Elvis Costello and Chet Baker - You don’t know what love is (by Keith Takahashi)


A game where you make rules as you go along.

Manufacturing Windows

[I]n my day the Overton WiIndow was referred to as Manufacturing Consent.

I’d say that stretching the Overton window may be a way to manufacture consent, AnOilMan. The levels of descriptions seems to differ, just as Climateball operates at a lower level than the Overton window. Moves implement strategies that operate in total wars.

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Which I wish to say is this
There is no beginning to an end
But there is a beginning and an end
To beginning.
Why yes of course.
Any one can learn that north of course
Is not only north but north as north
Why were they worried.
What I wish to say is this.
Yes of course

As I’ve observed from time to time, I don’t publicly say everything that I think.

The Auditor, with more Omertà

Mansplaining, Dogwhistling, and Gaslighting

[After the scorched earth tactic, @ShubClimate rediscovers moderation. UPDATE - Shub says “pussyfooting” triggered moderation.]

Thank you for your comment, Steve, which I just saw.

You say:

Nor is it true that I never use the word “fraud”. I’ve written from time to time at Climate Audit about major frauds e.g. Bre-X and Enron.

Perhaps I should have been clearer. You never use the F word regarding Mike, and you frown upon anyone who does at your blog.

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Radio, television, film, and the other products of media culture provide materials out of which we forge our very identities; our sense of selfhood; our notion of what it means to be male or female; our sense of class, of ethnicity and race, of nationality, of sexuality; and of “us” and “them.” Media images help shape our view of the world and our deepest values: what we consider good or bad, positive or negative, moral or evil. Media stories provide the symbols, myths, and resources through which we constitute a common culture and through the appropriation of which we insert ourselves into this culture. Media spectacles demonstrate who has power and who is powerless, who is allowed to exercise force and violence, and who is not. They dramatize and legitimate the power of the forces that be and show the powerless that they must stay in their places or be oppressed.

Rounds of Pussyfooting


Thank you for your comment.  To answer your question about why I am doing this, I could reply that I like to solve puzzles, that I earned enough money and could indulge in an excentric hobby, or find another line already used by the Auditor. I could also epilogue about philosophical scepticism.  Instead, I’ll simply return to the first sentence I quoted from Judy:

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