Roman Monuments, Cathedral of St Peter and Church of Our Lady in Trier

 

http://whc.unesco.org/en/list/367

Trier, which stands on the Moselle River, was a Roman colony from the 1st century AD and then a great trading centre beginning in the next century. It became one of the capitals of the Tetrarchy at the end of the 3rd century, when it was known as the ‘second Rome’. The number and quality of the surviving monuments are an outstanding testimony to Roman civilization.

Brief synthesis

Trier, which is located on the Moselle river in the West of Germany, was a Roman colony from the 1st century A.D. and then a great trading centre in the beginning of the next century. It became one of the capitals of the Tetrarchy at the end of the 3rd century, when it was known as the 'second Rome'. The number and quality of the surviving monuments are an outstanding testimony to Roman civilization.

There is no place north of the Alps where so many important Roman buildings and such a concentration of traces of Roman settlement have been preserved as in Trier, the “Rome of the North”. In late classical times, Trier was one of the largest cities in the Roman Empire; it was the seat of the prefects of Gaul, Germania, Britannia and Hispania and after the imperial reforms of the Emperor Diocletian was the seat of the vice-emperor (Caesar) of the Western Empire.

While the structures built during the first and second centuries (the Moselle Bridge, the Barbara Baths, the Porta Nigra and the lgel Column) illustrate the richness of the commercial city, from which the garrison towns and fortresses on the Rhine were supplied, the monumental buildings from the reign of Constantine (Imperial Baths, Aula Palatina, Cathedral) are a visible expression of the immensity of imperial power and the claim to world domination made from the West of the Empire for the last time before the eclipse of the classical era (this claim was taken over in the East by the new capital of the Empire,  Constantinople, which thereby superseded Trier as well as Rome).

Of the buildings preserved from classical times, at least two of those described above are unparalleled. The Porta Nigra, with its state of preservation and its architectural layout (the combination of a fortification with the features of palace architecture) is a unique construction that is unlike any of the other preserved Roman city gates. Its development during the Middle Ages into a (likewise very unusual) double church also makes it a symbol of Western history. The monumental brick structure of the Basilica, with its lapidary form and the vast dimensions of its interior (the largest known interior from classical times) was the embodiment of the seat (sedes imperii) and the power of the Roman Empire.

One of the oldest church buildings in the Western world, the Cathedral has been a witness to the Christian faith since Constantine made Christianity a tolerated and supported religion in his Empire. Its architectural design unites elements of all the periods of classical, medieval and modern times, but has always been marked by the monumental concept that lies at its origins. The series of archbishops’ tombs covers with few interruptions the entire period from the 12th to the late 18th century. The Romanesque parclose, the renaissance pulpit and some of the Baroque marble altars belong to the major works of sculpture of their respective periods.

The Church of Our Lady is the earliest church built in French High Gothic style outside France. Its purity of style (it was completed in only 30 years) and the undeviating implementation of the architect’s plan for a basilica-shaped graduated central area, for which there were partial models, though no entire prototype, in France probably make it the most perfect example of the centralized construction concept in Gothic style.$

Criterion (i): The Porta Nigra, which is an enormous fortified gate built of large stones, flanked by two semi-circular four-storey towers,  is a unique achievement of 2nd century Roman architecture. The remains of the choir and the cloister of the two-level church built within its walls by Archbishop Poppo between 1034 and 1042 further enhance the monument.

Criterion (iii): Trier bears exceptional testimony to Roman civilisation due to the density and the quality of the monuments preserved: the bridge, the remains of the fortified wall, thermae, amphitheatre, storehouses etc. Funeral art, as demonstrated by the nomination of the Igel Column, and the craftsmanship of potters, glassworkers and minters flourished particularly.

Criterion (iv): Trier, along with Istanbul, is the example of a large Roman capital after the division of the Empire. The remains of the imperial palace, in addition to the Aula Palatina and the imperial thermae (the largest of the Roman Empire after those of Diocletian and Caracalla in Rome) are impressive in their enormity. Under the north basilica (now the Cathedral), the decoration of a painted ceiling, where members of the imperial family (most probably Helena and Fausta) appear to be identifiable, also bears testimony to the Aulic character of the architecture.

Criterion (vi): Trier is directly and tangibly associated with one of the major events of human history, Constantine's march against Maxence in 312, which was a prelude to the Edict of Milan (313) and which meant the recognition of Christianity.

Integrity

The layout of the city still corresponds to its 2nd century configuration, with the major thoroughfares of the cardo (Simeonstrasse) and the decumanus (Kaiserstrasse). The components of the World Heritage property are partly well-preserved ruins (Barbara Baths, Imperial Baths, Amphitheatre), monuments that regained their Roman appearance in the 19th century by deletion of later additions (Porta Nigra) or reconstruction (Basilica) or incorporate Roman structures (Moselle Bridge, Cathedral). The Igel Column survived unaltered, the Church of Our Lady replaced the south church of the Constantine Cathedral complex in the 13th century. By their layout and dimension, all Roman buildings furnish evidence of importance of the former capital of the Western Empire to this day. All components are treasured main historic monuments.

Authenticity

The efforts concerning the protection and preservation of the Roman monuments in Trier started at the beginning of the 19th century; they are closely connected with the development of monument protection in Prussia. Hence, these monuments are not only authentic documents of the Roman period, but also significant examples of the history of monument preservation in Germany. In World War II, only the Basilica and the Church of Our Lady were damaged by fire and bombs; they were carefully restored between 1954-1956 and 1946-1949 respectively.

Protection and management requirements

The laws and regulations of the Federal Republic of Germany and the State of Rhineland-Palatinate guarantee the consistent protection of the Roman Monuments, Cathedral of St Peter and Church of Our Lady in Trier. They are listed monuments according to the Rhineland-Palatinate Monument Protection Act. Once finalised and approved, a buffer zone will exist for the property.

Conservation and construction issues are dealt with and managed in close cooperation between the owners (Federal State of Rhineland-Palatinate, City of Trier, Diocese of Trier), the responsible conservation authorities and building administrations, the Ministry for Science and Culture and the Trier-Commission, which was founded in 1926. The memorandum “Save the archaeological heritage of Trier” guides the conservation measures undertaken by the owners of the properties. It is presented by an advisory board, the Trier-Commission, which is continuously monitoring the Roman monuments. A Management Plan will be put up in the near future and will consist of a set of maintenance and conservation measures to ensure the further protection of the property, the sustainable use and the interpretation to the public.

Grover Furr Lecture on "New Evidence of Trotsky's Conspiracy"

 

Grover Furr gave a talk on my discord server regarding his new book "New Evidence of Trotsky's Conspiracy" and answered some audience questions.

During the Great Depression, Al Capone created one of the first “Soup Kitchens” for the unemployed

 

https://www.thevintagenews.com/2016/10/26/during-the-great-depression-al-capone-created-one-of-the-first-soup-kitchens-for-the-unemployed/

Crime boss, gangster, and lawbreaker are the most common words used to describe Al Capone, one of the most notorious men of the 20th century.

He was born in Brooklyn to poor Italian immigrants and joined a street gang at a young age after he was expelled from school for punching a female teacher. Capone might have had a brighter future had he continued his education, but instead, he became America’s biggest crime boss.

However, most people haven’t heard of the charitable support that Capone offered during a hard period for many Americans. In the 1930s, the Great Depression left a lot of citizens hungry and unemployed. Although he was a criminal to many, Capone was also respected community leader for a lot of people due to his charity. Some say that he did more for the citizens of Chicago, Illinois than the state itself did.

Al Capone’s Soup Kitchen, situated on what is now a parking lot on the corner of 9th and State St, served over 120,000 meals to hungry people. The free soup kitchen kept regular working hours, serving breakfast, lunch, and dinner and fed thousands every day despite only having a few employees.

The kitchen, which was demolished 20 years after the Depression, was a place that provided warm meals for unemployed people thanks to Capone. Besides his charity, Capone was also known for sending expensive flowers to rival gang member’s funerals, and for his generosity to strangers and Italian immigrants.

Condemned as an effort to make up for his past, Capone’s charity actually provided a much-needed counterbalance to his bad reputation. Most people don’t really see him as a bad person, anyway. Even the illegal fortune he made smuggling alcohol was seen as an act of bravery, considering the harsh restrictions of prohibition at the time.

While part of the Five Point Gang, Capone was involved in organized criminal activities such as brothels and massacres. He was known as Scarface, the co-founder of the Chicago Outfit. After organizing and ordering the Saint Valentine’s Day Massacre in Chicago, the modern Robin Hood (as many liked to call him) became “Public Enemy No. 1.”

After seven years as a crime boss, he was convicted of tax fraud at the age of 33 and given a sentence of 11 years in prison. Capone became one of the earliest prisoners at Alcatraz in San Francisco. However, his calm temperament convinced the government that he wasn’t a troublemaker and that he could be transported to another facility.

While serving his sentence in Alcatraz, Capone was diagnosed with syphilis dementia. As his health deteriorated, he was sent to the low-security Federal Correctional Institution at Terminal Island near Los Angeles to serve the end of his sentence. He was released from prison in 1939.

One year before his death, Capone’s psychiatrist concluded that he had the mentality of a 12-year-old child. He spent his last years at his mansion in Palm Islands, Florida, where he died from fatal cardiac arrest after suffering a stroke in 1947.

Capone left a long-lasting legacy behind. Visitors from all over the world still visit Chicago and drive by Capone’s old house or visit his grave.

Although he was known for his cruel way of dealing with enemies, Capone was a man who would walk among people, offering a handshake and an encouraging smile.

He was always there to help the desperate, offering them jobs and warm meals, and never expecting anything in return.

Retro Review - Metal Gear Solid (1998)

 

https://www.cclonline.com/article/1446/Review/cclonline/Retro-Review-Metal-Gear-Solid-1998-/

As part of a new feature, I’m taking a look at some older games as well. I thought it might be interesting to look at games that came out at this time several years ago, so to start with I’ll be looking at games released 10, 15, 20 or 25 years ago. I’ll mostly not be going for anything older, as I’m not old enough to have played them at the time so they have little real affinity to me. I won’t rule it out though, as there are of course some gems from back then. I’ll also not be looking at anything more recent, as games from 5 years ago are still from this current generation and much more likely to be remembered and indeed still being played by people. I’m open to requests for future reviews within the year ranges from whichever month I’m writing in so feel free to let me know in the comments.

I’m also going to make an effort to not just pick the most obvious and popular games, but the timing on this one just wouldn’t let me skip it! These will also generally be a bit shorter than modern game reviews, but I couldn’t help myself with this one.

15 years ago today Metal Gear Solid was released on the Sony PlayStation. At the time I didn’t know what to expect, as back then I had no idea that there were two previous games in the series (Metal Gear and Metal Gear 2: Solid Snake – worry not though, I’ve been through them both several times since) as these had been released on the not terribly well known in Europe MSX. I never even saw one of these as a kid, so had no way to try these out until emulation became more accessible. Sorry Konami! He’d designed successful games previously, but the massive success of Metal Gear Solid made designer Hideo Kojima a star in the video game world and has gone on to become a very well known figure.

Metal Gear Solid then was launched to rave reviews, and I think it was based on the Official PlayStation Magazine’s recommendation that I decided to pick it up, and I was utterly blown away. Right from the first cutscene the level of storytelling was almost unprecedented in games of the time and the at times twisty plot wove a complex and deep world that I’ve been very interested in the subsequent expansions of since.

For the very few of you reading who don’t know, Metal Gear Solid casts you as a former special forces agent called back into service to save the world, which on the surface of it is a fairly basic action movie premise. Solid Snake is tasked with taking down the rogue agents of Foxhound, who have hijacked a nuclear training exercise on Shadow Moses Island in Antarctica. The various agents of Foxhound you face during the game all have their own gimmick and animal themed codenames, and each give interesting boss fights. The terrorists are led by Liquid Snake, who shares more than just a codename with our hero.

Snake has to make his way across the island, all the while collecting new weapons and gear to take down different enemies or destroy obstacles. You’ll also pick up an access card allowing you through locked doors, and are granted higher level cards to get to previously inaccessible areas. Along the way you meet many memorable characters, not just the supporting cast but also the villains. The ultimate goal of the game is to take down the ‘walking nuclear battle tank’ of the title, Metal Gear before Liquid is able to use it to launch a nuclear weapon.

Structurally, the game has a lot in common with its predecessor, Metal Gear 2.  Massive sections of how the game work are very similar. The back tracking to collect weapons, the temperature controlled keys, the Hind battle and even some character arcs – it’s almost more like a 3D remake than a sequel. This isn’t even really much of a complaint, as I and probably most people who played it at the time had never played Metal Gear 2 and was none the wiser for many years after so at the time it all felt fresh and new.

Visually, as with many games of the era it hasn’t aged too well. On my most recent play I was playing the PlayStation Network version of the game (the fourth time I’ve now bought it. Guess I’m just a sucker like that.) I initially tried to play it on my TV but it just looked terrible. Not a lot of people will have played the original PlayStation on a screen larger than 21 inches at the time, certainly not compared to how many people game on 40+ inch screens these days. Back in 1998 however, the visuals were well received, and looked pretty decent on my 14 inch TV. I ended up playing through it on my PSP instead, and on the 4.3 inch screen the graphics actually looked quite crisp. The character models have aged the worst as they have very little detail particularly on the faces, but you’re never in doubt as to what the characters look like thanks to the animated portraits in the Codec sequences.

Voice actor and screen writer David Hayter provides the voice of Solid Snake, and while he’s almost gone on to become a growly parody of himself these days in his first outing he’s much more understated. Great performances are given by the rest of the cast too, with Paul Eiding’s Colonel Campbell being one of my favourites. The music too is still great, and has been in regular play on my playlist for over a decade. I prefer the music here over the over orchestrated score from the next couple of games, and the loss of most of the music was my main problem with the HD (for the time) GameCube remake, the Twin Snakes.

Control wise the inability to control the camera just feels wrong to modern gaming sensibilities. Despite the 3D trappings, MGS has much more in common with the older 2D games in the series, and controls from a mostly top down view. As with most original PlayStation games you the game would default to D-pad controls with the option of switching to analog mode with a Dual Analog or Dual Shock controller but this sadly didn’t add any camera controls on the right stick. The use face buttons for looking around and shooting instead of the shoulder buttons also just don’t feel right anymore, even more so after Metal Gear Solid 4 was released with modern style dual analog controls. I seem to remember being able to aim much easier when I first played it, but that could just be memory playing tricks on me. The guns now seem very inaccurate compared to modern games, and the lack of a first/third person aiming mode really feels counter intuitive now.

I’d probably suggest the PSP as the platform of choice for any future plays of the game if not for two things: I couldn’t seem to mash circle fast enough for the torture scene to survive it (although I could just be rubbish now) and the D-Pad didn’t want to let me crouch walk in blast furnace, plunging me to my death over and over - I got around that my remapping to the analog stick but it wasn’t comfortable enough to use it by default though.

I’m rather biased favourably towards this game, but generally I find it still holds up very well, and particularly considering how convoluted the plot of the games has gotten by the more recent instalments is much more accessible! The only real problem with the game playing it now is the controls as they do feel quite clunky compared to modern layouts, a problem common among games from this era – to some extent you can mitigate this on newer emulated versions on the PS3 or handhelds as they allow you to remap the controls and end up with buttons where you’d now expect to find them. I’m sure almost everyone reading this will have played it long ago, but for anyone who hasn’t it’s well worth getting hold of.

Just finished watching Harry Potter And The Deathly Hallows - Part 1 (2010) and Harry Potter And The Deathly Hallows - Part 2 (2011)...

Scarlett Johansson frolics on the beach with her dog in The Hamptons

https://www.dailymail.co.uk/tvshowbiz/article-8653287/Scarlett-Johansson-stuns-sundress-frolics-beach-dog-Hamptons.html

 Scarlett Johansson looked undeniably angelic as she frolicked on the beach with her beloved Chihuahua on Friday afternoon in The Hamptons.

The 35-year-old Academy Award nominee slipped her toned frame into a light pink sundress and sported a pair of black RayBan sunglasses over her eyes.

At one point, Johansson showcased her best superhero stance, while chasing her pup around in the warm sand.

Scarlett's famous blonde tresses were tied back into a low bun and she appeared to be wearing little to no makeup for her solo outing.

The actress' style of dress put all of her tattoos on display, including her rose back tattoo, ankle tattoo, and brightly colored forearm tattoo.

The Marriage Story star accessorized her look by layering a few gold chains around her neck and by fastening a pair of hoops to her ears.

She also had on a silver wrist cuff that featured a large turquoise inset that matched her quirky pedicure.

Scarlett kept a close eye on her eager pet, while carrying its leash and doggy bag dispenser in her hand.

While her dog got its wiggles out, Johansson took a seat in the sand and allowed her skin to get a little color.

She hiked up her sundress above her knees so that her legs could get as even of a tan as possible.

The Black Widow star looked noticeably relaxed in her sandy sanctuary, but, eventually, she returned to her feet and made her way towards her Chihuahua.

Without warning, Scarlett appeared to transform into her beloved Marvel character as she riled up her dog on the shore.

She crouched down and led with her arms before launching into a full sandy sprint.

After chasing her dog for a while, Scarlett decided to wind down by taking a tranquil stroll along the shoreline.

She let her hair down and her dress blew in the wind as her furry friend followed obediently behind her.

Earlier in the day, Johansson's fiance Colin Jost was spotted with surfboard in hand as he expertly road the waves at a beach in Montauk, which is nestled in the East Hamptons.

The 38-year-old SNL star donned an O'Neill wetsuit that featured royal blue sleeves for his surf day.

Jost looked extra smiley as he and a pal made their way towards the water.

Colin, who is an avid surfer, showcased his skills, while effortlessly standing up on his bright orange board.

Scarlett and Colin, who began dating in 2017, got engaged in May of last year. Due to the coronavirus, the pair have had to push back their nuptials.

When Jost appeared on Watch What Happens Live last month, host Andy Cohen asked if the coronavirus will impact how him and Scarlett tie the knot.

'Of course, because we don’t know what’s even legally allowed, right?' replied Jost, who was referencing the safety guidelines that warn against large groups of people from gathering in an effort to quell the spread of the pandemic.

'This is not the time to get all your elderly, at-risk relatives together in one big group,' he said. 'I don’t know when that moment will be.

Эрмитаж. Творчество Рембрандта (1980)

 

Год производства: 1980

Из 24-х серийного цикла "Эрмитаж".

Фильм о коллекции картин великого голландского художника XVII века Рембрандта Харменса ван Рейна, которая отражает различные этапы его творчества. Первая картина была куплена в 1716 году Петром I в Амстердаме. Творчество Рембрандта отличается мастерством использования света, и в этом его никто не превосходит. Среди шедевров мастера "Даная", и мы имеем возможность полюбоваться ее первозданной красотой и тонкостью исполнения. К сожалению, нанесенные в 1985 году вандалом повреждения безвозвратно уничтожили поверхностные слои живописи в центре полотна. Однако кропотливая двенадцатилетняя работа реставраторов позволила вернуть картину в музейную экспозицию. Вступительное слово директора Государственного Эрмитажа, академика Бориса Пиотровского.

Google sets up “news initiative” to censor political opposition and promote mainstream media

 

https://www.wsws.org/en/articles/2018/03/22/russ-m22.html

Google announced Wednesday that it is partnering with the New York Times, the Washington Post, the Financial Times and other major news outlets to reinforce their monopoly over news coverage by blocking independent news organizations.

The New York Times, whose stock price soared after the announcement, said Google’s initiative was aimed at combatting “the epidemic of false and unreliable information on the internet,” by “pledging to spend $300 million over the next three years to support authoritative journalism.”

In reality, Google’s action is the latest step in a protracted campaign on the part of the major technology companies, working with the Democratic Party and the US intelligence agencies, to censor the Internet.

The campaign for Internet censorship has been spearheaded by the major media outlets, including the Times and the Post, who have seen their subscription base eroded by the growth of oppositional news outlets and “citizen journalism.” By working with the technology giants and intelligence agencies to censor smaller news outlets, the media giants hope to regain the monopoly over the distribution of news they held before the rise of the Internet.

In April of last year, Google announced measures to promote “authoritative content” over “alternative viewpoints,” which led search traffic to left-wing, antiwar, and socialist web sites to plunge by over 50 percent.

After Google’s announcement last year, other major technology companies followed suit in implementing their own measures to censor the Internet. This year, Facebook’s CEO Mark Zuckerberg announced that it would promote “trusted” news sources, such as the New York Times, over public postings by individuals and independent news agencies. At a congressional hearing this year, Facebook said it had hired some 10,000 content moderators, and would double that number by the end of the year.

But despite Facebook’s moves to rapidly implement the demands of the intelligence agencies for Internet censorship, leading Democrats, including Senator Mark Warner, have called on them to do more to crack down on social opposition.

Amid a growing strike wave by workers all over the world, including struggles this month by teachers in West Virginia and Oklahoma, university lecturers in the United Kingdom, and Amazon warehouse workers in Spain, leading news outlets have repeatedly warned that Facebook was being used to mobilize social opposition outside of the framework of the trade union establishment.

Within this context, the major news outlets have, in pursuit of their own aims, seized upon revelations that the election data firm Cambridge Analytica harvested the personal information of some 50 million Facebook users without their knowledge in 2014. At the time, the firm was owned by Robert Mercer, a billionaire who would later back the Trump campaign, and was headed by Steve Bannon, who would later serve as Trump’s campaign manager.

While the type of data harvesting conducted by Cambridge Analytica raises serious privacy concerns, the media firestorm that has followed the revelations is highly selective.

Cambridge Analytica had access to only a fraction of the data that Facebook itself collects and uses—often in secret—for political purposes. The company’s actions, moreover, are par for the course for the conduct of bourgeois election campaigns, which have come more and more to rely on data analytics and artificial intelligence to assess and impact voters’ political views.

A recent report by Investor’s Business Daily noted “In 2012, the Obama campaign encouraged supporters to download an Obama 2012 Facebook app that, when activated, let the campaign collect Facebook data both on users and their friends.” According to the report, up to 190 million people may have “had at least some of their Facebook data vacuumed up by the Obama campaign — without their knowledge or consent.”

Commenting on the Obama campaign’s data mining operation, former campaign director Carol Davidsen tweeted, “Facebook was surprised we were able to suck out the whole social graph, but they didn’t stop us once they realized that was what we were doing.”

In leaked emails released by WikiLeaks in 2016, Facebook Chief Operating Officer Sheryl Sandberg told Clinton campaign officials that she “badly” wanted Clinton to win, and that she had met with the candidate and campaign officials on multiple occasions.

While the actions taken by Cambridge Analytica point to a substantial violation of users’ privacy, they pale in comparison to the massive surveillance and content harvesting operation carried out by Facebook itself, with the assistance of the leading US intelligence agencies and Democratic Party, which, in the name of fighting “fake news” and extremist content, aim to review and censor everything posted on the social media platform.

Even more importantly, the Democrats’ highly selective outrage over the Cambridge Analytica scandal is being used to hold Facebook’s feet to the fire, with the aim of forcing it to more aggressively censor social opposition in the name of cracking down on Russian “bots and trolls.” Mark Warner, the ranking Democrat on the Senate Intelligence Committee and a leading proponent of internet censorship, seized on the scandal to put further pressure on Facebook to declare that it was “misused” by the “Russians” in the 2016 election campaign.

Warner told ABC, “Facebook, since the beginnings of this investigation, has been reluctant, to say the least, to be fully forthcoming. I think it’s time for the CEO, Mr. Zuckerberg, and other top officials, to come and testify, and not tell part of the story, but tell the whole story of their involvement, not only with the Trump campaign, but their ability to have their platform misused by the Russians.”

In an op-ed entitled “Facebook Doesn’t Get It,” New York Times columnist David Leonhardt claimed that, “By spreading false news stories and giving a megaphone to Russian trolls, Facebook — a vastly larger social network than Twitter — played a meaningful role in the presidential campaign.”

In fact, the massive data mining operations carried out by both the Democratic and Republican parties render absurd the argument that a few hundred thousand dollars of Facebook advertisements allegedly bought by “Russians” swayed the 2016 election. Both parties spent hundreds of millions of dollars on the type of data operations carried out by Cambridge Analytica, seeking to analyze, quantify, and affect the political viewpoints of hundreds of millions of people.

In fact, undercutting his own argument, Leonhardt called alleged Russian meddling a “scapegoat” for the election of Donald Trump and the electoral defeat of Hillary Clinton. Regardless, the “scapegoat” of “Russian meddling” is being used to fuel an even further crackdown on the Internet, in the name of blocking “fake news” and “divisive content.”

In just one example of the growing crackdown on freedom of expression on the Internet, over the past 48 hours, Facebook deleted a link published by the World Socialist Web Site to its recent review of the Ken Burns documentary on the Vietnam War, allegedly because the posting contained “nudity.” In fact, the article contained well-known images of Vietnamese civilians fleeing the atrocities of the United States and its proxy South Vietnamese forces; photos that have been published in dozens of leading newspapers all over the world.

With the class struggle heating up throughout the world, the US ruling elite is working with ever-greater speed to block the expression of social opposition on the Internet. We urge workers and young people seeking to defend the freedom of expression to contact the World Socialist Web Site and join its campaign against Internet censorship.

BLACK CAULDRON, THE

At last! Treat for Elmer Bernstein fans, Disney soundtrack fans and lovers of great film music in general! World premiere of Elmer Bernstein's actual soundtrack for Walt Disney Pictures animation fantasy, directed by Ted Berman, Richard Rich. Not to be confused with roughly half hour of re-recorded highlights done by composer in Utah, new Disney/Intrada release offers all 75 minutes of music in dynamic stereo from actual multi-track soundtrack scoring session masters, lovingly produced by Disney's Randy Thornton. Bernstein offers wall-to-wall music for ambitious tale of young hero battling evil Horned King with titular cauldron at heart of conflict. Massive score plays as part of composer's high profile eighties animation/fantasy/sci-fi canon that includes HEAVY METAL, SATURN 3, GHOSTBUSTERS, SLIPSTREAM, SPACEHUNTER. Numerous themes populate florid score, colorful orchestrations abound. Spotlight splits between animated ideas for characters, thundering action they encounter. CD packaging sports beautiful cover painting of cauldron, liner notes by Jeff Bond & producer Thornton plus gorgeous full color shots of theatrical poster, detailed animation scenes, composer Bernstein at scoring sessions. Exciting entry in Disney/Intrada on-going series of classic soundtracks restored from the Disney vaults. Elmer Bernstein conducts.

http://store.intrada.com/s.nl/it.A/id.7514/.f

 

 

Paperman TRAILER 1 (2012) - Oscar-Nominated Disney Animation Short HD

 

An urban office worker finds that paper airplanes are instrumental in meeting a girl in ways he never expected.

Just finished watching Harry Potter And The Order Of The Phoenix (2007) and Harry Potter And The Half-Blood Prince (2009)...

 

Jeanne d'Arc - PSP - Review | GameZone

 

https://www.gamezone.com/reviews/jeanne_d_arc_psp_review/

There was a time when a vile demon king had risen up to terrorize the country. Five heroes countered the hell-spawned threat, using armlets imbued with the power of God. But as time passed, things changed. One of the heroes is now the “uncle” and advisor to the boy-king of England. It is his desire that the young king lives forever and rule supreme. To that end, the English have begun a campaign to conquer France, using all manner of creature – from beasts to elves.

But it was not enough. The advisor decided that for his king to rule forever, the old power of the demon must be called forth, and the boy used as a vessel for that demon king. There were few to oppose the plan, and the one that did was quickly and quietly disposed of.

However, even the best-laid plans can sometimes be put awry by unexpected resistance from unlikely places. One of the ancient wristlets fell into the hands of a young French girl, who used it to call upon the powers of Heaven to encase her in ethereal armor, unleashing powerful attacks upon the enemies of her homeland.

Jeanne D’Arc is a tactical role-playing game from Level 5, published by SCEA and released on the PSP handheld system. The game has approximately 40 hours of gameplay, with 14 playable characters and the ability to customize them. Death is simply a matter of not finishing the level and gaining the experience bonus awarded at the successful conclusion of the stage.

The backdrop for this tale is the Hundred Year War between France and England. The story is loosely based on the exploits of the French heroine, Jeanne D’Arc (known by the English name of Joan of Arc). The story begins in a small French village where a young girl and her friend (Liane) are asked to deliver herbs to a local church. They are almost there when a sound comes from the forest. A knight rides out of the woods, injured, and he falls to the ground at the foot of the church. Tied to his waist is a satchel, emitting a glow. The young woman, Jeanne, reaches her hand tentatively toward the satchel, drawn on by the glow. Something snakes from the bag and wraps around her wrist, glowing brightly. She is alarmed, naturally, but unhurt. When the glow stops, she finds that a wristlet has attached itself to her.

No time to admire it, foul creatures attack and a voice (which the young Jeanne calls the Voice of the Lord) tells her to grab the fallen knight’s sword and attack. She does and quite successfully, too. It is not until the next battle, in the burned-out village of her family, that the wristlet shows its power, transforming Jeanne’s humble clothes into a brilliant armor, bearing some resemblance to what one might suppose an avenging angel would wear. She is well protected and a formidable force, now set on the path to ruin the plans of the demon-imbued boy-king.

Told through cut scenes, done is the typical Japanese anime style, the game has a building curve, taking the player deeper into the tale. You will gain more companions on the journey, but can only place five into a battle (at the start of the fight).

The combat phase, itself, is pretty straightforward. The battleground begins with a load-out section, in which you can change weapons or armor, or even distribute skills to those in the group. Then an area lights up and allows you to place five members of your troupe into the scenario. There are conditions for the battle and then it begins. You get a chance to move each of your team. When they are selected, you are given a grid over the landscape, which shows the extent of their movement. You move, can decide whether to attack, use a skill (which drains a bar that is equivalent to mana), use an item from your inventory – like a healing herb, or wait. Once you have gone through all of that, your turn ends. An attack will sometimes lead to a counterattack, depending on the type of unit you are attacking. If, for example, you get within one square of an archer and melee attack, the archer – needing to be two squares away for the bow to be of use – will not retaliate.

Jeanne also has the ability to transform into her heavenly armor. However, she can only do this once within a scenario, and the power of the armor lasts only a few turns. If, though, she attacks an enemy, and kills it, she gets a bonus that basically gives her another turn. This is demonstrated effectively in an early level where you can plot your moves and take out quite a good portion of the enemy force before the power fades.

Almost everything yields experience points, which translate into new levels, as well as the ability to use different armor, skills and weapons. There are also free combat areas and you can always revisit areas you have battled in as you move around the map.

Some of the problems occur early in the game. The AI seems to take a vacation when it could actually do you in. This is a game that plays out like a chess match. You make all your moves and then the enemy AI makes its turn. As the phase plays out, you can start to see holes in your strategy, and may actually cringe when you see how open you have left a member of your team (there is a unity defensive bonus when team members are in proximity of each other). Sometimes, though, the game does not pick up on it and you can escape the error. If you fail a scenario, it is game over, and you have to reload from the last saved point. This means waiting on load times.

The digression from the true story of Jeanne is for the sake of gameplay and as this is a fantasy tactical RPG title, it works well. The game has a small(ish) learning curve, but is a visual delight. The gameplay itself is addictive and the game is recommended for those PSP owners looking for a good game – whether you are a fan of Japanese RPGs or not. This is fun stuff.

Gameplay: 8.8
The difficulty curve ramps up as you progress through the game and the controls are easy to learn and use. There is some suspect AI at time, especially when you realize you’ve made a tactical error and the game’s AI does not take advantage of it, but the game still provides a range of mission types as well as a lot of entertainment.

Graphics: 9.0
Sure, they are basically a 2D scheme juxtaposed with an isometric (and rotatable) camera to give the impression of 3D, but while some of the cut scene material is tried and true, the game still gives a very bright and lush rendering that is – as far as eye candy is concerned – absolutely delicious on this platform.

Sound: 7.4
Solid music and some of the in-game effects you’ve heard before. A decent supporting cast member but nothing that truly shines on its own.

Difficulty: Easy/Medium
Nothing overly complex here. This is a tactical RPG, which means you have to think your moves through, and level up (and equip) your party members appropriately. Those that have played this type of game before should not have a problem with the concepts presented; those who have not will find the learning curve small.

Concept: 8.5
A handheld tactical RPG that is visually wonderful and does a great job in terms of gameplay. Give Level 5 credit for taking some of the best elements of the genre, combining them with a few new ideas and dropping them into a solid gaming backdrop.

Overall: 8.9
The game has a few minor problems but when looking at the overall scope of the game, and what it achieves on the handheld platform, this is a pretty impressive title. It plays well, you will find that the characters have a bit of personality (yes, even Liane – whose value is definitely in the role of healer or spellcaster), and the game’s missions are diverse enough to give you a reason to keep moving the story forward. This is a terrific PSP title.

Donald Trump's Sneak Attack on Social Security

 

https://www.truthdig.com/articles/donald-trumps-sneak-attack-on-social-security/

Donald Trump’s recent budget proposal included billions of dollars in Social Security cuts. The proposed cuts were a huge betrayal of his campaign promise to protect our Social Security system. Fortunately for Social Security’s current and future beneficiaries, he has little chance of getting these cuts past the House of Representatives, which is controlled by Democrats.

So Trump and his budget director/chief of staff Mick Mulvaney, who has long been hostile to Social Security, are trying another tactic to cut our earned benefits. They are pursuing a long game to reach their goal. In a divide-and-conquer move, the focus is not Social Security. At least, not yet.

Last week, the Trump administration revealed that it is planning to employ the so-called chained Consumer Price Index (CPI) in a way that does not need congressional approval. “Chained CPI” might sound technical and boring, but anyone who has closely followed the Social Security debate knows better. It has long been proposed as a deceptive, hard-to-understand way to cut our earned Social Security benefits.

Trump plans to switch to the chained CPI to index the federal definition of poverty. If he succeeds, the impact will be that over time, fewer people will meet the government’s definition of poverty—even though in reality, they will not be any less poor. The definition is crucial to qualify for a variety of federal benefits, including Medicaid, as well as food and housing assistance. The announcement was written blandly about considering a variety of different measures, but anyone who knows the issue well can easily read the writing on the wall.

So, what does this have to do with Social Security? Like the poverty level, Social Security’s modest benefits are automatically adjusted to keep pace with inflation. If not adjusted, those benefits will erode, slowly but inexorably losing their purchasing power over time. These annual adjustments are already too low, but they are better than no adjustment at all. The chained CPI would make these adjustments even less adequate.

Proponents of the chained CPI say that it is better at measuring “substitution,” but don’t be fooled. The current inadequate measure already takes into account substitution of similar items. This is the idea that if the price of beef goes up, you can substitute chicken. In contrast, the chained CPI involves what are called substitutions across categories. If your planned vacation abroad goes up, you can stay home and buy a flat screen television and concert tickets instead.

Of course, neither form of substitution is much help to seniors and people with disabilities whose health care costs are skyrocketing. There’s no substitution for hospital stays and doctor visits. Those who propose the chained CPI are apparently fine with letting seniors who can’t afford even chicken substitute cat food.

The idea of substitution within or across categories makes no sense for people with no discretionary income. If all of your money goes for medicine, food and rent, how does substitution make sense? If you are so poor that your children go to bed hungry, how do you substitute?

Back in 2012, President Barack Obama proposed a so-called Grand Bargain to cut Social Security using the chained CPI, in return for Republicans agreeing to increase taxes on the wealthy. The goal of this Grand Bargain was ostensibly to reduce the deficit, despite the fact that Social Security does not add a single penny to the deficit.

Grassroots activists around the country fought back, and Obama ultimately realized his error. He removed the chained CPI from his budget proposals and endorsed expanding, rather than cutting, Social Security’s modest benefits. Social Security expansion is now the official position of the Democratic Party.

Yet Republicans have still continued to push Social Security cuts, including the chained CPI. Back in December 2017, they passed a massive tax cut for corporations and the super-wealthy. Afterwards, they used the predictable deficits their tax cuts caused as an excuse to call for cutting Social Security. Senate Majority Leader Mitch McConnell and other Republicans made well-publicized statements about the so-called “need” to cut Social Security. What was much more secret was a provision in the tax bill which replaced the measure used to index the tax brackets with the chained CPI.

Now, Trump wants to apply the chained CPI to the calculation of poverty rates. This will directly hurt many seniors and people with disabilities by making it more difficult to qualify for Medicaid and other programs many of them rely on, including food and housing assistance. It is also a long-term threat to Social Security itself.

The strategy is clear: Trump and his Republican supporters in Congress plan to apply chained CPI everywhere else, and then say that it is only common sense and indeed fair that we apply it to Social Security as well. We should be consistent, right?

Trump thinks that he can get away with executing this long-game attack on Social Security quietly, while the media and public are focused on his tweets, name calling, and scandals. But we must not be distracted. If we do not stop this attack in its tracks, our earned benefits will be next.

If you want to forestall another fight over cutting Social Security through the chained CPI, call your members of Congress, write to your local paper, and tell your friends: No chained CPI! No chained CPI for our earned benefits! No chained CPI for the most vulnerable among us!

This quiet effort to embed the chained CPI is a fight Trump does not want to have, certainly in an election year. But it is one we will bring to him. Grassroots activism defeated the chained CPI before. This time it will be harder because Trump can substitute the chained CPI without legislation. That means we have to simply fight harder. If we stick together, we surely will win. And we must. All of our economic security depends on it.

In David Lam Park in Yaletown. Summer of 2019.

 

Now listening to Thunderball by John Barry and Red Octopus by Jefferson Starship...

 

PSP Review - 'Death Jr.'

 

https://worthplaying.com/article/2005/9/12/reviews/27281/

Death Jr. is a new action platforming game that seamlessly blends elements from first-person shooters with the exploration of a third-person platformer and serves up a large dose of intense gameplay and weapon heavy combat for the PSP.

My PSP is so nice looking that I almost don't like taking it out of its protective sleeve, and I even cover it with a tissue when I'm charging it. "Goodnight, sweet prince," I'll whisper into the headphone jack before I go to sleep every … morning.

Okay, well, I admit, having to actually touch my PSP is probably the best part of playing Death Jr.. I really and truly wanted to like this game, but it has some problems that prevented me from doing so.

The camera is terrible. Things are bad enough in any third-person action game when a large group of enemies tries to overwhelm you, but when the camera decides to focus on a patch of grass in the middle of such a battle, well, I don't think I need to say any more. A bad camera pretty much ruins any game, but having tight, responsive controls usually helps the situation a lot.

Unfortunately, Death Jr. doesn't have tight, responsive controls. Trying to lock on to enemies with the right shoulder button while simultaneously jumping, shooting, and slashing isn't that easy on the PSP. On a regular controller that didn't have a screen attached to it, it wouldn't be as big of a problem, but as it is, it just feels really awkward. This is, of course, assuming that when you do hit the right shoulder button, it will actually lock on to an enemy. You can destroy just about everything you see in Death Jr. , which lends itself to the problem of, say, locking on to a parked car, rather than a charging enemy.

You might be wondering how this game actually plays, how it feels aside from the bad control and camera. Three words: Devil May Cry. We have one button to jump, one to shoot our equipped long-range weapon, and another to slash with our giant scythe.

Death Jr. doesn't have much in the way of a story to pad the UN-fun gameplay. It seems that the writers for many games these days think that creating a bunch of self-consciously quirky characters is going to make the game a hit. Death Jr. sports a cast of "off the wall" characters such as a dead guppy and a goth girl (bless their black hearts) with OCD, and yet the best they can muster up is a fart joke. Fart jokes aren't funny, they never have been, and they never will be. It might appeal to 10-year-olds, though.

The graphics are good enough, at least. The levels are pretty bland otherwise and aren't particularly inspired. The music consists of (from what I can tell) one droning hip-hop beat. Why hip-hop? Has it become so ingrained in our society's consciousness that rap music is always associated with death and killing rather than being a post-modern musical art form, that it would be featured in a game that stars the very spawn of death itself? Nah, that couldn't be.

By the later stages, the platforming sections of Death Jr., combined with hordes of enemies and the bad camera can be totally infuriating. There are some mildly enjoyable weapons for us to use as we progress further into the game, however.

One of the most mind-bogglingly outrageous features of Death Jr. is its "save anywhere" system. Press the start button on the PSP, and you'll see a save option … or rather, insanity disguised as a save option. Normally, being able to save anywhere is good when, for instance, your girlfriend is screaming at you from the other room that she's out of wine, or, say, your neighbor is playing bagpipes while drunk. We might be playing Death Jr. when one of these events arises, so we'll save the game in the middle of an aggravating level.

A few hours later, we'll turn on the PSP, put in our copy of Death Jr. and load our save game. Allow me digress for a second … the levels in the game are accessed via a central hub, which in this case is a museum that DJ and his friends are visiting on a school field trip. Pandora, the aforementioned goth girl with OCD, finds an ancient wooden chest on display (gee, I wonder what that could be?). Our good friend DJ, in a stunning display of strength, opens the box for Pandora. Big mistake, because, well …you know. Anyway, it's up to us to save DJ's friends, each of whom are trapped in some sort of alternate nether-dimension, which, like I said, is accessed from the museum.

So when we come back to our PSP a few hours later (after buying wine, or suffering through the "Call to Arms" 10 times in a row) and load our saved game, we find ourselves back in that really annoying level we were trying to beat, right? The one we were almost done with? No! We're back in the museum, in that central hub, and guess what? We get to play that level all over again!

It's a cardinal sin, my friends, to do that to a man (or woman). It's not right to punish the player like that, but you know … I really don't mind it that much anymore. When I play through another level again, I realize that Death Jr. is bland, boring, infuriating, and above all, painfully disappointing.

Just finished watching Earthquake (1974) and Harry Potter And The Goblet Of Fire (2005)...

 

[1988] Keiko Kimura ‎– Style [Full Album]

 

'Final Fantasy XIII-2' Review

 

https://gamerant.com/final-fantasy-13-2-reviews/

Can 'Final Fantasy XIII-2' compete in a market dominated by Western RPGs like 'Mass Effect' and 'The Elder Scrolls'? Read our full review for the answer!

From the earliest days of console role-playing games, titles produced in Japan have both defined and dominated the genre. The importance of Yuji Horii's seminal Dragon Quest cannot be overstated, but no series did more to spread the international popularity of JRPGs than Hironobu Sakaguchi's Final Fantasy.

Starting last generation, a shift began to take place. Studios like BioWare and Bethesda -- both veterans of PC development -- delivered titles that redefined just what console role-playing games could be. Ask today's average North American gamer what her favorite RPG is, and you are far more likely to hear The Elder Scrolls or Mass Effect than anything from Japan.

This shift in RPG tastes coincided with a difficult period for Square Enix. The mixed reception to Final Fantasy XIII, and the slow-motion train wreck of Final Fantasy XIV, conspired to "greatly damage" the brand. Final Fantasy XIII-2 is the series' shot at redemption. Does the game successfully update the Final Fantasy formula for modern players? Read on for our full review of Final Fantasy XIII-2.

Though it is a direct sequel to Final Fantasy XIII, Final Fantasy XIII-2 smartly does not count on players being familiar with that divisive game. Accessibility is a clear design goal of Final Fantasy XIII-2, from its battle system to the wealth of information offered in its Datalog menu, and players deterred by having not completed the first game will be missing out on an experience that easily competes with the best RPGs available.

Over the months leading up to Final Fantasy XIII-2's release, Square Enix issued a frankly staggering number of trailers for the game. That abundance of sneak peeks does nothing to blunt the impact of FFXIII-2's remarkable visual presentation. The game's engine is astonishingly nimble, able to seamlessly move between rendered footage, in-engine cut-scenes and gameplay.

While Final Fantasy XIII-2 is jam-packed with screen-filling pyrotechnic spectacles of color and light, it is the game's characters that leave the most vivid impression. Characters look simply fantastic throughout, with flowing hair and elaborate costumes and weapons. Textures are often astounding -- facial details, particularly lips and eyes, are especially impressive. But it is not just technical excellence that sets Final Fantasy XIII-2's visuals apart from the competition, it is the artistry of their execution.

The game's characters, highlighted by protagonists Noel and Serah, have tremendously expressive faces. There are no dead-eyed automatons here, and the game neatly avoids any uncanny valley creepiness. Final Fantasy XIII-2's story frequently shifts tone from whimsical to deadly serious, and the performances of the central characters always keep pace.

It's not just the properly lip-synced dialog or the natural body language or the clarity of the emotions reflected on the characters' faces, but also the cinematic camera work and the exceptional voice acting (especially from Spirited Away's Jason Marsden as Noel and Darksiders' Liam O'Brien as Caius) that makes Final Fantasy XIII-2's cast so believably alive. Though it could not be more aesthetically different, only Uncharted 3 compares where character performances are concerned.

The game's audio landscape is every bit as impressive as its visual assault. Cocktail jazz, orchestral bombast, and a convincing approximation of death metal ("Do it!") all have a place in FFXIII-2's aural spectrum, along with simple, melancholy piano and an explosive range of sound effects. Many games use music in an effort to amplify the emotional resonance of their onscreen action. Where others try, Final Fantasy XIII-2 succeeds.

The game's audiovisual excellence is backed-up by a flexible, engaging turn-based battle system that offers a huge amount of depth, but does not require that players dedicate themselves to micro-managing every aspect. Again, accessibility is the rule. Players can assign custom roles to their characters and specify each individual attack. Alternately, they can allow the game to manage that for them, and simply rely on the "Auto-Chain" command.

Monsters defeated in battle can be recruited to fight alongside Serah and Noel, and can be leveled up just like the main characters. Finding and training new battle companions adds an undeniably Pokemon-esque element to the game that remains fun throughout. It helps that those monsters show a great deal of personality, and are often endearingly goofy, from Chocobos to the many iterations of flan -- yes, flan, the caramel-topped custard -- that appear (Flanbanero, Flanborg, Flandit, Flanitor, Miniflan... it's a long list).

Battles are random, but not unavoidable. Players can choose to flee from monsters once they've appeared, though there is a benefit to landing the first blow, and a penalty should monsters do the same. That said, for long stretches of the game, there are many, many battles to contend with, and avoiding too many of them will leave players ill-equipped to face the gauntlet of bosses that await at the story's end.

Final Fantasy XIII-2's complex story is revealed gradually, and centers on Serah's search for her sister, Lightning, who is lost not in space, but in time. It's a novel and productive framework for the game, and the designers at Square Enix make the most of it. As Serah and Noel use the Historia Crux to travel through time, they revisit familiar locations at varying points in history, often to find stark differences -- a peaceful and friendly locale in one time may be dark and dangerous in another.

Although destinations in time must be unlocked, players are free to explore available locations at will. Occasionally, this freedom makes it difficult to discern the path forward, though exploration has its rewards. In addition to the twisting central story, Final Fantasy XIII-2 is packed with optional side-quests, not unlike, say, Kingdoms of Amalur: Reckoning. Those side-quests occasionally span multiple points in time, and cannot all be completed when first encountered, adding yet more playtime to an already long game.

The density of Final Fantasy XIII-2's story can be intimidating. There is a degree of built-in ambiguity in the fragmented nature of the storytelling, and the central characters' evolving understanding of exactly what is transpiring -- to say nothing of the changes wrought by tampering with the timeline. What is important is that the story consistently connects emotionally -- once again, thanks largely to the game's amazing character work -- and that the disparate story threads do come together to form a deeply satisfying whole.

Square Enix has been upfront about its intention to extend Final Fantasy XIII-2's story with downloadable content, and it is widely known that the game ends with the words "To Be Continued." Without giving away any specifics, I will offer this: Final Fantasy XIII-2 tells a complete tale and ends at a logical point. The events that set up the "To Be Continued" tag flow directly from the game's story. In short, it's more The Empire Strikes Back than Harry Potter and the Deathy Hallows: Part 1.

If ever there were a game that deserved to resurrect the reputation of its franchise, this is it. More than just an update to a well-established formula, Final Fantasy XIII-2 is vital and modern, and deserves to be the blockbuster it was designed to be. Emotionally engrossing, technically dazzling, and deeply playable, Final Fantasy XIII-2 delivers the goods, and is highly recommended.

Final Fantasy XIII-2 is available now on PS3 and Xbox 360. Game Rant played the PS3 version for this review.

First Blood (1982) Retrospective / Review

 

Victoria Principal on Carson promoting movie Earthquake 1974 with Fernando Lamas and Robert Blake

 

The Putin myth: why Russia is no economic superpower

 

https://www.smh.com.au/business/the-economy/the-putin-myth-why-russia-is-no-economic-superpower-20180412-p4z946.html

 

Russia's GDP was smaller than that of Texas even before the latest and most lethal sanctions imposed by Washington.

It has diminished further to Benelux proportions after the rouble's 10 per cent crash this week, the steepest fall since the late Nineties.

Upon this slender economic base, Vladimir Putin's Russia is posing as a world-class superpower, the new master of the Middle East, insisting on its "droit de regard" over the old Tsarist realms as if by natural right.

What is extraordinary is than anybody should believe in such posturing.

The harsher truth is that Mr Putin squandered the windfall wealth of the commodity supercycle and hollowed out what remained of the Soviet industrial base, leaving Russia's Potemkin economy in a cul de sac.

He has succeeded (so far) in propping up his ally in Syria but this tells us little about the global balance of power. The Kremlin likes to dismiss Western sanctions as a flea bite. Not any longer. "The measures are turning into a tool of real economic war," said Russian premier Dmitry Medvedev.

The US Treasury document announcing sanctions to punish "worldwide malign activity" is a comic read, but it is also mortal threat to the Putin oligarchy. It alleges that Oleg Deripaska, aluminium king and head of Rusal, "ordered the murder of a businessman".

It cites allegations that Suleiman Kerimov from Polyus Gold laundered hundreds of millions of euro buying villas in France, "transporting as much as €20 million ($31.9 million)  at a time in suitcases."

Deripaska has described the sanctions as "groundless, ridiculous and absurd".

What is new about these sanctions is that they target the pre-existing securities, and not just new issuance. This turns the named companies into international pariah, as Rusal is discovering. It has been blackballed from the London Metal Exchange. Its listed share price on the Hong Kong exchange has fallen 58 per cent this week.

It is a foretaste of what lies in store for Russia's corporate elite as the Mueller investigation uncovers the whole ghastly truth about Kremlin cyber-aggression against the US political system. Whatever the White House may or may not want to do, the policy is being pushed by a wrathful Congress intent on avenging what some call a Russian Pearl Harbor.

No Americans can deal with sanctioned entities, and no Europeans can do so lightly without provoking the US Treasury under "secondary sanctions" clauses, if they have any commercial dealings with the US. Belgium-based Euroclear said immediately that it would comply.

Investors must now contend with the prospect that almost any oligarch could be targeted and that any Russian asset - including sovereign bonds - could be tainted and plunge in value overnight. This risks a collective rush for the exits since nobody wants to be trapped in a fire sale. Sberbank shares are down 17 per cent over the last two days even though it is not on the list.

Russian vice-premier Arkady Dvorkovich has promised to rescue sanctioned companies, implying that the state will cover the debts of private firms and state-owned companies if need be. Yet the Reserve Fund is exhausted and was shut down in December. Much of the residual $US67 billion  Welfare Fund is committed. The Kremlin will have to tap the central bank's $US453 billion portfolio of foreign reserves. "If the sanctions go on long enough and the circle expands, the cushion may not be enough" warned Vedomosti.

To be clear, the country is not facing an imminent financial crisis. The floating rouble acted as a shock absorber through the oil and commodity crash. Russia survived the trauma. What it faces instead is "neo-stagnation", to borrow from former British ambassador Sir Andrew Wood. It is caught in a self-feeding cycle of decline as infrastructure crumbles and young brains leave.

The deep recession of 2015 and 2016 may be over but per capita income is stuck at $US8,800 and industrial wages are now lower than in eastern China - let alone Poland. The post-Soviet convergence with the West has stalled. There is no new growth model for the 21st century. The drastic plan of autarky and import substitution launched three years ago by President Putin to break dependence on commodities - 80 per cent of exports during the boom - has come to little. Reliance on foreign farm machinery was to be cut 56 per cent by 2020, and engineering equipment by 34 per cent. None of this is happening.

Russia is still hostage to oil and gas. Energy provides a tolerable living for now but US shale has entirely changed of global oil industry, capping each rise in prices with a surge of new drilling. It has become a structural headwind. Russia's own production costs are rising as the old fields decline by 5 per cent a year in Western Siberia. The energy ministry warns that output could halve by 2035 unless there is a wave of investment.

The coming surge of US liquefied natural gas (LNG) has deprived Mr Putin of his pricing power in Europe. He was able to charge $US12 (MMBtu) in the glory days of 2012. Today his gas fetches around $US5.

By the mid-2020s, other powerful forces will be at work. Electric vehicles will probably have reached take-off; battery costs will have come down far enough to give wind and solar an edge over gas. By then the fossil industry will be looking tired.

Mr Putin wasted Russia's oil bonanza from 2005 to 2014 on hubristic rearmament. The Stockholm International Peace Research Institute said the military budget rose 8.1 per cent in real terms in 2014 and another 15 per cent in 2015 when the economy was already contracting. Finance minister Alexei Kudrin resigned with a warning that it would ruin the country, and that is exactly what it did.

The Russian military added a fleet of new Su-34 long-range combat aircraft, and batteries S-400 surface-to-air missile systems, even as pauperisation spread. It coincided with the negligent disarmament of the West, made worse by Europe's austerity overkill.

This misalignment created a window that Mr Putin has exploited. The window is about to close again. Russia can no longer afford the rent, and the West is rearming fast.

A nuclear-armed Sparta under a despotic leader with totalitarian propaganda tools can of course be very dangerous. But please don't call Putinism a success.