’t even illegal! It was just mainstream, easily accessible porn.

(And thankfully, the individuals I called “victims” were just women.)

http://worldnewstrust.com/what-we-can-learn-from-leaked-terrorist-torture-videos-mickey-z

When you read about violent gang-rapes in India, or in Brazil, or in Pakistan, or Thailand, or in Burma, or Indonesia, or in Cambodia, or in Argentina, when you read about gang-rapes in any country that isn’t Western, don’t you ever wonder whether those men have been watching American torture porn on their mobile phones? What happens when Americans stream their violent misogynist torture porn into countries that barely have any women’s rights? What happens when Americans stream their torture porn into counries where men can really have their way with women who are the most powerless or powerless females on the planet, women who literally have no access to law enforcement or the law to defend themselves against men re-enacting the torture porn they’ve seen on the internet on their bodies?
The social media site in question is Tumblr. European governments will censor their own citizens and threaten them with jail time over political speech, but they allow Americans on Tumblr to pump this torture porn filth into European homes and into the minds of European kids. Read more about this Tumblr torture-porn phenomenon in another article by the same author:

Has Tumblr mainstreamed misogyny and rape culture?
http://worldnewstrust.com/has-tumblr-mainstreamed-misogyny-and-rape-culture-mickey-z

This article lists (fortunately doesn’t link to) a number of torture-porn sites that the average teenager can access on Tumblr right now as we speak. These pages are NOT hidden behind an age-wall or credit card check or anything like that, and are literally at anyone’s fingertips.

Torture videos are illegal and are taken off the internet when they are produced by ISIL, but misogynist torture video are considered legal and acceptable when it’s Americans torturing women in the name of male orgasms and so-called consent and posting this hateful filth on Tumblr.

Because expressing and depicting hate and violence against women, especially when this hatred of women is depicted in the extremely gross and grotesque torture porn such as that described above is always  protected freedom of speech, in America and in Europe and especially in the Netherlands, a country which has long been an importer of such American misogynist filth. The question remains: why is it legal to hate women in the Netherlands and why is it legal for American to make torture videos in which women are brutalized and to broadcast these into Europe? Why speech so relentlessly policed and censored in Europe, but not visual imagery expressing unmitigated hatred and violence towards women?

Why are male orgasms in the Netherlands considered more imporant than a woman’s free speech right to talk about the violent abuse she has suffered at the hands of men?!

The following poem is a work of fiction and bears no relation to existing people or events.

Black Dude With The Animal Rights Ex-Wife (poem)
by drs. Efthimia Dilpizoglou
(c) 2016 all rights reserved

Hey You
Black Dude
With the animal rights ex-wife
In your previous marital life
This poem is a disgrace
Everyone in this room is still staring at me
Got a monkey face
Saving gorillas in Africa
With land mines exploding all over the place
Everything gone below the waist
American sitcom TV programs
She was a coke addict
Who snorted coke daily
Up to 3 grams
Got myself a tribal tattoo
To look less like a hoe
And more like hoodoo
Everyone sees it and goes: whoo-hoo
But they don’t see her go boo-hoo
When she’s with you at home at night
And you are cutting her down to size
Black dude
With the animal rights ex-wife
Cut through the martial bond with a big bush knife
I cut through the bullshit of your marital life wild growth with a tiny pocket knife
Let’s call her Vanessa
Your one wife lesser
I don’t get this marriage fetishization
People desperate to be in a couple
Getting married again and again
Seek to be with someone for the rest of their life
I said I’d never be anyone’s wife
But you still believe it’s supposed to be your life
A king ruling over your household
Another loser with an ex-wife
Trying to save animals
Trying to save your black ass
from the Nazis and the paparazzis
Trying to save your black monkey face
Kop dicht nou
Anders moet ik schreeuwen en dan word ik hees
Break everything if you must
And throw it all asunder
I know which white hick from Alabama
Your ex-wife’s faux leather boots were laid under
Πες μου αν νιώθεις τώρα τσατισμένος
Που είσαι ένας κερατωμένος καημένος
Μάρτυρας δυστυχισμένος
Άλλος ένας γάμος τελειωμένος
Άλλος ένας ουρακοτάγκος
Πέφτει από τον φινικά στο Μπόρνεο
Και πάει χαμένος
Don’t you remember who the fuck I am
I am the stalker outside your bedroom window
Who saw you waking up by yourself again
All alone at 3 A.M.

The Feminist blacklist of Greek rape movies by male filmmakers (and a few female ones) is an ongoing feminist film criticism project by drs. Efthimia Dilpizoglou. The creation of this list was prompted by the following interview with lesbian American actress Jodie Foster, wherein she condemns the use of rape as a plot device in American films:

 

She added, “It was ridiculous, it was every single movie I saw. If you really got to what was the overriding motivation that that woman that you found out at the end, it was always rape because for some reason men saw that as this incredibly dramatic thing. ‘Well that’s easy! I can just pluck that one out of the sky and apply it to her.’ ”

Foster said she believes the storyline persists because men have failed to create a “complex merging” with female characters. “They were unable to put themselves in her shoes and her body and say, ‘She was competitive with her mother’… They were unable to make that transition.”

Jodie Foster Slams Male Filmmakers for Relying on Rape as a Motivational Device for Female Characters
http://www.people.com/article/jodie-foster-slams-male-filmmakers-rape-motivation-female-characters

These comments by Jodie Foster in fact very accurately describes almost every indie Greek movie being praised by the Flix.gr online hegemony and the Voulgaris oikogeniocracy. I thus decided to assemble a list of male-made Greek movies that use rape as a lazy-assed plot device: Το μικρό ψάρι by Yannis Economidis, Μέχρι το πλοίο by Αλέξης Δαμιανός, Lost Girl by Nikos Pastras, Αν ήταν νόμιμος ο βιασμός (literally “If rape was legal” <– CAN YOU BELIEVE THIS FUCKING TITLE?!) by Alexandros Sipsidis, the list of Greek rape movies by men just goes on and on. Μέχρι το πλοίο (1966) by Αλέξης Δαμιανός this movie that many young Greek filmmakers have been brainwashed to think of as a sensitive Greek treatjerker and one of the greatest pieces in the Greek film canon, is actually a rather badly made rape movie. The scene where the woman is in the barn and the two men are pulling at her arms is a rape scene. The only reason you don’t see any body-parts is because they couldn’t show that back then. Anyone who does a close reading of that scene should be able to see it for what it is: simulated rape.

Just to be fair and to also to preempt any silly MRA kind of criticism, I will also assemble below the male filmmaker blacklist a list of Greek movies with rape scenes by female Greek filmmakers, so you can see for yourselves how completely different the rape scenes are when they are directed by women. Most recently we saw rape uncritically and sensationally being used as a plot device in the 2015 film Ursa Minor by Elissavet Chronopoulou, which surely a cinematic example of Stockholm Syndrome and how female Greek filmmakers adopt a male gaze because they don’t know better and haven’t got a clue about feminist film criticism. I know this for a fact because not a single female Greek filmmaker I have ever met has ever read any form of feminist film criticism.

In addition to the second list of females directing rape scenes, I also tried to to think of a single Greek movie where a man gets raped by men (like, say, the rape-scene in American History X where Edward Norton “picks up the soap” in prison) and I basically can’t think of one. I can honestly say I have never seen an adult Greek man get raped by another man in a Greek movie. The victims I see in Greek rape movies are always women. There a castration scene in the Hellenic Genocide drama feature 1922 by Nikos Koundouros where a Turkish lynch mob captres and cuts the balls off a Greek (all this in a Greek movie long before Hostel ever came out people!), but that movie by Koundouros doesn’t really count because it isn’t rape — in that movie too it’s Greek women who are getting raped by Turks. Singapore Sling, the Greek exploitation rape movie by Nikos Nikolaidis doesn’t count either because that’s supposedly a man who is being raped by women, who curiously never looks like he isn’t enjoying himself. I think it’s fair to say that despite its reputation of churning out edgy films, it’s abudantly clear from my list that homosexual rape amongst adult men is the ultimate cinematic taboo in a macho patriarchy such as the Greek culture. It reminds me of a quote I once read in an essay in the late Eve Sedgwick’s Tendencies book, where either she or the person she was interviewing said something to the effect that the image of a man on his back with his knees in the air and his rectum exposed is the ultimate cinematic taboo in American film and that showing this image to American audience would be akin to the Apocalypse, this being an image that, if shown to a mainstream audience, would signal the end as far as American culture is concerned. (But I have actually seen La Pudeur des Icebergs by Daniel Léveillé Danse performed live onstage in Amsterdam 10 years ago, so I beg to differ.) So, if you really want to be an edgy Greek filmmaker, stop making Greek rape movies and basically go and make a Greek “Πάρτι των Λεμονιών”. Perferably yet, stop making rape movies altogether. Having a movie literally titled Αν ήταν νόμιμος ο βιασμός, “If rape was legal”, is not very funny, mr Alexandros Sipsidis. I want this list to show how gross, disgusting and overtly sexist Greek cinema has become just as its becoming more well-known around the world than ever.

THE FEMINIST BLACKLIST OF GREEK RAPE MOVIES BY MALE GREEK FILMMAKERS:

Το μικρό ψάρι by Yannis Economidis

Lost Girl by Nikos Pastras

Αν ήταν νόμιμος ο βιασμός by Alexandros Sipsidis

1922 by Nikos Koundouros

Μέχρι το πλοίο, 1966, Αλέξης Δαμιανός
(rape scene in the barn at 17:50)

ΜΙΚΡΕΣ ΑΦΡΟΔΙΤΕΣ / Young Aphrodites (1963) Nikos Koundouros
(simulated rape scene of a 14 year old girl)

ΤΟ ΚΟΡΙΤΣΙ ΤΗΣ ΜΑΝΗΣ Πολ Ανέτ 1985
(rape scene at the end)

Singapore Sling: The Man Who Loved a Corpse 1990 Nikos Nikolaidis
(incest between adults, male rape, too many scenes to count)

Miss Violence, 2013, Alexandros Avranas
(Movie about incest, rape scene happens off screen but it’s still rape)

THE FEMINIST BLACKLIST OF GREEK RAPE MOVIES BY FEMALE GREEK FILMMAKERS:

Lullaby by Yianna Amerikanou, 2009

Ursa Minor by Elissavet Chronopoulou, 2015 <– This movie in particular is the perfect example of the way female Greek filmmakers have internalized the male gaze and the rape scene as a plot device because they’ve witnressed it times immemorial in Greek movies and have hence thus ended up reproducing sexist Greek stereotypes of women being masochistic victims who supposedly “crave” abuse and humiliation. As one critic of the movie commented: “Ποια κοπέλα θα έβλεπε έναν άνδρα να την ακολουθάει και να της λέει: «Δε θα σε αφήσω να φύγεις.» και εκείνη χωρίς κανέναν δισταγμό θα έμενε και σε λίγες ώρες αργότερα θα προθυμοποιούνταν να κάνει έρωτα μαζί του, χωρίς τη θέληση της, προκειμένου να τον πείσει να μείνει σπίτι της το βράδυ (δεδομένου μάλιστα ότι αρνείται την ερωτική επαφή στη συνέχεια μέσα σε μια σχέση πέντε μηνών με αυτόν τον άνδρα); Η δημιουργός αναφέρει ότι «Η ιστορία μιλάει για ένα κακοποιημένο κορίτσι, που ακριβώς επειδή έχει κακοποιηθεί, έλκει την κακοποίηση.» Δε φαίνεται πουθενά ο λόγος για τον οποίο αποδέχεται την κακοποίηση.”. Greek female filmmakers are thus neither encouraged or interested in subverting the expectation of rape and misogynist abuse in Greek movies. Female Greek filmmakers are merely ignorant reproducers of the rape convention. So completely have Greek female filmmakers internalized the rapist gaze of male Greek filmmakers that they can’t even conceive making a film from the perspective of the female and instead explicitly adopt a male gaze, since this gaze is all they know: “βρισκόμαστε στην οπτική γωνία του ήρωα και επομένως ξέρουμε μόνο όσα ξέρει κι εκείνος”. In Greece, even the women identify with the rapist at the expense of the female rape victim. The misogyny of Greek films is therefore a truly totalitarian and tautological manifestation of the rapist male gaze. Even the critic makes up excuses for the rapist, describing him using the inevitable perenial favourites amongst Greek rape apologist, “child-like” and “sensitive”: προβάλλεται ως ένας ευαίσθητος χαρακτήρας με μία εμφανή παιδικότητα, κατανόηση και μεγάλη θέληση για να βοηθήσει, να διορθώσει την ηρωίδα (ατάκα ήρωα: «Ήλπιζα να γίνεις κανονική.»). Yes, Greek film critics really do believe that rape and abuse are the result of “too much feeling” and even a “child-like innocence” on the part of the rapist,  rather than the result of a truly psychopathic lack of any feelings of empathy in a man. Let there be no mistake about it, no man ever imagines himself a child when he is raping a woman. This suggestion that rapists are brutalizing women because they are innocent children who cannot help themselves is one of the most dangerous mindfucks Greek women have suffered at the hands of a sexist patriarchal culture.

LIST OF GREEK MOVIES WHERE AN ADULT MAN GETS RAPED BY ANOTHER MAN:

Zero!

Asshole Woody Allen remains unrepentant following the revelations by his son Ronan Farrow who recently confirmed in the Hollywood Reporter that his sister had been sexually abused by Woody Allen:

At last night’s 69th annual Cannes opening night premiere of Allen’s comedy “Café Society,” master of ceremonies Laurent Lafitte shocked the audience when he said: “It’s very nice that you’ve been shooting so many movies in Europe, even if you are not being convicted for rape in the U.S.” The joke, which drew gasps from the Palais audience, was taken as a knock on Allen and possibly on director Roman Polanski as well.

Vanity Fair’s Julie Miller then asked about the Ronan Farrow guest column published in The Hollywood Reporter yesterday, about how the media didn’t take seriously the rape allegations made by his sister Dylan Farrow against their father. Allen said he hadn’t read the piece.

“I never read anything about me, these interviews I do, anything,” Allen said. “I said everything I had to say about that whole issue in The New York Times. I have moved so far past it. I never think about it. I work. I said I was never going to comment on it again. I said everything I have to say about it.”

“But this isn’t a critic,” a Variety reporter followed up. “It’s your son.”

Allen said he still won’t read the piece. “I’ve said all I have to say about it,” he said.

http://variety.com/2016/film/news/woody-allen-rape-joke-ronan-farrow-1201772505/

 

I always had a bad feeling about Woody Allen. His movies creeped me out and I never found them very funny to begin with. The first Woody Allen movie I watched was the one with Christina Ricci, Anything Else (2003) where she was a New York boho slutty type sleeping around with everyone at the drop of a hat. Her character was so immature and cartoonish that I wondered whether Woody Allen was simply making a movie about his much younger wife Soon-Yi Previn and basically making fun of being married with a younger woman. Then the fact that he would cast himself in his own movies (the second movie of his I saw was 2002 Hollywood Ending) but always put himself next to these beautiful female actresses, it all just screamed: “HEY GUYS, I AM REALLY HETERO AND I LIKE GOOD LOOKING OLDER CHICKS TOO! I AM NOT A PEDO, I SWEAR I LIKE OLDER GOOD LOOKING WOMEN! LOOK AT ME NEXT TO THIS OLDER BABE!”. I never understood why people referred to his movies as romantic comedies. I think I chuckled once at single one joke during Anything Else, the rest of the movie was just to weird, sexist and off-tone. And Hollywood Ending, which admittedly was kinda funny mainly because of the charicatural portrayal of the American film industry, was really just a movie about a whiny film maker being a liar and an asshole towards everyone, but being forgiven and getting away with it all at the end. Where the hell is the romance in that? Nowadays I really do feel like he was using his movies to distract people and to cover up his child-raping, and that this is the reason I always intuitively felt there was something wrong with his films. I guess he thought that if only he made enough movies casting himself next to beautiful mature women, people would start to blur the line between the film-Woody and the IRL-Woody and basically forget that they are looking at a pedophile. Of course his pederasty eventually got the better of him and he married Soon-Yi Previn. In America you can basically rape children with impunity as long as you are rich and famous and can hire an army of lawyers to cover your ass in court. Here’s another example –>

“And since these allegations have risen, he has not served a day in prison, he has not been apologetic, and he has not publicly stated that he was getting help. Rather, he has been flippant and dismissive of those who attempt to hold him accountable. And frankly, after watching Kelly lie to Touré in that infamous BET interview (“When we say ‘teenagers,’ how old we talking?”), I think we can accept that our cultural permissiveness and his own demons have found this person in a place where he won’t be held accountable.”

http://www.ebony.com/entertainment-culture/were-you-wrong-about-r-kelly-405

 

 

A few days ago Konstantina Voulgaris re-published the following 2015 article by her brother The Boy on her anarchist news blog Hit & Run:

This reblogging of the 2015 article just-oh-so-happened to coincide with Ronan Farrow’s public statements in The Hollywood Reporter wherein he confirmed that Woody Allen molested his sister Dylan Farrow and subsequently ran a cover-up of the scandal with the help of Hollywood, the American mainstream media and an army of lawyers, psychologists and publicists:

Quoting from The Hollywood Reporter, these are the heartfelt comments from a brother unapologetically standing up for his sister in a public forum and finally speaking truth to Hollywood’s power to cover up child abuse and to allow pedophiles to thrive in an atmosphere of virtual impunity:

I believe my sister. This was always true as a brother who trusted her, and, even at 5 years old, was troubled by our father’s strange behavior around her: climbing into her bed in the middle of the night, forcing her to suck his thumb – behavior that had prompted him to enter into therapy focused on his inappropriate conduct with children prior to the allegations.

But more importantly, I’ve approached the case as an attorney and a reporter, and found her allegations to be credible. The facts are persuasive and well documented. I won’t list them again here, but most have been meticulously reported by journalist Maureen Orth in Vanity Fair. The only final legal disposition is a custody ruling that found Woody Allen’s behavior “grossly inappropriate” and stressed that “measures must be taken to protect [Dylan].”

Here is exactly what charges not being pursued looked like in my sister’s case in 1993: The prosecutor met with my mother and sister. Dylan already was deeply traumatized – by the assault and the subsequent legal battle that forced her to repeat the story over and over again. (And she did tell her story repeatedly, without inconsistency, despite the emotional toll it took on her.) The longer that battle, the more grotesque the media circus surrounding my family grew. My mother and the prosecutor decided not to subject my sister to more years of mayhem. In a rare step, the prosecutor announced publicly that he had “probable cause” to prosecute Allen, and attributed the decision not to do so to “the fragility of the child victim.”

My mother still feels it was the only choice she could make to protect her daughter. But it is ironic: My mother’s decision to place Dylan’s well-being above all else became a means for Woody Allen to smear them both.”

Ronan Farrow: My Father, Woody Allen, and the Danger of Questions Unasked
https://www.yahoo.com/celebrity/father-woody-allen-danger-questions-unasked-guest-column-100415073.html

Additionally, read here what Ronan Farrow says about the role of the new media in exposing Hollywood pedophiles while the old media were busy running their cover-ups for them. What is particularly disturbing is that in Greece it’s actually the new media – websites like Flix.gr, Hitandrun.gr, etc – that are basically running the Woody Allen celebratory distraction like a chorus of cheerleaders, because these Athenian cinephile film-nerds have made it acceptable for Greek hipsters in general to openly flirt with pedophilia (the evidence of this is all over the Greek part of Facebook, with casual pedophilia being posted all over the place and Alexander posting incest child rape-jokes on his timeline such as: “O Woody Allen γαμάει,  ρώτα την κόρη του.”, which is really sickening to behold), and consider Woody Allen a hero exactly because he gets to molest his own daughter with virtual impunity, making him the ultimate badass in the eyes of these Athenian pedophilia-apologists:

But the old-school media’s slow evolution has helped to create a culture of impunity and silence. Amazon paid millions to work with Woody Allen, bankrolling a new series and film. Actors, including some I admire greatly, continue to line up to star in his movies. “It’s not personal,” one once told me. But it hurts my sister every time one of her heroes like Louis C.K., or a star her age, like Miley Cyrus, works with Woody Allen. Personal is exactly what it is – for my sister, and for women everywhere with allegations of sexual assault that have never been vindicated by a conviction.

Tonight, the Cannes Film Festival kicks off with a new Woody Allen film. There will be press conferences and a red-carpet walk by my father and his wife (my sister). He’ll have his stars at his side – Kristen Stewart, Blake Lively, Steve Carell, Jesse Eisenberg. They can trust that the press won’t ask them the tough questions. It’s not the time, it’s not the place, it’s just not done.

That kind of silence isn’t just wrong. It’s dangerous. It sends a message to victims that it’s not worth the anguish of coming forward. It sends a message about who we are as a society, what we’ll overlook, who we’ll ignore, who matters and who doesn’t.

facebook-dcfc03

FB meme example of Americans making fun of child rape. #peak_American

Greek cinephiles and film-industry people are obsessed with this sack of filth because the Greek Minister of Culture appeared on TV a few years ago claiming that Woody Allen had supposedly expressed an interest in shooting his next movie in Greece. There is no actual public evidence of this whatsoever, but ever since that interview Greek cinephiles been doing one tribute to Woody Allen after another in the hopes that Woody Allen will see these tributes (yeah right) and will notice how much he is worshipped in Greece (like he gives a shit) and will basically hire these Athenian hipsters to be on the Greek film-crew of his next film (keep dreaming, he will probably just bring in his own crew from the States). In other words, these Greek cinephile hipsters are willing to associate themselves with someone who used his power to cover up his incest and pedophilia just for the sake of being able to list having worked on a Woody Allen movie on their IMDB profiles. This is the face of moral bankruptcy in Greece, which extends beyond the film-scene and into all avenues of society where corruption reigns supreme.

I still have somewhere in my archive a printscreen image of the TV interview that the then Greek minister of culture gave with one of the commercial TV channels during which she spoken favourably about Woody Allen coming to Greece for a filmshoot. I can’t find that still right now, but if I do locate it I will upload it here later, because everyone needs to see how a minister got on television and told the people of a country that she was looking forward to bringing in a child abuser to shoot a film, all in the name of kickstarting the Greek economy and profiling Greece abroad. This continuous stream of pedophilia-apologetics is completely unacceptable and must be condemned.

 

Introducing: The Five Dollar Club (Kickstarter Project)

Formerly abused women take revenge, forming a club to hire specialist Zelda to take out the abusers. Women donate $5.

 

I am watching old (and newly uploaded) Occupy videos on Vimeo, and this is the basically best one yet, if a little bit crude (no, that’s not a real member, watch the video and you will understand what it is and what it signifies) –>

Imagine a journalist in the Netherlands openly stating in an article that they think “all lawyers are a little sociopathic”… fortunately this article is written by an American feminist in America where they have real freedom of speech to freely express their views on lawyers, so unlike us censored feminists here in Europe these American feminists get to call a cat a cat and dog a dog:

My bias: I tend to assume all lawyers in positions similar to Henein’s are also a little sociopathic, driven by money and power, rather than empathy. Lawyers who are privileged enough make choices about who they defend, but choose clients based on how much they will be paid (or based on how high profile the case is), rather than based on whether their client is a woman-beater, are not people I view as particularly ethical people.

Rising to power in a male-dominated field and succeeding at treating young women in the exact same way many of one’s male colleagues would does not, alas, make one a feminist. Neither does being a “strong woman” (whatever that means). Despite mass confusion, being a feminist does not mean being more “like men.” This conveys a deep misunderstanding of what feminism is all about. Within this framework, any woman who supports war or is a proud and successful capitalist is necessarily a feminist. In fact, feminism is not about shifting around various hierarchies in order to allow women to participate in the oppression of other women. If this were the case, a female brothel owner or trafficker who did a very good job of profiting from the exploitation of marginalized women and girls would be a feminist success story. Likewise, Margaret Thatcher, who royally screwed over the poor and working class during her reign, could be considered peak feminism.

That ain’t it. Feminism is not about the ability for a few individual women to access wealth and power, at the expense of more marginalized women (or at the expense of women, as a whole).

In a Law Society of Upper Canada video from 1998, Henein explains that, in order to get a sexual assault complainant’s sexual history to be introduced at trial, one might resort simply to bringing the application, “especially in front of a judge-alone trial, to introduce all this otherwise inadmissible evidence and if it’s excluded, well, oh, well, the judge has heard it.” She then jokes, “No, no, I’m absolutely confident that the judge will be able to disabuse his or her mind of the fact that she has a very extensive and lewd prior sexual history.” In other words, Henein is advocating that lawyers play into already existing misogynist ideas about how a woman’s perceived “sluttishness” effectively renders her unrapeable or, at very least, not a credible witness. She very much wants judges in sexual assault trials to dismiss women’s accusations for incredibly sexist reasons.

Henein not only makes very considered choices to defend and protect men who hurt or exploit women and girls when she could most certainly choose not to, but, in doing so, she employs the very same techniques that misogynist men do in order to discredit victims. She relies on sexist stereotypes that say women who accuse men of assault are bitter, manipulative, liars and makes good use of the victim-blaming mentality Henein trusts the men in her field already hold. She knows how to make patriarchal institutions work in her and her clients’ favour. She fights in favour of the status quo, not against it.

http://www.feministcurrent.com/2016/04/04/marie-henein-not-a-feminist-not-a-surprise/

Moral of the story: there is no such thing as a “feminist lawyer” like MRAs like to claim. Catharine McKinnon isn’t a “feminist lawyer”, she is a lawyer who happens to be a feminist and as such is merely the extremely rare exception to the rule which is female lawyers serving male clients at the expense of women opponents. Furthermore, the overwhelming majority of women going into law don’t become lawyers to pursue justice. Women become lawyers for the exact same reason that men become lawyers: to make $400 an hour like an escort. Women lawyers for the sake of their male clients will gladly hurt and humiliate women in the androcentric legal system which already discriminates against women. So, repeat after me again: THERE IS NO SUCH THING AS A “FEMINIST LAWYER”.

I’ve been asked, “What was it like to create and perform music with Prince?”. My rebuttal was usually a tongue in cheek, “Ask him what it was like to create and perform with me.”
– Drummer Sheila E. following Prince’s death.

I am sick and tired of the post-mortem myth making as to the role of women and especially the role of female musicians in Prince’s career. The following article from Jezebel.com is bathing in denial and revisionism:

Prince Spent His Life Elevating and Mentoring Women
http://themuse.jezebel.com/prince-spent-his-life-elevating-and-mentoring-women-1772479454

Prince Spent His Life Elevating and Mentoring Women“? Oh really? Tell that to Prince’s powerful soul singer Rosie Gaines, whom he failed to give co-writing credit and even failed to pay her for her contributions. Tell that to Sandra St. Victor. Madonna said it best in Rolling Stone: Prince had a harem of disposable women with whom he made records and whom he discarded as soon as he was done with them. This statement by Madonna is corroborated by the interviews that attorney Alex Hahn took of former Prince colleagues for his book Possessed; The Rise and Fall of Prince. Quoting from the book:

p. 178: “Gaines sent much of her weekly wage (about $ 2,200) home and had only $800 to her name when the tour ended. Just the same, she put her belongings in a truck and drove from Minneapolis to her home in Pittsburg, California, quitting the band for good. Although he would later work with Prince in the studio on several occasions, she would long harbour resentment about what she considers an absense of complete credit for her songwriting contributions on Diamonds and Pearls. ‘A lot of those were ideas the band came up with’, Gaines asserted. ‘He told us before doing [Diamonds and Pearls] that we were going to be like a family, we’re all going to do it together, and we’re going to share in it together, and we all trusted him. That’s our fault for not getting it on paper.’.
When Gaines approached Prince about songwriting credit, he made it clear that he considered Diamonds and Pearls his work, and he disagreed hat she deserved more money.”

 

p. 179: “Life on the road was also sometimes hard for young Mayte Garcia. Although Prince continued to treat her as a girlfriend-in-waiting, he took no steps to insulate Mayte from the rambunctious, male-dominated atmosphere that surrounded the tour. Gaines recalls on several occasions seeing Mayte in tears on the bus and in dressing rooms, apparently overwhelmed by feelings of homesickness. When Mayte was summoned to the inner sanctum and felt the glow of Prince’s attention, it felt magical. But at other times, left to her own devices, she was simply a confused teenager with no one to talk to.
As Rosie Gaines watched the Prince-Mayte courtship unfold, she marveled at how much this young woman resembled his previous girlfriends, both in looks and temperament. She was another young woman who could not have been easier to manipulate. This would likely be another relationship was would persist only until Mayte – like Kim Upsher, Susan Moonsie, Susannah Melvoin, and Anna Garcia before her – grew up enough to object. “She was too young to have her own thoughts yet, and Prince liked that,” Gaines remembered. “But I knew that would change.”.”

 

p. 181: “Alan Leeds, who in 1989 surrendered his post as Prince’s tour manager, to become president of Paisley Park Records, “He never displayed the ability to park his own agenda. When he produced PattiLaBelle, it sounded like a Prince record. It became his vision, not the artist’s.”

 

p. 184: “There remained few if any strong female confidants in his life (a role that Rosie Gaines briefly fulfilled), as young companions like Anna Garcia, Mayte Garcia, and Carmen Electra were discouraged from offering their opinions and served primarily as pretty muses.”

 

p. 205-206: “St Victor had assumed that she and Prince would work together face-to-face in the studio, where an artistic dialogue could take place. (…)  St Victor came to see that he had no intention of treating her as an equal partner, but simply wanted to make use of whatever interesting ideas she might have to offer. She realized that her frustration was probably quite similar to that experienced by other independent-minded female artists, such as Rosie Gaines, who had worked with Prince. While the notion of collaborating with him had at first seemed like the opportunity of a lifetime, it had, for the moment at least, ended disappointingly.
“When Prince shines that light on you, that energy, that respect, that admiration, it’s easy to want to put your life in his hands,” St. Victor reflected. “It’s a very bright warm, God-like light. But when he shuts it off, you’ve never known cold like that.”

p. 229: “Old friend Rosie Gaines participated [on the 1999 remaster], but says she again was not paid.”

Prince was really into Jedi mindtricks. Here is how Alex Hahn describes Prince’s tendency to mess with people’s heads, especially when it came to his younger proteges:

p. 149: “[Anna] Garcia [= Prince’s then 17 year old future girlfriend], while not on the payroll, was another one of Prince’s minions. He placed a premium on docility and preferred to have her just listen to him create music or brainstorm plans for the future; her opinions were not welcome. But whatever her doubts about this arrangement, Garcia remained very much smitten by Prince and was hopeful that she would, with her eighteenth birthday approaching, emerge as his primary romantic interest. He remained enchanted with her as well, largely because she remained something of a blank template on which to sketch his fantasies. He particularly delighted in playing mind games with Garcia where he would describe a hypothetical situation and ask how she would handle it. When she responded in a way that he perceived as “wrong”, he assumed a disapproving air; when he liked the answer, he was encouraging and affectionate. Garcia resented the manipulations and felt as if Prince were trying to turn her into a different person.”

Not only did Prince replace Vanity with a lookalike in Apollonia just before he began filming Purple Rain, he did it in such a way so that Vanity would see Apollonia, realize how alike she and the new woman were and thus understand that to Prince either one of them was just a replaceable cog in the music making machine that was Paisley Park at the time. Here is how Alex Hahn describes it in his book:

p. 63: “Shortly after recruiting Apollonia, he took her to a Los Angeles club where he had heard that Vanity would be partying. Vanity, who had not yet learned anything about her replacement, was shocked to see a woman dancing nearby who looked like a mirror image of herself. The message was clear: In Prince’s world, anyone was replaceable.”

And last but not least, lesbophobe sexist Prince had demanded that his former colleagues Wendy and Lisa hold a press conference to “apologize” to the public for being lesbians as a condition for reuniting with them:

p. 241: “Ex-Revolution drummer Bobby Z. Rivkin, who visited Paisly in 2000, was forced to listen to Prince and Larry Graham engage in a homophobic rant, according to another former band member whom Rivkin told about the meeting. Prince explained to Rivkin that prior to any reunion of the Revolution (and idea discussed several times over the years), Wendy and Lisa would be required to publicly renounce their homosexuality. As Rivkin listened incredulously, Prince said he would insist that the women hold a press conference and “apologize” for their lifestyle.”

Nothing more amusing than to have to watch lesbians of all people defending Prince on my timeline, when Prince was a documented lesbophobe. The public record plainly shows that Prince did not treat his female musicians fairly, that he basically exploited his female musicians to showcase only his personal artistic vision, not theirs, and that he considered these women replaceable cogs in his music making machine. Can we stop all this post-mortem myth making and look at the facts please?

BTW, you know who else likes Prince? This one does, having recorded THE WORST COVER EVER of Prince’s song for Sinéad O’Connor, “Nothing Compares 2 U”. He abbreviated the song title at the time to prevent Prince from having it removed from Youtube, like Prince did with many other online covers of his songs during his lifetime, a trick which apparently worked to preserve the song. Oh well, let’s take solace in the thought that Prince died having never heard this abomination:

 

Here is how O’Connor originally had described her encounter with Prince:

“I did meet him a couple of times. We didn’t get on at all. In fact we had a punch-up.” She continued: “He summoned me to his house after ‘Nothing Compares 2U’. I made it without him. I’d never met him. He summoned me to his house – and it’s foolish to do this to an Irish woman – he said he didn’t like me saying bad words in interviews. So I told him to fuck off.” She said “He got quite violent. I had to escape out of his house at 5 in the morning. He packed a bigger punch than mine.”

https://en.wikipedia.org/wiki/Sin%C3%A9ad_O’Connor#Remarks_about_Prince

And here is The Boy with his friend Felizol ruining Prince’s “Kiss” beyond all recognition at a live show. And notice here again how The Boy tried to prevent a Youtube takedown from Prince by spelling the title of the song backwards, as “Ssik”, to prevent it from being discovered:

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