Orlov is one of our favorite essayists on Russia and all sorts of other things. He moved to the US as a child, and lives in the Boston area.
He is one of the better-known thinkers The New Yorker has dubbed ‘The Dystopians’ in an excellent 2009 profile, along with James Howard Kunstler, another regular contributor to RI (archive). These theorists believe that modern society is headed for a jarring and painful crack-up.
He is best known for his 2011 book comparing Soviet and American collapse (he thinks America’s will be worse). He is a prolific author on a wide array of subjects, and you can see his work by searching him on Amazon.
He has a large following on the web, and on Patreon, and we urge you to support him there, as Russia Insider does.
His current project is organizing the production of affordable house boats for living on. He lives on a boat himself.
If you haven’t discovered his work yet, please take a look at his archive of articles on RI. They are a real treasure, full of invaluable insight into both the US and Russia and how they are related.
It’s a hard job being a global hegemon and the world’s sole superpower.
You have to keep the entire planet in line. Every country needs to be taught its place, and kept there, by force if need be. Now and again a country or two has to be conquered or destroyed, just to teach others a lesson. Plus you have to relentlessly meddle in other countries’ politics, rigging elections so that only US-friendly candidates can win, run regime change operations and organize colored revolutions. Stop doing this, and some countries will start ignoring you. And then the rest will quickly realize that you are losing control and go their separate ways while ignoring you.
Is the United States still the world’s greatest power, in control of the entire planet, or has that moment in history already come and gone? We are constantly hearing how the situation is becoming dire: relations between the US and NATO countries and Russia are going from bad to worse; there is a trade war going on with China; North Korea remains an intractable problem and an embarrassment.
Many people maintain that we are very close to a world war. But does “very close” actually mean anything? It is quite possible to stand for hours with your toes hanging over the edge of a cliff and never jump. Suicide is a big decision: big even for a person, much bigger for a large country.
On March 1, 2018 president Putin unveiled Russia’s new weapons systems against which the United States is defenseless and will remain so for the foreseeable future. Previously, the plan was to surround Russia with military bases and missile batteries, then launch a preemptive first strike, destroying its ability to retaliate and forcing it to capitulate.
This plan has now conclusively failed, and a US/NATO attack on Russia is once again assured to be an act of suicide. Worse than that, even limited military confrontations are now mostly unthinkable, because Russia can now inflict unacceptable damage on US/NATO forces from a safe distance and without putting any of its own assets at risk. If Russia won’t attack and the US/NATO can’t attack, then how likely is a war?
The new weapons systems have made it possible to start ignoring the US. It is still important to maintain a credible military posture, but politically the US is no longer in control, and neither are the global institutions on which it has relied. Instead, what we are seeing is the reemergence of nation states, and even of empires.
The political future of Syria is being decided by Russia, Turkey and Iran, with no useful input from the United States at all. Significantly, whereas Russia and Iran are in categories of their own as far as the US is concerned, Turkey has been a US ally and the second-largest armed force in NATO. The fact that Turkey is no longer eager to please the Americans is quite telling.
Except during the strange and tumultuous twentieth century during which the US briefly flashed across the world stage, these three countries went by different names, which all ended in “empire”: the Russian Empire, the Ottoman Empire and the Persian Empire. Of these three, the Russian and the Ottoman empires were heirs to the Holy Roman Empire, whose eastern half, with its capital Constantinople, went on for centuries after Rome had turned into a depopulated ruin and a dark age had descended on Europe.
After Constantinople fell to the Turks and Islam took over the region, the center of Orthodox Christianity migrated north to Moscow. Now add China, or the Chinese Empire if you like, which is now aligned with Russia, and complete the picture: all of the greatest and most ancient Eurasian empires have come back and are talking and cooperating, while the has-been upstart on the other side of the planet isn’t even invited.
Given this situation, what is the US to do? It has three choices. The first is to start a major war, thus committing national suicide (while taking other countries with it). It lacks the political will to make this decision, although it could blunder into a major war by accident.
The second choice is to basically just fold: give up trying to project power around the world, retreat into its own borders and lick its wounds. It lacks the political will to do this as well; all that remains in the realm of possibility is to pretend that everything is still fine for as long as possible.
But how is it possible to pretend that everything is still fine even as everything is falling apart? The answer is to start faking it. If the US manages to convince enough people, at home and around the world, that it is still dangerous, then it will be able to hide its increasing enfeeblement for a while longer. It may no longer be capable of achieving any of its aims, but it is still very much capable of mass murder, as was recently demonstrated by the US “coalition” bombings of Mosul and Raqqa, which now lay in ruins. Similar wanton acts of mass murder have been committed America’s Saudi-Arabian proxy in Yemen, and by their Ukrainian proxies in the Donbass.
But even the opportunities to commit mindless mass murder with impunity are now becoming fewer and farther between, forcing the US to resort to more boutique acts of violence. To justify these acts, the US (and much of Europe) curtains itself off from the rest of the world using an elaborately constructed wall of complete nonsense.
A favorite trope has to do with dreamed-up chemical weapons as the main frightener. Take a look at the recent Israeli rocket attack on Syria. It was justified using obviously fake video footage produced by the White Helmets—a group known for staging fake terror events. At this point, they don’t even care how fake their product looks: this time around, they didn’t bother editing out the clapper (used to sync up video with sound). The setting was obviously a movie set, but production values were rather missing. Instead, we had actors, some wearing white helmets, but no protective gear whatsoever, dumping buckets of water over shivering children. How is that even supposed to make any sense?
And then note that the rockets (five which got shot down by the Syrians, with only three making it through) came from Israel. Why Israel? Because the Russians had warned the US that they knew the fake chemical weapons provocation was being organized as a pretext to launch a rocket attack, and that they were going to shoot not just at the rockets but also at those who launch them. Therefore, Americans decided that it would be too risky to launch the attack from navy ships, and instead asked the Israelis to do the honor of lobbing a few missiles at a remote airbase in Syria, correctly thinking that the Russians wouldn’t immediately retaliate against Israel if no Russians would hurt, and knowing that there would be no Russians at that airbase during their attack. This is, on the one hand, quite pathetic, but on the other it shows that the Americans are still capable of a modicum of rational thought.
This, then is the strange period of history we are going through. The US is lying nonstop (since truth is not on its side) while pretending to still be dangerous by committing wanton acts of mass murder (small-scale ones, which it can be sure to carry out with impunity).
Meanwhile, both national suicide (via large-scale war) and the decision to shut down the whole imperial project both remain politically impossible. How long this strange, unstable period of murderous nonsense can persist isn’t known—your guess is as good as mine—but it obviously can’t go on for ages.
Give it a few years, or less.
Sex education: The creator of CLIMAX: ‘Good sex is like cooking, but there aren’t recipes for female pleasure on the internet’ | Society
Our ways of watching television have changed. No longer do we sit down to see what’s on TV, instead subscribing to platforms where we can watch our favorite content. But can that formula translate to content beside series, documentaries and movies? Can it be used to change the way we experience sex education? CLIMAX, a platform of sex education videos, is trying it out.
The platform started as an explicit educational series dedicated to female pleasure. Far from pornography, it was particularly directed towards women and sought to give advice and ideas for greater self-knowledge and sexual enjoyment. But that was just the beginning. As Camille Mariau, CLIMAX’s director of projects, explains, they are currently working on “a monthly membership platform dedicated to sexual wellbeing. The users will ahve access to periodic new content, ordered by topic (pleasrue for people with vulvas, for those with penises, tantric sex, oral sex, post-partum sex, etc.). We really want to create the perfect guide to help our users deconstruct their ideas about sexuality.” Currently, the platform has partnerships with educational and healthcare institutions, in order to bring education about female sexuality to all parts of society.
Laurène Dorléac is an expert in the technology market and co-creator of CLIMAX. “Not only is female pleasure little understood, but I also realized that taboos around the subject are still very present.” That’s why, despite her lack of experience in the area, she decided to venture into the topic. “Good sex is like cooking: it’s a creative process that requires practice, experimentation and care to have a good flavor. There are plenty of recipes and cooking classes, but we can’t find anything satisfactory about female pleasure on the Internet! That’s what led me to create the platform, so that we can all have access to better sexual education.”
The project brought together international studies, advice from psychologists and sexologists and over 100,000 testimonies. “Pleasure is a very serious thing, and it deserves a very rigorous approach,” she says.
CLIMAX comes to Spain
While the project was founded in France, currently, 40 percent of its subscribers are outside of the country, largely in the United States and United Kingdom. The team is optimistic about the Spanish market. “The market seems to be ready for a project like this. More than talking about pleasure, we really want people to have easy access to safe information about sexual education,” says Camille Mariau. Since the project launched in Spain just a few months ago, most of its users are between 28 and 45 years old, and, surprisingly, they are divided 50/50 between men and women.
To spread the news about the project, they have the help of Teresa Riott, known for her role as Nerea in the Netflix series Valeria, who narrates the videos. “It seems to me like a new idea in education, and it’s very necessary in order to better understand all the possibilities of our pleasure. CLIMAX has also had success in other countries. I’ve learned a lot about female sexuality in the process,” the actress explains.
She emphasizes that “they are videos that you can watch alone, in private, and you can experiment,” which “gives people confidence to explore their bodies without concerns.”
The platform’s content is explicit, but tasteful; obvious, but well-presented. It repeats explanations we have read in plenty of books, but which acquire a new dimension when we can see them on a screen: without drawings, diagrams or taboos, simply showing how to stimulate a vulva. The videos are meant to educate, not to excite, and they have no resemblance to porn. The images are accompanied by Riott’s voice, which explains each step in a clear and simple way, adding touches of scientific information. It explains not only how to stimulate the vulva, but also how and why the stimulation works.
We’ve learned that it’s much easier to exercise at home, or even to do home improvement projects, with the help of a Youtube tutorial video that shows us each step. So it makes all the sense in the world that we can use tutorials to learn how to excite our bodies, moving step-by-step over each part of our anatomy.
The platform is also notable for its diversity, not only in the appearances of the vulvas on screen, but also in the techniques proposed. It includes videos of 19 different masturbation techniques. In Spain, female masturbation has experienced a revolution in recent years. The brand Lelo, specialized in clitoral suction toys, increased its sales by 440% in 2019. The Satisfyer toy was even more popular: it registered an increase in sales of 1,300% in 2020, to the point that it had to resort to European countries to restock the toys during one of the busiest months of the year. Those toys finally normalized female masturbation. Vibrators themselves have also experienced their own revolution. Their technology and shapes have become more sophisticated, and they have become more effective and discreet. And Gwyneth Paltrow’s website Goop now features Viva la Vulva, an “extra-silent” vibrator model that can be used at any time without making any noise. Such devices are proof that manufacturers have taken pains to innovate their products for female pleasure, until recently a forgotten sector. Gone are the old dildos and penis replicas.
Beyond masturbation, with or without the help of toys, the content of CLIMAX “is like an encyclopedia of ideas that you can choose and use to enrich your sexual life. It can help you be more creative, learn moves that women with vulvas might like, etc. It can also be used as a basis to start a conversation with your partner about what you like, what you want to try or not. We want to give people the opportunity to get to know their own body or the body of their partner better,” explains Mariau.
To that end, the first two seasons are entirely scientifically based. To develop the content, 74 international scientific studies, widely referenced and accepted by the scientific community, were consulted. “There is one study that I find special: Shere Hite’s ‘The New Hite Report,’ a bestseller that has sold tens of millions of copies, which describes how women feel during different sexual activities and when they orgasm with greater frequency,” Mariau says.
In addition to a surge in vibrator sales, women have been consuming more porn than ever in recent years. According to a study by Pornhub on porn consumption in the pandemic, women increased the amount of porn they consumed by 17.5%. Audio porn, one of the latest developments in the industry, is particularly popular among women. And websites for pornographic content aimed at women, taking into account the tastes and aesthetics that female arousal requires, have proliferated in recent years.
Mission: equality in pleasure
The work of Shere Hite is one of the great sources of inspiration for CLIMAX. The late writer and sexologist was especially interested in the female orgasm. She interviewed some 3,500 American women, from prostitutes to former nuns, to create ‘The Hite Report: A Nationwide Study of Female Sexuality’ in 1976. Among her conclusions stood out two ideas: first, that few women reached orgasm through intercourse (only 30%), although they did through masturbation. Secondly, the clitoris was the key to climax.
CLIMAX is organized into several themes, which are available in different subscription packs: external pleasure (10 episodes), internal pleasure (11 episodes) and tantra exercises (7 episodes).
“Our mission is to equalize pleasure in a world where women report being less satisfied than men in their sexual activities, feeling less pleasure and having fewer orgasms. Education will make it possible,” the expert concludes.
Sonny Barger, founder of Hells Angels, dies at 83 | USA
Sonny Barger, the founding member of the Hells Angels Motorcycle Club, died on Thursday in California at the age of 83. Barger was the face of the biker gang that became one of the main counterculture movements in the United States in the 1960s. Barger’s family confirmed his death in a message on Facebook. “Please know that I passed peacefully after a brief battle with cancer,” the message stated.
Sonny Barger – whose real name was Ralph Hubert Barger – was born in northern California, and taught himself to ride a motorcycle when he was 11 years old. It was an American-made Cushman scooter. From that moment on, he tried to only assemble motorbikes with parts made in the US, a task that became increasingly difficult as the world became more open to international trade.
In 1957, he founded the Hells Angels chapter in Oakland, California. This chapter was founded nine years after the first one opened in Fontana, in the same state. Barger was the national president of the Hells Angels, a group that became notorious for its links to violent and organized crime. Barger was arrested more than 20 times and spent 13 years of his life in prison for different crimes. In November 1992, for example, he was released from federal prison after spending four years behind bars for organizing to kill members of the rival Outlaws Motorcycle Club. When his parole came to an end in 1994, 700 bikers came out to celebrate the news.
But the darkest chapter of the Hells Angels took place on December 6, 1969. That night, the biker members were hired as security guards at the Altamont Free Concert in California, where the Rolling Stones performed. Representatives of the band reportedly offered the Hells Angels $500 worth of beer in exchange for providing security. Members of the biker gang had worked without incident as security at concerts for bands such as The Grateful Dead and Jefferson Airplane. But at the Altamont Free Concert, which brought together 300,000 people, the situation became violent. During the Rolling Stones’ performance, fights broke out in the audience. Meredith Hunter, an 18-year-old concertgoer, was stabbed to death by a member of the Hells Angels after approaching the stage. The incident was caught on camera and became a central scene in the Maysles Brothers documentary Gimme Shelter, in which Barger admitted the bikers did not have the training to do security work. A few days after the concert, in a call to a local radio station, he said: “I ain’t no cop. I ain’t never gonna police nothin.’”
The incident stained the image of the Hells Angels and Barger – who had the name Hell’s Angels Oakland tattooed on his right shoulder – struggled for several years to change the gang’s violent reputation. “Catholics probably commit more crimes than we ever thought of,” he told the Los Angeles Times in 1994 after being released from prison on parole. “Probably politicians commit more crimes.”
Writer Hunter S. Thompson compared the biker gang to the student protesters of the 1960s, who paved the way for civil rights in America. “The difference between the student radicals and the Hells Angels is that the students are rebelling against the past, while the Angels are fighting the future. Their only common ground is their disdain for the present, or the status quo,” he wrote in his book Hell’s Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs.
The Hells Angels were one of America’s most striking subcultures, and their influence can be seen in many areas of society. In one of his books, Barger claims that Harley-Davidson – the motorcycle brand favored by the group – adopted the gang’s ideas into its models. Barger played himself in the 1967 film Hells Angels on Wheels, where he appeared alongside Jack Nicholson. He also had a small role in the TV show Sons of Anarchy.
Barger was a difficult character to define. He got up at 4.30am to feed his dogs and horses, then worked out for three hours, doing weights and going jogging. By 8am, he was on his motorcycle and driving down an off-beaten track. Unlike the stereotypical biker, he wore a helmet that covered his entire face. This was due to the fact that he had his vocal cords removed in 1982 after suffering from throat cancer.
Art fakes: Disputed ‘Basquiats’ seized by FBI shake the US art world | Culture
While New York surrenders once again to the genius of Jean-Michel Basquiat with an exhibition of unpublished work curated by his family, in Orlando (Florida), there is considerably more controversy over the work of the artist who died at the age of 27. An exhibition at the Orlando Museum of Art dedicated to the former close friend of Andy Warhol, entitled Heroes & Monsters, has cost the head of that gallery his job, while the FBI investigates the authenticity of 25 of the works, not to mention the threats made by the director against an expert who had been commissioned to evaluate the authorship.
Although the scandal began to take shape in February, when the exhibition opened, the FBI raid took place last Friday with the seizure of the paintings with a contested attribution to Basquiat. Aaron De Groft, director and chief executive of the museum, has relentlessly defended that these are genuine works, while emphasizing that it is not a museum’s role to certify the authenticity of the works it exhibits. “[The paintings] came to us authenticated by the best Basquiat specialists,” he told the local NBC television station in February.
De Groft had for months championed the importance of the paintings, asserting that they are worth millions of dollars, until an expert showed up who’d been hired by the owners of the paintings and she began to question his version of events. The director was fired on Tuesday, just two business days after agents seized the 25 suspicious works. The museum’s board of trustees met for hours that day, but not before warning employees that anyone who dared to discuss the matter with journalists would suffer the same fate as De Groft. Hence, it is impossible to know the version not only of the former director, but of any worker at the center. Nor can any information be gleaned at the New York exhibition, a mixture of unpublished work and memorabilia, where organizers are fearful of the devaluation caused by the Orlando scandal.
“It is important to note that there is still nothing that makes us think that the museum has been or is the subject of an investigation,” Emilia Bourmas-Free told the local chain on behalf of the art gallery. Cynthia Brumback, chairwoman of the museum’s board of trustees, expressed itself in similar terms in a statement, saying that the board of trustees is “extremely concerned about several issues related to the exhibition Heroes & Monsters,” including “the recent revelation of an inappropriate e-mail correspondence sent to academia concerning the authentication of some of the artwork in the exhibition,” as reported by The New York Times.
The statement refers to a disparaging message sent by De Groft to the specialist hired for the expert opinion, cited in the FBI investigation as “Expert 2″ but who the New York Times has confirmed is Jordana Moore Saggese, an associate professor of art at the University of Maryland. This expert, who received $60,000 for a written report, asked the museum not to have her name associated with the exhibition, according to the FBI affidavit. Angry, De Groft threatened to reveal the amount of the payment and share the details with her employer, the university.
“You want us to put out there you got $60,000 to write this?” wrote De Groft, according to the affidavit. “Ok then. Shut up. You took the money. Stop being holier than thou. Do your academic thing and stay in your limited lane.” The board said it has launched an official process to address the matter. The scandal was precipitated a few hours after the closing of the exhibition, which had originally been meant to travel to Italy.
The mystery of the cardboard box
But how did the paintings get to the Orlando Museum? The museum and its owners maintain that the paintings were found in a Los Angeles storage unit in 2012. The New York Times reported that questions arose over one of the paintings, made on the back of a cardboard shipping box with FedEx lettering in a typeface that was not used until 1994, six years after Basquiat’s death, according to a designer who worked for the company.
Both De Groft and the owners of the paintings maintain that they were made in 1982 and that Basquiat sold them for $5,000 to a famous television screenwriter, now deceased, who deposited them in a storage unit and forgot about them.
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