Body Rejecting Tampons

The beginnings of the Internet or that happy time of too much freedom

speak of an era that is slowly happening. We are possibly the end of a stage characterized by a multiplication internet notable and even surprising areas of freedom of expression under this new technology, has gone for a few twists and turns that, in part, have not liked the oligarchic power the devise and which could not be entirely controlled.

Internet has created new forms of communication, opening up more free and open spaces in which anyone can participate. The information is no longer the monopoly of media and information professionals, means to pay, directly or indirectly, of power, and alternative information and not influenced by it happens to be available to anyone who wants to look and learn (online). The same is true opinion.

Nor is it of enthusiasm Marse too. To us , internet will never replace the national-revolutionary work tionary and activism that adheres only to the Internet is in a little. Pages, forums, portals ... are fine provided they are accompanied by the necessary street work within an organization.

The uncontrolled evolution of the Internet have always very nervous in power, the real and fictional. They have tried to control it, to submit to their rules and silence, as to their critics. We talk here of real critical to the system in any form, not subsidized and operetta critical. The internet has benefited people and use it to access information and opinion has been more open, above all, the rube that the political class and its minions, which cost him his good years to reach a minimum level of user on the network. As is known, even the donkey learns and these protagonists of the democratic farce have learned and have become aware of how dangerous it can be some use of the Internet, both for themselves and their wealthy masters.

An example of this rich server owners very concerned about restricting freedom of expression and information and, therefore, to end the internet space is relatively privileged in this regard, we have in the ineffable responsible for the self-styled figure Movement Against Intolerance. We speak, of course Esteban Ibarra, president this hyper-funded lobby immigration. Has spent years fighting against freedom of expression and information on the Internet, calling to the authorities, his only audience, by the end of pages of information, blogs and forums of opinion that are not in their ideological line. This is not an opinion, is a matter of periodicals. He says he specializes in denouncing xenophobia and racism in Spain, but never says anything when racism and the immigrant is the English victims. Therefore, the only specialization and its lobby is the unconditional defense of mass immigration. Lobby censorious attitude that benefits from Law 56/2007 of December 28 Measures to Promote the Information Society. Contrary to his name might suggest, is a law that allows the closure of websites even without judicial intervention. Unlike the established system for the closure of traditional print and broadcast media, for which the above does require judicial intervention. The ruling oligarchy knows that internet is not required to have money or power, or favor with the media and official policy to publish. Hence the censorship. Freedom of speech is only for members of this oligarchic system.

One element in this attitude of not less wild is the defense of the generous subsidies Ibarra's lobby received. Being somewhat indecent, even by the large quantities of them and it is public money, ie of all the Movement against Intolerance and refuses to submit to external audit, and also considering the very low representation of your organization, try by all means blame to whoever shows. Because it's something shocking disclosure of which leaves no one indifferent. And who doubts that may refer to the Official Gazette or this page (ie "evil" Internet, right?)

Can one illustrated on the enthusiasm of such censorious Ibarra, for example, at the following address , sent by a reader of CIN.

Clonk Rage Regestration

"Races do not exist?

Races do not exist!, cry very concerned and repeated endlessly learned professors of anthropology, sociology, ethnology even. On the one hand, if one knows to this guild, know that these individuals are generally not exalted by the discovery of truth but, more commonly, by grants or awards. On the other hand, if one is not impressed by titles bearing these characters and looks, therefore, the various arguments that accompany this singular statement that he realizes are neither more nor less, than a collection of fallacies, and various types of fur, of which some occur laugh and others cringe.

fleecy and impressionable people often use quotes from these people learned to say that ... the races do not exist! They show just like that, only his impressionability and as a result of mackerel, easy to engage in one of the most common fallacies are: the fallacy of authority. But always know intellectual authorities may share false beliefs.

I do not impress me at all doctoral degrees in anthropology or whatever, I will always the argument and I do not care who says it, whether what he says is for better or for worse.

An example of such appointments widely argued ad nauseam oenegetas by anti-racism and ideologues of the self is this:

"Races do not exist, neither biologically nor scientifically. Men for their common origin, belong to the same genetic code. The variations that we observe are not the result of different genes. If "race" is involved, there is only one "race" human. "

José Marín Gonzales "biogenetically races do not exist, but racism itself as an ideology", in Revista Educational Dialogue, v. 4, n.9, May-August 2003, pág.109 . can be found here .

Excursus: I encourage any readers to that, even for fun, read the article quoted in full. Conceptual confusions are common, semantic shifts as well. Analytical rigor is minimal and everything is grossly oriented moral conclusion of the goodness of multicultural states. I will not bother to analyze all this because, As you will that you read the article, are too basic errors. But I do want to point something out. The undersigned hereby certifies that article the following merits: doctor in anthropology from the University of La Sorbonne and graduated from the Institute for Advanced Studies Latin American in Paris, a graduate of the University Institute of Studies Development and the International Academy of the Environment in Geneva. He has taught at the University of Geneva and currently works with various institutions and publications in Europe and America America. He has worked in Africa, with the UNESCO. Read their merits and read the article; from now, no one intimidate the merits anyone can claim. What level has dropped by academia in what disciplines?

This argument, compared with the already refuted Lewontin's fallacy, is nothing. This doctor in anthropology do not know where and what will be studied. Or what interests you. But I know what makes two traps to lend verisimilitude (appearance of truth) to the false statement:

1) pretends not to know the difference between race and species.

2) omits any consideration about the function of genes.

Topic apart is the difference, quite artificial here, which provides between biology and science, as if biology were not a science in itself. I to enter here the adverb "science" is merely an additional way to lure the impressionable.

But instead of influencing it, we will contest more fun now. Another doctor, the Palotes Perico, who studied a lot, but who wants to get many grants and much recognition in some university departments dominated by Marxists, and liberals want the sheep will cite him as if he were a scholar in genetics, deliberately confused (away to students of reality), not race with species such as Gonzales before, but species with gender (next step in the taxonomy).

Before proceeding is necessary to use cladistic taxonomy and see where is located the modern man. I, unlike these cheats teachers and doctors, informed the public that needs to be informed so that you can think for themselves and not believe things just because. He who does not need this information to skip this paragraph. Where do we stand as a species? (as cladistic taxonomy) belong to the family Hominidae , The subfamily Homininae , tribe hominin , subtribe hominin, with five genera ( Ardipithecus, Australopithecus , Kenyanthropus , Paranthropus and Homo ), the genera are divided into species belonging to the modern man Homo sapiens .

is known that within the genus Homo have been different species: Homo habilis , Homo erectus, Homo neanderthalensis , Homo sapiens , which is the current, etc.

Now, using the mode of reasoning utterly failed in our first Ph.D. in anthropology, our second doctor, the Palotes Perico, could demonstrate the absence of these species and that a Neanderthal (Homo neanderthalensis ) equals a Cro-Magnon (Homo sapiens ). There goes (it replaces the crossed out the statement by Gonzales is so bold, now that the Palotes Perico):

"The races species not exist, or biologically or scientifically. ( Men) All individuals of the genus Homo by their common origin, belong to the same genetic code. The variations that we observe are not the result of different genes. If 'races' "species" it were, there is one 'race' "species" : the human Homo ".

the Palotes Perico "races exist but do not tell anyone," Lying in Money Magazine , No. 15, January 2011, pg. 118. Parakeet Drumsticks for a doctorate in anthropology from the University of the Relativistic gibberish.

Absurd, right? For these people it works.

When Did Marg Helgenberger Have Plastic Surgery

Causes, Consequences and employees of the Africanization of European music like Alain de Benoist

In the two previous articles devoted to this problem (Africanization of European musical taste) was well established by analyzing the music, in fact, listen to and follow the Europeans and eurodescendientes, the African mechanization of your choice Music. Beltenebros wanted to expand the concept to talk about imbecilización European musical taste, to understand that the process was not limited to Afri l it. There was considerable agreement that is so, but also that the Africanization looks set to be the main element of this overall process (imbecilización musical) and that the Africanization concerned not only the musical taste and music to listen by Europeans but extending to many aspects of reality and life of Europe. An important element of this whole debate is the finding that the Music Africanization Admit and degrees. Africanization of music, therefore, is not a controversial title, but a proven reality.

It is essential to understand that when we talk about Africanized music here we refer to consumer music gradually bestialized with African elements degenerate.

1) Causes

Demonstrate musical Africanization fact leads to a transparent methodology to resistant, especially in a rigorous analysis of the music in question. Music Africanization has already been demonstrated, especially in the item master Beltenebros (Daorino dixit) published here, parameters Africanization objectives musical. But talk about causes and agents in this process of Africanization so music is not so clear. To start, we can surmise that the musical is a process Africanization or VOL ANEO or induced acid. In the one case as in other lawful for us to sustain the presence of musical Africanization agents (individuals and institutions that have promoted, consciously or not, this drift, and social changes). On the other hand, do not understand the musical Africanization as an evolution of classical music africanizante sense or folkloric. Africanization has been primarily to do taste, with the external imposition of a Africanized musical genres, which speaks more of a process that induced spontaneous. The mu classical and folk music have simply been displaced. Finally, the scenario in which gender has crystallized predominantly Africanized today (rock, pop, metal, rap, salsa, etc..) Is in the U.S.. That's where you have to study it. In Europe, however, the analysis should focus on ways in which these genres developed in the United State s have spread and conditions made this possible.

Thus we have c sa underlying cause (no more back in the historical causes) the existence of a multiracial society , the United States nineteenth century. As necessary (and also inevitabl and, as indicates the historical comparison multiracial societies) relaxation, with the passage of time, the s racial barriers inherent in every state of this type and the multiplication of spaces and possibilities of mestizaje (racial and musical). That's where produce gender n Africanized. As conditions favoring the spread of Africanized music created in America have this state's rise to superpower status , European defeat in World War II and geopolitical context of the Cold War . Another set of conditions tions, favoring those of the positive reception of music from the United States Africanized are to sabotage the European musical training from the time of the French Revolution (that leads to the consideration music nothing rather than as mere ornamentation), the proliferation of avant "illegitimate" , the museification music and art in gen eral (the most popular classical music, and by far ceases to be contemporary) and socioeconomic changes that generate a large and ready market for the consumption of a certain type of music production and mass distribution.

2) Consequences

This phenomenon, for us Europeans, it means, first, the loss of traditional music and European folk educated. Secondly, dumbing : give up some code, an art, a distinctively art ours to take another, much simpler nature and poor. Should not be rejected virtuosity, or accept the noise without any resistance, as it happens today. Third, the supposed musical Africanization ruin the European spirit and creative impulse , by way of its fall musical. When a European to appreciate we can say that rap music has turned black. Music Africanization implies, fourthly, a cognitive decline , plus it encourages pessimism and serves as a bridge for the introduction of values \u200b\u200band ideas c osmopolitas (as little). Fifth and finally, do not underestimate the potential of musical Africanization effective path to racial miscegenation and Africanization. First, the Africanization of souls, then the d and bodies. In Spain and is taking some of that with the proliferation school salsa and corruption e Promoting racial mputecimiento in English women, making them some of interracial sluts. Another example: the love of rap English teen slut causes them to n mulatto immigrants egros. Everything seems little to promote racial promiscuity.

3) Agents

A preliminary question: blacks are effective agents for the Africanization of European musical taste or introducers in our musical world music African or Africanized . Blacks and some whites in North America created with input non-blacks, blues, jazz, rhythm and blues . On this basis, with no intervention and predominantly black, there were a number of musical genres today are followed by the public (rock-and-roll, rockabilly , heavy metal, punk , progressive rock, disco , etc. ) Caribbean Blacks and mestizos subsequently created the hip hop, rap and salsa music genre born of the same design spurious anti-classical and jazz. Finally, pop is a simplistic mix, music for idiots, in which the jazz and black gradient are also present. In the process of Africanization Music, blacks have played a purely instrumental (limited themselves to the music, but it was not they who gave dissemination b sets).

But that blacks you were not agents of Africanization, does not mean they do not exist there.

The Africanization reached Europe by way of imposing States A i do s. On the one hand, defeated in war Europe little resistance could be opposed to the cultural agenda that the American superpower was for her. The dissident historian G erd Honsik, docume nta this case for Austria, and denounces the massive introduction of German jazz in this country since 1945, by the CIA:

"Various documents show that 950 Jazz Club - later christened clubs - were open and n Austria after 1945 under orders of the CIA. "

Goodbye Europe. Kalergi plan. legal racism . Gerd Honsik. Bright-Rain bow , Barcelona, \u200b\u200b2005, pg. 128.

In Germany and Austria, losing the war and direct objects called "denazification" of its cultural life, the possibilities of political intervention in the culture and music was evident. In the context of l to bsiguiente Cold War competition between the U.S. and the Soviet Union to seize control of the universe cultural and minds of Europeans were apparent. And in this competition, as we only lost European culture and music. In Germany, a well-educated population still musical mind, there was resistance:

"A bold initiative by the American military government, the" Summer Courses of New Music in Darmstadt "almost killed in riots des out after the disappointment on the radical new music degenerate into open hostility. In conclusions official said: "It was generally recognized that much of this music was worthless and that would have been better not to listen. There was criticism of the excessive role given to the twelve-tone music. One critic described the concert as dilettantism ... Triumph of French students stayed away from the rest and gave them to understand (and) her teacher, Leibowitz, only rep resents and supports music as valid the most radical and openly despises otherwise. His attitude is emulated by students. It was generally agreed that the (course of) the following year would be more varied. " Darmstadt, of course, would become a few years a bastion of avant-garde experimentation in the field of music. "

The CIA and the Cultural Cold War . Frances Stonor Saund ers. Debate, Madrid, 2001, pp. 43-44.

The Darmstadt School can be considered, no doubt, as ag Africanization effective musical entity. Also dodecaphonism and sociocultural theory of twelve-tone . Nothing better than these experiments, musical sabotage to Lejaren people of classical music.

Wagnleitner Reinhold, cited by Ho nsik extends the stage of this intervention c u lt ur to the entire continent. In their study Coca-Colonisation und Kalter Krieg says

" efforts of the governments of the U.S. to impress Europeans with manifestations of high culture, were part of political strategy to reduce to nothing the European culture to mainstream Europe in the Western world only the Pax Americana. "

Coca-Colonisation und Kalter Krieg . Wagnleitner Reinhold. Verlag für Gesellschaft skritik, Wien, 1991, pg. 208. In English here.

This is consistent with the view provided by that Frances Stonor Saunders that, undergirding the analysis to a specific period spanning the century least three decades and a particular agent, the U.S. secret services , we realize that has been a major political problem ordered to listen the European public and what they liked:

"The consortium that built the CIA (...) was the secret weapon with the would fight the United States during the cold war, a weapon in the cultural field, had an enormous range. Whether they liked it or not, whether they knew it or not, there were few writers, poets, artists, historians, scientists and critics in postwar Europe, whose names were not in one way or another, linked to the emp resa disguised. (...) Among the members of the consortium had an assortment of radicals and leftist intellectuals whose faith in Marxism and communism had been shattered at the evidence of Stalinist totalitarianism. (...) Endorsed and supported by powerful institutions, the non-communist group monopolized Western intellectual life in the same way that communism had done some years earlier (and also many of the people) were the same in both groups "(pp. 14-15).

The CIA and the Cultural Cold War . Frances Stonor Saun ders . Debate, Madrid, 2001, pp. 14-15.

In this context, the same author explains how the needs of U.S. foreign policy determined the overwhelming presence of black in music and art in general. Their presence was meant as a means of combat Soviet propaganda about the black condition in America:

"The problem of race relations in the United States was fully exploited by Soviet propaganda, and planted in many Europeans doubt about the ability of that country to practice democracy that said offer the world. For this reason it is argued that exporting black musicians operating in Europe would dissipate much of these harmful ideas . (...) The promotion of black artists was to become a top priority of the strategists of the Cold War. "

Op. , pg. 39.

During the twentieth century, music and culture in general have enjoyed little autonomy and have undergone massive political intervention.

Thus, the Africanization of European musical taste is partly explained by the conditions imposed by the newly acquired junior level with respect to the United States and the pressures of the hegemonic superpower am erican in the context of the Cold War. The medium was the political and military power but also economic.

Development and cone Economic Western Europe after the Second World War joined what was said above about the removal of classical music "cutting edge" of the public, and musical training growing deficit, favors the emergence of a broad market also musical, ready to be satisfied by the arrangements for music today identified as Africanized.

The creation of radio stations radio formula type called (radio programming model with a single-minded), specifically the type of music, ends up being a very important element to understand the extent to which diffusion takes the new music (Africanized).

In Spain, for example, the radio formula emerges c sa result of a 1965 decree forcing the medium wave stations to create a new issue in the newly created Fre Modulated ence (FM). Since reduced costs, these stations required by the decree applied the principle of musical radio formula, classical music broadcasts. But a year later, the Cadena SER infamous creates a musical program, with lots of pop and some rock, Top 40 call , tracing precisely and very significantly, from U.S. Top 40. The success of this program, initially for two hours, he was also broadcast on medium wave and also that the duration increases up to 24 hours daily.

greatest impact on the economic vector of the Africanization of European taste, we can not stop talking about the role played by the industr ia musical canning, the record companies. Can can in principle different types of music. But the spread and popularization, by radio formula of music, different genres Africanized (pop and rock in particular) ends up creating a potential market of consumers of canned music from these genres, which meets industry and, since this same act, feeds the Africanization process we have been talking musical. Thus, these industries for the production and marketing of canned music can be considered as effective agents in the Africanization of music.

This only need to add that, as alleged by several comments Beltenebros earlier, the music market is fundamentally conservative and when the level drops by itself is not going to rise. European musical taste was punished and degraded by U.S. cultural involvement (public or secret) since 1945, by the phenomenon of musical radio formula and the needs of the music industry. The process has only become more pronounced over time and the average European today can be defined as a pauper perfectly musical.

remains to explain the process of Africanization of music in the pole would Africanized music broadcast to Europe. This terminal is, as mentioned before, the United States. But that deserves study apart.