#Alain plessis

[empirearchives]

Napoleon takes issue with the private character of the Bank of France:

“I should be the master in everything in which I am concerned and certainly regarding the Bank, which belongs more to the Emperor than to the stockholders, because it creates money.”

(2 April 1806)

“The Bank does not only belong to the shareholders, it also belongs to the State since it gives it the privilege of minting money... I want the Bank to be sufficiently in the hands of the Government… I'm not asking it to lend money, but to give facilities.”

(27 March 1806)

Source: Alain Plessis, La Banque de France

[keenainthecity]

9 Things to Know About the Harlem Renaissance

The Harlem Renaissance was a Black cultural, social and artistic phenomenon which peaked in the 1920s. While the movement is centered in the Harlem neighborhood in New York City, the movement was a national and international explosion of Black arts that was “encouraged and directed by leaders of the Civil Rights establishment for the paramount purpose of improving race relations” (Lewis) and eventually spread through the United States and reached as far as Paris. Termed as “the New Negro Movement” by scholars of the time period, the Renaissance spans literature, music, dance, acting and artistic outputs. Here are 9 things to know about the Harlem Renaissance.

#1 Black Literature prior to the Renaissance was in a huge decline: Prior to Paul Laurence Dunbar (1872-1906) and Charles Chesnutt (1858-1932), most Black literature was centered around slave narratives and far less on fiction or poetry. Because Charles Chesnutt was unable to secure a firm living from his writing, and Paul Laurence Dunbar died of tuberculosis at the height of his creative output, literature by Black authors were generally non-fiction. Until 1922 with the release of Claude McKay’s (1889-1948) book of poetry Harlem Shadows, there was no other poetry volume since Dunbar’s death in 1906. W.E.B DuBois (1868-1963), civil rights leader and the first Black person to receive a PhD in America, wanted to see the creative outputs drastically improved in the forms of fiction and poetry as he felt that “until the art of [Black] folk compels recognition, they will not be rated as human” (Lewis). This encouragement and eventual support among Black organizations (see #4) lead to an abundant Black output of fiction and poetry. 

#2 The Great Migration was an integral contributor to how the Renaissance came to be, but so was the ending of World War I: The migration of Blacks from the cruel segregation of the South to the West, Midwest and East for opportunities in the industrial factories was a significant contributor to the “Great Migration” of Blacks to places such as Harlem. Plessy v. Ferguson (1896) cemented legal separation of the races and doomed any hope of the government supporting increasing freedoms for Blacks, especially in the South. In addition, an uptick in lynchings as reported by Ida B. Wells (1862-1931) in her book the Red Record (1895) due mostly to Black businesses becoming competition for white businesses and the lack of law enforcement to protect Black people from white terror, Blacks wanted to move where there was a promise of freedom. However, another major contributor to the Renaissance was also the end of World War I in 1918. Returning Black soldiers from the war were increasingly defiant to dealing with segregation in the South which lead to violence against soldiers. A new air of change was desired by Black people and they were determined to seek that out. By 1918, more Blacks had ventured from the South, began opening businesses, attending and graduating colleges, founding affluent Black areas of cities (such as Greenwood in Tulsa later known as “Black Wall Street”) and working very diligently to attain wealth in an increasingly hostile country. 

#3 The Harlem Renaissance spanned roughly 18 years and took place in three “phases: Of course, with any literary movements, it can be difficult to pinpoint the specific dates, but scholars now have placed the years of the Harlem Renaissance as 1917 until March 1935 with the Harlem Riots. There were three major phases that happened during that time:  

The first phase was from 1917 until 1923. Some of the major works that came from this period was McKay’ s militant poem “If We Must Die” (1919) and his book of poetry Harlem Shadows (1922), Jean Toomer’s (1894-1967) Cane (1923).

The second phase was from 1924 until mid-1926. The major texts of this period were Jessie Redmon Fauset’s (1882-1961) There is Confusion (1924), Walter Francis White’s (1893-1955) The Fire in the Flint (1924), and Countee Cullen’s (1903-1946) Colors (1924).

The last phase was from 1926 until 1935 and was the most prolific. The major texts from this period were Langston Hughes’ (1902-1967) The Weary Blues (1926), Not Without Laughter (1930) and The Ways of White Folks (1934), Alain Locke’s (1885-1954), “The New Negro” (1926), Fire (1926) edited by Wallace Thurman (1902-1934) and his novel The Blacker the Berry... (1929), Nella Larsen’s (1891-1964) Quicksand (1928), Rudolph Fisher’s (1897-1934) Walls of Jericho (1928) and The Conjure Man Dies (1932), Arna Bontempt’s (1902-1973) God Sends Sunday (1931) and Black Thunder (1936), and Zora Neale Hurston’s (1891-1960) Jonah’s Gourd Vine (1934) and Their Eyes Were Watching God (1937).

#4 The biggest output of the Renaissance was spearheaded by the National Urban League and the NAACP as a means of literary activism: One of the most surprising aspects of the Harlem Renaissance is the fact that civil rights organizations such as the National Urban League and the NAACP used their magazines The Opportunity and The Crisis (respectively) to catapult new writers and to charge writers with being true to themselves and working in the vein of activism for the culture. Orchestrated by W.E.B. DuBois and the National Urban League’s editor Charles S. Johnson (1893-1956), many amenities were made for writers to be able to submit their work for prizes. This also allowed writers to have the opportunity to easily publish their work and receive attention from patrons and publishers to be paid for their works or financially supported. Many award topics included themes of black pride and cultural assertiveness and to share this in creative works such as fiction, poetry and drama. Towards the end of the Renaissance, new writers wanted to have the freedom to not only write about activist topics but to just freely be able to create; there was sometimes a rift between the establishment of the civil rights leaders such as W.E.B. DuBois versus many of the younger artists. In order to regain control of the movement, DuBois wrote an essay entitled “The Criteria of Negro Art” in order to set the record straight for some of the younger writers what was to be expected of this output during the Renaissance.

#5 While Marcus Garvey wasn’t considered a part of the Renaissance, his message of Black nationalism and pride through his written output contributed to the tone of racial assertiveness of the time: Marcus Garvey (1887-1940), a follower of Booker T. Washington, began building his Universal Negro Improvement Association and African Communities League (UNIA-ACL) in Harlem in 1916 with the largest growth occurring during the years from 1918-1921. In 1918, he began publishing the organization’s newspaper The Negro World which eventually was internationally distributed and translated into Spanish, French and Caribbean-patois. He began each issue with a section where he could speak to readers about Black nationalism and giving the Black race many emblematic symbols of liberation such as the flag of liberation (red, black, and green) and many different songs he wrote for the organization. In August 1920, his organization hosted the First International Conference of the Negro Peoples in Harlem hosted at Madison Square Garden; 25,000 people attended the conference and culminated in a huge parade. Several of his essays such as “Africa for Africans” and “The Future as I See It” spoke of revolution and connecting to the African roots that had been denied to the people due to slavery. Unfortunately, Garvey and W.E.B. DuBois were bitter enemies to the point that they insulted each other in writing; this was due to W.E.B. DuBois being said to have been jealous that Garvey could energize the common Black person and many saw the NAACP as a middle class and white organization that did not speak to whom Garvey could. DuBois completely looked down upon Garvey as being uneducated. In addition to that, Garvey was a fierce supporter of Booker T. Washington’s ideology and thus did not cower from W.E.B. DuBois. It is said that DuBois did play a part in Garvey’s takedown by J. Edgar Hoover’s FBI which sent him to prison and subsequently diminished his movement significantly. Despite the fact that Garvey did not directly participate in the Renaissance, his work definitely contributed to the tone of revolution, racial assertiveness and organizing that was quintessential to the Renaissance. 

#6 1919 was a seminal year that lead to the biggest and most prolific output of the Renaissance: The year immediately following the end of “The Great War” (WWI) was a very violent one. Infamously known as “The Red Summer of 1919″, that summer saw outbursts of mob violence and lynchings across America. The name “Red Summer” was coined by NAACP field secretary and Harlem Renaissance writer James Weldon Johnson. That summer, 97 reported lynchings occurred which led the NAACP to hang its iconic “A Man Was Lynched” flag outside the window of their offices each time a person was lynched. Several cities dealt with race riots including in Elaine, Arkansas, and Washington, DC; the people of these cities saw horrifying deaths that seemed to be lead by white servicemen in some cases. The militant poem from McKay “If We Must Die” was produced in response to this violence. The year ended with the NAACP establishing James Weldon Johnson’s “Lift Evr’y Voice and Sing” as the Black national anthem. Many stories that sprang from the Harlem Renaissance years later told the stories of lynchings, violence and cultural turmoil seen from the Red Summer. 

#7 While men were the headliners of the movement, women writers had huge contributions within the fabric of the movement: While the movement was spearheaded and led by a plethora of male voices, women were extremely instrumental within the movement. Beyond musicians like Bessie Smith and dancer Josephine Baker who both were international superstars during the Renaissance and the patronage of A’Lelia Walker (see #8), there were many women writers who contributed heavily. Zora Neale Hurston was very instrumental in naming many ideas that came about during the time-- in 1926, when Fire! was released as a collection of works by the younger writers, she nicknamed the group “The Niggerati” to show a shift from the old idea of activism propagated by DuBois. She produced stories in dialect that represented the people of Eatonville, FL as an anthropologist and produced many essays that evoked pride such as “How It Feels to Be Colored Me” and several volumes of short stories. Georgia Douglas Johnson (1886-1966) was one of the poets of the time that told distinct stories of the Black woman’s experience in poems such as “The Heart of a Woman” and “I Want to Die While You Love Me”. Jessie Redmon Fauset not only produced two novels (see #3), but was the literary editor of the NAACPs The Crisis magazine and was a highly decorated and educated intellectual in Harlem. Other notable women of the time were novelist Nella Larsen, poet Gwendolyn Bennett and the eccentric artist Augusta Savage. The women of the Renaissance are showcased in the anthology The Sleeper Wakes by Marcy Knopf-Newman.

#8 A’Lelia Walker is credited as the chief African American patron of the artists of the Renaissance: A’Lelia Walker, daughter of millionaire business woman Madame CJ Walker, was a huge fixture during the Harlem Renaissance. Her brownstone in Harlem (designed by Black architect Vertner Tandy who was also a founder of Alpha Phi Alpha Fraternity), first served as a gathering space for the musicians, actors, dancers, writers and artists of the movement. She eventually converted her top floor as a salon affectionately known as “The Dark Tower”; Walker hosted the most lavish parties and was a favorite patron of the creative circles. She afforded them the opportunity to fellowship, converse, and critique upcoming works that was being produced in Harlem. Her death in 1931 was the end of this collaborative time among artists and the African American affluent being able to truly support the output of the Harlem Renaissance writing, leading to the end of the movement in 1935.  

#9 The “Talented Tenth” idea was developed by WEB DuBois and featured many HBCU graduates who drove the movement: The Black “affluent” that included physicians, educators, lawyers, preachers, businesspeople, etc. “formulated and propagated a new ideology of racial assertiveness” (Lewis) led by W.E.B. DuBois who firmly believed the Black race would be saved by “its exceptional men” (DuBois). Some 10,000 men and women of a total population of ten million Blacks in 1920 was considered “affluent” and thus charged with being the examples of what Black people really were. In 1905, W.E.B DuBois in the World’s Fair in France presented an exhibit of Black excellence through photographs of the well to do and highly educated as a way to dispel the stereotypes that plagued Blacks after slavery. Of course, with the influx of Historically Black Colleges and Universities being founded in the period from 1850-1915, most of the affluent Black people were educated at HBCUs, especially for Bachelor’s degrees. In 1917, 2,132 Blacks were in colleges and universities with no more than fifty (50) attending predominately white institutions. The majority of the Black educated class attended HBCUs and those who were college educated and participated in the Renaissance were educated primarily at HBCUs such as Howard, Fisk, Lincoln, and others or were professors at HBCUs. 

Works Cited and References: 

DuBois. “The Talented Tenth”, 1903.

Lewis, David Levering. The Portable Harlem Renaissance Reader, 1994. 

Gates, Henry. The Norton Anthology: African American Literature, 1997. 

[businessfrontrunners]

Butta B-Rocka Robinson Sang “So Will I” At City Gala/City Summit Fundraiser in Burbank, CA On February 24, 2019, Oscars Night At The Academy Awards, A Performance That Deserves An Oscar

https://authoritypresswire.com/?p=27596 Oleathia “Butta B-Rocka” Robinson, International Touring Artist, Songwriter, Best Selling Author on Amazon for her book “Fear Of Failure Fear Of Not Trying”, Contributing Writer, Model, Actress, Playwright of the stage play “I Cheated So What,” Humanitarian, CEO/Founder of 501c3 non-profit “Artists Rock the MIC Foundation.” Robinson has been diligently putting in work across markets and borders. Butta has redefined the term “versatility” by showcasing her vocals and composed pieces for ears in the US, UK, Germany, Holland, Japan, Canada, Portugal, St Lucia, St Thomas, St Kitts, Barbados, Chile, Puerto Rico, Antigua, Africa and across genres from pop, rock, gospel, country and rap. Between her background vocals, demo recordings, and stage performances her résumé boasts work and assistance with international superstars, Grammy winners and performers like Janet Jackson, Akon, TLC, Nas, rock group Collective Soul, country singer Zac Brown, Dream, Japanese star Namie Amuro, Belgium superstar Sandrine, German Artist Vanessa Jean Dedmon and countless other talents across the globe. Robinson started work on her material and released her independently produced debut album, ‘Switch Lanes.’ This superstar uses her astonishing abilities as a musician and vocalist to render electrifying performances for corporate functions, conventions, private events, as well as 5-star hotels. She has wooed domestic and international crowds in intimate settings, as well as crowds that numbered well into the thousands. More Specifically, The Presidential Inauguration, before the Prime Minister of Bahamas, The Coalition of Black Women Celebrating Legacy Anniversary, performing before Rev. Dr. Bernice King (The King Center), Judge Penny Reynolds, Mr. Phil Wise (The Carter Center), Atlanta City Council President Felicia Moore, Ambassador Andrew Young, Former Atlanta Mayor, Shirley Franklin, Dr. Joseph E. Lowery. The City Summit Event is a world-class, socially conscious business acceleration experience. The Summit’s mission and the outcome are to elevate each of its attendee’s business acumen by giving them tools, techniques, knowledge, insights, motivation from multiple 7-10 figure earners, CEO’s, investors, and inspirational heroes so that they grow their network and accelerate their business. City Summit taught attendees to learn, grow, and thrive, so they are better positioned to make a meaningful impact in their communities. A select group of pre-qualified entrepreneurs was able to pitch and present their businesses to investors, live on stage, and in person! City Summit invited proven business leaders, strategists, and business owners to teach our community how to increase revenue, generate leads, diversify income, establish authority, raise the value of a business, elevate brand awareness and concentrate on hyper-growth. The topics of the event ranged from Leadership, Innovation, Marketing, Business Fundamentals, Operations, and Inspiration. The ultimate goal of the City Summit was to fund the City Gala on February 24, 2019, which took place on the evening of the Academy Awards from 7 pm-midnight. City Gala is a fundraiser for non-profit organizations that have a mission to solve global challenges. Each year, the Gala raises funds for organizations that are feeding the hungry, sheltering homeless, liberating and rehabilitating young people that have suffered from human trafficking, providing education and mentorship programs, and promoting health and wellness initiatives. Here is the list of the Headline, Founders of Billion Dollar Brands, Humanitarians & Experts. With a live performance by “Butta B-Rocka” Robinson HEADLINE SPEAKERS Les Brown – Motivational Speaker & City’s 2019 Legacy Honoree Colin Farrell – Golden Globe Winning Actor & City’s 2019 Inspiration Honoree Allison Larsen – Speaker’s Coalition & Author, Soul Intuition Kevin Harrington – Original Shark Tank & Inventor of Infomercials Randy Jackson – American Idol Mario Lopez – Extra TV Lynn Rose – Launch You Now & Host FOUNDERS OF BILLION DOLLAR BRANDS Alec Stern – Constant Contact Brian Smith – UGG Boots Frank Shankwitz – Make A Wish Foundation Jeff Hoffman – Priceline HUMANITARIANS Chris Salem – Empowered Fathers Dale Godboldo – International Arts & Philanthropy Foundation Forest Harper – INROADS CEO & City Gala’s 2019 Hero Honoree Gary Miller – Rock Against Trafficking Mark Hattas – Journey’s Dream Meiko Taylor – Selah Freedom Michelle Seiler Tucker – Tucker Teens & Tots Ryan Long – City Summit & Gala Shelly Hart – Giving Hart Tamara Hunter – Service Heroes Tim Ray – United Intentions Vanessa Fune – Tribe Unity EXPERTS Alain Torres – Genesis Doctor Berny Dohrmann – CEO Space Chanti Niven – Captivating Speakers Damien Elston – EYE Consulting Dave Austin – Extreme Focus Daven Michaels – 123 Employee David Corbin – Mentor Antoine Chevalier – Chevalier Foundation Freddy Behin – The Legacy Millionaire Hillary Taggart – Mentorship Dr. James Dentley – NBC University Gene McNaughton – The Sales Edge George Chanos – Seize Your Destiny Jen Du Plessis – LAUNCH! Joby Weeks – Investor John Shin – Think & Grow Rich: The Legacy Katerina Cozias – Media Mindset Mentor Kristin Grayce – Health & Lifestyle Alchemist Kuo Yang – Brigade LA Lora Polowczuk – Priority Retreats Michael Packman – Keystone National Properties Michele Malo – Your Business Accelerator Peter Nguyen – Ad Exchange Group Randy Morgan – Artist Scott Kelly – VC Fast Pitch Stephen Howard – Leadership Syndicate Steven Lloyd – Stone Bay Holdings TR Garland – Leveraging LinkedIn To learn more about how Butta B-Rocka” Robinson is inspiring the world go to https://www.buttabrocka.com/

[cercleaflokkat]

31 MARS : LA REVUE DE PRESSE DE PIERRE BÉRARD.

Antiracisme

• Pour Didier Beauregard de Polémia les attentats de Bruxelles viennent de provoquer une victime collatérale : la campagne parodique dite "antiraciste", lancée à grands frais par le gouvernement. N'en déplaise aux vidéos obscènes du pouvoir socialiste, si la haine a un visage ce n'est pas majoritairement celui des petits Blancs bêtes et méchants que met en scène la propagande d'État. Il est grand temps de remballer ces sermons manichéens que nos médias dévident à longueur de temps. Lien

• Sur son blog amoyquechault, Xavier Eman persifle à propos de la campagne de communication lancée sur les chaines de télévision par le gouvernement. "Tous unis contre la haine" est une série de clips de propagande qui met en scène selon les schémas ordinaires et manichéens de la doxa des minorités toujours en butte à la malveillance cogneuse de "français de souche". Ces clips orwelliens  ("la paix c'est la guerre") sont à ce point éloignés de la réalité tangible, celle à laquelle nous sommes confrontés chaque jour, qu'ils seront reçus avec l'ironie du désespoir par ceux auxquels ils sont destinés. Tout ceci au moment même où Manuel Valls propose dans son discours du 23 mars à Bruxelles de renoncer à "l'angélisme" guimauve... Xavier Eman publie dans chaque numéro d'Éléments une Chronique d'une fin du monde sans importance jouissive à l'humour singulièrement décalé. Lien

Attentats

• Après les attentats qui ont frappé Bruxelles Mathieu Bock-Côté, sociologue québécois, est exaspéré par l'esprit séraphique qui se dégage des nombreuses manifestations d'amour à la terre entière que les Européens opposent à ceux qui se sont déclarés leurs ennemis et qui entendent bien les rayer de la carte ou les soumettre à leur Dieu. Les cérémonies d'hommage, les minutes de silence, les bougies, les démonstrations compassionnelles et toutes les niaiseries où s'affiche comme indice de supériorité morale de l'occident la dégringolade de la "tenue" de nos nations sont la marque d'un cabotinage pathétique. Pour lui la paix ne se déclare pas et l'attente de la parousie moelleuse est une maladie morbide. Lien

• Dans le même esprit Éric Zemmour déclare que "les foules sentimentales ne veulent pas rentrer dans l'histoire", jusqu'à ce que parfois une réalité massive les y pousse et les métamorphose en peuple. Il poursuit "ces foules sentimentales ont une idéologie humaniste, un succédané abâtardi et laïcisé du vieil universalisme chrétien, un tous les hommes sont frères..." Bien vu tant il est vrai qu'un amas de slogans débiles n'a jamais pu constituer une réponse adéquate au tragique de l'histoire. Lien

• Alain Chouet, ancien chef du service de renseignement de sécurité de la DGSE pointe, dans un bref entretien avec Le Bien Public, la responsabilité de nos responsables politiques qui ont joué la carte de l'islam dans les banlieues et se sont alliés avec les pétromonarchies sponsors du djihadisme. Lien

• Hugues Lagrange a réhabilité dans son livre Le déni des cultures (Seuil 2010) le rôle des soubassements culturels dans les conduites délinquantes observées en France chez les jeunes issus de l'immigration. Ceci en réaction à une analyse certes hégémonique mais erronée mettant en avant les seuls phénomènes d'ordre socio-économique (excuse sociale). Il récidive dans une opinion du Monde. Si la tribune est subtile, voire sibylline, nous prévient Gil Mihaely, c'est que l'aveuglement est largement majoritaire chez les décideurs qu'il convient de ne pas braquer inutilement si l'on veut se ménager une part de leur écoute. Hugues Lagrange s'en prend à la thèse confusionniste d'Olivier Roy qui affirme que le djihadisme n'est pas une forme radicale de l'islam mais relève en fait d'une islamisation de la radicalité. Pour Lagrange les victimes de la "discrimination, du racisme et de la stigmatisation" sont en réalité mues par un mélange de culture et de religiosité qui trouve sa source dans l'islam. Une réaction fort bien venue qui ne donne pas dans la narrative des serpents à sonnette du Tous unis contre la haine. Lien

L'énième initiative : Le Printemps républicain

• Sur le site Le comptoir une intéressante tribune s'élève contre les appels incantatoires à la République qui font suite aux attentats djihadistes. Ces appels sont symbolisés aujourd'hui par la création, sous les auspices de Laurent Bouvet, d'une énième initiative : Le Printemps républicain qui incarnerait selon Le comptoir "un républicanisme mou, voire bourgeois". Le rédacteur en tient, lui, pour la République sociale "porteuse de beaucoup plus d'espoir pour les classes populaires". Pour cela il opte pour le principe de la préséance de la société sur l'individu. Cette offensive contre Le Printemps républicain est suivi de l'estimation beaucoup plus positive de Causeur qui y voit une occasion "de muscler un peu un discours laïque bien mal en point en ces temps de communautarisme religieux échevelé". Les lignes bougent, c'est un fait ! Comptoir  Causeur

TV-Libertés

• Christian Harbulot dont nous avions mentionné la récente conférence tenue devant l'auditoire du Cercle Aristote est interviewé à l'issu de celle-ci par Tv-Libertés. Il livre dans cet entretien tout un ensemble d'avis et de jugement très intéressants auxquels nous ne pouvons que nous rallier. Lien

• I-Média, émission de Tv-Libertés animée par Jean-Yves Le Gallou, traite successivement de la pseudo affaire Barbarin, développe son zapping commenté, évoque les multiples points Godwin du traitement médiatique de la semi victoire de l'AfD en Allemagne, rappelle la manifestations des Identitaires à Calais puis, succinctement, la dernière cérémonie des bobards d'or et, enfin, distribue un coup de chapeau à la récente livraison d'Éléments. Lien

Stratégie

• Illustration de la précédente information, nous apprenons qu'Airbus Group va céder au fond américain KKR ses activités d'électronique de défense. Cette dépossession par les européens eux-mêmes d'un actif hautement stratégique montre à quel point les nations du vieux continent perdent de vue les nécessités d'une défense qui leur soit propre. Lien

Alain Finkielkraut

• Y-a-t-il un malheur français ? C'est sous ce titre que l'émission Répliques du 19/03/2016 animée par Alain Finkielkraut opposait deux penseurs : Gilles Finchelstein, directeur de la Fondation Jean Jaurès, et Marcel Gauchet, historien et philosophe, rédacteur en chef de la revue Le Débat. Thème de l'émission : comprendre le malheur français. Lien

• Dans l'émission L'esprit de l'escalier Alain Finkielkraut prend la défense des animaux de boucherie contre les fermes-usines. Il y développe une magnifique méditation philosophique s'appuyant sur la notion grecque d'hubris et citant Horkheimer et Claudel. Enfin il voit dans les modalités de l'arrestation de Salah Abdeslam (la police s'est heurtée à de vigoureuses protestations de la population) l'indice d'un séparatisme de plus en plus profond. Tous les trois mois, dit-il, parait un livre nous expliquant que l'on s'acharne aujourd'hui contre les musulmans comme on s'acharnait hier contre les juifs. Le dernier en date étant celui de Shlomo Sand, La fin de l'intellectuel français, avec lequel Finkielkraut rompt quelques lances. Il termine enfin avec une merveilleuse citation de Simone de Beauvoir. Lien

Ados et pratique religieuse

• Dans une enquête diligentée par le CNRS apparait nettement la coupure civilisationnelle entre collégiens se disant musulmans et ceux qui se disent agnostiques ou catholiques. Vision rigoristes et communautaire d'une part, conception libérale et individualistes d'autre part. Lien

Immigration

• Jean-Yves le Gallou est un spécialiste reconnu des questions migratoires qu'il étudie depuis les années 80. Il vient de publier un ouvrage dense et référencé intitulé : Immigration, la catastrophe, que faire ? En plus de 500 pages l'auteur produit un travail difficilement réfutable sur un sujet qui suscite systématiquement polémiques et contre-vérités. Fort de son expérience politique d'ancien député mais aussi administrative en qualité de haut fonctionnaire, l'auteur affirme que la France a besoin d'une grande loi de rétablissement identitaire et préconise la mis en place d'une véritable préférence de civilisation. Un entretien très convaincant enregistré par Tv-Libertés. Lien

• Le Groupe Plessis, pseudonyme d'un peloton de hauts fonctionnaires, publie dans Figaro vox une tribune dans laquelle il met en garde les peuples européens à l'encontre d'un mouvement migratoire   qui pourrait les ensevelir rapidement. D'autant que parmi les "réfugiés", surtout masculins, se glissent des milliers de djihadistes prêts à tout pour nuire à la sécurité de nos sociétés. Question : qui tient la main de cette arme de destruction massive ? Ce texte qui ne dit rien que l'on ne sache déjà est cependant doublement révélateur. Il émane en effet d'un groupe de hauts fonctionnaires qui brillent rarement par leur acuité à reconnaitre des problèmes d'ordre anthropologique. Dans cette mesure c'est un nouveauté. Mais d'autre part ce groupe préfère se protéger derrière l'anonymat, ce qui en dit long sur les libertés dans notre République qui cultive, parait-il, la tolérance comme une seconde nature. Comme aime à le répéter Éric Zemmour, les idées de cette avant garde si elles sont majoritaires sont très loin d'être dominantes. Lien

Amérique

• Au delà des aspects indéniablement folkloriques de sa candidature la "nazification" du bateleur Donald Trump par tout l'establishment américain (Démocrates et Républicains réunis) suivi en meute par tous les chasseurs de dahuts "anti-fascistes" n'est-elle pas l'indice le plus sûr qu'il pourrait s'agir pour nous Européens du meilleur prétendant à la présidentielle de novembre prochain ? Son programme de politique extérieure qui seul retient notre attention ici est en tous cas beaucoup plus prometteur pour le "reste du monde" que celui d'Hillary Clinton qui laisse présager un surcroit de chaos aux frontières de notre continent. Encore faudrait-il qu'une fois élu, ce qui est à dire vrai peu probable tant le verrouillage oligarchique de la "démocratie représentative" est puissant, il puisse donner à ses vue isolationnistes ou non-interventionnistes un début de réalisation, ce qui apparait des plus problématiques compte tenu de la puissance de "l'État profond" qui fait en cette matière la pluie et le beau temps. Ci-joint l'avis éclairé du scientifique belge Jean Bricmont puis une opinion approchante et très juste de Jean-Michel Quatrepoint cueillie sur Figaro vox. Enfin l'avis pessimiste mais assez réaliste  de Jean-Paul Basquiat selon qui même si Donald Trump était élu, l'État profond américain ne changerait pas. FigaroEurope Solidaire

• A contrario on peut sans peine imaginer ce que donnerait une victoire finale d'Hillary Clinton, candidate du "Big Business", prisée aussi bien par les néoconservateurs que par George Soros. Ici  dans un article paru dans l'hebdomadaire autrichien  zur Zeit  qui n'oublie pas de rappeler les nombreux faits d'arme de l'ex première dame. Lien

Allemagne

• Que signifie le terme de parti ou mouvement populiste ? 

Sur le site "Pour une Europe intelligente. Solidarité et puissance" cette bonne mise au point de son animateur Jean-Paul Basquiat à propos de la dénomination populiste destinée à disqualifier plus qu'à désigner certains partis ou mouvement qui n'entrent pas dans la doxa du politiquement correct, au point que l'auteur en vient à revendiquer fièrement sa propension à se vouloir "populiste". On trouve une  semblable analyse chez Pierre-Henri Taguieff. Lien