Archive for the 'Reviews' Category

08
May

Book Review: Twisted Triangle

Title: Twisted Triangle: A Famous Crime Writer, a Lesbian Love Affair, and the FBI Husband’s Violent Revenge
Author: Caitlin Rother
Publisher: Jossey-Bass
Release: April 2008
Genre: True Crime
Length: 304 Pages
Rating: 88%

Twisted Triangle details the real-life love triangle between crime novelist Patricia (Patsy) Cornwell and married FBI agents Gene and Margo Bennett. The majority of narratives are based on Margo’s recollections, typically verified by third party input and legal documents. The triangle is not the typical woman-scorned story, however, for it is Margo who had a lesbian affair with Patsy while Gene seethed on the sidelines.

At least, Margo may have wished that was the case. In reality, Gene –an eerily successful undercover agent used to playing roles convincingly- managed to terrorize and brutalize Margo for the better part of a decade, at one point kidnapping her for several days and at in another instance engaging in a shootout at a church.

Mind you, Margo is no saint – a point author Caitlin Rother conveys adequately despite having no direct participation from Patsy or Gene. Margo started down the wrong path early in life, highlighted by an abusive incident with her father and the dutiful nonchalance of her traditional southern mother. As a result, most of Margo’s adult life would be spent drifting in and out of short infatuations –heterosexual and homosexual- that she ritually mistook for love. Her marriage to Gene took a turn for the worse almost instantly when he decided to break FBI protocol by collaborating with various undercover contacts on money-making schemes (including defrauding an FBI program designed to prevent equity loss by agents selling their homes to relocate).

Patsy entered the picture hoping to get some pointers from real-life agents and her attraction to Margo was instantaneous. After some cat and mouse, the two blondes eventually came clean and choose to explore their feelings, causing Margo to drift obliviously away from both the social taboos of her Virginia surroundings and, more destructively, her duties at home. Being a seasoned FBI agent, Gene determined the nature of his wife’s relationship to her “new friend” in relatively short order and launched a campaign of psychological warfare fit for one of Patsy’s novels.

Rother touches on several recurring themes while sorting through the sordid details of the Bennetts’ marriage. Margo’s attractions were typiced short-sighted and screamed the need to fill a void from her childhood. Yet Patsy –despite being non-violent while showering both Margo and her two daughters with gifts- was barely more attentive than Gene. Both lovers tended to treat Margo as a possession rather than a person. Throughout the story, the Bennett children were used as pawns by Gene while being secondary on Margo’s mind (next to personal survival). Predictably, both girls eventually needed a lot of therapy - much of it administered in the form of drugs, sex and self-mutilation. To that end, the latter section of the book is bittersweet, reveling in the protagonist’s survival as much as it cautioned about the fallout.

Twisted Triangle is not my usual book but was a nice diversion from geo-political and financial literature. Caitlin Rother’s work is highly rated by Amazon.com readers and, based on this non-fictional account, the adulation is justified. I look forward to reading more of her work.

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29
Mar

Movie Review: Fitna

Title: Fitna
Release: 2008
Genre: Documentary
Run Time: 15 Minutes
Studio/Publisher: Geert Wilders
Rating: 20%

Geert Wilders, leader of the far-right Dutch Party for Freedom (PVV), released a bombshell in the form of Fitna – a self-proclaimed documentary and wake up call to Europe in the face of growing Islamicization. Arabic for “disagreement and division among people”, Fitna has caused much division among nations and even within the ranks of those critical to radical Islam. Kurt Westergaard, the Danish cartoonist whose bomb-laden depiction of Mohammed resulted in worldwide riots and death threats, publicly condemned Wilders’ use of his drawings due to the film’s sweeping indictment of Islam as a whole. Web host Network Solutions suspended film’s website and video streaming company LiveLeak hosted the movie for only two days. Pakistan briefly banned YouTube while Al Qaeda has issued a fatwa against the blonde instigator. Controversy, thy name is Geert.

Fitna The Movie (screenshot)

Information-wise, Fitna offers little new material to those who have spent much time studying radical Islam. The 15-minute presentation consists of gory footage spliced with inflammatory Muslim speeches and confrontational suras from the Qur’an. Some viewers will recognize footage originally seen in Islamist documentaries like Beneath the Veil and Cult of the Suicide Bomber. Other video includes of people jumping from the Twin Towers during the 9/11 attacks and neatly-edited clips of executions by Iraqi insurgents.

The soundtrack consists of passages from Edvard Greig’s brooding “Aase’s Death” and Tchaikovsky’s “Arabian Dance” looping intermittently between apocalyptic Muslim prayers. Much of the dialog is in Arabic so most viewers will rely on the [thankfully minimal] English/Dutch subtitles. There is no narration in the film per se but the violent speeches by Iranian president Mahmoud Ahmadinejad and various Imams set the pace just as effectively.

The latter portion of the film pushes the immigration buttons familiar to Wilders’ PVV platform. Under the title “The Netherlands of the Future?”, a graphic slideshow displays images of gay/female executions, blood-smeared children and female circumcisions. This macabre presentation is followed by a series of inflammatory news headlines:
“We do not agree with freedom of speech, because we denounce democracy”
“Explosive increase honor killings in Amsterdam”
“School closes on muslim holidays”
“Jihad-lessons in elementary school”
“Foreign imams allowed in more quickly”
“Mosques under the spell of radical muslim group”
“Suicide commandos in the Netherlands”
“Hamas gathers in Rotterdam”
“Mosque: turning the Netherlands into a muslim state”

Fitna The Movie (screenshot)

Fitna closes with a short clip of a hand turning a page of the Koran. The image fades as the sound of a page tearing is heard. The implication is quickly followed by the message “The sound you just heard was a page being removed from the phone book. For it is not up to me, but to Muslims themselves to tear out the hateful verses from the Quran”. The film’s final message states that Muslim Europeans have no interest but to conquer the west and that Islamic ideology must be defeated by freedom-loving Europeans as Nazism and Communism were before it.

It shouldn’t even need to be said that Fitna is a hatchet job, plain and simple. Compressing 15 minutes of footage and inspiration from Islam’s violent minority and passing it off as the summation of a centuries-old religion that contains over a billion followers smacks of a “solution” in search of a problem. A structurally identical film could be made in the Islamic world about the invasion of Christian (re: coalition) warriors, splicing scenes of dead Iraqi citizens with violent passages in the old testament and assorted rants by Jerry Falwell. The facts presented would be “true”, but hardly representative of the entire Christian world.

Nontheless, such a film would stand as firm proof to Islamists about the need for Muslim forces to crush the Christian enemy. Fitna will appeal similarly to modern-day crusaders who have already convinced themselves of the necessity for a second Crusade.

Fitna The Movie (screenshot)

Offense is in the eye of the beholder, so it would be difficult for an outsider to say whether this film warrants the extreme outcry and calls for censorship – perhaps that’s a Westerner mindset. Stronger anti-Islamic sentiment has long existed on the pages of FrontPageMag or Little Green Footballs and to my knowledge neither of these online publications have been threatened.

Fitna preaches a drastic scenario to the converted and would likely fail to penetrate mainstream Western thought even if it were given wide release. Wilders’ political associations, combined with his decision to attack all of Islam rather than its extremist elements, will cost credibility among discerning audiences.

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29
Feb

Book Review: Showing our Colors

One of the first challenges to the idea of black intellectual inferiority came from a German study. Authored by psychologist Klaus Eyferth and published in the 1959 edition of the journal Vita Humana (now Human Development), the study compared the intelligence of two groups of children born in Germany to local women and American soldiers. The first group, however, was sired by white GIs, while the second had black fathers. If the former children proved to be more intelligent than the latter, then white supremacists could make the argument that blacks were indeed genetically inferior to whites, at least in terms of intellectual ability. But no such luck: the two groups’ test scores were indistinguishable. The study was, as expected, vilified by proponents of racial inequality (prompting one commentator to note that left wingers were not the only ones to dislike race research), but it was accepted by the scientific community and, more importantly, replicated by other researchers who reached the same conclusions.

I first read of this study in my first-year psychology class. The existence of a black community in Germany was news to me. But I soon learned that the offspring of black GIs were not the only people of mixed African descent in that country. Germany at one time possessed a number of colonies in Africa, including modern-day Tanzania, Cameroon, Togo and Namibia. Some natives of those places immigrated to Germany, where they established relationships with the locals and produced mixed-race children. In addition, biracial children were born to Germans and immigrants from African countries never under Germany’s control. Until recently, though, I had never come across any first-hand accounts by mixed-race Germans themselves. That is, until I discovered Showing Our Colors: Afro-German Women Speak Out at a small Toronto bookstore.

Showing Our Colors is edited by three women: May Opitz, an Afro-German speech therapist and poet; Katharina Oguntoye, a feminist historian of German and Nigerian background, and Dagmar Schultz, a white woman and publishing house editor. Translated from the German Farbe bekennen, the book contains a history of German imperialism in Africa and of blacks (and mixed-race people) in Germany as well as their portrayal by white society. The English version includes a foreword by the late poet Audre Lorde, who met a number of Afro-German women during a stay in Berlin. The book’s principal attraction, however, lies in the first-hand accounts by fourteen women of mixed black and German descent.

As the editors state in the introduction, the contributors have little in common besides their blackness. The women differ in their sexual orientation (most are heterosexual, but a few are lesbians), educational and professional experience, country of residence (at the time of the book’s publication, what is now Germany consisted of two nations, east and west), and connection with their black heritage. They also trace their ancestry to different sources. Some have a parent directly from Africa, whereas others were born to black Americans, usually GIs. In general, the women with African-born parents have had more contact with their black relatives than did the daughters of African Americans. In addition, almost all the contributors have black fathers and white mothers, except for a seventeen-year-old woman with an Afro-German mother and Italian father and the twenty-three-year-old daughter of an Afro-German woman and Ghanaian man.

Few of the women profiled in Showing Our Colors claim an exclusively black identity. Perhaps because they live in Germany, speak German as their first language, and in some cases have had little contact with other blacks, even their own family members, the women largely identify as German or, at most, as mulatto. One woman, for instance, who was raised by a white single mother, begins her account with “I’m German, and I’m dark.” According to a forty-two-year-old nurse, people who tell her she is lucky to live in Germany do not understand that “I’m German and don’t belong anywhere else.”

The contributors’ tendency to identify more with their German than black side in some instances stems from their inability to integrate into a black community. While they rarely faced rejection or discrimination from blacks as they sometimes did from their fellow Germans (on the contrary, one contributor states that her African boyfriend’s family put her on a pedestal because of what they perceived as her “whiteness”), they often felt that they could never become part of black society. In the case of those who traced their descent directly to Africa, sometimes cultural barriers were too great an obstacle to overcome. One woman, for example, became distressed at what she saw as women’s subservient role in her father’s native Ethiopia. The woman whose boyfriend’s family idolized her supposed whiteness explains that when she was called “white lady” at a beach in Liberia, she realized that in Africa she would always be considered an “other,” even if a privileged “other.” She decided that Germany was her home after all.

Showing Our Colors does not address the question of race mixing per se but rather the lives of African-descended individuals in what was until recently a fairly monoracial country. Nonetheless, given that all the women featured here are in fact biracial, they offer a number of insights into the mixed race experience. One of the first contributors, a sixty-seven-year-old woman who lived through the Third Reich and narrowly escaped sterilization (a procedure mandated by the Nazis for non-“Aryans”), says that when asked once whether she minded being a mulatto, she replied, “No… what I have already experienced because of my background you will never experience in your entire life.” Another woman, forty at the time, tells of having reconciled herself to the “white part of me.” A couple of the younger contributors, though, speak of feeling alienated from both sides of their heritage at some point in their lives. For example, at a younger age one woman “hated mixed marriages, since we children have to live our lives always between two stools.” Another was disappointed that her physical features were not “black” enough.

The contributors not only faced the issue of race mixing in the context of their family background but in their own marriages and sexual relationships. The first woman profiled, the sixty-seven-year-old Third Reich survivor, married a white man. Many of her friends could not understand how she could do so in light of the oppression she and her family had experienced from white society. She always answered that she had no objection to marrying a white man provided he was a “decent person.” She describes herself and her husband as “happy grandparents” whose lives do not differ fundamentally from their contemporaries. Some of the younger women are less sanguine about their relationships with white men. The forty-two-year-old nurse, for example, considers some white men “racist exploiters” and recounts having left a white boyfriend herself after he told her “A model or stewardess I can have any time, but not a Black woman.” She and several other contributors imply that some of their white lovers were interested in them not as individuals but as members of the black race.

Other women formed relationships with black rather than white men (as well, one contributor had a brief affair with a black GI but later married a white German). Sometimes circumstance rather than race was the major factor in their choice of partner. The older sister of the sixty-seven-year-old Third Reich survivor, for instance, married a countryman of her father, but rejection of white men did not seem to play a part in her decision. Some contributors admit to other reasons for preferring black over white men. A young woman abandoned by her American soldier father and raised by her white mother says that for many Afro-German women the “search for a father and the search for Black men often converged.” With regard to herself, she adds that “I never wanted a white boyfriend; blackness and being a man went together… once I realized that, I wanted to get to know my father.”

Some women profiled say that their white mothers, or mother substitutes, did not know how to deal with the racism their daughters faced in white society. For example, one woman describes how her mother refused to discuss problems like racism with her and thus failed to prepare her for the outside world. Another contributor who lived with her African father and his Jewish wife states that her stepmother, having lived as a Jew in the Nazi era, had adopted an attitude of “whatever you do, don’t be conspicuous” and was not willing to “go to bat” for her stepdaughter. On the other hand, the father would not let anyone get away with mistreating his daughter.

The contributors to express differing opinions on various issues. One example has to do with the role of blacks in German films. After Germany’s loss of its African colonies, coupled with its defeat in World War II, German filmmakers tried to re-ignite the spark of national pride by making movies that portrayed the country’s glory days as a colonial power. Many Africans and Afro-Germans were hired as actors and extras on the sets. The two sisters who lived through the Nazi era speak fondly of their small parts in these movies, noting that they had the opportunity to meet other people of African descent as well as earn extra money. The forty-two-year-old nurse, on the other hand, who herself acted on stage as a child, is more critical of the roles offered to Africans in the cinema and theatre. In her view, “the movie scene was not all that nice… either you play the naked wild man or woman, or servants’ roles.”

Some of the limitations of Showing Our Colors? The book primarily profiles the daughters of black fathers and white mothers. It might be interesting to see whether the lives of children born to white fathers and black mothers differed in any way from that of the present contributors. The editors can hardly be faulted for the omission: though many German colonizers in Africa sired offspring by local women, most of these children remained with their mothers and never went to Germany.

Showing Our Colors’ strength lies in its first-hand presentation of the lives of biracial individuals in a largely monoracial European country. Of course the experience of these women might not be identical to that of mixed race women in a multiracial society such as the United States. But Showing Our Colors is a must-read for anyone who wants to understand the multiracial experience in Europe.

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07
Feb

Movie Review: Loose Change - Final Cut

Title: Loose Change - Final Cut
Release: 2007
Genre: Documentary
Run Time: 129 Minutes
Publisher: Louder Than Words, LLC
Rating: 80%
URL: http://lc911finalcut.com/

Loose Change Final Cut represents a refreshing approach to the documentary film in that, like mature software, it has been conspicuously updated over several years. Filmmaker Dylan Avery released the original 9/11 documentary in 2005 and the film underwent a second revision (Loose Change Second Cut) before the third and final release. Film updates were spawned by expanded information as well as user feedback and creative tweaking.

Loose Change Final Cut

Chances are you’ve heard many 9/11 theories, spewed emphatically by the same kind of person who thinks the moon landing was faked and that Martians are watching us. No doubt this tin-foil crowd will enjoy Loose Change’s systematic dissection and indictment of the government’s flaccid response to 9/11. However, the movie goes beyond Bush-bashing to provide evidence supplying many post-9/11 questions that still haven’t been adequately addressed by public officials or commissions. Among them:

  • If an airplane hit the low-lying Pentagon, how did it manage to score a direct hit and not leave much debris larger than a color printer? How was this advanced maneuver accomplished by a hijacker pilot whose piloting skills were so poor that American flight instructors openly questioned the validity of his commercial license?
  • If Flight 93 really went down via internal scuffles between passengers and hijackers then how come the wreckage was spread out much further than similar plane crashes in recent history?
  • Why was the US government seemingly disinterested news of money wire transfers from high ranking Pakistani ISI members to alleged hijacker Mohammed Atta - even though these transfers took place just before the terrorist attacks?
  • How could America’s sophisticated air defense system, now known to engage in war games simulating attacks nearly identical to the 9/11 incidents, fail to intercept airborne threats four times in the same morning?

To address these questions, Loose Change presents a plethora of news clips, expert interviews, graphical recreations and witness testimony, convincingly challenging the “official” version of events that lead up to and succeeded the attack on the twin towers. The film typically stops short of pointing the finger exclusively at any one entity and instead leaves the evidence hanging for viewer debate, with the main exception being the Zeitgeist-like call to arms at the close of the film.

Loose Change Final Cut

Loose Change Final Cut has several powerful moments that give pause to even the strongest skeptic. About 2/3 the way through the film, discussion turns towards WTC tower #7, which collapsed several hours after the twin towers collapsed. WTC #7 contained offices for the IRS, SEC, Secret Service and most interestingly New York’s Office of Emergency Management Command Center (which is supposed to be bullet-proof, bomb proof, and self-generating when need be). A British film crew reported that the tower had also fallen, succumbing to what appeared to be superficial fires. However, the tower is clearly shown standing in the background as the female reporter continues to speak about its collapse. Apparently CNN and BBC made the same mistake …

While not entirely one-sided in its approach, Loose Change could have nonetheless benefited from more attention to contrary evidence and non-conspiratorial alternatives. For example, Avery uses collapse times to prove that the twin towers were felled by an explosion rather than the impact of a plane – the time-lapsed implosion of the towers is shown to be consistent with the free-fall that would result from a building demolition. This evidence is offered as a refutation of the theory that diesel fueled fires caused the tower’s tube-like structure to loosen and disintegrate. However, the film does not address the popular alternative theory that the collapse of a single floor started a domino effect that resulted in a disintegration that just happened to be consistent with the timing of a free fall. Imagine you are standing on the upper of two planks of wood, both suspended by concrete blocks. Chances are you will not go through the first plank with you are standing still. Now imagine yourself jumping up and down on the upper plank – you could crash through the wood, albeit a little slower than you would sink if you had no resistance; however, the combined weight of yourself plus the wooden plank would cause greater strain on a second plank of wood below the first plank, etc. In other words, the diesel fuel or impact could have caused 1 or 2 floors to collapse, with the increasing weight and velocity speeding up the collapse of the entire structure.

In any case, Loose Change Final Cut is effective as a catalyst to debate. Some of my (unwitting) test audience used the evidence presented to unleash their strongest condemnations against George W. Bush and his “imperial war”. Others were highly skeptical and offered unsolicited explanations backing the official versions of certain events. What my test subjects all had in common was a strong opinion and any filmmaker that can accomplish such with today’s increasingly desensitized moviegoers deserves a pat on the back.

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28
Nov

Movie Review: Zeitgeist - The Movie

Title: Zeitgeist - The Movie
Release: 2007
Genre: Documentary
Run Time: 116 Minutes
Author: Peter Joseph
Rating: 68%
URL: http://www.zeitgeistmovie.com/ (watch online)

After an excessively long introduction, Zeitgeist launches into a dissection of religion (titled “The Greatest Story Ever Told”), and by religion the film-makers mean Christianity. A brief summary of astrology gives way to a comparison of earlier Middle-Eastern mythologies to the mythology which predated all of them. Indeed there are many coincidences to between the Egyptian Sun God Horus and the central figures of later faiths:

  • Horus was born December 25th to the virgin Isis
  • He was adorned by three “kings” who followed an eastern star
  • He was deemed a prodigy at 12 and was baptized at the Age of 30
  • He traveled with 12 disciples and traveled around performing miracles like healing the sick and walking on water
  • His alternate names included “Lamb of God”, “The truth, the light”
  • He was betrayed, crucified, buried from the dead and rose three days later

Anyone who paid attention during Sunday school or at least made an effort to read a bible (a group encompassing fewer Christians that one would think) should be a bit uneasy, as the Story of Jesus Christ is nearly identical - only the names differ. Strangely (or perhaps not) the same general sequence of events can be found many other mythologies across the world. The film then attempts to link common attributes of these stories to astrological symbolism and does a fairly convincing job of it.

None of this information (or at least the discussion of its legitimacy) should be new to armchair theologians, but it was not initially clear why Christianity was singled out above all others for astrological plagiarism - it was not the first, last or worst offender among the emerging faiths. Eventually, the answer is provided - the Romans apparently invented the myth of Jesus Christ solely to exercise social and economic control over Europe. Never mind Karl Marx’s Opiate of the Masses attack - the Zeitgeist narrator directly refers to Christianity and similar faiths as “the fraud of the age”. Them be Fightin’ words.

Alas, Zeitgeist is a film about conspiracy theories - an emphatic diatribe of how small groups of shadowy figures conspire to control the masses.

Bush’s Brawn

The second part of the movie, titled “All the World’s a Stage”, attempts to prove that the US government plotted the 9/11 attacks in New York and contracted the dirty work to international resources. Provided evidence includes a mixture of the apparent “TV clips of witnesses describing a second explosion”, the questionable “government efforts to hide any conclusive evidence of a Boeing 757 hitting the Pentagon” and the perplexing “the demolition-like accuracy with which the buildings collapsed”. Again, the viewer is presented with a series of facts that are true or at least believable, some arousing anecdotes and a consequential induction that implicates shadowy powers.

If film-maker Peter Joseph can be credited for one thing, it’s flawlessly utilizing Dale Carnegie’s yes-yes technique to influence the viewer. Like any good conspiracy theorist, he starts with information that is true (yes #1), follows with information that is apparent enough to make the viewer question previous dogma (yes #2) and inserts his interpretation of what is driving those occurrences (in this case, that the US government intentionally detonated the twin towers). One major distinction between a conspiracy theory and a valid explanation is that conspiracy theories rarely work inversely as deduction. As a Math Professor of mine loved to recite, proving all poodles are dogs does not prove all dogs are poodles.

Hand in my Pocket

The third section is called “Don’t Mind The Men Behind The Curtain” and deals with disproportionate influence exercised by early banking tycoons like JP Morgan and John D Rockefeller. The stock market crash of 1929 is alleged to have been deliberately engineered by the “international bankers” to allow a large-scale cash grab and easy purchase of failed rivals. The 1933 American gold seizure, establishment of the US Federal Reserve and the major world wars of the 20th century are also attributed to the objectives of the international bankers, who stood to gain from the interest on loans made to both the state and consumers. These bankers are never clearly defined after the first generation of financial barons. More alarmingly, the Federal Income Tax is declared unconstitutional - a declaration backed by a pair of former IRS agents who testify to avoiding tax payment for years without penalty. Perhaps they could share what they know with Wesley Snipes.

Zeitgeist closes, strangely, with a motivational speech about unity and how the human race should unshackle themselves from the social structures imposed by a diabolical few. It did provide levity for an otherwise bleak film, but nonetheless sounded kitschy.

Worth a Tin-Foil Hat?

Is Zeitgeist worth the watch? Probably, as you can watch it for free via the URL provided above. The movie also provides an opportunity to test your critical thinking - the real enjoyment in indulging conspiracy theories is not self-congratulation for being skeptical, but being able to explain precisely where they fail.

Conversely, you may find yourself occasionally saying “wait a minute!” and questioning what you thought you knew. Sadly, conspiracy theories are one of the few remaining outlets for some good old-fashioned, politically-incorrect debate, and one area Zeitgest excels at is stimulating debate. Invite a friend or two over and have fun.


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04
Apr

Movie Review - The Last King of Scotland

Title: The Last King of Scotland
Release: 2006
Genre: Drama
Run Time: 121 Minutes
Studio/Publisher: Fox Searchlight
Rating: 75%

In the 1980s the World Wrestling Federation (WWF) featured a character by the name of Kamala the Ugandan Giant. Though the wrestler was in reality an American Black, he bore an uncanny resemblance to Idi Amin, the man who ruled Uganda as president from 1971 to 1979. I’m sure the likeness was no coincidence: the WWF probably thought that one of the world’s most notorious strongmen would serve as a good prototype for a wrestling “bad guy.” So it should come as no surprise that Idi Amin has emerged once again as the villain, this time in the film The Last King of Scotland.

The Last King of Scotland is based on the book of the same name by British author Giles Foden. Foden’s work is a historical novel; that is, it mixes fictional characters with real-life figures from history (some classic historical novels include Leo Tolstoy’s War and Peace and Italian writer Alessandro Manzoni’s The Betrothed). Though the actor who plays Idi Amin, Forest Whitaker, is American, both director Kevin Macdonald and supporting actor James McAvoy are from Scotland .

The film tells the story of Idi Amin’s descent into totalitarianism, barbarism, and madness as seen through the eyes of Nick Garrigan, a young Scottish doctor who goes to Uganda on a humanitarian aid mission and ends up becoming the dictator’s personal physician (Garrigan, by the way, is Foden’s invention, though some have tried to link him with Robert Astles, an English soldier and associate of Idi Amin). At first Garrigan, like many Ugandans themselves, welcomes Amin and sees his rise to power as a means for Africans to assert their independence. He begins losing faith, however, after individuals accused of collaborating with Amin’s predecessor Milton Obote are brutally assaulted by police, buildings go up in smoke, and some of Amin’s associates suspected of treason disappear mysteriously. Amin’s paranoia, by definition, renders him irrational.

Continue reading ‘Movie Review - The Last King of Scotland’

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04
Apr

Album Review: 4Hero - Play with the Changes

Artist: 4Hero
Album: Play with the Changes
Genre: R&B
Label: Milan Records
Year: 2007
Rating: 86%

Memo to dance music fans: dismiss all your expectations of 4Hero’s latest album. While the UK duo may be responsible for some of the earliest Jungle/Breakbeat hits (e.g. Mr Kirk’s Nightmare) and “deep” Drum & Bass, Dego and Marc Mac have nonetheless been gradually drifting away from electronic funk to explore more traditional sounds. Producers by trade, 4Hero relied heavily on collaborations with a bevy of semi-underground singers, MC’s and poets to implement what could be best described as a 21st century implementation of old-school soul.

4hero.jpg

Continue reading ‘Album Review: 4Hero - Play with the Changes’

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Further Research