When Brett Kimberlin isn’t lying, he’s often shading the truth so as to mislead. Consider this from paragraph 43 of his omnibus opposition to the motions to dismiss his Kimberlin v. The Universe, et al. RICO Madness.Notice that Kimberlin does not say that he was involved in the production of any of those films. He says that he promoted them. Note also that he doesn’t say the his songs and videos were “award winning.” The sentence is a flimsy attempt to inflate Kimberlin’s standing in the music world. It’s all quite consistent with something reported by Mark Singer in Citizen K.
On page 310 he writes:
When I compared Kimberlin’s renderings of certain incidents with the recollections of other witnesses, the recurring theme of “jumping the connection” almost always emerged. When a dope dealer jumped a connection, he eliminated a middleman, hoping to cut his costs without increasing his risk. Now, both literally and figuratively, it seemed that Kimberlin had this same habit. Figurative instances were narratives in which he claimed center stage, though in reality he’d participated at a distant remove or not at all. Or, when it suited his purposes, he might do just the opposite, ascribing to others acts he had performed himself.
Lying liars gotta lie.
A broken clock has been alleged to be right a couple of times a day..
This is certainly true, but my math says that (the one who shall not be named) he has no concept.
TI products, how do they work?
Oddly enough, some members of Team Kimberlin reset their broken clocks twice a day — so as to avoid actually being right.
I had a wind up alarm clock with a speed adjustment mechanism that was somewhat temperature sensitive. As it was usually slow or fast it was usually only correct when there was someone on-hand to correct it. It usually wasn’t far off, but some times it’d go off at four in the morning or several hours late. The mainspring was only good for two or three days, so if I left the house for a few days it’d stop and then it’d be right by accident twice a day, but as it was accidental that fact wasn’t even useful. I eventually threw it away as it’s level of ineptitude was actively harmful, after it went off at 3am one day and I accidentally backhanded it across the room, cutting my hand in the process.
Absent any “involvement” with the producers of those films how can Brett Kimberlin claim that he can no longer “compose songs and produce videos to promote … documentaries.” Absent “involvement” with the producers one can compose a song and produce a video at will. Tomorrow, Brett Kimberlin could download a you-tube video of himself singing the praises of “Rodger and Me” to lyrics and melodies of his own creation.
His assertion is doubly galling considering his recent production of a song and video “promoting the [Soundtrack to an] award-winning [Twilight movie.]” –Granted, the “award” was a “Razzie” for the Worst Performance in a Leading Role by an Actress, but, if the Court fails to ask who is at fault?– What is the distinction between composing songs and producing videos for a documentary as opposed to a motion picture, other than the possibility that Brett Kimberlin has “sold out” his craft in the pursuit of the almighty dollar?
The only straw I can grasp at in analyzing his claim is that he is claiming that he longer has the resources to produce such videos. In more crass terms, he lacks money. “Directing” a video is a creative act. “Producing” a video is more of an entrepreneurial act. AFAIK, during the entire timeframe of these videos Brett Kimberlin was making exactly $19,500/yr. The only organization that I could imagine that would have the resources to “produce” such videos was the JTMP. The problem is that if the JTMP provided the resources, the funds, the studios, the equipment, then, they are the alleged damaged party. Brett Kimberlin has pretty much thrust a lance at his own corporate veil.
By all other metrics… the current subject/object is delusional.
But then again… I have consumed a LOT of bourbon.
I hate it when my wife is on-call at Hillcrest.
I have massive issues trying to sleep without her.
Jumping connections seems to be a recurring theme with that entire group, no?
I seem to recall that, recently, he was trying to get one of his songs voted the winner to be selected to be used in conjunction with a film but lost; producing a song to try ostensibly to promote a film is not necessarily the same as actually promoting the film.
I have been writing humor for the New Yorker for years. The editors refuse to print a word of it.
I sincerely hope that few of us have to resort to puffery to explain how we’ve spent our lives, professional and personal. The Kimberlin’s of this world avoid real work, and as such they avoid real accomplishments.
Reblogged this on A Conservative Christian Man.
Well I compose songs to support award winning documentaries, too, like “Undefeated” (won Oscar in 2011): Here it is: Undefeated, yeah! Undefeated, yeah yeah yeah yeah. Undefeated, justice meted, Schmalfeldt tweeted, Brett mistreated, Yeah yeah yeah yeah yeah! Cha cha boom!
If anyone dares to criticize my artistic endeavors, I will file a RICO lawsuit so fast the ink won’t be dried by the time they are served! Or not.
I bet it sounds better than anything Brett Kimberlin ever recorded.
He’s a very “You pay NO cable fees because you’re NOT getting cable!!!” kinda talent.