Yes folks it's memes time again. We enjoy taking the piss as much as intellectual discussion here at Mjolnir Magazine, and there is no shortage of material to go at, whether it be the retardation of the Left, kosher consoivatism, or the shibboleths of Aut Right LARPing fakery. I hope they will amuse and entertain As I have stated before, we put the Mjolnir Magazine logo on our memes to advertise our channels, as the likes of Faceberg and Joutube like to keep us hidden away, as do our frenemies on the Aut Right. We begin, however, on a more serious and sombre note, as today marks the sixteenth anniversary of the murder of weapons expert Dr David Kelly by the British state under Tony Blair, which was covered up during the tribunal ordered by parliament the Hutton Inquiry.
The Mjolnir at the Movies crew does something a bit different this time, as we become Mjolnir at the Miniseries to tackle G.B.H. by Alan Bleasdale.
Originally broadcast in 1991 on Channel 4 and still viewable on their
website via the 4 on demand streaming service area, which works for UK IP
addresses, but otherwise of limited availability (DVDs might be
available in your area), the series is almost forgotten today, beyond some with good
taste and a memory for TV. An
impressive cast of well known British TV actors are included and some,
such as Michael Palin, will be recognized internationally. Lead
actors Michael Palin and Robert Lindsey both consider this to be the
best or one of the best things they've ever acted in, with Michael
specifically quoted as saying it was some of the most powerful acting
he's ever done. Well worth watching this series before or along with us
in these episodes if you can somehow. There will be spoilers! In the first of our episodes of this four-parter, we discuss why Bleasdale's miniseries, which is a critique of the Leftist politics of the time from a Leftist perspective has been pushed down the memory hole. Why indeed is the series an embarrassment to the Left? We also have a close analysis of Episode 1 of this seven-part series and begin to address some of the major themes....
It is the current fashion in populist and nationalist circles to be anti-Brexit. As I have mentioned before, I think Brexit is a distraction and that nothing can change until the present dispensation of politics in Westminster is also eliminated, which is identical to that of the European Union. Having seen various podcasts and posts by so-called nationalists who have latched onto Brexit as some kind of potential quick fix to our problems, I also think that becoming too involved in Brexit often turns nationalists into populists. They then quite quickly become attached to the cults of personality of various celebrity politicians, one of whom is Ann Widdicombe, who returned from retirement to join the Brexit Party just in time for the European elections at the end of May, resulting in her being elected as an MEP. I recently saw that many alleged nationalists had posted this video of her first speech in the European Parliament on Facebook and elsewhere:
Rondò Veneziano is an Italian and Swiss chamber orchestra led by composer Gian Piero Reverberi and formed by him in 1979. They still tour to this day, despite Reverberi pushing eighty, and will be performing in Lucerne on 20th October. What is unusual about the ensemble is that, although specialising in forms of music from the Baroque and Classical periods, particularly the rondo, hence their name, they have a modern bass and drum rhythm section and synthesisers. Specifically, there are usually nine members: one bassist, one drummer, three violinists, one violist, one cellist, one oboist and one flotist. This updates classical orchestral compositions, both rearrangements of old works and new original pieces, into more of a classic or prog rock intermediary. Rondò Veneziano have always worn period costumes when performing, which distinguishes the group from any possible session musicians to create an extended orchestra for live performances; but for their album La Serenissima, released in English as Venice in Peril, the orchestra themselves sometimes appeared as robots in period costume for publicity events, reflecting the artwork of the album cover and thus aesthetically blending tradition and futurism. There is, then, with regard to tradition, a definite congruence with the exhortions of a certain poet-philosopher of Italian fascism to 'make it new.'
