The ''PanART Hang Documentary: A Propaganda-Filled, Dissemination of Lies'' (Part 1)
July 04, 2016
In keeping true to our mission of the pursuit of integrity and ethical business practices within the world of Pan, as promised, the full deconstruction of the PanART hang documentary is right here, right now.
We fully understand that many, if not most of the hang enthusiasts and proponents accept everything that Felix Rohner says as truth, without questioning him. We have received a lot of feedback from hang enthusiasts who are having their illusionary bubbles bursted, many of whom have suggested that we watch the PanART Hang documentary in order to gain a fuller understanding (as if we did not have that already). So we took their advice, watched the documentary multiple times and were not shocked at the amount of lies and propaganda that were being spread by Mr. Rohner and co. in this propaganda piece.
Allow us to proceed with this deconstruction in an orderly, chronological fashion!
The lies begin from the first words of the documentary, which are uttered by a narrator. At 1:18 in the documentary, the narrators opening words are,
''The world of music welcomes the birth of an entirely new instrument.''
From the very beginning of this piece, the viewer is being told a boldfaced lie upon which most of the subsequent lies surrounding the hang are based; namely that the hang is somehow a ''new'' instrument.
As stated before in previous blog posts on karibpan.com, the hang is NOT a new or unique instrument. The hang is essentially the first 21st century, regurigitated version of the 20th century convex steelpan. Convex steelpans were first experimented heavily with in Trinidad in the earliest days of the steelpan. Convex steelpans were the norm until the late 1940's circa 1948, when the concave steelpan which we are all now familiar with became a standard steelpan shape. The old, convex shape was abadoned in Trinidad by early steelpan pioneers who discovered that the concave shape was limited as far as the amount of notes that could be dented in the surface. They then turned their efforts towards the development of the now standard, concave pans which could accomodate more notes.
In essence, Mr. Rohner took an old, discarded, limited steelpan design, dusted it off a bit and tried to reinvent it and market it to the uneducated and uninitiated as a ''new'' instrument, when it is in fact recycled.
The fact is the it is the traditional steelpan that is a new, unique instrument. As the hang is based on the steelpan without a shadow of a doubt and is by definition a steelpan, Mr. Rohner would be hard pressed to prove that the hang is ''an entirely new instrument''.
In focusing on some of the propaganda aspects of the documentary, which are essentially half-truths, or truth mixed with lies which are the most effective form of lies, I would like to point the reader to the 4:02 mark in the in the documentary.
Here we have a young, prospective buyer of the hang in a music shop in France describing his first time hearing the hang. He describes the sound as something with a ''special ambience''. An apparent musical novice, he expresses his desire to own one due to the fact that he saw a street musician playing this instrument in what appeared to be the Gothic Quarter of Barcelona playing to an enraptured crowd of ''50 people''.
While this young, prospective hang buyer is talking about this experience first seeing and hearing the hang, video is shown of an Israeli hang player playing in the Gothic Quarter of Barcelona to a somewhat fascinated audience.
The propaganda being spread here is centered around the fact that the lie being sold is that anyone with little to no experience with the hang or music in general can merely take a hang to the streets of Europe (Barcelona), and begin making enough money to earn a living like the Israeli hang player featured in the video. This same Israeli hang player also admitted in the video to being a novice and despite this fact, was able to play the hang full-time on the streets of Barcelona and make a living for himself.
I personally know a musician with a strong percussion background who also happens to be a personal friend of mine. He regularly played cajon and djembe on the streets of west Germany as a member of a trio which also included a hang player. This group made quite good money playing on the streets together until they split up. As a solo cajon/djembe player it is quite difficult to make a living on the street, so my friend decided to take a handpan that he owned to the streets and play solo, even though he was inexperienced with the instrument.
Needless to say, despite my friend's strong percussion background, he was unsuccessful on the street as a solo handpan player to the point that after about 1 week of making little to no money, he secured a dayjob for himself that could actually pay his bills.
The moral of this story is that even with a strong percussion background such as my friend has, it is hard to take a hang/handpan to the streets of any city, even the prosperous, money lined streets of Germany and be able to make a living like the Israeli hang player featured in the documentary, much less be able to attract crowds of ''50 people'' who are focused intently on the hang and the player. Many of the hang/handpan players who take this instrument to the streets with the intentions of making a career out of it quickly realize this harsh reality and the fact that it takes a lot more to survive on the streets playing the hang/handpan than merely relying on the novelty of the instrument alone to attract attention/money.
At the 5:53 mark of the documentary, the narrator states, ''Since it arrived in Barcelona in the summer of 2003, the hang has made itself known as a street musician's instrument.''
I would love to ask this narrator how many of the hang/handpan street musicians actually LAST on the streets and can pay their bills from such busking activity. The hang/handpan buskers that I see are literally a revolving door of players who are here today, gone tomorrow and most of them seem very fresh faced and brand new. I do not see hang/handpan regulars on the street as a general rule. Sure there are exceptions, but these are by definition exceptional cases. The hang/handpan like any instrument is not something someone can just decide to take to the streets to play and magically make money, impress audiences, and be able to exclusively fund some kind of idealistic, bohemian lifestyle as portrayed via the Israeli hang player in this documentary. And unlike other instruments, the hang being a 9 note instrument in general, will drive any player who plays it hour after hour insane due to the monotonous, limited nature of the instrument. It gets very old very quickly playing the same scale over and over hour after hour as hang/handpan buskers are obliged to do.
Another downside to playing a hang/handpan on the streets is the fact that unless you have a very quiet pitch with good acoustics such as the Israeli player had in the documentary, your chances of being heard are quite slim, especially among the everyday noises of a busy city. With so much competition amongst street musicians for space, a new hang/handpan player who has no experience busking will be hard pressed to find a suitable pitch to play and be heard. In fact, the Gothic Quarter of Barcelona where the video of the Israeli hang player was filmed, is one of the most competitive pitches in the city and often times at any hour or any given day of the week, there will be a street musician playing in that exact same pitch the Israeli hang player was filmed. As a former resident of Barcelona, I know that area quite well and I am very familiar with the scene there as well the the regular musicians who play in the city, especially in the Gothic Quarter.
Just to backtrack a bit and cover my bases regarding more propaganda aspects of the documentary, regarding the ''special ambience'' created by the hang spoken of at the 4:02 mark by the young, prospective buyer in the music shop in France, I must admit, that the hang sounds distinctly like a steelpan in terms of the sound, especially in the distance where the music can be heard, but the actual player is unseen.
As a longtime resident of the EU, seeing a hang/handpan player on any street in any EU country is not uncommon. Often times, you will hear the player before actually seeing him/her, and the sound emitted is most definitely the sound of a steelpan! There is no question about this. As a pannist myself, when walking down the street and hearing a hang/handpan player before I actually see him/her, it always takes me a moment to discern whether it is a handpan being played or an actual traditional steelpan. Knowledge and experience tells me that as there are very few traditional steelpan street musicians in Europe and the likelihood is that the sounds I am hearing are coming from a hang/handpan, but I still must take a moment to make the distinction. As much as I wish I would stumble upon an actual street musician in Europe playing the traditional steelpan, the fact of the matter is that there are more hang/handpan street musicians in Europe than there are steelpan players. Thus, when hearing a steelpan on most any European street, the chances are when the actual player comes into view, it will be a hang/handpan player, not a pannist.
Now back to more lies in the documentary.
Another bold faced lie that is based upon the first lie told in the opening words of the documentary comes at the 12:40 mark in the piece, when the narrator asks the audience, ''Who would have thought that the hang comes from Switzerland?''
If the narrator is really seeking an answer to his question, the answer is that only the uneducated, uninitiated members of the public would believe that ''the hang comes from Switzerland'' for reason that I stated earlier; the hang is based on the convex steelpan which was originally developed in Trinidad as the forerunner to the standard, concave steelpans of today. There is no Trinidadian/West Indian or actual initiated pannist of nay background who will buy the lie being sold that ''the hang comes from Switzerland''. This is pure blasphemy in the steelpan world, and the steelpan is like a religion to many pan enthusiasts such as myself.
At the 16:28 mark in the documentary, Sabine Schärer, Felix Rohner's partner-in-crime states, ''The pan (hang) generated a completely different principle than that of the oil drum.''
Pray tell, Ms. Schärer, how does the hang represent a completely different principle than that of the ''oil drum'' (traditional steelpan) when the hang as I have stated on numerous occasions is based on the oil drum and ''refined' by individuals like Mr. Rohner yourself who come from admitted traditional steelpan backgrounds?
The hang, like its mother, the traditional steelpan, is an instrument which is based principally on properly tuning metal so that it resonates via percussion techniques. So in fact, in principal, the hang is no different than the traditional steelpan ''in principal'' as Ms. Schärer would like the audience to believe. It is apparent that Ms. Schärer has an agenda to remove the hang ''in principal'' from its place as a direct descendant of the oil drum (traditional steelpan) by claiming that she has ''refined'' it to the point that it is no longer ''in principal'' a steelpan.
I guess the same way Mr. Rohner and Ms. Schärer have ''refined'' the steelpan is similar to the way Europeans took raw (brown) sugar and made it white through the refinement process, as well as wheat flour which has become bleached flour. Not to mention the raw cocoa that is bought cheaply in West Africa at exploitation prices and brought to the European market to be refined into expensive Swiss chocolates and sold at a killing as far as profits are concerned.
At the 18:52 mark of the documentary, Ms. Schärer goes onto claim that she has conducted the ''first acoustical research on the steelpan''.
This is truly laughable as obviously for the steelpan to have developed enough for her and Mr. Rohner to even be able to take it up with a passion in the first place required countless decades of acoustical research by the original steelpan pioneers who are directly responsible for her research in the 'first'' instance. These claims of hers are literally a slap in the face to an initiated pan enthusiast such as myself.
At 22:44 in the documentary, a blasphemous attempt to portray Felix Rohner as some sort of ''divine'' presence in the steelpan world is undertaken when the narrator states, ''The central place of the tuner is symbolic, if not divine. It is he who knows how to put the sound back into the drum.''
At the precise moment the narrator utters these words, at 22:53, the camera pans into a photo of a young Felix Rohner, which is the first time the viewer sees an actual image of him in the entire documentary. The fact that he is first shown to the audience as the narrator is speaking of the ''divine'' nature of the tuner reminds me of how Europeans put a white face on a black Christ.
The earliest images of Christ and the Virgin Mary depict Christ as the Bible describes him:
Revelation 1:15 KJV
14His head and his hairs were white like wool, as white as snow; and his eyes were as a flame of fire; 15And his feet like unto fine brass, as if they burned in a furnace; and his voice as the sound of many waters.
Wooly hair, as Christ is descirbed by the Bible as having is hair that is commonly referred to as ''nappy'' which accurately describes the hair texture of the negro. Fine brass burned in a furnace, as Christ's feet are described is brownish/yellow in color, as is the negro. Early depictions of Christ in Patmos, Greece feature a negro-looking Christ despite the fact that most Christians of today have been fooled by lies and propaganda into believing that Christ was a European. Paintings of the Black Madonna, mother of Christ cradling Christ in her arms is also prominently featured in the Vatican.
Mr. Rohner's portrayal of himself subliminally to the audience as some sort of European ''divine'' presence due to his steelpan tuning ability immediately reminded me of how Europeans have a history of attributing ''divine'' attributes and qualities to themselves wherever negroes are concerned, and in this case, the steelpan is obviously no exception. This is flat out blasphemy though and through on the part of Mr. Rohner.
Stay Tuned for Part Two of ''The PanART Hang Documentary: A Propaganda- Filled, Dissemination of Lies.
July 06, 2016
In beginning part 2 of this blog post, I would like to remind Mr. Felix Rohner and the readers that our blog is a business matter pure and simple. My partners and I do not know Mr. Rohner personally, but as this is a matter of business, our personal knowledge of him or lack thereof has no bearing on our view of the situation.
At KaribPAN our mission is to promote ethical, socially conscious business practices in the world of Pan, and our mission must continue.
At 23:10 in the PanART documentary, the narrator states that, ''However, certain musicians in Trinidad see it (the hang) as merely a copy''
While this fact was duly noted in the documentary and still holds true today, 10 years after the documentary was actually released, the overwhelming consensus among the hang/handpan community is that the hang is a ''new, unique'' instrument. Despite the fact that this is the case and there are still many misinformed people touting the hang as a ''new'' instrument, it is apparent that Mr. Rohner is deeply disturbed that he has not managed to gain the respect and admiration he truly desires from the steelpan community in the Mecca (Trinidad). The admiration and respect among the majority of the hang/handpan community will not suffice for Mr. Rohner, as it is apparent that he willingly accepts his role as their master guru. However, the Holy Grail as far as Mr. Rohner is concerned is widespread respect among the originators in the home of the originators, which has escaped him thus far and will continue to escape him in the future.
The response that Mr. Rohner gives to the fact that ''certain musicians in Trinidad see the hang as a copy is:
''It's a symbol of creativity, it's a gift from Trinidad. The steelpan is the symbol of an entire people's creativity, a people which had lost its roots. This gift from Trinidad has always pushed me to develop my own creative power through it. While looking for new materials and forms in complete liberty, without cultural constraints.''
Here again, we have yet another example of Mr. Rohner demonstrating his elitist attitude where the pan and its originators are concerned. Here Mr. Rohner admits indirectly that the steelpan originators are vulnerable due to them losing their roots/history. In all reality, they did not lose their roots by accident, but they were forcibly stripped of their roots/history through genocide, slavery, colonization and hundreds of years of oppression. This is precisely why most Trinidadian/West Indian negroes are walking around with European names to this very day, even though their roots are not in Europe. Their names are obviously slave names, one of the many modern day remnants of slavery.
So as a descendant of a former colonialists such as Mr. Rohner is, who has benefitted from the exploitation of others, he should be highly conscious of the fact that he is a GUEST in the steelpan community, and as such, he is not entitled to ''complete liberty without cultural constraints'' as he claims to have acheived through the hang.
This mentality is precisely why he is viewed as a colonizer in the Mecca by most who are aware of him, and will most likely never gain respect where he desires it most. Mr. Rohner is attempting to claim rights to something that he does not own (hang) and will never own, no matter what new name or new spin he tries to put on an old invention.
At 23:55, Mr. Rohner goes on to state that,
''I have never considered myself a thief because I have been able to make my own contribution. I always understood the symbolic statement that this people (in Trinidad) had made creating the steelpan.
I already discussed the reasons why Mr. Rohner has demonstrated that he is a thief in a previous blog post entitled, ''If You Own a Hang or Wish to Own a PanART Hang, You Are Either Highly Misinformed, Very Elitist, or Both!''
The part of Mr. Rohners statement at 23:55 that I would like to address now is the fact that he claims to ''understand the symbolic statement that this people (in Trinidad) had made creating the steelpan.''
It is apparent to me that there is no way someone like Mr. Rohner who has benefitted from the exploitation of others could in any possible way understand the ''statement'' that the steelpan represents to a people like Trinidadian negroes. This statement (steelpan) was born out of genocide, slavery, colonization and oppression, and Mr. Rohner as a Swiss-German descendant of colonizers could never begin to even grasp such atrocities which contributed to the development of the pan. These remarks by Mr. Rohner are disingenuous and patronizing to say the least. Someone in his position would naturally be inclined to say such things but to the originators, this is nothing more than lip service.
Mr. Rohner would be better of feiging ignorance than claiming that he ''understands'' what genocide, slavery, colonization and oppression is all about from the view of the oppressed, considering the fact that the Germans have historically been among the greatest, most prolific, genocidal, colonizing maniacs the world has ever known.
At 40:36 in the documentary, a Swiss performer who yodels and plays the hang and obviously feels very comfortable with his incorporation of it into his yodeling act states, ''For me the hang corresponds to a new world of music, it really enriched my songs.''
For the students of history, Trinidad & Tobago was part of Christopher Columbus' ''new world'', which was ''discovered'' by him (even though Carib and Arawak natives were already present long before his arrival), and used to ''enrich'' the colonial powers of Europe. The striking metaphor in this Swiss yodelers statement was not lost on us.
In the same way Trinidad and her people were used to enrich Europeans then, it is being used through the hang/handpan to enrich Europeans today. And all of this enrichment is based on exploitation obviously.
In closing, I would like to publicly encourage Mr. Rohner to give back to the steelband community in Trinidad & Tobago, which is the source of his riches and fame/infamy. It is his duty as someone who has earned a comfortable living from Pan as well as the duty of any other business person in the world of Pan who acheives success. I would also encourage any other persons employed by PanART to make a donation as well.
In addition, a substantial donation on the part of Mr. Rohner would certainly go a long way in improving his reputation among the very same people whom he desires respect and recognition from.
A worthy cause for Mr. Rohner to make a substantial, meaningful contribution to is ''Expats & Locals for Pan'', a grassroots organization currently being developed as we speak on ''When Steel Talks''/WST, the leading, largest online steelpan community. The goal of ''Expats and Locals for Pan'' is to generate funding on a grassroots level to organize a prefessionally recorded showcase of the finest steelbands/pannists, in order that pan enthusiasts in the Mecca and worldwide can personally support and begin to control and shape the destiny of Pan on a broad level, with an eye towards a future of exponential growth.
The actual topic can be found here and all pan enthusiasts are welcome to give their input as well as make a donation:
Rudy: I want to thank you for your contribution to the EXPAT-LOCAL organization. In the midst of everything I want you to know that your politics are not MORE RADICAL than mine. Just look at the murder of police officers in Dallas (four and counting) tonight after the instigation of a presidential speech and CNN propaganda (Spike Lee/Don Lemon/Van Jones) -- so let us stick to the PAN TING and leave the RACE and POLITICS out of the discussion.
IT GO BE AH GOOD SHOW!!!
As editor of the Hang Library, who has published the film documentary in question online by courtesy of Véronice Pagnon, who together with Thibaut Castan is the author of the documentary, I cannot leave this without a comment.
It's a pitty that Rudy Kendall is not interested in understanding what the opinion of the PANArt tuners Sabina Schärer and Felix Rohner about the relation of Hang and steelpan really is. He just searched through the documentary collecting a number of phrases that seem to confirm his preconception.
He also don't take in consideration that this documentary is not a work of or on behalf of PANArt. It is the work of two French film makers. The narrator represents their opinion and understanding and the different persons who are interviewed (the PANArt tuners, musicians, an instrument dealer and others) represent their own opinion and understanding.
In some cases Rudy Kendall's critique is based only on a complete misunderstanding of what really was said.
For example he criticizes Sabina Schärer for allegedly having "an agenda to remove the hang ''in principal'' from its place as a direct descendant of the oil drum (traditional steelpan)". In this context he quotes the English subtitles of the documentary allegedly saying at 16:28: "The pan (hang) generated a completely different principle than that of the oil drum." This is a false quotation. Rudy Kendall smuggled the word "hang" into this phrase. The original phrase doesn't say anything about the Hang. The correct quote is: "The pan generated a completely different principle from that of the oil drums." What the real meaning of this sentence is, we will see below.
Some lines later Rudy Kendall blames Sabina Schärer for allegedly claiming at 18:52 "that she has conducted the ''first acoustical research on the steelpan''". This is a false quotation too. In fact the English subtitles in the documentary say: "Thus we started with acoustical research to understand how this object could be tuned, how it resonated. Thus were born the first scientific collaborations based on an understanding of the physical and acoustical behavior of the steel pan."
Now let's try to understand what Sabina Schärer was really talking about. In fact she neither said anything about the Hang nor about Trinidadian steelpan in this part of the interview. She talked about a development by PANArt: The deep drawn and nitrided raw form. Felix Rohner had researched since the 1980th to find an alternative to the oil drum, because it had become difficult to obtain good drums for steelpan building. In 1995 this research resulted in a raw form that was produced by deep drawing and then hardening by nitriding. This metal matrix composite with a ceramic like surface the PANArt tuners called Pang. It was at the time when the first Pang raw forms arrived in summer 1995 in the PANArt workshop (five years before the Hang was developed!) when Sabina Schärer joined PANArt as a Tuner and began to study together with Felix Roher the characteristics and physics of this new raw form.
Sadly the English subtitles are in some parts of the interwies not a good translation of the spoken German text. Obviously the involved translator hadn't a good understanding of what she was translating. Therefore I made a new translation for you, that follows the spoken German text as accurately as possible.
Sabina Schärer said:
"I started [she is talking about her work as a tuner for PANArt] with the machine-made raw form we used for building steelpans. This material remained the same until today. This raw form we had to become acquainted with. This was a completely different principle than using a steel drum as raw form. This lead us to initial acoustical examinations: How can this raw form be tuned? How does it sound? In this context we started our collaboration with acousticians and gained a better understanding of the acoustics and the physics."
Rudy Kendall tells us that Sabina Schärer has an agenda to remove the Hang from its place as descendant of the steelpan, but in fact Sabina Schärer isn't talking about the Hang but about another topic. Rudy Kendall tells us she claims to have conducted "the first acoustical research on the steelpan" while in fact she is talking about a special scientific collaboration with the US physicists Thomas Rossing and Uwe Hansen researching PANArt's Pang raw form and the instruments built with it.
Rudy Kendall ignores this development by PANArt - the Pang raw form - completely. But without knowing about this, he cannot understand what Felix Rohner meant when he said in the interview that he had made his own contribution.
Rudy Kendall is not right saying, that the Hang is only a convex steelpan from the early days and nothing else. The Hang has strong roots in the Trinidadian steelpan - and nobody appreciate this more than the PANArt tuners. But there are three aspects that were new and necessary to create the Hang.
The first was the Pang raw form that lead the PANArt tuners to new note geometries and tuning methods.
The second was the idea of the hands on the sheet metal. Trinidad doesn't play the pan with the hands. In the whole world people are seldom playing with the hands on iron or steel. The ceramic like surface of the Pang material was an invitation to use the hands.
The third was the integration of the air resonance into the Hang sound. The Hang is a vessel. Understanding the interplay between the modes in the sheet metal and the Helmholtz resonance was one important aspect that drove the development of the newer Hang versions and lead the PANArt tuners recently to their new instruments Gubal, Hang Gudu and Hang Urgu.
When you are talking with Felix Rohner and Sabina Schärer about their work (and I have done this many times), you can be sure that they will tell you how important Trinidad is for it. There isn't any agenda to present the Hang as something completely new without roots in Trinidad.
Felix Rohner has written a review on the book "The Secrets of the Steelpan" by the great Trinidadian physicist and steelpan researcher Anthony Achong, to make it better known among tuners in Europe and USA (also handpan tuners). His summary is: "Whoever has ever had the chance to attend a concert of a Trinidad steel band, will agree with Achong: The art form created by Trinidad must not fade or disappear! Achong’s book can contribute a lot to young tuners, so that their sounds from sheet metal will continue to enchant people."
As this is your first post on here, I am quite aware the Felix sent you because he does not have the integrity as a man to stand behind his legacy and defend it.
As I said, Felix Rohner likes to give a lot of lipservice of the kind that was posted by ODW here, but the fact that he is using you as a mouthpiece to move his lips on WST speaks volumes; especially knowing that Felix has been following this discussion closely and has not bothered to stand up like a man and defend himself.
And the link that ODW posted came from Felix's website, and was posted by him on June 15, 2016. This was a full 2 weeks after KaribPAN dropped the bombshell article on the Handpan Mafia and insisted that,
''As far as we at KaribPAN are concerned, it is the duty of every handpan maker to acknowledge the Caribbean origin of the handpan instrument, instead of marketing it as a unique Swiss (European) invention by implication or otherwise. I may also point out that no members of the Handpan Mafia are from the Caribbean, neither do they have Caribbean backgrounds. In sum, this makes them cultural misappropriators at the very least.''
Felix Rohner took these words to heart as he rightfully should have, and two weeks later he publically payed homage on his website in the form of the link the ODW posted.
As you are not the boss and Felix is, since he obviously sent you here to do a job that he is unable to do himself, I am going to have to put you down on my priority list and answer you fully when I have the time. As far as I am concerned, you are just one of his minions and as I am a boss myself, I would like to talk to your boss in public, and not privately as Felix has chosen to do all this time.
I am very busy and have a lot of fires burning at the moment, but I will answer you eventually and finally put this matter to rest!
Rudy: Ah waiting for Felix to show up, myself! Yuh got real passion, man!
Me and you both, but I think if we continue to wait on him to actually appear as himself we will be waiting a long time. He told me so himself and he has no desire to post on WST under his real name, although he will post under an alias *ahem* Panplayer46.
Funny how Panplayer46 disappeared when Felix realized this wasn't an issue he could troll away with an alias, hence the arrival of Michael.
Rudy Kendall, you are in a delusion. panplayer46 is not Felix Rohner. And I am not Felix Rohner. I also don't write on behalf of Felix Rohner.
I'm speaking for myself and for nobody else. And I don't hide. It is easy to find out who I am on my website. I'm publishing about the topic Hang since many years. Insinuating that I need a "boss" to be able to write here is quite indecent. This is not the way I want to discuss here.
I put my arguments on the table. You have either arguments too or you have not. Nothing else matters. Being General Manager of KaribPAN is not an argument.
Rudy: You did not tell me that you were a GENERAL MANAGER!!!
I don't put it out there generally, but the only place I have made this known is on my Linkedin Page, which Felix Rohner checked in what was undoubtedly one of his numerous recon missions concerning me and my background.
On Linkedin, members receive notifications of whoever checks your page and I believe that as Felix Rohner is not a Linkedin user normally, he created an account just to check out my profile and sniff me out.
As far as Michael Pascko now, the highfalutin flunky of Felix Rohner, while I once offered you an opportunity for a civil discussion previously, as your inherent Germ-manic arrogance begins to bubble over in your tone, I feel compelled to tell you this;
You are not running any show around here. This is my topic and since I created it, I set the terms of the discussion, not you. The fact that you toot your own horn as being the ''editor-in-chief'' of a blog that no one reads and gets updated as often as once per month, while sometimes going up to a year with no new updates, I think it is safe to say that you are an irrelevant minion of Felix Rohner.
The reason why I say you are his mouthpiece is because many, if not all of the points that you have raised, have been raised to me by Felix over the course of numerous emails, most of which I already addressed in writing to him personally.
YOu are playing the role of his hapless proxy since Felix wants to go on the public record on WST as having refuted my assertions, but he does not have the integrity to answer for himself on WST.
I want to talk to the boss right here, right now in person, like I have been courteous enough to do with him over email during the past month, since he began regularly writing to me. I do not wish to discuss with an arrogant underling!
So Michael, as you are used to doing in Germ-many, take a number, sit down and wait your turn for a piece of the action. Like I said before, I am busy and I have much higher priority matters than yourself to juggle.
While you are having a seat in the WST waiting room, why don't you tell me why even though you have given a weak disclaimer on behalf of Felix Rohner in order to distance him from the film, by claiming that you and another french lady are producers, why is it that Felix Rohner was giving out free copies of this documentary to his customers with their orders?
From the following link, the uploader of the documentary in question states that;
''-I receieved a copy of this dvd with my hang from Felix Rohner in 2008 and thought I'd share. Sorry for the annoying watermark in the middle of the screen.''
And maybe you can tell me why if there are translation errors regarding important passages in the film they were not corrected by Felix as this film obviously required his close collaboration, contributions and approval.
You yourself write on the blog you write on under the authority of Felix, so please feel free to address these imporant issues while you are waiting your turn!