The Crippled Corner

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Reprizirao sam YOUNG SHERLOCK HOLMES Barry Levinsona, jedan od kanonskih Amblin radova, na čijem je scenariju sarađivao Chris Columbus koji će petnaestak godina kasnije poći sličnim putem u prvoj ekranizaciji HARRY POTTERa. Ipak, YOUNG SHERLOCK HOLMES je meni mnogo efektniji od bilo kog POTTERa i sjajan utisak koji sam imao kao dete je samo potvrđen ovom reprizom. Između ostalog jedan od razloga je u tome što u ovom filmu nije bilo potrebe da se sputava mašta radi poštovanja književnog dela.

YOUNG SHERLOCK HOLMES je nastao u trenutku velike pomame za serijalom INDIANA JONES i to je svakako doprinelo velikom akcentu da dinamičan, pustolovni razvoj priče, i okultni spektakl u centru zbivanja. Iako, ruku na srce, Barry Levinson nije go-to guy kome bih u tom istorijskom trenutku poverio ovakav film, sigurno je da su Zemeckis ili Dante prirodni kandidati, a zašto ne i Richard Franklin koji je snimio briljantni CLOAK & DAGGER, Levinson je to vrlo dobro uradio i YOUNG SHERLOCK HOLMES ima izuzetan production value i efektne inscenacije, ali, i to je najvažnije, uspeva da funkcioniše između scena koje su očigledni set-pieceovi a to su situacije sa specijalnim efektima na kojima su radili danas poznati reditelji poput Stephen Norringtona i John Lassettera.

Naime, sasvim je jasno da su scene sa specijalnim efektima bile ono po čemu je ovaj film trebalo da se izdvoji od kanona o Sherlock Holmesu, i one su scenaristički dobro opravdane time da se Sherlock bori protiv kulta staroegipatskih asasina koji ubijaju ljude tako što im strelicama ubrizgavaju halucinogene droge od kojih ovi sami upadaju u delirijum i naizgled stradaju u nsrećama i samoubistvima. Otud tih nekoliko scena sa naglašenim 80s specijalnim efektima, od kojih je jedan radio Pixar, ne samo da imaju taj 80s šmek i pridobijaju simpatije koje savremeni efekti nemaju već sam zaplet opravdava njihovu prenaglašenost. Za Pixarovu scenu sa oživelim vitražim bi se moglo reći da na najbolji način pokazuje kako se tehničko ograničenje pretvara u prednost.

Uprkos tome što je jasno da je upravo specijalni efekat nešto što je trebalo da izdvoji ovaj film, Levinson i Columbus izuztno dobro vode priču između ovih sekvenci. YOUNG SHERLOCK HOLMES naravno odstupa od konvencije o tome kako su se kod Doylea upoznali Holmes i Watson, to znamo, međutim, prema Doyleu se odnosi sa dosta poštovanja i na mnogo mesta ubacuje detalje koji treba da nam pokažu krene nekih kasnijih Holmesovih manira.

Glumačka podela je oslonjena na manje poznata imena, ali svi su na visokom nivou kakav bi se i očekivao od ove elegantne produkcije bazirane u Britaniji.

Šteta je što je YOUNG SHERLOCK HOLMES kada je izašao bio flop i što se nije na ovom tragu snimilo još nekoliko filmova. Još je tragičnije što je ovaj film u vrme izlaska olako otpisan kao industrijski produkt, a iz današnje vizure, koliko god on nesporno bio osmišljen u nekom producentskom kabinetu, deluje kao vrhunski primer autorske spontanosti, možda zato što je Amblin upravo imao specifičan autorski pečat u svojim produkcijama.

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Ezoterija!

Ćirilica :: Gost - Ljubiša Ristić , 1. deo - 17.01.2011

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Ćirilica :: Gost - Ljubiša Ristić , 2. deo - 24.01.2011

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James Cameron has spoken frequently about his intention to turn his mega-hit Avatar into a trilogy. Now, according to the director himself speaking at the PGA Awards on Saturday, those two sequels have release dates. Cameron tells EW, "I am in the process of writing the next two Avatar films now. We are planning to shoot them together and post them together, and we will probably release them not quite back to back, but about a year apart. Christmas '14 and '15 is the current plan." Of course, it's probably best to take those release dates with a grain of salt, since the first Avatar had several release dates before its December 2009 release. Still, now fans know that they'll have to wait at least three more years for a return to Pandora.

Cameron also notes that we'll see some familiar faces return. "Basically, if you survived the first film, you get to be in the second film, at least in some form," say the director. One thing's for sure: some percentage of the presumably-massive Avatar sequel gross will go to charity. "Fox has partnered with me to donate a chunk of the profits to environmental causes that are at the heart of the Avatar world," says the director. "I didn't want to make more Avatar movies without a grander plan in place."

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The German film industry is in a state of deep shock at the news that film producer Bernd Eichinger has died at the age of 61 from a heart attack during a meal with family and friends in Los Angeles on Monday evening.

"We are all shocked by the incomprehensible news," production company Constantin Film said in a statement. "With Bernd we lose a friend and companion, one cannot put our grief and the pain into words. Bernd was the heart of Constantin Film for more than 30 years and left his mark on the film industry both nationally and internationally".

After graduating from Munich's Television and Film Academy in 1973, Eichinger – whose trademark was his white plimsolls - founded his first production company, Solaris Film, and began a career that was to change the course of the German film industry. His early productions brought international attention to a wave of "new German filmmakers" such as Wim Wenders (The Wrong Movement), Edgar Reitz (Zero Hour), Hans W. Geissendoerfer (The Glass Cell) and Wolfgang Petersen (The Consequence).

In 1979, he took on the running of the Munich-based production and distribution company Constantin Film, which became a leading player in the international film industry. Among his most successful international productions were: Wolfgang Petersen's The Neverending Story, Uli Edel's Christiane F. and Last Exit To Brooklyn, Jean Jacques Annaud's The Name Of The Rose, Doris Doerrie's Me & Him, Bille August's The House of Spirits and Smilla's Sense Of Snow.

He also co-produced the Best Foreign Language Oscar-winning Nowhere In Africa and the box-office hits Resident Evil and its sequel, Resident Evil: Apocalypse. Moreover, Eichinger had foreign language Oscar nominations for Downfall, starring Bruno Ganz as Adolf Hitler, and The Baader Meinhof Complex about the terror campaign of the Rote Armee Fraktion.

Eichinger leaves behind wife Katja and a daughter, the 29-year-old TV presenter Nina Eichinger.

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Pogledao sam MR NICE Bernard Rosea, biografski film o Howardu Marksu. Ovaj film se može uključiti u seriju 70s istinitih priča o harizmatičnim odmetnicima kao što su BEOGRADSKI FANTOM, MESRINE, BANK JOB, MUNICH, CARLOS... Međutim, isto tako, ovaj film može da se uključi u tradiciju britanskih counterculture biopica o kriminalcima koji su sebe modelirali kao neku vrstu pop zvezda, liniji koju počinju naslovi kao što je McVICAR a poslednjih godina se kao reprezent ove vrste filma može smatrati i drugorazredni rip-off CHOPPERa - BRONSON.

MR. NICE je bolji i od McVICARa i BRONSONa, jer je uostalom Rose veći reditelj od Clegga i Refna.

NICE je priča o harizmatičnom bleferu Howardu Marksu koji je počeo kao relativno miroljubivi prodavac hašiša još na Oksfordu a potom se uz pomoć IRA fanatika, roudija rok bendova, pakistanskih uzgajivača i raznih drugih opsenara popeo do samog vrha narko-tržišta.

Film je sniman po scenariju koji je Rose bazirao na autobiografijama Howarda Marksa i njegove supruge i otud MR NICE dosta podseća na prozu Bobana Petrovića, dakle, ne postoji mnogo prilika u kojima fakti zauzimaju prostor dobroj anegdoti, vicu ili priči.

Pa ipak, ono što je iz Marksove priče evidentno istina sasvim je zanimljivo za potrebe filma a anegdote su jedna nadogradnja koja svemu daje šarm dobre fikcije. Ono što doprinosi utisku fikcije jeste konzistentan ton humora sa kojim se doživljaji pripovedaju, a teško je očekivati da se život tako stilski konzistentno poigravao sa Marksom i njegovom ekipom.

Iako se MR NICE može smatrati Roseovim povratkom mejnstrim filmu, posle dve adaptacije Dostojevskog sa Danny Hustonom. Pa ipak, Rose nije ponovo postao oslonac mejnstrima kao što je jedno vreme bio. U MR NICEu on se dosta poigravao sa raznim izražajnim sredstvima, integrisanjem Rhys Ifansa u dokumentarne snimke, upotrebom rir projekcije i smuliranjem epoha kroz korišćenje filmskih konvencija tog perioda.

Ipak, uprkos tim dosta agresivnim stilskim zahvatima, Rose ipak stavlja akcenat na glumu, i uprkos svim stilizacijama, film na kraju ipak ima konvencionalan storytelling, pre svega po tome kako gledaoci komuniciraju sa likovima.

Rhys Ifans je napravio ubedljiv lik Howarda Marksa, ne radi se o pukoj imitaciji, i njegov komičarski dar nalazi svoje mesto u ovoj ulozi.

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A evo za prave DTV sladokusce

As PIK first version 2011

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ovo će biti fantastično!

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Ass Pick

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onaj ko tako loše prevede pesmu motorheada i bez blama je stavi kao naslov filma koji se događa u crnoj gori, u kojem glume ministar bane popović i raspali majkl medsen, mora da se carski zajebava, i da je sasvim prso, a za to ima rispekt!

[Meho Krljic]

Da, ovo je kao ono kad Slobodan Stanković u Mejd in Srbija pun uzdrhtalog rispekta kaže "Koji je ovo treš, jebote".

[Albedo 0]

i ode da fotografiše budističke hramove, nakon što je završio sa Eržikom i Dinom...

[Meho Krljic]

True dat. Čovek je sažeo sve kontraste Srbije u jednoj ličnosti.

[Albedo 0]

Pršti, pršti bela staza.... bolje pripazite, kada Stanković obradi Šišanje, pa Eržika odigra ulogu Bojane Novaković kao nazi Lolite.... Oskar.

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Brian De Palma ("Dressed to Kill," "Mission: Impossible") is set to direct the thriller "Passion," an English language remake of last year's French psychological drama "Crime d'amour" (Love Crime) by Alain Corneau, for SBS Productions reports Variety.

Kristin Scott Thomas and Ludivine Sagnier starred in the story two feuding corporate execs, one of whom is driven to murder the other. The $30 million remake is a France-Germany-U.K.-Spain co-production and will be set in the UK.

Shooting is slated to kick off in August at a studio in Cologne or Berlin with exteriors done in London. The key cast will be announced before the start of the Cannes Film Festival in May.

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Threat Level Privacy, Crime and Security Online
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Would-Be Suicide Bomber Killed by Unexpected SMS From Mobile Carrier

    * By Ryan Singel Email Author
    * January 27, 2011  |
    * 6:08 pm  |
    * Categories: Miscellaneous
    *

An unexpected and unwanted text message from a wireless company prematurely exploded a would-be suicide bomber's vest bomb in Russia New Year's Eve, inadvertently thwarting a planned attack on revelers in Moscow, according to The Daily Telegraph.

The would-be suicide bomber was planning to detonate a suicide belt bomb near Red Square, a plan that was foiled when her wireless carrier sent her an SMS while she was still at a safe house, setting off the bomb and killing her. The message reportedly wished her a Happy New Years, according to the report, which sourced the info from security forces in Russia. Cell phones are often used as makeshift detonators by terrorist and insurgent groups.

If true, the SMS might be the only time that a wireless carrier's SMS message has ever been useful.

The authorities suspect the female bomber was part of the same Jihadist group that is suspected of hitting Moscow's airport on Monday with a suicide bomb attack that killed 35.

Via The Telegraph

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Pogledao sam dugo očekivani NOTRE JOUR VIENDRA Romaina Gavrasa. Gavras i Chapiron su kao deo umetničke grupe kourtmaje, u određenom smislu poveli revival muzičkog video klipa kao forme (najpoznatiji su im radovi za Justice) a Gavras je svojim senzacionalnim letošnjim spotom za BORN FREE ne samo napravio klip koji je odjeknuo već je u izvesnom smislu najavio i svoj dugometražni prvenac.

Moje obožavanje i poštovanje za dugometražne radove Kima Chapirona bilo je predmet kontroverze još u vreme kada sam fetišizovao njegov SHEITAN, a prema DOG POUNDu sam takođe bilo vrlo naklonjen. NOTRE JOUR je negde između ova dva filma, i mislim da se po ovom filmu ipak vidi da su Chapiron i Gavras najbolji drugari. Naime, NOTRE JOUR deli sa SHEITANom Cassela u glavnoj ulozi a reklo bi se i neke dramske situacije u spoju Cassela sa vodom koja u filmovima ove dvojice neobično uzbuđuje ovog lika.

S druge strane, ceo koncept gasparnoeovskih obesnih sociopata koji obeležavaju filmove ove ekipe, tretiran je u jednom manje živahnom ključu, i po fakturi fotografije Andre Chemetoffa, NOTRE JOUR više podseća na DOG POUND nego na znatno šareniji SHEITAN.

Vincent Cassel kroz saradnje sa Chapironom i Gavrasaom, kao i sa Gansom, Noeom ili Kounenom pre njih želi da se nametne kao harizmatična, inovatorska glumačka figura francuskog filma, kao francuski Jack Nicholson, i u ovom filmu on pokušava da ponudi svoj EASY RIDER, pretencioznu, a opet privlačnu, pitku i bizarnu studija dva riđokosa marginalca koji odlučuju da postanu militantna manjina u Francuskoj i polaze u jednu autodestruktivnu avanturu sa ciljem da se nekako dokopaju Irske, El Dorada u kome su tobože riođokosi srećni, koja je neka vrsta riđokosog Izraela.

Iako se NOTRE JOUR VIENDRA svakako može tumačiti kao neka vrsta naivnog političkog iskaza, mislim da je osnovna znakovitost ovog filma proistekla iz Gavrasovog grčevitog pokušaja da artikuliše svoje nezadovoljstvo. Upadljivo je koliko je njegov gnev suprotan brižljivoj istorijskoj i političkoj kontekstualizaciji Costinih filmova. Naravno, očev opus ne mora da ima bilo kakve veze sa Romainom ali on nikada neće moći sasvim da pobegne od "praroditeljskog" greha, naročito ne u Francuskoj, gde je kinematografija i dalje u priličnoj meri oslonjena i tumačena iz pozicije sagledavanja ko dolazi iz koje kuće. Ako takvim procenama nisu izmakli Assayas ili Kassovitz, ne može ni Romain.

U tom poređenju između okolnosti u kojima je radio Costa i ovih u kojima stvara Romain, možemo doći do jedne dosta poražavajuće slike o angažovanom filmu, odnosno do utiska kako je grčeviti pokušaj da se pokaže istina iz šezdesetih i sedamdesetih zamenilo jedno vrlo subjektivno iživljavanje u kome se lična frustracija i određeni elitizam pretpostavljaju širim društvenim kretanjima, a od emancipatorskog polazišta se dolazi do puke dominacije ili ismevanja kao paradigme.

Koliko god NOTRE JOUR VIENDRA bio ličan, distanciran od formalne socijalne klime i sl. to je ipak nesumnjivo film koji progovara o neurozama savremenog čoveka i samim tim upadljivo je odsustvo ozbiljnije ideološke analize okolnosti koje su ga izazvale, naročito jer kroz neke vidove socijalno neprihvatljivog ponašanja junaci pokušavaju da ga prevaziđu.

Međutim, ako ostavimo po strani koliko je ovo u suštini jedan infantilan film, nesumnjivo je vrlo energičan, u pojedinims cenama gavras uspeva da stvori vrlo opipljivo psihološku tenziju i cela priča je ostvarena sa visokim nivoom veštine. Itud ni prilična neopterećenost smislom neće smetati gledanju i određenom vidu uživanja u ovom pokušaju da se bude umesto Noea.

Chapiron je imao intenzivniji debi od Gavrasa, ali je zato ovaj snimio film koji će gledaoce znatno manje polarizovati.

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The L.A. County Sheriff's Department is investigating who took the final cut DVD out of the actor's Malibu mailbox.

Mel Gibson's copy of the final cut of The Beaver was stolen from the mailbox outside his Malibu home on Wednesday.

Summit Entertainment gave Gibson a copy of the final cut to screen at home and put in his mailbox when he was done.

"When the courier came to pick it up [on Wednesday between 10:45 a.m. and 2:30 p.m.], it wasn't there. They went out to check, and apparently someone prior to the courier  took it out of the mailboxand made off with it," Lieutenant Rich Erickson of the Malibu/Lost Hills Station Sheriff's Department tells The Hollywood Reporter.

Continues Erickson, "It's a $10 DVD. We're treating it as a petty theft at this point."

As for the punishment, the Lieutenant tells THR, "It's a misdemeanor crime. It's considered a minor crime."

Erickson says Gibson didn't physically put the DVD in the mailbox.

"A detective is assigned to the case, and will do some follow up," he adds of the crime, as first reported by TMZ.com.

A rep for Summit declined to comment to THR.

The Beaver, directed by Jodie Foster, will premiere at the SXSW Film Festival in March. It hits U.S. theaters on March 23.

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nipplepeople - Sutra @ MTV HITORAMA

Ima touch za Mehmeta sa Daft Punkom (koji svira u njegovoj kući)...

[Meho Krljic]

Hmmm, ali ti si svestan da ja mrzim i daft pank i elsidi saundsistem?

[crippled_avenger]

Jesam. Ali to ne znači da ne treba da napravimo response pesmu "Goran Bregović is Playing at My House" i da počnemo beef!

[Meho Krljic]

To je... dobra ideja. Pogotovo što mi je Bregović komšija, pa bi tu bilo i određenog utemeljenja u stvarnosti.

[crippled_avenger]

Eto vidiš...

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Posle duže potrage locirao sam film THE LOOKING GLASS WAR Franka Piersona, po romanu John le Carrea. Ovaj roman pripada meni najdražoj ranoj le Carreovoj fazi a film pripada, isto tako, ranoj fazi njegovih ekranizacija.

Ovaj film ima ozbiljan problem disbalansa između prve polovine koja je tipičan le Carreovski sofisticirani špijunski realizam, sa akcentom na intelektzalnu i moralnu dimenziju dočim se u drugoj polovini film pretvara u gotovo egzistencijalističku, apsurdnu, skoro pa komediju o odlasku junaka na zadatak. Dok je Martin Ritt savršeno dobro iskazao apsurd profesije koji provejava u le Carreovoj ranoj fazi u THE SPY WHO CAME IN FROM THE COLD, Pierson ga je ovde previše eksternalizovao i film se u drugoj polovini iz priče pretvara u čistu tezu i upadljivo gubi na uverljivosti.

Međutim, Pierson, poznat pre svega kao scenarista, mada i kao reditelj, pokazuje se kao vrlo lucidan, talentovan pripovedač sa naročitioim darom za set-piece situacije, bilo da je akcenat na borbi, suspenseu ili apsurdu. THE LOOKING GLASS WAR je izvanredno maštovito režiran špijunski film a gotovo tatijvskim rešenjima i uz Anthony Mannov DANDY IN ASPIC i Ken Russellov BILLION DOLLAR BRAIN spada među avangardnije režirane špijunske filmove.

Glevnu ulogu mladog poljskog mornara koga angažuje MI6 igra Christopher Jones, glumac od kog se očekivalo da bude naslednik james Deana ali on taj pritisak nije izdržao, a od današnjih zvezda tu je Anthony Hopkins u jednoj vrlo solidnoj supporting roli.

THE LOOKING GLASS WAR je obavezno štivo za ljubitelje le Carrea i špijunskog filma uopšte, a mislim da može biti zanimljiv i ljubiteljima angloameričćkog filma šezdesetih i sedamdesetih.

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Robot ("Endhiran" TeztigoMix_Part 02) ***Kollywood(Tamil)***

[Meho Krljic]

  Fak mi!!!

[Albedo 0]

ovo je zajebalo i turski Matrix

[Father Jape]

Videh ovo pre neki dan.

Tacno zamisljam geeky Indijca koji je gledao Matrix, dosao do dela kad se pojavljuje gomila Agent Smithova, pauzirao, ustao i uzeo da pise scenario.

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Živeće ovaj narod!

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Poziv za Mubaraka

K.O.F.Y - They Call Me KOFY

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Unkut.com Presents...The Last Taboo For White Rappers

Robbie from Unkut discusses the history of caucasion beef in this week's Guest List blog.

While pale-faced rappers are now fairly commonplace, not so long ago they were a rare breed. This led to a lot of in-fighting amongst these pasty-faced rhyme slingers, as they struggled to be that group that "black guys didn't hate". Thanks to the the credibility of Def Jam and some killer beats, the Beastie Boys were able to rock hardheads in New York AND mallrats in Ohio (thanks MTV!), which was a pretty big deal at the time unless you were Run-DMC. Their bratty, beer-swilling antics endeared them to frat-boys everywhere, while hard-hitting tracks like "It's The New Style" and "Slow and Low" received heavy rotation from street-level listeners worldwide. Plus they had chicks dancing in cages, which is always a good look. It wasn't long, however, until some other Caucazoids took shots at the ivory throne, and following the Beastie's defection to Capitol records for their enjoyable although critically overratted Paul's Boutique album, Russell Rush quickly found some new crackas to fill the gap.

3rd Bass, a group who took themselves way too seriously but also had some really dope production, made several songs directed at Adrock, MCA and Mike D in an attempt to position themselves as the new "mighty whiteys" on the block. This all went according to plan until the guys from X-Clan decided to hand out a "Gas Face" of their own (even though Professor X would have known Serch from the Latin Quarter days). Putting Pete Nice and MC Serch in the unfortunate position of having to defend themselves against a black rap group, which had never really happened before that point as white rappers have always feared having their "Hip-Hop Pass" revoked. Since they were stepping into a minefield, their retaliation was pretty tame (verging on apologetic), and as a result they took an L. Around the same time, 3rd Bass targeted Vanilla Ice and MC Hammer (who despite being black was so widely disliked by rap fans that it seemed like a safe bet, much like Eminem vs Benzino or Ja Rule), but it could be argued that they never really recovered from the respect they lost as a result of the X-Clan conflict. To make matters worse, it turns out that going at Hammer wasn't such a harmless move after all, as Serch explained in this interview:

"So we diss Hammer, and Hammer wasn't really pissed about "Gas Face", he was really pissed about "Cactus", when Pete said "The Cactus turned Hammer's Mother out". He took that as a straight diss to his Mom, and we weren't dissing his Mom. We were putting a play on words with "Turn this mother out" and the Cactus turned this mother out ­ we turned him out, we're just hotter. Ok, he took it as a diss to his Mom....They put a $60,000 hit out with one of the biggest gangs in L.A., for any member who got to us and could prove it – a huge amount of money. They contact Mike Conception, who at that time was doing that record "We're All in the Same Gang", and Hammer had got Mike's help. So Russell manages to get hold of Mike and says "Listen this can't go down, how do we stop this", and he says "It's too late now, we can't stop it", and Russell is like "No, no. I'll do anything!". So Mike finally says "Listen, I want to go to the American Music Awards, and I want to sit next to Michael Jackson, and then we won't kill them, we'll just break their legs, but you'll still be able to film them on TV from the waist up". This was his reasoning! Russell says "No, you can't shoot them at all", and finally that's the deal that they made. So Russell calls Donny Inner and Tommy Motola and he explains the situation, and if you check the seating plan for the American music awards from 1990 – Michael Jackson Mike Conception."

Following these events, it was pretty much set in stone that these d'evils would stick to fighting amongst themselves as to who was "true to the game" and who was a poser. This trend peaked when Eminem name-checked all the white rappers he felt were beneath him in one of his early singles, which led to some really shitty responses from no-hit wonders like Milkbone, as well as a run-in with former Rhyme Syndicate mascot Everlast. Slim Shady's rise to the top enevitably brought all kinds of sour grapes spitting contenders out off the woodwork, as every "crazy white guy" rapper became convinced that Em had stolen their style from some shitty demo tape that Stretch & Bobbitto had played at 3 o'clock in the morning or some similarly deluded scenario. Cage and RA The Rugged Man, his two most outspoken critics, seem to forget that the "insane cracka" style is the the most obvious persona for a melanin-deficient MC to adapt if they want to have any chance of attaining that all-important "street credibility". House of Pain were early examples of this, as they successfully adapted the "Irish hoodlum" image instead of the traditional "funkee white boy" approach.

More recent examples of recorded white-on-white rap violence included Demigodz vs Def Jux (which, if nothing else, resulted in somebody finally sampling Revenge of the Nerds to good effect), El-P vs Sole (the first diss records that only people with a modem knew anything about) and others which I don't care to remember. When Masta Ace threw some barbs in the direction High & Mighty's Mr Eon and Mighty Mi, the whole thing turned out to be a misunderstanding and got squashed, which was lucky for the EC fellas since they were able to avoid having to diss a black dude (not to mention a rap legend). Even if it hadn't been sorted out, I highly doubt that they would responded at all (other than possibly kidnapping the Biz Markie puppet from Ace's first video), given that it still remains as the one of the last taboo's in hip-hop.

The only other example that springs to mind would be when a kid calling himself Paleface (aka "The Blue Eyed Devil") came out with a song going at Ice Cube for his "cave bitch" comments towards white chicks. I never heard the song, but he got featured in Vibe (no Fonzworth Bentley) magazine back in 1991 and I'm pretty sure that this makes him one of the only white "rappers" to ever bark at a black MC. But the question remains – will a whitey (other than Marshall Mathers) ever have the stones to go at a black guy in the hip-hop game? I'm betting it'll be the same week that an openly gay rapper goes triple platinum....

[Meho Krljic]

Heh, ali kako ne pomenuti najpoznatiji white-on-white diss rat, onaj između El-Pja i Solea?

Prvo Sole

Sole - Dear Elpee

a onda El-Producto:

El-P - Linda Tripp (Sole of Anticon Diss)

[crippled_avenger]

Pogledao sam THE DESERT RATS Robert Wisea, ratni film u kome je James Mason ponovio ulogu Erwina Rommela iz filma THE DESERT FOX Henry Hathawaya. Ovaj film bi recimo mogao da bude podložen analizi Rastislava Dinića mnogo pre nego Stojiljkovićev roman jer u periodu relativno nedavne traume Drugog svetskog rata kada je masa nacista još uvek na slobodi, prikazuje Nemca koji je isključivo profesionalni vojnik, fin, okrenut poštovanju ratnog prava, neupitan nad Holokaustom kog se film recimo uopšte ne dotiče.

Richard Burton igra glavnu ulogu, britanskog oficira koji tokom opsade Tobruka osnova čuvene "pustinjske pacove", jednu od najznačajnijih elitnih jedinica u istoriji britanske vojske.

Wiseov film pronalazi dobar modus kako da u jednom relativno "malom" jednostavnom filmu od sat i po prikaže dugotrajne teškoće tokom borbi oko Tobruka. Taj modus je fokusiranje na jednu jedinicu i njene doživljaje. Problem je u tome što te doživljaje prikazuje krajnje epizodično i bez pravog razvoja likova koji su čak i u ovoj formi mogli da se postupnije izlože tako da je film opterećen neporedbnim "dokumentantnim" interludijima kojima se rešava problem protoka vremena. A opet ni taj dokumentarni momenat nije urađen dosledno nego simulira neku vrstu epskog zahvata a realno nije bio potreban u takvoj formi.

Otud slaba struktura remeti dosta solidnu atmosferu, i Wiseovo zanatski kompetentno tretiranje akcije i scena bitke koje deluju sasvim solidno za ono vreme, uz pomoć izvanredne fotografije Luciena Ballarda čija je ekspertiza u slikanju vesterna pomogla ovoj priči koja u sebi nosi doesta vestern tradicije...



* * 1/2 / * * * *

[Васа С. Тајчић]

Pogledao sam THE DESERT RATS Robert Wisea, ratni film u kome je James Mason ponovio ulogu Erwina Rommela iz filma THE DESERT FOX Henry Hathawaya. Ovaj film bi recimo mogao da bude podložen analizi Rastislava Dinića mnogo pre nego Stojiljkovićev roman jer u periodu relativno nedavne traume Drugog svetskog rata kada je masa nacista još uvek na slobodi, prikazuje Nemca koji je isključivo profesionalni vojnik, fin, okrenut poštovanju ratnog prava, neupitan nad Holokaustom kog se film recimo uopšte ne dotiče.


* * 1/2 / * * * *

Сјеверна Африка представља једино подручје у Другом свјетском рату гдје су се обије стране у највећој мјери придржавале правила Женевске конвенције. О томе свједоче многе књиге на енглеском језику.

[crippled_avenger]

Da, ali nije to poenta ove primedbe.

[---]

zar nije takvih analiza bilo još kad se film pojavio?

edit: sad sam otkrio da ih ima i danas:

This piece examines the British reception of the biography of German Field Marshal Erwin Rommel by the British author Brigadier Desmond Young, upon which was based the Twentieth Century-Fox movie The Desert Fox (Hathaway, 1951). British newspaper reviewers showed a love-hate relationship towards the memory of the late Wehrmacht Field Marshal. For some, such as former opponent Claude Auchinleck and military historian Basil Liddell Hart, Rommel was a talented field commander and resistance martyr, tangled up in the 20 July 1944 conspiracy against Hitler, for which he had been forced to commit suicide; for others, such as Hugh Trevor-Roper and Richard Crossman, he was an unthinking collaborator who had betrayed the Führer only when the war had turned against the army. The author argues that the book and film set the precedent for the cultural rehabilitation of the Wehrmacht on screen, not only in English-speaking countries, but in West Germany too. Moreover, Anglo-American military histories and films tended to depoliticize and remilitarize the Wehrmacht even more than West German productions. Other films considered include The Battle of the River Plate (Powell and Pressburger, 1956), Ill Met by Moonlight (Powell and Pressburger, 1957) and Ice Cold in Alex (Thompson, 1958). The author argues that the postwar 'clean hands' myth-making surrounding the Wehrmacht was performed not only by the West German film industry but by a transnational cultural division of labour which suited the needs of the Western alliance during Cold War rearmament and West German reintegration into the international community.

http://gh.oxfordjournals.org/content/26/4/520.abstract

[crippled_avenger]

No shit Sherlock!

To je opšte poznato svima sem Rastislava. Rommel je naširoko diskutovan fenomen rehabilitovanog, "dobrog naciste", potpuno izdvojenog van kontektsa celog nacističkog projekta dominacije i tretiranog kao vojnika koji je eto, dočekao svoj rat da malo primeni ono što je učio celog života.

Pa jel se Rastislav Dinić pozvao na neku od njih i smestio dexu u internacionalu revizionista i prikrivenih nacista ili se sveo na teorijsko potkrepljivanje ličnog sukoba?

Ja sam uostalom i rekao,

Pogledao sam THE DESERT RATS Robert Wisea, ratni film u kome je James Mason ponovio ulogu Erwina Rommela iz filma THE DESERT FOX Henry Hathawaya. Ovaj film bi recimo mogao da bude podložen analizi Rastislava Dinića mnogo pre nego Stojiljkovićev roman jer u periodu relativno nedavne traume Drugog svetskog rata kada je masa nacista još uvek na slobodi, prikazuje Nemca koji je isključivo profesionalni vojnik, fin, okrenut poštovanju ratnog prava, neupitan nad Holokaustom kog se film recimo uopšte ne dotiče.

Još na onom topiku sam rekao da bi bilo potpuno u redu otvoriti takav spor ali biti pošten pa otvoriti sa celokupnom zapadnom popularnom kulturom koja je proizvela dexu a ne samog dexu pojedinačno optuživati da je nacista kako bi se ispunila radna norma na CEU, Peščaniku, u Fabrici Knjiga ili gde već?

[---]

elementary, my dear watson.

[Васа С. Тајчић]

Овај Динић би вјероватно открио "вирус" ревизионизма и за вријеме СФРЈота кад су објављивали преводе књига као што је "Rommelov Afrički korpus" Kenetha Mackseya (Серија: Велике битке, АЛФА, Загреб, 1978). Ево једног одломка са краја:

"Без сумње - стекли су репутацију какву је мало тко имао - овдје веома добро пристаје та често кориштена фраза. Та је јединствена формација у размјерно кратком времену створила о себи слику која јој је помогла да побјеђује и јачег непријатеља. Још је боље рећи да је задобила поштовање својих противника. Посједовали су одлике које се није могло наћи на другим бојиштима другог свјетског рата. У пустињи није било грозота које су Нијемци иначе вршили, а Rommel и Афрички корпус понашали су се једнако према противницима.
У опреми и техници њемачка армија у Африци у многоме је задржала своју борбеност све до свог горког краја, а то је учинила са много импровизације. Она је научила англо-америчке снаге много чему, ономе што је постала обична пракса до краја рата. Осма је армија чак преузела популарну пјесму Афричког корпуса 'Lili Marlene'! Довде је завршни рачун био у корист Нијемаца."

[crippled_avenger]

Da se razumemo, ja smatram da je Rommel fetišizovan kao vojskovođa potpuno nekritički pošto vojna služba po definiciji ipak podrazumeva nešto više u moralnom smislu od puke veštine ubijanja ljudi, osneposobljavanja protivnika i drugih vidova snalaženja u ratu. U tom smislu, nema spora da vojnici onog vremena imaju šta da nauče od toga kako su Nemci ratovali, to je uostalom tehnika kao i svaka druga, ali nema puno prostora za rehabilitaciju tih oficira na bilo kom moralnom ili u širem smislu ljudskom planu jer su nacisti u mnogim aspektima čak i u najužem vojnom smislu bili nečasni. Uostalom, vojnici su učestvovali u ostvarivanju logora smrti a ne neki bizarni civili.

Dakle, to upozoravanje na opasnost rehabilitacije Rommela je razumno i sasvim sigurno je upravo taj neki militaristički, gotovo nerdy duh, u značajnoj meri privukao mnoge ljude uverenju kako je nacizam bio u redu.

Ali, dexa je daleko od prvog koji je to uradio, a rekao bih i da kad je on došao na red, to je već bilo prihvaćeno kao neki standard prikazivanja nacista, to jest jedan od standarda legitimisanih kroz mnoga dela.

[crippled_avenger]

Pogledao sam TRANS-EUROP-EXPRESS Alain Robb-Grilleta. zašto sam se u to upustio nije ni meni do kraja jasno, ali kako je moglo da bude, ako imamo u vidu da je ovaj film dosta oslonjen na tradiciju Novog talasa, to jest da joj pripada, čak nisam ni loše prošao...

Robb-Grillet u određenom smislu ipak pokušava da na neki način estetizuje svoju priču, i iako ona nikada zapravo ne profukcioniše ni kao metafilm, ni kao esej o pripovedanju, ni kao "film-u-filmu", konzistentno je realizovana i vrlo je efektna u snimateljskom i scenografskom smislu, dok Jean-Louis Trintignant u glavnoj ulozi sasvim sigurno donosi sve one kvalitete koji su ga i učinili filmskom zvezdom u svoje vreme.

Ono što Robb-Grillet donosi kao svoje obeležje jeste fascinacija sleazy SM praksama po kojima su njegovi filmovi bili poznati. TRANS-EUROP-EXPRESS je bio čak i zabranjen u nekim zemljama iako su u ovom cutu koji sam ja gledao ti elementi dosta pitomi za današnje standarde. Ipak, sasvim je moguće da je i ovo bilo neprihvatljivo u ono vreme.

Imajući u vidu da je lako zažaliti kad se odlučiš za novotalasovski film, ovaj je zapravo dosta podnošljiv.

* * 1/2 / * * * *

[crippled_avenger]

n a recent interview, Let Me In star Kodi Smit-McPhee spoke to us briefly about his next film. He told us that he'll be starring in The Congress, a sci-fi, futuristic film, based on the novel The Futurological Congress by Stanislaw Lem (the man behind Solaris). Ari Folman will be directing and Robin Wright, Danny Huston, Harvey Keitel and Paul Giamatti are all attached. According to Kodi, the film is still in rehearsal phase.

Folman brought us the very well received Waltz With Bashir and it looks like he has assembled quite the cast for this one. Lem's source material looks interesting and my curiosity is certainly piqued. I'm looking forward to hearing more on this one.

Kodi was quoted as saying:

    I'm also doing a film called The Congress which is just in the rehearsal process and I think next week we'll be shooting. I don't really know how to explain it, I think it's sci-fi and futuristic.

[crippled_avenger]

Pogledao sam MEGAMIND Tom McGratha. Ova DreamWorksova animacija je sasvim solidna ali ne uspeva da u dovoljnoj meri pobegne svojim neprikrivenim korenima u igranom filmu. Naime, MEGAMIND upšrkos vizuelnom spektaklu, gegovima i humoru koje pruža animacija u samoj svojoj suštini, nažalost, predstavlja tek animiranu varijantu potencijalnog igranog filma. Ta ukorenjenost u igranom filmu predstavlja i osnovni problem ovog inmače vrlo zabavnog i duhovitog filma.

Naime, oslanjanje na dramaturgiju igranog filma gura MEGAMIND u sfere u kojima se animacija u tehničkom smislu loše pokazuje. Nije superiornost Pixara proistekla isključivo iz bolje tehnologije, iako je njihova tehnologija zbilja bolja, već i iz toga što oni bolje koncipiraju svoje filmove i stavljaju akcenat na one aspekte u kojima animacija ima nadmoć nad igranim filmom.

MEGAMIND se prosto previše odlaja dijaloške scene u kojima animirani likovi s ove strane Pixara ipak ne mogu imati adekvatnu ekspresiju, a ima i niz scena koje podrazumevaju pripovedanje bazirano na vizuelnosti, ali ponovo, mnogo bliže tradiciji igranog filma gde gledalac dosta lako primećuje sve animatorske nedostatke.

Kada se tome doda solidan, ali ne i savršen dizajn likova, dobija se film koji umesto da iskoristi svoju animiranu tehniku u brojnim deonicmama to pretvara u svoj nedostatak.

Ipak, scenario je prilično jasan, jednostavan i efektan, vokalne onterpretacije su na nivou, i imaju šarma, tako da je MEGAMIND film kome je teško išta prebaciti u ovirima koje je sam sebi nametnuo. Pa ipak, ostaje utisak da je ovaj film morao postići i više.

Iako nisam od onih koji fetišizuju INCERDIBLES, jednim delom zbog sličnog problema sa odnosom prema igranom filmu (SKY HIGH Mike Mitchella mi je mnogo ubedljivija Disney rekonstrukcija superherojštine), Birdov film je ipak neuporedivo zreliji i znatno jasniji u svojoj stilizaciji, ako ne na nivou priče a ono barem na nivou vizuelnosti i prirode same animacije.

No, MEGAMIND ne treba opterećivati poređenjima sa boljim filmovima, jer i ovakav kakav je nesumnjivo funkcioniše kao jedno ostvarenje srednjeg dometa u formi koja je zahvaljujući Pixaru postala sam vrh američke kinematografije.

* * * / * * * *

[Albedo 0]

haha, koja luda koincidencija, gledamo crtaće, ti postuješ u 13:10, ja u 13:13h, spooky...

Dreamworks bješe Spilbergov?

[crippled_avenger]

Da, da.

Reč je o Intruziji Realnog, što bi rekao Will

[crippled_avenger]

Cairo's Band of Geeks Survives Tahrir Square Assault

    * By Mike Elkin Email Author
    * February 2, 2011  |
    * 8:23 pm  |
    * Categories: Info War
    *

CAIRO, Egypt — For three days, the geeks and online activists and D.I.Y. filmmakers protested peacefully here in Tahrir Square. For three nights, they slept in tents with their laptops by their sides and kept their mobile phones charged by hacking into one of Tahrir's street lights. On the fourth day, Wednesday, the lynch mob came and encircled them.

Thousands of people supporting Egyptian President Hosni Mubarak laid siege to the central plaza, pressing themselves into the four streets that lead into Tahrir. They attacked the unarmed, crowds with clubs, knives, stones and Molotov cocktails. As I write this, reports put the death toll at three with around 1,500 injured.

"This was a real battle, a real Egyptian street fight, but we kept them back with stones and barricades and fire," computer security specialist Ahmad Gharbeia, 34, tells me over the phone. "They never reached our camp."

"I need to preserve my phone battery," he adds, "so let's talk later."

For the past six years, Gharbeia has been training Arab world activists, journalists and human rights lawyers to hide their Internet communications from prying eyes. "We use encryption techniques and PGP for email," he says. "We use proxies such as Tor that circumvent blocking. I was the Arabic editor of a tools set called Security in a Box. It's a tool kit of open and free software that helps advocates and human rights activists achieve security, privacy and anonymity."

The night before the siege, I interviewed him and his friends at their makeshift base-camp, a mesh of tents and small fires to keep warm while the group compiled a media archive of footage from the first days of the anti-Mubarak revolt. Over the weekend, around 100 people died when police shot tear gas and bullets at close range into protesters, and drove vehicles into crowds on a nearby bridge.

"It was very violent and brutal against peaceful people who just trying to cross the bridge... 17 people died right before my eyes," says Ahmad Abdalla, a 32-year-old filmmaker. "That has been motivating me to collect all the footage possible. We have three computers, Mac, Linux, PC, so we'll be able to handle everything. Cameras, mobile phones, anything."

Abdalla's latest project, Microphone, a film on Alexandria's underground music scene, was released the day the protests started. "The cinemas closed, so not many people have seen it," he said. "But I don't care, what's happening here is more important than any film."

For days, the crew could only collect photos and video, without distributing what they shot. Last Friday, the government shut down Internet access, and was only restored on Wednesday. In two days they have compiled more than 100 gigabytes of pictures and footage.

"The role of the Internet was critical at the beginning," Gharbeia says. "On the 25th, the movements of the protesting groups were arranged in real time through Twitter. Everyone knew were everyone else was walking and we could advise on the locations of blockades and skirmishes with police. It was real time navigation through the city, and that's why it was shut down."

While the Internet was cut, however, the groups made do by watching Al Jazeera. The protesters projected videos from the Qatar-based news channel last night – and passed along any news via landline or cell phone (when they were working).

Dissidents working under other oppressive regimes are used to navigating censorship. In Egypt, it's not a finely honed skill in Egypt, says Gharbeia's brother Amr (pictured, above). He works on Internet security with Amnesty International in London. Before this week, the Internet was almost completely open so there was no need to have those skills. The loss of such a basic tool enraged the tech crowd.

"Blocking the Internet was one of the biggest mistakes [the government] has made, plus cutting off mobile phones," said a former official in the ministry of communications who now works for a large computer company. "That made the people very angry and more aggressive."

Small pockets of Internet access, however, did exist at certain times. Egyptian authorities allowed small ISP Noor to operate until Monday morning. Le Monde reported that the government may have allowed Noor to continue because of its high-profile client list, including the Egyptian stock exchange, the Commercial International Bank of Egypt, the National Bank of Egypt and Egypt Air.

One of the protesters used Noor as well, so before Monday those at the protests would text or call the house with the connection, where half a dozen people uploaded the information to blogs and Facebook.

Mubarak's mob failed to break the Tahrir protesters resolve on Wednesday, and the Egyptian leader's incitement of violence will likely backfire against the 30-year regime. The crew, with their laptops in their tents, now surrounded by makeshift barricades, say they are not going anywhere.

"The running joke," Amr says, "is that the upcoming Arab League summit will need a lot of icebreakers because there will be so many new faces."

Photos: Mike Elkin

[Meho Krljic]

Eh... a The Last Poets su onomad naivno tvrdili da revolucija neće biti televizirana...

[crippled_avenger]

Pasji sinovi naucili da koriste net.

[Meho Krljic]

Ovog uhapsiše pa su mu joši blokirali nalog na blog sistemu:

http://seilo.geekyogre.com/2011/02/egypt-right-now-by-sandmonkey/

Egypt, right now: by Sandmonkey
Posted on February 3, 2011 by Seif Lotfy
Egypt's most courageous blogger (and my personal friend) has been moving from one friend's apartment to another, as supporters of Hosni Mubarak pursue him and other democracy demonstrators. He was arrested on 3 February 2011 while attempting to deliver medical supplies to Tahrir Square. About one hour later, his blog was suspended. The obvious conclusion is that his arrested was not at all random – that Hosni Mubarak's security forces were following him online and planned his arrest (the Sandmonkey tweeted that he was on his way to deliver medical supplies to Tahrir shortly before he was arrested). He is now being held at Abdeen police station as reported by his father.

His blog is currently suspended. So are those of many Egyptian activists.

You can listen to his interview with Roger L. Simon.

The following is his blog post from this morning (unmodified).

I don't know how to start writing this. I have been battling fatigue for not sleeping properly for the past 10 days, moving from one's friend house to another friend's house, almost never spending a night in my home, facing a very well funded and well organized ruthless regime that views me as nothing but an annoying bug that its time to squash will come. The situation here is bleak to say the least.

It didn't start out that way. On Tuesday Jan 25 it all started peacefully, and against all odds, we succeeded to gather hundreds of thousands and get them into Tahrir Square, despite being attacked by Anti-Riot Police who are using sticks, tear gas and rubber bullets against us. We managed to break all of their barricades and situated ourselves in Tahrir. The government responded by shutting down all cell communication in Tahrir square, a move which purpose was understood later when after midnight they went in with all of their might and attacked the protesters and evacuated the Square. The next day we were back at it again, and the day after. Then came Friday and we braved their communication blackout, their thugs, their tear gas and their bullets and we retook the square.

We have been fighting to keep it ever since.

That night the government announced a military curfew, which kept getting shorter by the day, until it became from 8 am to 3 pm. People couldn't go to work, gas was running out quickly and so were essential goods and money, since the banks were not allowed to operate and people were not able to collect their salary. The internet continued to be blocked, which affected all businesses in Egypt and will cause an economic meltdown the moment they allow the banks to operate again. We were being collectively punished for daring to say that we deserve democracy and rights, and to keep it up, they withdrew the police, and then sent them out dressed as civilians to terrorize our neighborhoods. I was shot at twice that day, one of which with a semi-automatic by a dude in a car that we the people took joy in pummeling. The government announced that all prisons were breached, and that the prisoners somehow managed to get weapons and do nothing but randomly attack people. One day we had organized thugs in uniforms firing at us and the next day they disappeared and were replaced by organized thugs without uniforms firing at us. Somehow the people never made the connection.

Despite it all, we braved it. We believed we are doing what's right and were encouraged by all those around us who couldn't believe what was happening to their country. What he did galvanized the people, and on Tuesday, despite shutting down all major roads leading into Cairo, we managed to get over 2 million protesters in Cairo alone and 3 million all over Egypt to come out and demand Mubarak's departure. Those are people who stood up to the regime's ruthlessness and anger and declared that they were free, and were refusing to live in the Mubarak dictatorship for one more day. That night, he showed up on TV, and gave a very emotional speech about how he intends to step down at the end of his term and how he wants to die in Egypt, the country he loved and served. To me, and to everyone else at the protests this wasn't nearly enough, for we wanted him gone now. Others started asking that we give him a chance, and that change takes time and other such poppycock. Hell, some people and family members cried when they saw his speech. People felt sorry for him for failing to be our dictator for the rest of his life and inheriting us to his Son. It was an amalgam of Stockholm syndrome coupled with slave mentality in a malevolent combination that we never saw before. And the Regime capitalized on it today.

Today, they brought back the internet, and started having people calling on TV and writing on facebook on how they support Mubarak and his call for stability and peacefull change in 8 months. They hung on to the words of the newly appointed government would never harm the protesters, whom they believe to be good patriotic youth who have a few bad apples amongst them. We started getting calls asking people to stop protesting because "we got what we wanted" and "we need the country to start working again". People were complaining that they miss their lives. That they miss going out at night, and ordering Home Delivery. That they need us to stop so they can resume whatever existence they had before all of this. All was forgiven, the past week never happened and it's time for Unity under Mubarak's rule right now.

To all of those people I say: NEVER! I am sorry that your lives and businesses are disrupted, but this wasn't caused by the Protesters. The Protesters aren't the ones who shut down the internet that has paralyzed your businesses and banks: The government did. The Protesters weren't the ones who initiated the military curfew that limited your movement and allowed goods to disappear off market shelves and gas to disappear: The government did. The Protesters weren't the ones who ordered the police to withdraw and claimed the prisons were breached and unleashed thugs that terrorized your neighborhoods: The government did. The same government that you wish to give a second chance to, as if 30 years of dictatorship and utter failure in every sector of government wasn't enough for you. The Slaves were ready to forgive their master, and blame his cruelty on those who dared to defy him in order to ensure a better Egypt for all of its citizens and their children.

After all, he gave us his word, and it's not like he ever broke his promises for reform before or anything.

Then Mubarak made his move and showed them what useful idiots they all were.

You watched on TV as "Pro-Mubarak Protesters" – thugs who were paid money by NDP members by admission of High NDP officials- started attacking the peaceful unarmed protesters in Tahrir square. They attacked them with sticks, threw stones at them, brought in men riding horses and camels- in what must be the most surreal scene ever shown on TV- and carrying whips to beat up the protesters. And then the Bullets started getting fired and Molotov cocktails started getting thrown at the Anti-Mubarak Protesters as the Army standing idly by, allowing it all to happen and not doing anything about it. Dozens were killed, hundreds injured, and there was no help sent by ambulances. The Police never showed up to stop those attacking because the ones who were captured by the Anti-mubarak people had police ID's on them. They were the police and they were there to shoot and kill people and even tried to set the Egyptian Museum on Fire. The Aim was clear: Use the clashes as pretext to ban such demonstrations under pretexts of concern for public safety and order, and to prevent disunity amongst the people of Egypt. But their plans ultimately failed, by those resilient brave souls who wouldn't give up the ground they freed of Egypt, no matter how many live bullets or firebombs were hurled at them. They know, like we all do, that this regime no longer cares to put on a moderate mask. That they have shown their true nature. That Mubarak will never step down, and that he would rather burn Egypt to the ground than even contemplate that possibility.

In the meantime, State-owned and affiliated TV channels were showing coverage of Peaceful Mubarak Protests all over Egypt and showing recorded footage of Tahrir Square protest from the night before and claiming it's the situation there at the moment. Hundreds of calls by public figures and actors started calling the channels saying that they are with Mubarak, and that he is our Father and we should support him on the road to democracy. A veiled girl with a blurred face went on Mehwer TV claiming to have received funding by Americans to go to the US and took courses on how to bring down the Egyptian government through protests which were taught by Jews. She claimed that AlJazeera is lying, and that the only people in Tahrir square now were Muslim Brotherhood and Hamas. State TV started issuing statements on how the people arrested Israelis all over Cairo engaged in creating mayhem and causing chaos. For those of you who are counting this is an American-Israeli-Qatari-Muslim Brotherhood-Iranian-Hamas conspiracy. Imagine that. And MANY PEOPLE BOUGHT IT. I recall telling a friend of mine that the only good thing about what happened today was that it made clear to us who were the idiots amongst our friends. Now we know.

Now, just in case this isn't clear: This protest is not one made or sustained by the Muslim Brotherhood, it's one that had people from all social classes and religious background in Egypt. The Muslim Brotherhood only showed up on Tuesday, and even then they were not the majority of people there by a long shot. We tolerated them there since we won't say no to fellow Egyptians who wanted to stand with us, but neither the Muslims Brotherhood not any of the Opposition leaders have the ability to turn out one tenth of the numbers of Protesters that were in Tahrir on Tuesday. This is a revolution without leaders. Three Million individuals choosing hope instead of fear and braving death on hourly basis to keep their dream of freedom alive. Imagine that.

The End is near. I have no illusions about this regime or its leader, and how he will pluck us and hunt us down one by one till we are over and done with and 8 months from now will pay people to stage fake protests urging him not to leave power, and he will stay "because he has to acquiesce to the voice of the people". This is a losing battle and they have all the weapons, but we will continue fighting until we can't. I am heading to Tahrir right now with supplies for the hundreds injured, knowing that today the attacks will intensify, because they can't allow us to stay there come Friday, which is supposed to be the game changer. We are bringing everybody out, and we will refuse to be anything else than peaceful. If you are in Egypt, I am calling on all of you to head down to Tahrir today and Friday. It is imperative to show them that the battle for the soul of Egypt isn't over and done with. I am calling you to bring your friends, to bring medical supplies, to go and see what

Mubarak's gurantees look like in real life. Egypt needs you. Be Heroes.

If you have any idea how to help Sandmonkey please help and contact me if possible.

[crippled_avenger]

Trebalo je da ga još brutalnije kazne. Blogovao je protiv jedinog autentičnog predstavnika ideje nesvrstanosti i lajao po blogu. Hosnija je naljutio, a koga je obradovao?