Showing posts with label Collapse. Show all posts
Showing posts with label Collapse. Show all posts

Monday, June 15, 2026

Beneath a dying moon

A dramatic cosmic-fantasy scene of a woman in flowing ivory robes standing within a vast alien landscape. Her arms are raised toward heaven in release, supplication, or triumph; luminous ribbons and shattered chains spiral about her body and drift upward. Her long dark hair streameth in unseen winds; her expression speaketh catharsis, determination, and spiritual awakening. Above loometh an immense planet, surrounded by turbulent clouds of fiery gold, crimson, and amber. Broken-heart symbols float among the clouds. A black raven perch upon a twisted branch—memory, sorrow, foreboding. Crystal formations, floating islands, ancient arches, and winding rivers stretch to the horizon. Stairways climb through rocky terrain, suggesting a hard path to transformation. Liberation, resilience, healing, and renewal after profound heartbreak.
generated via ChatGPT

Without venturing into particulars, in my life it appears an era is gradually drawing to a close — its inevitable conclusion — and the future, if there is to be one, is cloudy.

And I know many of you have gone through, or are facing, similar transitions. The past however many years have been rotten for so many of us — at least since COVID — but things were not so rosy leading up to that, were they?

I have a long memory for miseries. More of a curse than a blessing, I assure thee. 🪐💔 #QueSeraSera 𓅨 🕈 #JustSaying

Friday, December 19, 2025

Strip both names from it, for neither merits the honour: a reflection upon the ‘Trump–Kennedy Center for the Performing Arts’

In a dim, wood-panelled anteroom lined with leather-bound volumes, Marilyn Monroe stands at the centre of a small, tightly composed gathering, her presence rendered luminous by the bead-encrusted, flesh-toned gown that clings to her with sculptural precision. To her left, Robert F. Kennedy inclines slightly, his profile caught in a moment of intent regard, while John F. Kennedy—half-turned, head bowed as though mid-greeting or reflection—occupies the foreground opposite her. Other figures hover at the periphery, one clutching a glass, their expressions softened by the warm sepia tonality of the photograph. The image captures a fleeting, almost theatrical instant from 19 May 1962, the tension between celebrity, power, and intimacy suspended in the narrow space between them.
Cecil Stoughton/Lelands Auction

{WP 19 December} ‘Kennedy Center adds Trump’s name to building, despite legal concerns’

The Trump–Kennedy Center for the Performing Arts: I confess I indulged in no small measure of sentimental reverence for the Kennedy dynasty over many years, but it is time—well past time, in truth—for such nostalgia to be laid to rest. Howsoever towering John F. Kennedy may appear when set beside the present holder of the office—and I do freely acknowledge his true heroism in war—we must at last reckon with the full measure of the man: he was corrupt; his fumbling hand brought the United States perilously close to the brink of a third world war (albeit he was not the architect of that crisis); and he behaved appallingly toward Jacqueline Bouvier Kennedy, toward Marilyn Monroe, and toward Heaven knoweth how many other women.

The dynasty’s moral deficiencies did not begin nor end with him. Joseph Kennedy, the family patriarch, held an admiration for Hitler. Ted Kennedy, lionised by many, bore responsibility for a woman’s death. And today we behold Robert F. Kennedy Jr., dragging American public health discourse back unto the intellectual standard of the colonial age—an erstwhile advanced medical system now obliged to genuflect before a man whose understanding is, at best, mediæval.

For generations there hath existed an almost tribal fealty toward the Kennedys within the Commonwealth of Massachusetts, most especially among the predominantly Irish Catholic working class. Yet these have never been my people. As a nominal Protestant of largely English and German descent, I understood from childhood—keenly and unforgettably—that I did not belong, nor was I welcome, within my overwhelmingly Catholic community situated scarcely ten miles north of Boston. (Think somewhere in the vicinity of Spot Pond). It was no phantom of my imagination; I was told so in the plainest, most wounding terms on countless occasions—most vehemently by the Irish kids, and, to a lesser but still palpable degree, by the Italian ones. Why, then, have I spent so many years idealising the Kennedys, a clan whose mythology I was never invited to share? Only Jacqueline ever embodied genuine grace or dignity.

So let us say it plainly: enough of the Kennedys, and curse the cult built around them. And as for Trump—his name, and that of his brood, deserveth no sanctified place in the public square. Strip both names from the façade. We are not the Soviet Union, and no civilised republic ought to plaster the monuments of its cultural life with the surnames of dubious dynasties.

—Arthur Newhook (pen name), somewhere in the vicinity of the Middlesex Fells and severely pissed-off, 19 December 2025.

Copyright 2025, Arthur Newhook.

Thursday, December 4, 2025

Frank Zappa, who departed this realm on 4 December 1993 and may be currently rolling over continually in his grave, on ‘Death by Nostalgia’

A softly stylised, retro-inflected illustration shows a young woman with pale silver hair standing in a record shop, her pose composed with languid self-possession. She leans against a wooden counter lined with crates of vinyl, their sleeves forming a muted collage of colours and half-familiar designs. Behind her, rows of albums ascend the wall like a mosaic of forgotten soundscapes.  She wears a pastel blazer over a graphic T-shirt bearing a sun-bleached, synthwave-style motif, tucked neatly into high-waisted jeans. Her expression is poised yet faintly aloof—blue eyes holding a distant, contemplative chill, as though she is momentarily suspended between eras, hearing music that belongs to none of the records around her. The composition evokes the dreamlike nostalgia of 1980s pop aesthetics filtered through contemporary illustration, merging cool detachment with an undercurrent of intimate longing.
image generated via Google Gemini

Four decades on, nostalgia is just about all we have left. 

"The really big news of the eighties is the stampede to regurgitate mildly camouflaged musical styles of previous decades, in ever-shrinking cycles of 'nostalgia.

"(It isn't necessary to imagine the world ending in fire or ice—there are two other possibilities: one is paperwork, and the other is nostalgia. When you compute the length of time between The Event and The Nostalgia For The Event, the span seems to be about a year less in each cycle. Eventually within the next quarter of a century, the nostalgia cycles will be so close together that people will not be able to take a step without being nostalgic for the one they just took. At that point, everything stops. Death by Nostalgia.)” 

—from the 1989 memoir, The Real Frank Zappa Book.

Copyright 2025, Arthur Newhook.

Sunday, November 30, 2025

Sir Winston Churchill on the reality of public opinion

A satirical digital portrait of Winston Churchill reimagined in the twenty-first century, his legendary bulldog scowl trained not upon the enemy but a glowing smartphone. The artist renders him with remarkable fidelity: the bowler hat, polka-dotted bow tie, and omnipresent cigar—all hallmarks of Churchillian defiance—are intact, yet their gravitas is comically undercut by the incongruity of modern technology. Behind him, the Union Jack looms in vivid hues of red, white, and blue, emblematic of the indomitable British spirit he once personified. The light catches the creases of his brow and the curl of smoke from his cigar, giving the scene both humour and gravitas. The composition suggests an allegory of the digital age—an icon of steadfast conviction confronted by the triviality and distraction of the contemporary world, frowning as though the fate of civilisation itself depended upon what he sees on the screen.

“There is no such thing as public opinion. There is only published opinion,” stated Winston Churchill—a remark that lands with eerie foresight in the age of dictatorial algorithms and mass hysteria, wherein opinion is made a merchandised trade, and the mob a marketplace. One may well conceive the old war-dog beholding the endless scroll of social babble, and judging—after his wonted fashion and without the least strain of hyperbole—that our civilisation had clean parted company with its wits.

Born on 30 November 1874 amidst the rolling fields of West Oxfordshire, and sprung of an American mother of notable grace and an English father of noble blood yet scant forbearance, Winston Leonard Spencer Churchill embodied a species of Englishman now almost extinct. A lover of cigars, whisky, and the English language in equal measure, he stood as the living antithesis of his nemesis, the teetotal vegetarian tyrant across the Channel. Churchill’s vices were human; his virtues, monumental.

By any reckoning, the twentieth century’s most formidable statesman—a relic of another age even whilst he lived, and yet utterly needful to his own time. In an era that prized shallow cries above substance, he wielded words as others wield artillery; and when civilisation hung by a thread, it was his voice—gravelled, resolute, and adamant—that held the rampart fast.

In today’s absurd universe, one with many echoes of the atmosphere that led to the Second World War, Churchill’s spectre is more needed than ever. Yet I discern much of his iron resolve in Volodymyr Zelensky: a witness that greatness, however blemished, once walked amongst mortal men, and that valour, when once uttered aloud, may yet ring forth with truth.

Copyright 2025, Arthur Newhook.

Sunday, November 23, 2025

John Milton’s Areopagitica: a voice of reason from a fractured age, yet also for our present fractured age

A monochrome engraving of the poet John Milton, rendered with solemn clarity and restrained elegance. His visage is long and grave, the expression reflective rather than austere, the eyes set deep beneath a smooth brow, seeming to gaze past the viewer toward some unseen ideal. Loose curls fall symmetrically upon his shoulders, framing a face of spiritual gravity and intellectual refinement. The artist has captured not merely likeness but character—the inward tension of a man divided between faith and reason, rebellion and divine order. His broad lace collar and simple doublet evoke the Puritan sobriety of seventeenth-century England, yet the drawing’s soft gradations of line lend him an almost pre-Raphaelite serenity. It is an image at once human and emblematic: the countenance of the visionary who gave the English tongue its most exalted epic, the poet who sought to ‘justify the ways of God to men’.
public domain

Published on this day in 1644, Areopagitica remains John Milton’s impassioned admonition to heed ‘the voice of reason’, and his powerful denunciation of the English Parliament’s decree (the Licensing Order of 1643) that all authors must first obtain governmental approval before publishing their works. It was composed at the height of the English Civil War, an age of violent ideological fervour and division that was, perhaps, a grim portent of what we now witness unfolding across the globe—most acutely, and relevant to yours truly, within the former United States of America.

It was a fiercely partisan era, yet Areopagitica is the work of a man of nuance and integrity—the very sort of soul who is rare in any epoch, and indispensable in times such as those of seventeenth-century England. Indeed, such men and women are just as vital in our own age of omnipresent technology, nuclear armament, and zealots as unenlightened now as they were in 1644 (or perhaps worse).

Family tradition long held that John Milton was among my ancestors, and though I have found the name ‘Milton’ in my lineage, I have traced it only as far back as the early nineteenth century, in northern Maine and the Maritimes. Doubtless, the line originated somewhere in England—I have confirmed ancestry from virtually every corner of the old country. No matter; I cannot say with certainty that he is a forebear of mine. Yet, I offer humble thanks to the man for what he bestowed upon humanity: ideas that still resonate in certain circles today (amongst the dwindling numbers who still think, that is). I rather suspect he would be appalled at the state of our world today.

Copyright 2025, Arthur Newhook.

Tuesday, November 4, 2025

Will Rogers, born 4 November 1879, and apparently a prophet of sorts

A hand-tinted studio portrait of a middle-aged man with neatly combed brown hair, wearing a dark suit and white shirt with a tie, smiling directly at the viewer. His expression conveys genial confidence, with bright eyes and a mischievous warmth suggesting both wit and approachability. The subtle tinting of his lips and skin gives the photograph an early 20th-century charm, bridging the line between photographic realism and painterly artifice. Inscribed faintly in cursive at the bottom left are the words “Yours, Will Rogers,” identifying the sitter as the beloved American humourist and social commentator. The portrait embodies the genial populism and understated sophistication of its era—an image at once intimate, idealised, and emblematic of a figure who made comedy a form of moral conscience.
Wikimedia Commons

“The trouble with practical jokes is that very often they get elected.” One can but conjecture what the great Will Rogers—among the most incisive and quotable of all Americans—might utter were he confronted with Donald Trump and the maelstrom of incivility and wilful ignorance that now characterises the former United States. I strongly surmise that his judgment would be anything but kind. —Arthur Newhook, 4 November 2025.

Copyright 2025, Arthur Newhook.

Monday, October 6, 2025

The incomparable Bette Davis—granted merciful release from this ungrateful world thirty-six years ago today (6 October 1989)

Bette Davis in In This Our Life, 1942 WB

Lately I find myself wondering whether the titans of Hollywood—Bette Davis and her contemporaries—would have bothered at all, had they foreseen how fleeting their immortality would prove. Would the great jazz musicians of the mid-twentieth century, or the ballplayers, or the novelists, have poured their souls into their craft if they had known how quickly posterity’s light would fade from them? More to the point, how little the generations to come would cherish their names, or even care to learn them.

In another few decades, even the brightest constellations of the twentieth century—Monroe, Ali, Ruth, The Beatles—will glimmer only faintly, their brilliance dimmed by forgetfulness as the last who remember them pass from the world. Worse still, in an age when artificial intelligence and digital manipulation have placed the machinery of history in the hands of the least scrupulous, what remains may not merely be forgotten but rewritten—or erased altogether.

It falls, then, to those of us who love these figures to keep their memories alive, however humbly. Yet few will trouble themselves, and those who do will never be appreciated. Such is the fate of those who remember in a world that no longer values remembrance, basic decency, and human dignity. —Arthur Newhook, 6 October 2025.

{alternate text for the above image} A black-and-white studio still of Bette Davis captures her seated languidly in an upholstered armchair, exuding both vulnerability and defiance. Dressed in a soft, ruffled blouse and a flowing skirt that reveals one bare leg, she leans back with an expression of distracted contemplation, her luminous eyes lifted slightly upward as if lost in thought or irony. Her hair, styled in loose 1940s waves, frames a face poised between weariness and will. The soft contrast and domestic setting evoke the mood of post-war disillusionment—Davis embodying the archetype of the complex woman: elegant, disenchanted, and indomitable, caught between repose and rebellion.

Copyright 2025, Arthur Newhook. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook).

Wednesday, October 1, 2025

A remarkable life: Dame Jane Goodall has died, aged 91

photo via the Jane Goodall Institute

{AP 1 October} Jane Goodall, conservationist known for chimpanzee research, dies at 91

Jane Goodall, born in London on 3 April 1934, has assured her place among England’s immortals. By decamping to the steaming tangles of Gombe and mucking in with the apes, this great lady unravelled the smug fiction that man was some sacred, tool-wielding exception. Her chimps whittled sticks, formed alliances, and wept for their dead — and with that, the neat wall between ‘us’ and ‘them’ crumbled.

But Jane Goodall was not content to scribble footnotes for zoologists; she spent the rest of her life pleading with the world not to turn every last scrap of wilderness into a strip-mine. Noble work, doomed of course, given the human talent for short-sighted vandalism.

Still, there’s something touching in her stubbornness — a luminous, bloody-minded emblem of curiosity, decency, and hope, however misplaced. She is gone now, and the planet is no less doomed for her efforts, but infinitely richer for her having tried. Rest in peace, dear lady. —Arthur Newhook, 1 October 2025.

Copyright 2025, Arthur Newhook. On X-TWITTER: @Sunking278 and @DollsFallen. REDDIT - https://www.reddit.com/user/SiberianKhatru278/. BLUESKY - @arthurnewhook.bsky.social. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook), PayPal (paypal.me/Sunking278), and at https://tinyurl.com/ArthurNewhook.

Thursday, August 21, 2025

Remembering Jack Buck, born 24 August 1924.

photo: Jack Buck speaking at Busch Stadium, 17 September 2001

“You can't get a job without experience and you can't get experience until you have a job. Once you solve that problem you are home free.” —thus spoke the golden voice of Jack Buck, born 21 August 1924. It is likely he did not apprehend how precisely he drew back the curtain upon the authentic and paradoxical nature of a duplicitous nation and its evil people. Decades before Trump’s rise to power in the now-former United States, long before the carefully maintained façade began to crumble and the malice, together with the wilful ignorance, became so nakedly conspicuous, Buck had already distilled the dilemma into a single, resonant observation. No matter, scarcely a soul could rival him in the craft of baseball play-by-play. The world could use a voice of his timbre and integrity once more. —Arthur Newhook, 21 August 2025.

Copyright 2025, Arthur Newhook. @Sunking278 on X-TWITTER, and @FloydEtcetera on FACEBOOK. BLUESKY - @arthurnewhook.bsky.social. REDDIT - https://www.reddit.com/r/EchoOfADistantTime/new/. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Wednesday, June 11, 2025

Brian Wilson, 20 June 1942 to 11 June 2025

Kevin Winter/Getty Images

{BBC News 11 June} Brian Wilson, creator of iconic 1960s band The Beach Boys, dies aged 82

Fare thee well, Brian Wilson — and thank you for your extraordinary life and legacy. In my 47 years, I have spent many hours listening to the Beach Boys, devouring books and documentaries about them. Yet now, I struggle to find the words for this moment.

From 1962 to about 1973, the Beach Boys were America’s soundtrack, and Wilson was their mad genius. Imagining a world without them is like envisioning one without JS Bach, Louis Armstrong, or The Beatles: we cannot know what might have filled that void, if anything, only that music and culture would be unrecognisable.

The sun has set — not just on a transformative musician, but on a dream, a way of life, and on a nation. Brian Wilson’s idyllic songs, though escapist, captured our highest hopes. He never surfed; his mental health battles were fierce. Yet his art soared above these contradictions, much like America itself once transcended its many flaws.

In those mid-20th-century halcyon days, a reasonable degree of happiness was attainable to ordinary folks. That hope has died and is not coming back to life. And so, it feels tragically fitting that Brian Wilson — who so brilliantly and vividly soundtracked America at its idealistic best – departs as said country succumbs to the darkness of the blackest night. 

Rest among the legends, good sir. —Arthur Newhook, 11 June 2025.

Copyright 2025, Arthur Newhook. @Sunking278 on X-TWITTER, and @FloydEtcetera on FACEBOOK. BLUESKY - @arthurnewhook.bsky.social. REDDIT - https://www.reddit.com/r/EchoOfADistantTime/new/. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Sunday, December 15, 2024

Christmas in a hellscape

Pictured: Yvonne Craig, who departed this world on 17 August 2015 and was thus mercifully spared from the current dystopian realities.

Is anyone truly in the Yuletide spirit this year? I concede that certain irrepressibly optimistic—or perhaps delusional—individuals will remain ‘holly jolly’ regardless of circumstances; we shall forever be cursed with such Pollyannas in any given debate. For many Americans, however, 25 December is often marked by profound melancholy and solitude. In light of the rotten year we have had and the absolute horrors awaiting in 2025, one might argue that we scarcely deserve a holiday. Part of me believes it would be prudent to forgo the occasion altogether for the foreseeable future, as we have proven unworthy of its respite and have forgotten the ‘reason for the season’. #JustSaying

Copyright 2024, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, BLUESKY - @arthurnewhook.bsky.social. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Thursday, September 12, 2024

Quotables 12 September 2024: On the 144th anniversary of his birth, H.L. Mencken’s prophecy about Trump, government as a ‘broker in pillage’, and the eternal nature of the American people

American journalist H.L. Mencken. Photo: A. Aubrey Bodine/Keystone/Getty Images

Foretelling Donald Trump: ‘On some great and glorious day the plain folks of the land will reach their heart's desire at last, and the White House will be adorned by a downright moron’.

A ‘broker in pillage’: ‘The government consists of a gang of men exactly like you and me. They have, taking one with another, no special talent for the business of government; they have only a talent for getting and holding office. Their principal device to that end is to search out groups who pant and pine for something they can't get and to promise to give it to them. Nine times out of ten that promise is worth nothing. The tenth time is made good by looting A to satisfy B. In other words, government is a broker in pillage, and every election is sort of an advance auction sale of stolen goods’.

This holds more true now than ever: ‘The men the American people admire most extravagantly are the most daring liars; the men they detest most violently are those who try to tell them the truth’.

Quotes via https://www.azquotes.com/author/9962-H_L_Mencken

Copyright 2024, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, BLUESKY - @arthurnewhook.bsky.social. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Saturday, August 24, 2024

Quotables 24 August 2024: Jiddu Krishnamurti on whether healthy people ought to adjust to an unhealthy society

1987 Indian postal stamp honouring philosopher and spiritual leader Jiddu Krishnamurti

Is society healthy, that an individual should return to it? Has not society itself helped to make the individual unhealthy? Of course, the unhealthy must be made healthy, that goes without saying; but why should the individual adjust himself to an unhealthy society? If he is healthy, he will not be a part of it. Without first questioning the health of society, what is the good of helping misfits to conform to society?

To help the individual to fit into a society which is ever at war with itself – is this what psychologists and analysts are supposed to do? Is the individual to be healed only in order to kill or be killed? If one is not killed, or driven insane, then must one only fit into the structure of hate, envy, ambition and superstition which can be very scientific?’ - Jiddu Krishnamurti, 1895 - 1986.

Quote via https://kfoundation.org/it-is-no-measure-of-health-to-be-well-adjusted-to-a-profoundly-sick-society/

Copyright 2024, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, BLUESKY - @arthurnewhook.bsky.social. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Friday, July 7, 2023

Elon Musk: The epitome of our self-destructive and malevolent age

AI generated image

It still boggles my mind that the ‘richest man in the world’ is such an unholy idiot. Either that, or he is a sadist. I am offended that he has ruined what was the single most effective communications platform we had. Post-Trump and post-COVID, it really should no longer surprise myself or anyone else the lengths some will go to in order to hurt and control others. Elon Musk literally spent $44 billion - many times what Twitter was worth at the time of the transaction - in order to declare himself King of the Trolls, to play mind games with people, and quite possibly to deliberately destroy the platform altogether (if it was deliberate, he is succeeding in grand fashion.) Millions in #Cult45 routinely vote against their own economic interests because their hatred of fellow Americans and foreigners is all consuming. None of it makes any logical sense, but logic and common sense no longer live here and ours is not an age of reason. No, we really should not be surprised that the likes of Musk and Trump will hurt themselves, and their acolytes will hurt themselves, in order to hurt the rest of us worse. Never, however, can people of goodwill allow all of this insanity and degradation around us to be normalized. We must continue speaking out against it, for however long as necessary - which is going to be the rest of our lives, I am afraid. (Follow my new account on Threads, @arthurnewhook.)

Copyright 2023, Arthur Newhook. @Sunking278 and @FloydEtcetera on TWITTER, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, and @arthurnewhook on POST and THREADS.

Saturday, June 24, 2023

Turner Classic Movies: ‘Our last happy place’ is endangered after the network's parent company lays off three-fourths of its staff

Pictured: Norma Shearer. Photo via MGM

 #SaveTCM ‘Our last happy place.’ Despite whatever assurances Warner is giving at the moment, average American TV viewers and moviegoers have made it clear they prefer endless reruns of terrible ‘reality’ shows and the never-ending parade of dorky superhero movies. There very much is an element of deliberate ‘dumbing down,’ to one degree or another, that has been ongoing for decades in media and entertainment, and this is not meant as a defense of the ‘powers that be,’ but it is hard to ascribe mere malevolence as the motive when these corporations are only giving the American people what they so desperately want. Anything that does not sell with the ignorant masses is seen as a liability in the corrupt, uber-consumerist society. TCM may very well be the single most valuable window we have into 20th century history, but it does not have long for this world, and the day it disappears will be the day much of our history will be forever lost. {NYT 6/22}

Copyright 2023, Arthur Newhook. @Sunking278 and @FloydEtcetera on TWITTER, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, and POST - @arthurnewhook.

Queen of Noir

Miss Dimension of 1946 and ‘Queen of the B’s’: TCM’s featured star of the day, Marie Windsor , in an MGM publicity photograph from in all li...