SOURCE:

Councillors Linda Annis of Surrey, Daniel Fontaine of New Westminster, and Alexa Loo of Richmond, say they will bring motions to their councils that would call on the B.C. NDP government to scrap the three-year experiment that started on Jan. 31, 2023.

Erich Kästner (1899-1974) was a "singer of the little man and the poet of the little freedoms” (Marcel Reich-Ranicki). With his witty and reflective verses that appear so simple, he guaranteed the continuity of the literary cabaret of the twenties into the postwar years. Following his first performances with his "utilitarian poetry” during the post-inflationary era of "new objectivity” prior to 1933 in Berlin cabarets such as Küka, the Tingel Tangel, Cabaret of the Comedians (Kabarett der Komiker) and Werner Finck’s Catacombs (Die Katakombe), he was only able to publish during the Third Reich with a special authorization or under a pseudonym. After the war, the pessimistic enlightener continued work of the Berlin era, now in Munich. With his melancholy and poetic songs, scenes, and sketches for the Showbooth (Schaubude) and Little Freedom (Kleine Freiheit), he influenced the cabaret of the years immediately following war until the foundation of two German states. His ideal of the cabaret as a moral and philosophical institution and a lyrical theater of the times anticipated the political and satirical ensemble cabarets of the fifties. "My writing is directed against the indolence of the heart and the stubbornness of the mind.” (Erich Kästner)

Otto Grünmandl (1924-2000) was the cranky philosopher of the outlying districts, who told his stories about the lunacy of banality with stoic calm but with complicated intellectual processes. During his work as the head of entertainment for the Tyrolean broadcasting network, he presented his first solo program for the Austrian Radio in 1967. The grumpy comic made the lack of punch lines his punch line, for "the best way to be silent is to talk” (Grünmandl in "My Name Isn’t Oblomow”). Bizarre paradoxes and parodies taken to absurdist extremes characterized the "Alpine Interviews” ("Alpenländische Interviews”) with which he earned his reputation on the radio from 1973 on. Here, the everyday phenomena included a canary that tumbled to his doom while mountain climbing. "What tongue-twisting weasel-like swiftness is for Jandl, tapir-like slowness is for Grünmandl. His one-man barroom gang could grace any performance of Horvath—torture from the Vienna Woods. … Here reason and logic are mercilessly taken to the point of higher nonsense. If one could invent an absurdist cabaret, then he has done it.” (Süddeutsche Zeitung, 1980)

Fritz Grünbaum (1880-1941) was the most important Austrian cabaret artist until 1933, the ironically self-deprecating philosopher among the emcees. He was a master of profound chitchat, and already famous during the Imperial era in Vienna and Berlin, where he performed in Hell (Die Hölle) and the Black Cat (Schwarzer Kater). He commuted between the two republics after 1918 as well, as he wrote and performed in Berlin’s Cabaret of the Comedians (Kabarett der Komiker) as well as in Vienna’s Simpl. In the latter, he developed the double emcee act together with Karl Farkas in 1922. Grünbaum also wrote several books, operetta libretti, and pop songs like "I Saw Helen Bathing” ("Ich hab das Fräulein Helen baden sehn”). In 1933, he returned to Austria and directed the Simpl until his deportation to the concentration camp Dachau in 1938. On the day before his arrest, he commented from the darkened stage of the Simpl, "I can’t see a thing, absolutely nothing. I must have wandered into Nazi culture.” "The little fellow with the enormous punch lines that always hit their mark without injuring—because their caustic effect was neutralized by kindness. He thought with his heart; he was a stirring philosopher in the guise of a drastic comic.” (Karl Farkas)

Ernst Busch (1900-1980) was the singer of the proletariat and of proletarian history, a nuanced king of the democratic worker’s song. As the “singing heart of the working class” (according to Hanns Eisler), he performed songs of Tucholsky and Kästner in the Berlin cabarets Stuff and Nonsense (Larifari), the Catacombs (Katakombe) and in the Cabaret of the Comedians (Kabarett der Komiker); he also sang at demonstrations and worker’s meetings. After emigrating in 1933, he took part in the Spanish Civil War, and when interned in France, he led the theater group at the camp Gurs and performed in Peter Pan’s cabaret. He was extradited to Germany in 1943 and sentenced to a life term in prison. After liberation, the “Gründgens of the GDR” revived his career as a powerful actor of the people in numerous films and in Berlin ensembles. “Not an entertainer, not a sentimentalist, nor a dry reciter of revolution, but rather a militant artist of our times. When Busch sings political songs, they retain their humor in all their seriousness, and their seriousness in their humor. They keep us alert. They are hits and others keep singing them.”

Werber Schneyder on Cabaret, art and history.

German-German history as reflected in political cabaret': ridiculed separately and laughed together. Cover poster: Klaus Staeck. The poster texts are accompanied by text panels. A version in Polish is available.

Max Reinhardt on Cabaret.

Cabaret as a form of satire, its literary, political, philosophical and poetic content are at the forefront of documentary interest; the ongoing collection and scientific utilization of its diverse manifestations is the central task of the German Cabaret Archive

The playful, satirical form of cabaret and its literary, philosophical, and poetic qualities are the focus of our documentary interest. The central task of the German Cabaret Archives is the continuous collection and the availability of these materials to academics and historians

In 1920 Einstein made a speech whereby he states that "space without aether is unthinkable."

On 15DEC17, Dr. James Sheehy, Chief Technology Officer for the Naval Aviation Enterprise, wrote a letter to Phillip J. Bonzell, Primary Patent Examiner of the United States Patent and Trademark Office, requesting immediate action concerning a denied patent application by a certain Dr. Salvatore Cezar Pais, an aerospace engineer at Naval Air Warfare Center Aircraft Division. Dr. Sheehy anecdotally explained his case to Mr. Bonzell, relating how [Howard] Hughes in the early 1960’s claimed the invention of the “ruby laser”, when factually the United States Army at Picatinny Arsenal built the first such device in 1958. The negligence of not seeking a patent for the invention cost the Department of Defense dearly.

The letter concludes with the marginally cloaked implication of United States’ National Security being severely jeopardized by the then current application’s rejection. Dr. Sheehy supported his position stating: ”Based on these initial findings [Dr. Pais’ supporting feasibility experiments] I would assert this will become a reality. China is already investing significantly in this area and I would prefer we hold the patent as opposed to paying forever more to use this revolutionary technology…”

U. S. Patent Application 15/141,270 (PAX205)/B64G1/409 Unconventional spacecraft propulsion systems Patent Number 10,144,532, Granted 4DEC18, Adjusted Expiration 28SEP36

What can we learn from this? 1) The history of the Ruby Laser needs to be rewritten, wikipedia and anything about the laser does not acknowledge what is being claimed here.

2) The Navy has to use an example from 1958/1960 to avoid any issue but still make the point... "just like this other time we didn't patent what we built and therefor it was a mistake... we should patent this new technology... that we haven't made... but in case we did make it like the Ruby Laser, then let's patent it.

Dr. Salvatore Cezar Pais, writing [via direct email] ’exclusively’ to The War Zone reporter, Brett Tingley, defined what has become decorously known as The Pais Effect, stating:

"…do realize that my work culminates in the enablement of the Pais Effect (original physical concept). The Pais Effect comprises the generation of extremely high electromagnetic energy fluxes (and hence high local energy densities) generated by controlled motion of electrically charged matter (from solid to plasma states) subjected to accelerated vibration and/or accelerated spin, via rapid acceleration transients.

Such high energy EM radiation can locally interact with the Vacuum Energy State (VES) – the VES being the Fifth State of Matter (Fifth Essence – Quintessence), in other words the fundamental structure (foundational framework), from which Everything else (Spacetime included) in our Quantum Reality, emerges.

The Engineering of the Pais Effect can give rise to the Enablement of Macroscopic Quantum Coherence, which if you have closely been following my work, you understand the importance of.

I must stress that all this work (patents, patent applications and technical papers) was conducted as a NAVAIR/NAWCAD employee, and that my current position with Navy SSP has absolutely no bearing or in any way, shape or form has anything to do with this advanced physics work.

Thank you for your interest in my physics concepts, and try to keep an open mind in regard to my work.

Respectfully,

Sal

Salvatore Cezar Pais, Ph.D. A.D. MMXIX"

Example: Hypothesis Plug In.

Example: Hypothesis Plug In.

True, but it should never be taken as the authoritative voice and there are ways to annotate on the internet :)

• Conooco before joining with Phillips was a Standard Oil break up and Rockefeller company.
• Sinclair foundation was funded by Rockefellers
• Exxon is one of the major Standard Oil off shoots.

So while the article spends much time attacking Koch, the Rockefellers profited massively from this well before the Koch's came by to scoop up local US supply.