Ep50-Plastic Macca’s Tina Foster

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Showtime: Saturday, July 20, 2013 9:11pm EDT

We’re taking calls for Tina tonite. Call in at 518-907-4904 or skype contact ab.irato99

Tonite we welcome back Tina Foster from Plasticmacca.

Tina Foster will be speaking about on Radio Ab Irato tomorrow (9:11 pm EST). Her exposé of the movie, “ Really is Dead: the Last Testament of George Harrison,” can be read below.

Despite its promising title, “Paul Really is Dead: the Last Testament of George Harrison” (PRID)  is a hit piece of the poorest quality. Change in belief comes about when good information is presented in a believable manner. To convince people they have been duped by a double of Paul McCartney requires compelling evidence, such as forensic analysis. This movie contains the poorest so-called “evidence” available out there on the Internet. The people behind Paul’s assassination have seeded the Internet with much disinformation regarding the Beatles and especially PID (Paul is Dead conspiracy theory). A modest amount of investigation reveals PRID to be a vehicle for presenting PID in the worst possible light.
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7 thoughts on “Ep50-Plastic Macca’s Tina Foster

  1. Pingback: Faul wades into Lac Megantic | Ab Irato

  2. Jan Erik Hansen

    The Culture Industry Revisited.
    Theodor W.Adorno

    Acknowledgements vii
    Introduction 1
    1 On the Fetish Character in Music and the Regression
    of Listening 29
    2 The Schema of Mass Culture 61
    3 Culture Industry Reconsidered 98
    4 Culture and Administration 107
    5 Freudian Theory and the Pattern of Fascist Propaganda 132
    6 How to Look at Television 158
    7 Transparencies on Film 178
    8 Free Time 187
    9 Resignation 198
    Name Index 205
    Subject Index 209

    ‘This collection of Adorno’s provocative and disturbing
    essays on The Culture Industry will introduce his
    thinking to a wide readership. The introduction by
    J. M. Bernstein shows that Adorno’s voice is potentially
    the greatest challenge to the debate over postmodernity,
    exposing its social and political collusions.’


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