Tuesday, July 21, 2015

Film Maker Thor Moreno Steals Intellectual Property of Kultus

Well, it only took a year and a half for my novel to be pilfered. It was stolen by a man who deigns to put his homespun attempts at film making on IMDB's database. Yes, he's a bottom feeder, folks, and so he did what bottom feeders do: he picked low hanging fruit in MY orchard of intellectual property. 

Thor Moreno ripped off my title, several characters, the setting of Kultus (land bordering an Indian reservation in the Pacific Northwest), a "monster" . . . . the list goes on and on. 

Here is the plot summary of the film: Fluffy Plot Summary According to "The Street Scribe"

Anyway, here is the Book Thief, himself:

 
Moreno Name Meaning:

"Spanish, Portuguese, and Jewish (Sephardic): nickname for someone with dark hair and a swarthy complexion, from Spanish and Portuguese moreno ‘dark-haired’, a word of uncertain origin, probably from Late Latin maurinus, a derivative of classical Latin Maurus ‘Moor’."                                   --Ancestry.com

And here is a "teaser" for the film, Kultus, that was put on Youtube seven months ago:


Notice how Moreno released the above teaser way before his movie was finished. And he called it "official" to try and worm out of people saying, "Dude, did you steal all of this intellectual property from the guy who released the novel, Kultus, in December of 2013?"

You gotta hand it to Moreno: once he saw (or heard about) a good thing, he didn't waste any time stealing every last pound of flesh he could carve from my original body of work. Even though the end product of Moreno's theft is amateurish hack work, it is certainly better than it would have been without data mining my novel for content.

The (afore linked) plot summary on The Street Scribe conveniently leaves out who wrote the screenplay. All it lists are three producers and Moreno as director. The other "producers" are as follows: Annette Duffy, Chris McAninch, Shawn McAninch.  The production company is listed as Global View Productions.  However, in the above "teaser," Thor Moreno is listed as writer/director.

Here is a review of the film on Search My Trash.  And here is Moreno's IMDB page about Kultus:  IMDB.

It is surprising that Moreno had the audacity to go ahead and spell Kultus with a "K."  This spelling is highly unusual, especially when a work of fiction centers around Pacific Northwest Native American culture and place names. 

In the United States and Canada, the Native American place name is almost always spelled with a "C" as in "Cultus." 

As a writer, I made a very deliberate decision to spell my novel with a "K" in order to keep it from being confused with the word "cult" by folks that were not familiar with the Native American place name.

In German, the word "Kultus" means "a system of religious beliefs and practices." The double entendre of this cross-over term made it extra appropriate to the plot and content of my novel, which deals with the belief in intra-dimensional "gods," both on the part of Native Americans, and on the part of European cultures.

I have studied the Icelandic language, Old Norse, German, and French at the university level. For me, the magic of words is never lost. I literally worship this magically symbolic form of thinking with every particle of my being.

And so, I truly love words and I know that they are not intellectual property any more than the molecules in a human body is the property of that body PRIOR OR AFTER THEY ARE INSIDE IT. But when molecules or words create a living, breathing body, then they BELONG to the author or the owner of that body. Words are the symbols we use to convey ideas and those ideas are intellectual property.

That is why the word "plagiarism" literally means "kidnap" in Latin. Thor Moreno is an impotent low-life kidnapper who, based upon his theft of my intellectual body of work, does not have the ability to create ideas on his own. How very sad for him.

As a man of Scandinavian descent, I must say that the picture below does not embody what I tend to think of as someone with the name "Thor."  Seriously, I wonder if Moreno's parents actually named him that. Sounds more like a pseudonym to me.

 
Thor Moreno's bio says he left a career in music to pursue film making. If his musical output was anything like his work behind the camera, he should have abandoned both pursuits in favor of making an honest living. 
 

Friday, February 27, 2015

Profaning the Namesake of Art

 
 
I was reading voraciously even before I learned how to walk. A love of books is the shortest distance between wanting to be a writer and writing. By the third grade, I was writing mini-treatises and novellas on all sorts of things. 
 
But the public education system doesn't always reward such interests or intentions. It wasn't until after graduate school that I began to write fiction seriously.
 
During my senior year of high school, I'd written a thesis in a class called "college writing" about the dangers of multinational corporations and globalism. I received a "D" on the paper, which yielded a "C" in the class.
 
The next year, as a freshman in college, I submitted the very same research paper in a macroeconomics class and received an A+.  This easily put me over the top to receive an A in the course. I photocopied my professor's glowing feedback and sent it to the spinster that had given me a D in high school. She never responded.
 
Fiction writing was no different. When you think outside the box, our education system does not reward you. It's designed to indoctrinate, not to teach original thinking. I didn't understand that completely, until I read a book by John Taylor Gatto called Dumbing Us Down (see the video below).
 
While in grad school at NYU, I longed to enter the creative writing program, but I didn't dare. Why? I strongly suspected that it would bastardize my genuine love of writing, and replace it with tedium. Most students I knew who had entered the program with a love of writing, came out with a dislike for it, and stopped writing. This was no accident. The few that persevered in their "craft" weren't any better writers. All of their voices sounded the same, like soldiers emerging from boot camp.
 
Finally, I relented and began auditing creative writing and poetry classes. The most memorable was taught by Alan Ginsberg. In front of the class, he was a very boring professor who was still obsessed with Gregory Corso. There wasn't very much inspiration in that classroom. It felt like work. Studying poetry from Ginsberg left very little room for joy. It resembled the tired, broken life of a man suffering from chronic depression and mommy issues from having been raised by a schizophrenic  matriarch. 
 
I also sat in on the classrooms of E.L. Doctorow and Mona Simpson. Although they were not suffering from mental illness, their approach to writing reflected the values of the society in which their careers as writers had flourished. In short, they were also bores and totally full of themselves. Were they great artists or great writers? Hardly. The blind lead the blind into a ditch.  
 
I would have given up writing if it wasn't for TC Boyle. He read through the first six chapters of my first novel, Peel, and offered some very helpful ideas. Yes, he encouraged me to enroll in a graduate level creative writing program, and perhaps that bit of advice was not off the mark, either. If I had enrolled in a famous program, perhaps I would be a "successful" writer today, if one measures success by the size of one's wallet.
 
TC Boyle's writing hasn't inspired me since he hammered out his last fresh novel (The Tortilla Curtain) but that doesn't matter. The man is the real thing when it comes to his heart and his soul. Yes, Boyle's writing over the years has become a caricature of itself, chockfull of similes and metaphors to the point of becoming a hopeless distraction, like a carnival barker hopped up on speed, and his vision is far from being prophetic, but the man's humanitarian impulses are present, and, so far as I know, he is an honorable human being . . . which is saying something, given his role as a cultural icon in the carnival funhouse of pain we call "high art."
 
The academic institutions that bestow titles upon its priest class ("great" writers) will continue to turn out cultural indoctrinators, and the general public will continue to venerate them, lapping up their drivel like prisoners in Plato's Allegory of the Cave that watch puppet's shadows on the wall, mistaking them for reality.
 
In 2006, I enrolled in the Tin House Writer's Workshop at Reed College. What a mistake. The class spent most of the time cultivating feedback from other writers that had no experience. By then, I had written five novels. The instructor read my fourth novel, and then proceeded to write his own novel with a very similar premise. Even today, he is still writing work based upon that novel. He was recently given a grant from the Gugenheim to create works of literary art.
 
One of his pieces, about shadow people, is obviously inspired by Cowslip. Most of his works seem derivative. I wouldn't be surprised if every single novel the man has written was inspired by someone else's work. He's lived a charmed life: free rides to Ivy League schools, a fellowship at Stanford, and yet, his mind is not very creative. He is a product of the modern education system. It creates conformists who consume original works of literature and then spit out a web of conformity. This professor's version of Cowslip involved a journal written by a homeless girl. His art-poem about shadow people took my fresh approach to language and mired it in the clay of tired old prose that sounds like other famous novels written by famous writers who earn their living now as professors.
 
The modern education system has brainwashed people to think that writers are supposed to live lives like Charles Bukowski and Hank Moody (David Dukovny's character in Californication). Novels like Lolita, which seek to normalize the twisted logic of a career pedophile, are elevated to "great" status. But this is all a sham. True writing is meant to elevate the reader's perception of reality, not to shove it down in the mud by glorifying drug use, alcoholism, mental illness manifesting as sexual obsessions, and heroic battles with garden variety depression.
 
If one measures great art by examining the way healthy human societies have worked, down through the ages, one sees a pattern: art walks hand in hand with spiritual enlightenment (true enlightenment, not the "age of enlightenment," which was designed to darken the world rather than showering it with light).
 
Modern society is broken spiritually, and that's no accident. It's been purposefully sabotaged by the people in power. They have also sabotaged people's sense of what constitutes art.  They have profaned art, exactly as their kind has profaned the insights of so-called "prophets" down through the ages by creating religions designed to crush spiritual insight rather than fostering it.
 
Since the mid-20th Century, the sciences have done the same thing to peoples' awareness of so-called "supernatural" events in the world, like the actions of ghosts, intradimensionals, and cryptids such as bigfoot. These topics have been pushed to the perimeter while everyone's attention has been focused upon the sham known as the "social sciences." Why? Because real life exceptions to the artificial rule cannot be tolerated. Charles Fort summarized this phenomenon when he wrote, "I conceive of nothing, in religion, science or philosophy, that is more than the proper thing to wear, for a while.”    
 
I worked in the psychology department of NYU when its experimental and clinical programs were ranked in the top five of the western world. It didn't take long to realize that most of the professors there were totally full of shit. They were lost souls that had initially been attracted to the field of psychology in order to heal themselves of terrible wounds inflicted by other adults upon them when they were children, or from living through traumas.
 
When they realized that psychology could not help them, a magickal thing happened. This knowledge empowered them to assume positions of authority in our society and that's exactly what happens in the fields of physics, astronomy and other pseudo-sciences that are really more based upon indoctrination than genuine discovery. The cultural icons that dominate such fields are propped up posterboys and girls. The most powerful ones, like Sigmund Freud, Carl Sagan, and Einstein, were given enough knowledge of how human society works to allow them to parade on the stage with some modicum of usefulness.
 
 
Charles Darwin was not such a poster boy; rather, he was a planner, himself, a billionaire of his day, with royal blood flowing through his veins. He was an insider, who knew the end-goal of the educational system of dogma he was creating. Yes, like all good propaganda, his views were based largely upon observable phenomenon, but this phenomenon was then filtered through a hopelessly cracked lens. It's worth noting that neither Charles, nor his father, Erasmus, probably came up with the idea of natural selection. Rather, they borrowed it from other, less famous, and less influential, people who have since faded into obscurity.
 
Natural Selection, like the Big Bang, is largely a myth, not unlike the myth of Adam and Eve in their Garden of Eden. Hard geological and anthropological evidence that flies in the face of the prevailing scientific paradigm is deftly swept out of the public view, and then summarily filed away, or, if the evidence is truly damning, destroyed. The human race has been on earth much much longer then we have been led to believe, not shorter. As Charles Fort once mused, "The earth is a farm. We are some one else's property." That farm is not bound by the laws of space and time in which we, the herd, are encouraged to live, between the psychological mile posts and fences of our rigged cultures.
 
Of course, it's worth pointing out that Natural Selection led to social Darwinism (the rich deserve to bully everyone else because nature made them powerful) just as Hebrew fables led to Manifest Destiny, which justified clearing human "trash" off the continent of North America, so the New World Order could plant its seed. Controlled chaos like pandemics and genocides were  harnessed with the help of Northern European immigrants, which were imported for precisely such a purpose, just as other races today are being used to build a vast interconnected framework of conformity rather than exhibiting the pioneering spirit of rugged individualism from centuries past. 
 
Self-reliance in the 1700s, 1800s and early 1900s paved the way for bankers and corporations to take over once the land had been cleared, and the prevailing European-based culture had been established. It's worth noting that this culture had been carefully managed for millennia by cultural planners that originally hailed from Rome, Khazaria, and the swamp-laden City State of Venice. Any way you slice it, humans are being used as pons on a global chessboard that politicons like Zbigniew Brzezinski pride themselves as orchestrating. Meanwhile, cultural gatekeepers such as TS Eliot, HG Wells, Aldous Huxley, Isaac Asimov, Ayn Rand, and Martin Amis occupy the same place as writers "in the know." 
 
Speaking of "rigged," our modern education system has been set up to confuse people and to blind their spiritual insights rather than enabling a connection with "other." God is not dead, and God is not a "he." Even the name "God" has been defiled to the point of pointlessness. To most professors at NYU, or in the physics department of the University of Washington, when I worked there for over a year as a lead administrator, God was dead. It's no accident that they thought such a thing. It had been taught to them, over and over and over again, by the educational system that replaced a belief in spirituality.
 
Creative writing--as a process of discovery, practice, and finally, mastery--is no different. True writers are not wounded souls with so much emotional baggage over their heads that they cannot function. Rather, they are people that have learned to see through the charade and throw off the cultural baggage that has been holding them hostage, and keeping them a prisoner.
 
Today, degenerates with suicidal tendencies are rewarded by the powers of our culture, which heralds them as brilliant thinkers, and for good reason. Focusing people's attention away from true enlightenment and spiritual perception helps to keep the same dull round in place. As the romantic-era poet William Blake wrote, "the same dull round, even of the universe, would soon become a mill with complicated wheels."
 
That treadmill has become a menagerie of microchips and fiber optic cables today, which tug people away from even cracking open a book. Such is the nature of so-called progress, as one antiquated hierarchy replaces another. Yesterday's pantheon of writers and painters will morph into tomorrow's virtual innovators. If present trends continue, their art might well be mainlined directly into the brains of audience members of the "civilized" world. 

Wednesday, August 27, 2014

Squatching: In the Eye of the Beholder











Children have a unique way of viewing the world, and their interpretations of the sasquatch phenomenon is no exception. I find the above drawings from a display at the Discovery Center in The Dalles, Oregon, to be quite refreshing. They are all so different!

Such art dramatically contrasts that of coloring books. Oh, how I despise coloring books. I hated them as a child, and, as an adult, I loathe seeing children forced to color in between other people's lines! All too often, such "art" is thinly veiled advertising of one sort of another, which merely ads creative insult to artistic injury.

Bravo for individuality! Bravisimo to those who start "from scratch." There is no such thing as a "blank canvas." White pages are merely the opportunity to externalize what already exists in the conscious and the subconscious minds of those who seek to represent hidden treasures.

We are all artists and snippets of life are our canvases. If you have a friend or a family member that is new to this earth, why not encourage him or her to draw something fresh and new today?

There's no better time than the present. And, while you're at it, why not externalize the inner child-like artist in yourself, no matter what your present day age?

When it comes to squatching (or bigfooting to use another verb), the impressions we gather "in the field" can be quite personal. No matter what the "hard sciences" like to assert, encountering a creature as unusual as a sasquatch is not always a strictly objective experience: rather, it can be a deeply subjective in nature, drawing upon one's intuition, as well as his or her five senses. 

For some people, witnessing a sasquatch is tantamount to crossing paths with a god . . . to others, a demon, and to yet others still, a relict species of hominid. All interpretations are valid, and all of them are valuable, in their own ways.

By that, I mean that, in order to understand what sasquatches may represent, we need to keep an open mind. I've heard a group of witnesses, every member of whom observed the same sasquatch, each come away from the experience with fairly different impressions.

Native American legends and tribal elders tend to corroborate the way sasquatches can "walk between worlds," and touch each and every human slightly differently in their mind's eye. It's no accident that quite a large percentage of native cultures that hail from areas where sasquatches live tend to think of them as shape shifters.

Often, children have the most intuitive sightings of all. And that's no accident: they haven't been indoctrinated yet to interpret experiences in a uniform manner to everyone else. When it comes to squatching, this lack of objectivity can actually be an advantage!

Saturday, August 23, 2014

States with Believers in "Supernatural"

Okay, there are polls and then there are polls. This one is actually interesting. It measures states in the US where the majority of citizens claim they believe in some sort of supernatural phenomenon. We're talking about everything from UFO's to bigfoots to ghosts.


 
The dark states have the most believers, while the light green states have the most skeptics. I'm from Oregon, so I guess my state is "in between." It's interesting to note that Hawaii is a light state since most native Hawaiians believe in the supernatural.
 
Nevada is dark due to the fact that most people there believe in UFO's; however, I might be a bit jaded to point out that UFO's are not necessarily supernatural. In fact, I tend to believe that the vast majority of them are simply human-designed black-ops craft.
 
So, you can see that this poll assumes all UFO's are piloted by aliens, which is as short-sighted as calling sasquatch "he" and actually being daft enough to think that most believers hold to one, lone, sasquatch roaming the country and being sighted, state by state.

New Mexico was ranked high due to a large percentage of the population interested in the Illuminati, but this alleged organization is not rumored to be concerned with supernatural things either. Rather it's allegedly made up of powerful people who have been historically manipulating the path of humanity. So, New Mexico's status is also misleading on the map.

This said, I think it's probably a fair assessment that if the word "illuminati" is being thrown around by celebrities and the major media, then the organization (at least its name) is ancient history. Rather, the mythos of the illuminati is being endorsed. And this brings up the question of "why?" My answer: to acclimate the public to the idea of secretive leadership that controls a lot of things, from politicians to land to covert technologies. This process was called "externalization of the hierarchy" by Alice Bailey, who, in turn, externalized the New Age movement in the mid-20th Century.

Lumping the illuminati and UFO's in with supernatural goings-on is actually a form of cultural conditioning (either directly or, more often, indirectly through "copycat" conditioning). Why? Because such assertions and assumptions cause people's brains to associate conspiracies with ghosts and bigfoot. And that tends to work in the favor of black-ops and top tier (human) predators on earth. In other words, accepting such (unfounded) assumptions  discourages people who don't believe in the supernatural from thinking about how their planet is being (covertly) ruled, or how the vast preponderance of black budget funds (from their taxes) is being spent.

I don't know about you, but I like to know how my tax dollars are being spent. In fact, withholding such valuable information on such a massive scale almost certainly violates Article I, Section 9, Clause 7 of the US Constitution. Of course, if we are to believe the media, then knowing such a fact would make me a "Constitutionalist" (which I'm not), and Constitutionalists are looked upon with suspicion by some branches of the Executive Branch of government. Personally, when it comes to the US Constitution, I've always held that it is fairly draconian--at least in the way it was originally drafted (in secret and without the feedback of Americans).


These days unaccounted for taxes at the national level have risen into the trillions annually. It doesn't take an accountant to conclude that such unaccountability is not only unscrupulous, it's downright dangerous. That's right, the biggest threat to America's national security is precisely what is being done with those monies.

Chances are high that not everything being funded is in the best interest of the tax payers who are funding such covert activities, machines, GMO experimentation (especially human and animal hybrids), as well as the development of novel diseases powerful enough to make the Black Plague seem like poison oak by comparison. 
 
At any rate, I, for one, would be interested in seeing the same sort of "supernatural" poll organized by countries on earth rather than merely US states. Despite its obvious flaws, which tend to carry water for the richest people on earth (who want UFO's to be associated exclusively with aliens and the Illuminati to be associated with the supernatural), I still find the Supernatural Belief Map to be fairly interesting.

Kudos to Movoto.com for putting the survey together and compiling data on a very intriguing subject. By the way, Movoto-ites, how many people were polled in each state? Five or six? Those all-important demographics are left out, so the reader has no idea how many people were polled as a percentage of the population. And what in the heck does "Movoto" even mean?

Saturday, June 28, 2014

Novel Cowslip About Dawning CJD Epidemic


My fourth novel, Cowslip, written in 2001, predicted the CJD health crisis that is currently beginning to take shape in our society. It's worth buying. Order your copy here. 

The novel is based upon cutting edge research that was available in the early 2000's and now has been mysteriously expunged from the Internet. Cowslip is not available anywhere else at the current time.

Recently, one of my sister's closest co-workers died from medically diagnosed CJD. This really brought the problem home to me. My sister lives in Salem, Oregon, a nearby city to where I live in Portland.

CJD has reached epidemic proportions and the public is not being warned. I am here to say that people should read up on how to avoid contracting CJD. I will be publishing critical information in this regard on Kultus Book.  Keep an eye out for another post on how to keep from becoming infected by this very real threat to your mental and physical health.

Monday, June 16, 2014

On Location Series

Faces and Places from the Novel, Kultus
Part I: The Towns of Kultus and White Salmon, The Dark Divide, and The Dark Highway


The imaginary town of Kultus is found among the most beautiful part of the Dark Divide, situated between Mt. Adams and Mt. St. Helens in the Devil's Triangle.

 
 
The real-life town of White Salmon, WA, also figures prominently into Kultus. It's where Rainbow, Ballard, and OGRE (Old Growth Resistance) call home.
 
 
 
The Dark Divide is the largest roadless area in western Washington state, comprising approximately 76,000 acres (310 km²) of intact wilderness on Juniper Ridge linking Mount Saint Helens and Mount Adams in the southern Cascade Mountains of Washington. In two remote valleys of the Lewis River drainage are 500-year old trees much coveted by timber companies, which successfully lobbied Congress to omit the Dark Divide from protection in the Washington Wilderness Act of 1984. Today those ancient forests are protected from logging as reserves for the northern spotted owl and other species under the Northwest Forest Plan. The area's recreational-use regulations however are disputed by advocates for hikers and wildlife, since it is currently the only sub-alpine area in Washington open to motorcycles.

Downstream of the confluence of Quartz Creek, the Lewis River plunges over four large waterfalls. Curly Creek, another tributary, is the only cataract in Washington with an intact natural stone bridge, and the early formation of a second natural bridge can be observed.
Although the Dark Divide is largely composed of black basalt, features such as 5,238-foot Dark Mountain, Dark Creek and Dark Meadows are actually named for John Dark, a 19th-century gold prospector and speculator. The area includes Ape Canyon and the berry-fields of Indian Heaven, and is a center of Bigfoot lore in Washington state.  [Info courtesy of Wikipedia]

This photo captures the feeling of the fictional Dark Highway

 
Photographs of Mt. Adams, WA. The entire novel takes place in the "shadow" of Adams, a place notorious for UFO, bigfoot, and portal phenomena. (Kodachrome photographs taken by Bob Pyle)




Columbia Gorge from the Washington side

View of orchards and Mt. Hood

 
This is how I pictured the fictional locale of "Skookum Falls"


 
View from "on high." Looking down over a clear cut in Gifford Pinchot National Forest.

Monday, June 2, 2014

Drumming & Squatching

Cliff Barackman and I have known each other since he first moved to Portland, Oregon. He’s a consummate guitarist. I happen to know my way around the drum set, so we’ve “jammed” together for years, playing jazz, Latin, and Old Time music—in addition to camping in the woods from time to time, as well as hanging out in town.

White Eagle Saloon, Portland OR
In July of 2012, I had the pleasure of accompanying Cliff’s playing on his seven string guitar during a performance that was recorded for an episode of Finding Bigfoot. We performed at a local (reputedly haunted) tavern in Portland called The White Eagle, along with Andy, who also owns a seven string guitar. Both he and Cliff trade bass parts because they can, and it’s cool to be weirdly versatile. Incidently, Finding Bigfoot is now the Number One show on Animal Planet network.

Cliff, Andy, and Kirk (on drums) at the White Eagle Saloon last summer
 
Ye Olde Stomping Grounds in Seattle U District
 
 
Kirk building a tree fort for his eight year-old nephews



Craig Flippy shot the cover photograph for Kultus. Craig is a film maker. He's very talented and creative. If you haven't seen Bigfoot Road Trip, starring Cliff Barackman and Craig, definitely check it out. Craig produces the videos, and Cliff plays a leading role in storyboarding each episode.


Here is a blogsquatch. Just kidding, it's Guy Edwards. Before the weather turned cold, I took him to a hotspot near Goat Mountain, Oregon. We didn't hear any knocks that day, but the bigfoot "vibe" was strong.
 
Craig sits in the passenger seat while Cliff drives, and in the driver's seat when it comes to pointing a film camera at Cliff and everything else in bigfoot hot spots. The project is kind of a "two man band." Impressive. If you haven't seen it, definitely order yourself a copy. The tone is light and funny at times, and scholarly at times. A grab bag for the squatch curious and also for the veteran bigfooter. These days, Craig is also a cast member on Finding Bigfoot.