#I don’t know why people think communists hate art

[ryukisgod]

Most people don’t know what capitalism is, and even less people know what communism is. Saying “I’m an anti-capitalist” encourages people to look up what capitalism is and then decide if they actually like it. If I say “I’m a communist” people think I want everyone to be hungry and wear grey

more people should have the guts not to proclaim themselves "progressives", "anti capitalists", or "leftists", but full blown communists, because the only thing that will actually solve these issues is communism, and we shouldn't tip toe around it

[mcmansionhell]

Underground, Part 1

[Author’s Note: A year ago, when waiting for the DC Metro, I came up with an idea for a short story involving two realtors and the infamous Las Vegas Underground House, typed up an outline, and shoved it away in my documents where it sat neglected until this month. The house recently resurfaced on Twitter, and combined with almost a year of quarantine, the story quickly materialized. Though I rarely write fiction, I decided I’d give it a shot as a kind of novelty McMansion Hell post. I’ve peppered the story with photos from the house to break up the walls of text. Hopefully you find it entertaining. I look forward to returning next month with the second installment of this as well as our regularly scheduled McMansion content. Happy New Year!

Warning: there’s lots of swearing in this.]

Underground

Back in 1997, Mathieu Rino, the son of two Finnish mechanical engineers who may or may not have worked intimately with the US State Department, changed his name to Jay Renault in order to sell more houses. It worked wonders.

He gets out of the car, shuts the door harder than he should. Renault wrinkles his nose. It’s a miserable Las Vegas afternoon - a sizzling, dry heat pools in ripples above the asphalt. The desert is a place that is full of interesting and diverse forms of life, but Jay’s the kind of American who sees it all as empty square-footage. He frowns at the dirt dusting up his alligator-skin loafers but then remembers that every lot, after all, has potential. Renault wipes the sweat from his leathery face, slicks back his stringy blond hair and adjusts the aviators on the bridge of his nose. The Breitling diving watch crowding his wrist looks especially big in the afternoon glare. He glances at it.

“Shit,” he says. The door on the other side of the car closes, as though in response. 

If Jay Renault is the consummate rich, out-of-touch Gen-Xer trying to sell houses to other rich, out-of-touch Gen-Xers, then Robert Little is his millennial counterpart. Both are very good at their jobs. Robert adjusts his tie in the reflection of the Porsche window, purses his lips. He’s Vegas-showman attractive, with dark hair, a decent tan, and a too-bright smile - the kind of attractive that ruins marriages but makes for an excellent divorcee. Mildly sleazy.

“Help me with these platters, will you?” Renault gestures, popping the trunk. Robert does not want to sweat too much before an open house, but he obliges anyway. They’re both wearing suits. The heat is unbearable. A spread of charcuterie in one hand, Jay double-checks his pockets for the house keys, presses the button that locks his car. 

Both men sigh, and their eyes slowly trail up to the little stucco house sitting smack dab in the center of an enormous lot, a sea of gravel punctuated by a few sickly palms. The house has the distinct appearance of being made of cardboard, ticky-tacky, a show prop. Burnt orange awnings don its narrow windows, which somehow makes it look even more fake. 

“Here we go again,” Jay mutters, fishing the keys out of his pocket. He jiggles them until the splintered plywood door opens with a croak, revealing a dark and drab interior – dusty, even though the cleaners were here yesterday. Robert kicks the door shut with his foot behind him.

 “Christ,” he swears, eyes trailing over the terrible ecru sponge paint adorning the walls. “This shit is so bleak.”

The surface-level house is mostly empty. There’s nothing for them to see or attend to there, and so the men step through a narrow hallway at the end of which is an elevator. They could take the stairs, but don’t want to risk it with the platters. After all, they were quite expensive. Renault elbows the button and the doors part. 

“Let’s just get this over with,” he says as they step inside. The fluorescent lights above them buzz something awful. A cheery metal sign welcomes them to “Tex’s Hideaway.” Beneath it is an eldritch image of a cave, foreboding. Robert’s stomach’s in knots. Ever since the company assigned him to this property, he’s been terrified of it. He tells himself that the house is, in fact, creepy, that it is completely normal for him to be ill at ease. The elevator’s ding is harsh and mechanical. They step out. Jay flips a switch and the basement is flooded with eerie light. 

It’s famous, this house - The Las Vegas Underground House. The two realtors refer to it simply as “the bunker.” Built by an eccentric millionaire at the height of Cold War hysteria, it’s six-thousand square feet of paranoid, aspirational fantasy. The first thing anyone notices is the carpet – too-green, meant to resemble grass, sprawling out lawn-like, bookmarked by fake trees, each a front for a steel beam. Nothing can grow here. It imitates life, unable to sustain it. The leaves of the ficuses seem particularly plastic.

Bistro sets scatter the ‘yard’ (if one can call it that), and there’s plenty of outdoor activities – a parquet dance floor complete with pole and disco ball, a putt putt course, an outdoor grill made to look like it’s nestled in a rock, but in reality better resembles a baked potato. The pool and hot tub, both sculpted in concrete and fiberglass mimicking a natural rock formation, are less Playboy grotto and more Fred Flintstone. It’s a very seventies idea of fun.

Then, of course, there’s the house. That fucking house. 

A house built underground in 1978 was always meant to be a mansard – the mansard roof was a historical inevitability. The only other option was International Style modernism, but the millionaire and his wife were red-blooded anti-Communists. Hence, the mansard. Robert thinks the house looks like a fast-food restaurant. Jay thinks it looks like a lawn and tennis club he once attended as a child where he took badminton lessons from a swarthy Czech man named Jan. It’s drab and squat, made more open by big floor-to-ceiling windows nestled under fresh-looking cedar shingles. There’s no weather down here to shrivel them up.

“Shall we?” Jay drawls. The two make their way into the kitchen and set the platters down on the white tile countertop. Robert leans up against the island, careful of the oversized hood looming over the electric stovetop. He eyes the white cabinets, accented with Barbie pink trim. The matching linoleum floor squeaks under his Italian loafers. 

“I don’t understand why we bother doing this,” Robert complains. “Nobody’s seriously going to buy this shit, and the company’s out a hundred bucks for party platters.”

“It’s the same every time,” Renault agrees. “The only people who show up are Instagram kids and the crazies - you know, the same kind of freaks who’d pay money to see Chernobyl.” 

“Dark tourism, they call it.”

Jay checks his watch again. Being in here makes him nervous.

“Still an hour until open house,” he mutters. “I wish we could get drunk.”

Robert exhales deeply. He also wishes he could get drunk, but still, a job’s a job.

“I guess we should check to see if everything’s good to go.”

The men head into the living room. The beamed, slanted ceiling gives it a mid-century vibe, but the staging muddles the aura. Jay remembers making the call to the staging company. “Give us your spares,” he told them, “Whatever it is you’re not gonna miss. Nobody’ll ever buy this house anyway.” 

The result is eclectic – a mix of office furniture, neo-Tuscan McMansion garb, and stuffy waiting-room lamps, all scattered atop popcorn-butter shag carpeting. Hideous, Robert thinks. Then there’s the ‘entertaining’ room, which is a particular pain in the ass to them, because the carpet was so disgusting, they had to replace it with that fake wood floor just to be able to stand being in there for more than five minutes. There’s a heady stone fireplace on one wall, the kind they don’t make anymore, a hearth. Next to it, equally hedonistic, a full bar. Through some doors, a red-painted room with a pool table and paintings of girls in fedoras on the wall. It’s all so cheap, really. Jay pulls out a folded piece of paper out of his jacket pocket along with a pen. He ticks some boxes and moves on.

The dining room’s the worst to Robert. Somehow the ugly floral pattern on the curtains stretches up in bloomer-like into a frilly cornice, carried through to the wallpaper and the ceiling, inescapable, suffocating. It smells like mothballs and old fabric. The whole house smells like that. 

The master bedroom’s the most normal – if anything in this house could be called normal. Mismatched art and staging furniture crowd blank walls. When someone comes into a house, Jay told Robert all those years ago, they should be able to picture themselves living in it. That’s the goal of staging. 

There’s two more bedrooms. The men go through them quickly. The first isn’t so bad – claustrophobic, but acceptable – but the saccharine pink tuille wallpaper of the second gives Renault a sympathetic toothache. The pair return to the kitchen to wait.

Both men are itching to check their phones, but there’s no point – there’s no signal in here, none whatsoever. Renault, cynical to the core, thinks about marketing the house to the anti-5G people. It’s unsettlingly quiet. The two men have no choice but to entertain themselves the old-fashioned way, through small talk.

“It’s really fucked up, when you think about it,” Renault muses.

“What is?”

“The house, Bob.”

Robert hates being called Bob. He’s told Jay that hundreds of times, and yet…

“Yeah,” Robert mutters, annoyed.

“No, really. Like, imagine. You’re rich, you founded a major multinational company marketing hairbrushes to stay-at-home moms, and what do you decide to do with your money? Move to Vegas and build a fucking bunker. Like, imagine thinking the end of the world is just around the corner, forcing your poor wife to live there for ten, fifteen years, and then dying, a paranoid old man.” Renault finds the whole thing rather poetic. 

“The Russkies really got to poor ol’ Henderson, didn’t they?” Robert snickers.

“The wife’s more tragic if you ask me,” Renault drawls. “The second that batshit old coot died, she called a guy to build a front house on top of this one, since she already owned the lot. Poor woman probably hadn’t seen sunlight in God knows how long.”

“Surely they had to get groceries.”

Jay frowns. Robert has no sense of drama, he thinks. Bad trait for a realtor.

“Still,” he murmurs. “It’s sad.”

“I would have gotten a divorce, if I were her,” the younger man says, as though it were obvious. It’s Jay’s turn to laugh.

“I’ve had three of those, and trust me, it’s not as easy as you think.”

“You’re seeing some new girl now, aren’t you?” Robert doesn’t really care, he just knows Jay likes to talk about himself, and talking fills the time.  

“Yeah. Casino girl. Twenty-six.”

“And how old are you again?”

“None of your business.”

“Did you see the renderings I emailed to you?” Robert asks briskly, not wanting to discuss Jay’s sex life any further.

“What renderings?”

“Of this house, what it could look like.”

“Oh. Yeah.” Jay has not seen the renderings.

“If it were rezoned,” Robert continues, feeling very smart, “It could be a tourist attraction - put a nice visitor’s center on the lot, make it sleek and modern. Sell trinkets. It’s a nice parcel, close to the Strip - some clever investor could make it into a Museum of Ice Cream-type thing, you know?”

“Museum of Ice Cream?”

“In New York. It’s, not, like, educational or anything. Really, it’s just a bunch of colorful rooms where kids come to take pictures of themselves.”

“Instagram,” Jay mutters. “You know, I just sold a penthouse the other week to an Instagram influencer. Takes pictures of herself on the beach to sell face cream or some shit. Eight-point-two million dollars.”

“Jesus,” Robert whistles. “Fat commission.”

“You’re telling me. My oldest daughter turns sixteen this year. She’s getting a Mazda for Christmas.”

“You ever see that show, My Super Sweet Sixteen? On MTV? Where rich kids got, like, rappers to perform at their birthday parties? Every time at the end, some guy would pull up in, like, an Escalade with a big pink bow on it and all the kids would scream.”

“Sounds stupid,” Jay says.

“It was stupid.”

It’s Robert’s turn to check his watch, a dainty gold Rolex.

“Fuck, still thirty minutes.”

“Time really does stand still in here, doesn’t it?” Jay remarks.

“We should have left the office a little later,” Robert complains. “The charcuterie is going to get –“

A deafening sound roars through the house and a violent, explosive tremor throws both men on the ground, shakes the walls and everything between them. The power’s out for a few seconds before there’s a flicker, and light fills the room again. Two backup generators, reads Jay’s description in the listing - an appeal to the prepper demographic, which trends higher in income than non-preppers. For a moment, the only things either are conscious of are the harsh flourescent lighting and the ringing in their ears. Time slows, everything seems muted and too bright. Robert rubs the side of his face, pulls back his hand and sees blood.

“Christ,” he chokes out. “What the hell was that?”

“I don’t know,” Jay breathes, looking at his hands, trying to determine if he’s got a concussion. The results are inconclusive – everything’s slow and fuzzy, but after a moment, he thinks it might just be shock.

“It sounded like a fucking 747 just nosedived on top of us.” 

“Yeah, Jesus.” Jay’s still staring at his fingers in a daze. “You okay?”

“I think so,” Robert grumbles. Jay gives him a cursory examination.

“Nothing that needs stitches,” he reports bluntly. Robert’s relieved. His face sells a lot of houses to a lot of lonely women and a few lonely men. There’s a muffled whine, which the two men soon recognize as a throng of sirens. Both of them try to calm the panic rising in their chests, to no avail.

“Whatever the fuck happened,” Jay says, trying to make light of the situation, “At least we’re in here. The bunker.”

Fear forms in the whites of Robert’s eyes.

“What if we’re stuck in here,” he whispers, afraid to speak such a thing into the world. The fear spreads to his companion.

“Try the elevator,” Jay urges, and Robert gets up, wobbles a little as his head sorts itself out, and leaves. A moment later, Jay hears him swear a blue streak, and from the kitchen window, sees him standing before the closed metal doors, staring at his feet. His pulse racing, Renault jogs out to see for himself.

“It’s dead,” Robert murmurs. 

“Whatever happened,” Jay says cautiously, rubbing the back of his still-sore neck, “It must have been pretty bad. Like, I don’t think we should go up yet. Besides, surely the office knows we’re still down here.”

“Right, right,” the younger man breathes, trying to reassure himself.

“Let’s just wait it out. I’m sure everything’s fine.” The way Jay says it does not make Robert feel any better. 

“Okay,” the younger man grumbles. “I’m getting a fucking drink, though.”

“Yeah, Jesus. That’s the best idea you’ve had all day.” Renault shoves his hands in his suit pocket to keep them from trembling.  

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[blackswaneuroparedux]

Anonymous said: I didn’t know too much about the late British philosopher Sir Roger Scruton until I followed your superbly cultured blog. As an ivy league educated American reading your posts, I feel he is a breath of fresh air as a sane and cultured conservative intellectual. We don’t really have his kind over here where things are heavily polarized between left and right, and sadly, we are often uncivil in our discourse. Sir Roger Scruton talks a lot about beauty especially in art (as indeed you do too), so for Scruton why does beauty as an aesthetic matter in art? Why should we care?

I thank you for your very kind words about my blog which I fear is not worthy of such fulsome praise.

However one who is worthy of praise (or at least gratitude and appreciation at least) is the late Sir Roger Scruton. I have had the pleasure to have met him on a few informal occasions.

Most memorably, I once got invited to High Table dinner at Peterhouse, Cambridge, by a friend who was a junior Don there. This was just after I had finished my studies at Cambridge and rather than pursue my PhD I opted instead to join the British army as a combat pilot officer. And so I found out that Scruton was dining too. We had very pleasant drinks in the SCR before and after dinner. He was exceptionally generous and kind in his consideration of others; we all basked in the gentle warmth of his wit and wisdom.

I remember talking to him about Xanthippe, Socrate’s wife, because I had read his wickedly funny fictional satire. In the book he credits the much maligned Xanthippe with being the brains behind all of Socrates’ famous philosophical ideas (as espoused by Plato).

On other occasions I had seen Roger Scruton give the odd lecture in London or at some cultural forum.

Other than that, I’ve always admire both the man and many of his ideas from afar. I do take issue with some of his intellectual ideas which seem to be taken a tad too far (he think pre-Raphaelites were kitsch) but it’s impossible to dislike the man in person.

Indeed the Marxist philosopher G.A. Cohen reportedly once refused to teach a seminar with Scruton, although they later became very good friends. This is the gap between the personal and the public persona. In public he was reviled as hate figure by some of the more intolerant of the leftists who were trying to shut him down from speaking. But in private his academic peers, writers, and philosophers, regardless of their political beliefs, hugely respected him and took his ideas seriously - because only in private will they ever admit that much of what Scruton talks about has come to pass.

In many ways he was like C.S. Lewis - a pariah to the Oxbridge establishment. At Oxford many dons poo-pooed his children stories, and especially his Christian ideas of faith, culture, and morality, and felt he should have laid off the lay theology and stuck to his academic speciality of English Literature. But an Oxford friend, now a don, tells me that many dons read his theological works in private because much of what he wrote has become hugely relevant today.

Scruton was a man of parts, some of which seemed irreconcilable: barrister, aesthetician, distinguished professor of aesthetics. Outside of brief pit stops at Cambridge, Oxford, and St Andrews, he was mostly based out of Birkbeck College, London University, which had a tradition of a working-class intake and to whom Scruton was something of a popular figure. He was also an editor of the ultra-Conservative Salisbury Review, organist, and an enthusiastic fox hunter. In addition he wrote over 50 books on philosophy, art, music, politics, literature, culture, sexuality, and religion, as well as finding time to write novels and two operas. He was widely recognised for his services to philosophy, teaching and public education, receiving a knighthood in 2016.

He was exactly the type of polymath England didn’t know what to do with because we British do discourage such continental affectations and we prefer people to know their lane and stick to it. Above all we’re suspicious of polymaths because no one likes a show off. Scruton could be accused of a few things but he never perceived as a show off. He was a gentle, reserved, and shy man of kindly manners.

He was never politically ‘Conservative’, or tried not to be. Indeed he encouraged many to think about defining “a philosophy of conservatism” and not “a philosophy for the Conservative Party.” In defining his own thoughts, he positioned conservatism to relation to its historical rivals, liberalism and socialism. He wrote that liberalism was the product of the enlightenment, which viewed society as a contract and the state as a system for guaranteeing individual rights. While he saw socialism as the product of the industrial revolution, and an ideology which views society as an economic system and the state as a means of distributing social wealth.

Like another great English thinkers, Michael Oakeshott, he felt that conservatives leaned more towards liberalism then socialism, but argued that for conservatives, freedom should also entail responsibility, which in turn depends on public spirit and virtue. Many classical liberals would agree.

In fact, he criticised Thatcherism for “its inadequate emphasis on the civic virtues, such as self-sacrifice, duty, solidarity and service of others.” Scruton agreed with classical liberals in believing that markets are not necessarily expressions of selfishness and greed, but heavily scolded his fellow Conservatives for allowing themselves to be caricatured as leaving social problems to the market. Classical liberals could be criticised for the same neglect.

Perhaps his conservative philosophy was best summed up when he wrote “Liberals seek freedom, socialists equality, and conservatives responsibility. And, without responsibility, neither freedom nor equality have any lasting value.”

Scruton’s politics were undoubtedly linked to his philosophy, which was broadly Hegelian. He took the view that all of the most important aspects of life – truth (the perception of the world as it is), beauty (the creation and appreciation of things valued for their own sake), and self-realisation (the establishment by a person of a coherent, autonomous identity) – can be achieved only as part of a cultural community within which meaning, standards and values are validated. But he had a wide and deep understanding of the history of western philosophy as a whole, and some of his best philosophical work consisted of explaining much more clearly than is often the case how different schools of western philosophy relate to one another.

People today still forget how he was a beacon for many East European intellectuals living under Communist rule in the 1980s.  Scruton was deeply attached in belonging to a network of renowned Western scholars who were helping the political opposition in Eastern Europe. Their activity began in Czechoslovakia with the Jan Hus Foundation in 1980, supported by a broad spectrum of scholars from Jacques Derrida and Juergen Habermas to Roger Scruton and David Regan. Then came Poland, Hungary and later Romania. In Poland, Scruton co-founded the Jagiellonian Trust, a small but significant organisation. The other founders and active participants were Baroness Caroline Cox, Jessica Douglas-Home, Kathy Wilkes, Agnieszka Kołakowska, Dennis O’Keeffe, Timothy Garton Ash, and others.

Scruton had a particular sympathy for Prague and the Czech society, which bore fruit in the novel, Notes from Underground, which he wrote many years later. But his involvement in East European affairs was more than an emotional attachment.  He believed that Eastern Europe - despite the communist terror and aggressive social engineering - managed to preserve a sense of historical continuity and strong ties to European and national traditions, more unconscious than openly articulated, which made it even more valuable. For this reason, decades later, he warned his East European friends against joining the European Union, arguing that whatever was left of those ties will be demolished by the political and ideological bulldozer of European bureaucracy.

Anyway, digressions aside, onto to the heart of your question.

Art matters.

Let’s start from there. Regardless of your personal tastes or aesthetics as you stand before a painting, slip inside a photograph, run your hand along the length of a sculpture, or move your body to the arrangements spiraling out of the concert speakers…something very primary - and primal - is happening. And much of it sub-conscious. There’s an element of trust.

Political philosopher, Hannah Arendt, defined artworks as “thought things,” ideas given material form to inspire reflection and rumination. Dialogue. Sometimes even discomfort. Art has the ability to move us, both positively and negatively. So we know that art matters. But the question posed by modern philosophers such as Roger Scruton has been: how do we want it to affect us?

Are we happy with the direction art is taking? Namely, says, Scruton, away from seeking “higher virtues” such as beauty and craftmanship, and instead, towards novelty for novelty’s sake, provoking emotional response under the guise of socio-political discourse.

Why does beauty in art matter?  

Scruton asks us to wake up and start demanding something more from art other than disposable entertainment. “Through the pursuit of beauty,” suggests Scruton, “we shape the world as our own and come to understand our nature as spiritual beings. But art has turned its back on beauty and now we are surrounded by ugliness.” The great artists of the past, says Scruton, “were painfully aware that human life was full of care and suffering, but their remedy was beauty. The beautiful work of art brings consolation in sorrow and affirmation…It shows human life to be worthwhile.” But many modern artists, argues the philosopher, have become weary of this “sacred task” and replaced it with the “randomness” of art produced merely to gain notoriety and the result has been anywhere between kitsch to ugliness that ultimately leads to inward alienation and nihilistic despair.

The best way to understand Scruton’s idea of beauty in art and why it matters is to let him speak for himself. Click below on the video and watch a BBC documentary broadcast way back in 2009 that he did precisely on this subject, why beauty matters. It will not be a wasted hour but perhaps enrich and even enlighten your perspective on the importance of beauty in art.

So I’ll do my best to summarise the point Scruton is making in this documentary above.

Here goes.....

In his 2009 documentary “Why Beauty Matters”, Scruton argues that beauty is a universal human need that elevates us and gives meaning to life. He sees beauty as a value, as important as truth or goodness, that can offer “consolation in sorrow and affirmation in joy”, therefore showing human life to be worthwhile.

According to Scruton, beauty is being lost in our modern world, particularly in the fields of art and architecture.

I was raised in many different cultures from India, Pakistan, to China, Japan, Southern Africa, and the Middle East as well schooling in rural Britain and Switzerland. So coming home to London on frequent visits was often a confusing experience because of the mismatch of modern art and new architecture. In life and in art I have chosen to see the beauty in things, locating myself in Paris, where I am surrounded by beauty, and understand the impact it can have on the everyday.

Scruton’s disdain for modern art begins with Marcel Duchamp’s urinal. Originally a satirical piece designed to mock the world of art and the snobberies that go with it, it has come to mean that anything can be art and anyone can be an artist. A “cult of ugliness” was created where originality is placed above beauty and the idea became more important than the artwork itself. He argues that art became a joke, endorsed by critics, doing away with a need for skill, taste or creativity.

Duchamp’s argument was that the value of any object lies solely in what each individual assigns it, and thus, anything can be declared “art,” and anyone an artist.

But is there something wrong with the idea that everything is art and everyone an artist? If we celebrate the democratic ideals of all citizens being equal and therefore their input having equal value, doesn’t Duchamp’s assertion make sense?

Who’s to say, after all, what constitutes beauty?

This resonated with me in particular and brought to mind when Scruton meets the artist Michael Craig-Martin and asks him about how Duchamp’s urinal first made him feel. Martin is best known for his work “An Oak Tree” which is a glass of water on a shelf, with text beside it explaining why it is an oak tree. Martin argues that Duchamp captures the imagination and that art is an art because we think of it as such.

When I first saw “An Oak Tree” I was confused and felt perhaps I didn’t have the intellect to understand it. When I would later question it with friends who worked in the art auction and gallery world, the response was always “You just don’t get it,” which became a common defence. To me, it was reminiscent of Hans Christian Andersen’s short tale “The Emperor’s New Clothes”, about two weavers who promise an emperor a new suit of clothes that they say is invisible to those who are unfit for their positions, stupid or incompetent. In reality, they make no clothes at all.

Scruton argues that the consumerist culture has been the catalyst for this change in modern art. We are always being sold something, through advertisements that feed our appetite for stuff, adverts try to be brash and outrageous to catch our attention. Art mimics advertising as artists attempt to create brands, the product that they sell is themselves. The more shocking and outrageous the artwork, the more attention it receives. Scruton is particularly disturbed by Piero Manzoni’s artwork “Artist’s Shit” which consists of 90 tin cans filled with the artist’s excrement.

Moreover the true aesthetic value, the beauty, has vanished in modern works that are selling for millions of dollars. In such works, by artists like Rothko, Franz Kline, Damien Hirst, and Tracey Emin, the beauty has been replaced by discourse. The lofty ideals of beauty are replaced by a social essay, however well intentioned.

A common argument for modern art is that it is reflecting modern life in all of its disorder and ugliness. Scruton suggests that great art has always shown the real in the light of the ideal and that in doing so it is transfigured.

A great painting does not necessarily have a beautiful subject matter, but it is made beautiful through the artist’s interpretation of it. Rembrandt shows this with his portraits of crinkly old women and men or the compassion and kindness of which Velazquez paints the dwarfs in the Spanish court. Modern art often takes the literal subject matter and misses the creative act. Scruton expresses this point using the comparison of Tracey Emin’s artwork ‘My Bed’ and a painting by Delacroix of the artist’s bed.

The subject matters are the same. The unmade beds in all of their sordid disdain. Delacroix brings beauty to a thing that lacks it through the considered artistry of his interpretation and by doing so, places a blessing on his own emotional chaos. Emin shares the ugliness that the bed shows by using the literal bed. According to Emin, it is art because she says that it is so.

Philosophers argued that through the pursuit of beauty, we shape the world as our home. Traditional architecture places beauty before utility, with ornate decorative details and proportions that satisfy our need for harmony. It reminds us that we have more than just practical needs but moral and spiritual needs too. Oscar Wilde said “All art is absolutely useless,” intended as praise by placing art above utility and on a level with love, friendship, and worship. These are not necessarily useful but are needed.

We have all experienced the feeling when we see something beautiful. To be transported by beauty, from the ordinary world to, as Scruton calls it, “the illuminated sphere of contemplation.” It is as if we feel the presence of a higher world. Since the beginning of western civilisation, poets and philosophers have seen the experience of beauty as a calling to the divine.

According to Scruton, Plato described beauty as a cosmic force flowing through us in the form of sexual desire. He separated the divine from sexuality through the distinction between love and lust. To lust is to take for oneself, whereas to love is to give. Platonic love removes lust and invites us to engage with it spiritually and not physically. As Plato says, “Beauty is a visitor from another world. We can do nothing with it save contemplate its pure radiance.”

Scruton makes the prescient point that art and beauty were traditionally aligned in religious works of art. Science impacted religion and created a spiritual vacuum. People began to look to nature for beauty, and there was a shift from religious works of art to paintings of landscapes and human life.

In today’s world of art and architecture, beauty is looked upon as a thing of the past with disdain. Scruton believes his vision of beauty gives meaning to the world and saves us from meaningless routines to take us to a place of higher contemplation. In this I think Scruton encourages us not to take revenge on reality by expressing its ugliness, but to return to where the real and the ideal may still exist in harmony “consoling our sorrows and amplifying our joys.”

Scruton believes when you train any of your senses you are privy to a heightened world. The artist sees beauty everywhere and they are able to draw that beauty out to show to others. One finds the most beauty in nature, and nature the best catalyst for creativity. The Tonalist painter George Inness advised artists to paint their emotional response to their subject, so that the viewer may hope to feel it too.

It must be said that Scruton’s views regarding art and beauty are not popular with the modern art crowd and their postmodern advocates. Having written several books on aesthetics, Scruton has developed a largely metaphysical aspect to understanding standards of art and beauty.

Throughout this documentary (and indeed his many books and articles), Scruton display a bias towards ‘high’ art, evidenced by a majority of his examples as well as his dismissal of much modern art. However on everyday beauty, there is much space for Scruton to challenge his own categories and extend his discussion to include examples from popular culture, such as in music, graphic design, and film. Omitting ‘low art’ in the discussion of beauty could lead one to conclude that beauty is not there.

It is here I would part ways with Scruton. I think there is beauty to be found in so called low art of car design, popular music or cinema for example - here I’m thinking of a Ferrari 250 GTO,  jazz, or the films of Bergman, Bresson, or Kurosawa (among others) come to mind. Scruton gives short thrift to such 20th century art forms which should not be discounted when we talk of beauty. It’s hard to argue with Jean-Luc Godard for instance when he once said of French film pioneering director, Robert Bresson, “He is the French cinema, as Dostoevsky is the Russian novel and Mozart is German music.”

Overall though I believe Scruton does enough to leave us to ponder ourselves on the importance of beauty in the arts and our lives, including fine arts, music, and architecture. I think he succeeds in illuminating the poverty, dehumanisation and fraud of modernist and post-modernist cynicism, reductionism and nihilism. Scruton is rightly prescient in pointing the centrality of human aspiration and the longing for truth in both life and art.

In this he is correct in showing that goodness and beauty are universal and fundamentally important; and that the value of anything is not utilitarian and without meaning (e.g., Oscar Wilde’s claim that “All art is absolutely useless.”). Human beings are not purposeless material objects for mechanistic manipulation by others, and civil society itself depends upon a cultural consensus that beauty is real and every person should be respected with compassion as having dignity and nobility with very real spiritual needs to encounter and be transformed and uplifted by beauty.

Thanks for your question.

[misterbitches]

I ship muren and li cheng bc i only saw it through gifs then i watched this episode cos i was like im only starting this show if they kiss im waiting and they did and it was nice and i got so anxious that i was about to fucking vomit. I really like them together. The top/bottom shit is dumb and i hope if they must mention it they all build a bridge and get over it so they can switch cos who gives a shit. I didnt realize how large they all are like most “tall” men on tv are lying. But bc that kid is so thin and tall and the other one (idk the stepbrother) is huge too. Li cheng is shorter than them both but more ~manly~ but still short so why doesnt he take a DICK UP HIS BUTT XD since that’s all that fucking matters and there’s only 2 genders and 2 eays to have sex lmao so nothing else otherwise ur screwed

Hd a terrible past couple of weeks personally and because i keep seeing my peopl eget murdered and things ripped from us ^_____^ anyway here’s Some libertatrian communist dumb bitch discoars so i’ll tag it:

keep in mind these are my opinions’”” when i engage in discourse. I am not the end all be all and I don’t need you to agree. There’s some shit I am non-negotiable on but thsi is just exchanging of information. Any authoratative tone I take on comes from my beliefs, my life, my experiences, and what I choose to cultivate as a person and an artist. I dont have control over your feelings, you do. If it hurts you then either tell me the issue and be PRECISE about it, understand that context matters which is why i type so much in engagement, and do not fucking lie or misconstrue my words. Do not call me western ever in your life either. I am a black-american. I have adhd and bc i am a black woman if ur automatically thinking im brolic i am accepting money in my paypal for ur wellbeing to get me to shut the fuck up.Thanks.

The stepbrothers storyline is stupid and lazy writing. I really want to counter people that say it’s written well and that it’s interesting because it isn’t. Even if it was illicit and fucked we can write a story out about this. Let’s rethink what they could have done shall we:

- become stepbrothers at about 16 and their parents mismanage the relationship and they fail in trying to get an integrated family together (this is what happened in the #iconic transit girls and that was fuckin’ weird but hey dude guess what we watched it and it was weird but not unethical and we know one is like 19 and the other is 21 and a girl so it’s like wow you avoided so much and handled their stepsister story very…….um lightly given the end lmao but it was there and people had AGENCY)

-OR you realize that freak is obsessed with him and then he realizes it and is like “bitch i swear to god” and in typical shtity trope BL fashion they can find a way from obsession, to loss and independence when you lose your obsession, to “love” if they choose

- have the fucked up shit but make it clear what the issues are and you literally cannot write your way out of it so do not try

But why can’t fucked up things be shown? Also this is realistic.

0. Well according to you but no one said that they can’t. So that’s on your interpretation of critique (that is, again, not bullying or harassment.) They can, i just gave plenty of scenarios in which it is affective and not just annoying to witness, trope-y, and frankly ridiculous and offensive. Sorry! They don’t do it well. You can come up with alternatives too. See #2 btw.

1. No it isn’t doing a good job of reflecting life because life has consequences. The exaggeration in drama doesn’t mean the arc shouldn’t be there. Almost always things that aren’t heavy with the message or meant to be sobering in a deep way are COMPELLING. The realism is the basis for art because we are human. This is not the way real humans act.

Someone said Tharn Type was mature and I had to laugh because no, no one acts that way and is “in love” if they act that way that means they fucking hate each other and they’re immature and frankly it’s just not that interesting for many of us to watch because the dramatization of the “realism” is fucking bonkers. That was such poor writing it is unbelievable and someone has the audacityt o say it’s how real adults act. Fucking murder me if I’m with someone for 7 years and we break up over a miscommunication and for some reason I am not as horny as my always horny boyfriend. The fuck? What kind of lives do you lead? Either you are not an adult or you are an adult who needs therapy.

I also hear the “realistic” argument but then people try and temper it with “but also it’s fiction.” What do you think fiction is? Why do you think filmmaking exists? Number one, it’s propaganda in the sense that you want others to buy into your presentation and see what you see. That means that the creators are telling people and influencing them WITH ART BECAUSE THAT’S WHAT IT IS about their feelings around a situation. That’s why it is imperative to be responsible as a filmmaker and artist and underline the deepness of creepiness if that’s what they want. If they want to relay that rape sometimes ok and psychos are crazy so they get boy (??!?!?!? BITCH?) then they achieved it with no innovative information. We know people get raped bc we are human beings and many of us live with that fear. You know, being the target demo and all. And bc BL loves that trope it’s rape fantasy peddled to young people and women. Just like shitty wattpad fics or NYT best sellers. Hooray, what now? Or are you trying to purport that this isn’t glorified fanfiction? Which it literally is

2. This is the issue with these shows. No one is saying that fucked up shit cannot be shown. There’s a film about a woman who is raped and she falls in love with her rapist (because he was masked but i think we find out later that she knows. Binoche is in it.) I have no desire for that film—i think it’s by a man and i extra dont care—but I hear it’s sort of powerful for many. I heard it was a good film. But the act itself is always eschewed and the conflict comes from how fucking ridiculous it is especially finding out that she knows. The power imbalance adn the possibility. They may not have handled it in a way I would have cared for but it was there.

There’s simply no imagination because these people do not care that much and aren’t great writers and filmmakers because they simply do not have to be. Sorry.

The industry doesn’t rely on the best they rely on efficiency (this is everywhere.) You can tell by the camera angles, the editing, the camera itself (idk if it is multicam but the flatness is typical soap flatness without the glowboxes to soften their faces.) Simple constant lighting. Now the surroundings are mostly beautiful. But even to some of the costumes. And those edits are abysmal, some of that camera work.

So with all that said even with the couple I extremely enjoy I see its (H4) faults. Add into that a lazily thrown together “shocking” love and if they are trying to get us to feel a type of way about its sexiness they fail. This is why movies like 50sog, 365 days, etc aren’t enjoyable to people because it’s fucking strange situations that they dont want to entangle or make enjoyable to viewers across the board. They know what people will take. It’s just that bitch what are we here for if even the sexiness isn’t there for ur stupid story.

At least with that teenager and 30 yr old man in MODC (which i do not love but i like them in theory if it wasnt totally repulsive to me and also if it was developed in a way that was good TO ME) they had their, er, “sex appeal” i talk about this as well the main couple in MODC to me, visually, was a miss. Not bc whatshisface was small and stuff but bc he was so sickly and they needed that to propel the story but it was just not appealing given how the story progressed. A missed opportunity in tying the two together besides making him look waif-y and sickly only to have the “did ur mom die in a car crash? No, cancer” type of move in not another teen movie. But the opposite. And not funny. Wayne tho????? GORL. Eggs. Cracked.

fandoms have a very warped sense of harrassment and discourse.

Most fandoms have harassers who are “protecting” the cast and crew who don’t need their protection (or maybe the crew does since they probably dont get paid well but why the fuck would anyone care about that lol) but very few have the people who have concerns or massive critique about the show are not going to be “bullying.”

If people are saying “if you like xyz, u suck” then sure it may suck for you to see but who fucking cares. Either talk to the person or don’t be friends with them. That is not bullying or harrassment. Things that are shitty get criticized. Fuck, things that aren’t shitty don’t. Get away from this idea of cancel culture and people misunderstanding the story. We have the ability to.

Think beyond your noses of personal preference. You don’t have to convince people of what you believe. Discussing it is good but critique is not bullying, harrassment, or hate. Neither is fucking roasting shit because even this shit I like (manner of death lets say) deserves it. Art is meant to be critiqued and if you dont fucking like the bullshit people make then say it. They know stupid stories like this are scandalous and they don’t give a shit in how to present them.

And guess what? You won’t like everybody. Many people can’t stand me i’m sure. Oh well. I mean frankly I don’t like that and I feel very unsettled when I don’t feel understood. That’s ok! I have to temper it. Sometimes calm myself down. I won’t get anything and everything I want. And you won’t like every opinion and sometimes it’s like “man am i a dummy?” But the part of growing up is fucking maanging that and beng honest about “bashing and harrassment” and “bullying” and growing up. Yuo can like what you want the “let people like what they want thing” is so fucking juvenile and THAT is not the real world. Which is probably why so many people feel that way, they dont want to live in the real world. Unfortunately, you do.

Think beyond our noses of personal preference and what we feel emotionally in conjunction with others. You don’t have to convince people of what you believe. And you can say things that you believe to be true but it doesn’t make them so or maybe it isn’t received that way to people. And many times we learn new things in the discussions “oh shit i didn’t see it that way” right? Discussing it is good but critique is not bullying, harrassment, or hate. Neither is fucking roasting shit because even this shit I like (manner of death lets say) deserves it. Art is meant to be critiqued and if you dont fucking like the bullshit people make then say it. They know stupid stories like this are scandalous and they don’t give a shit in how to present them. Usually the “opposition” in these situations aren’t the popular beliefs that permeate through society. Trust me lmao

Antiblackness

Antiblackness is a thing. It permeates everywhere. It permeates in this genre and it permeates in fandom. Get it the fuck together. Also do not conflate cultural relativism with being repsectful. They are not barbarians, they are smart human beings either making work or deciding to. We all have diff cultures but we have fucking sense in what is respectful and not. And if we don’t we fucking learn. You cannot excuse things and say “oh culture” when you have 0 idea of that culture or actual people who are radical etc and are fighting against it. Additionally the word westerner is an ignorant term when referring to people in the US or UK who are black. Because we are not. We extend sympathy to other groups and empathy since we know so there is no inherent power imbalance between a black viewer and their subject. Don’t suggest that because it’s wrong and ahistorical and contextless.

FIRST the fallacy of representation as freedom makes people fucking complacent, individualistic, and doesn’t let them think critically. Consumption and discourse around consumption is not helping material conditions of the marginalized communities in your home, the black ones who are ignored, those intersectionalized in these communities. Groups talk about art and what it means for them outside of just what we see and because we also don’t have access to a bunch of Thai reviews or what movements or going on we are less likely to know if we don’t FUCKING SEARCH for it. Because art is constant...which leads me to....

Representation is difficult. It matters and it doesn’t.

Tthese shows are not meant to overturn the LGBTQ+ community.

There are queer filmmakers and artists in these countries. Deep illustrious film careers or even TV that is moving and deliberate. We can even see it with the dude from “your name engraved” in their short series he was in beforehand. BL is no wa pejorative because it is simply not “qu**r” storytelling whatever that means. But know it has always existed everywhere and there are also out artists or radical artists in all these countries who do no respect mediums that are cash-grabs and poorly made.

ex: As much as “Like in the Movies” sort of isnt for me and is a bit hamfisted you can tell how much love goes into that. Love of the characters, acting, and message. Yes it’s cringey to see some of the lines (like very tbh subtlety wasnt exactly their strong suit) and yea naming them after lenin and marx is just 0ihgoaudgijposkagjihou BUT GUESS WHAT? THEY FUCKING DID IT. THEY TRIED. And class was a large component as well bc u cant fuckin ignore it. The show is aware of the machinations in its world as a show but also in the philippines and for a fuckin reason. And duatarte? Loooooooool so like yea not so sure bl makes him love his ppl but the show isnt trying to do that

It’s not a transgressive genre and it has no reason to be. No ethical anything under the way we live it’s just trying your fucking best to be. That’s it. They serve societal ills and capital’s purposes. Which is fine but it is not revolutionary.

These countries in SEA or even SA do not have as big budget for even mainstream dramas—though things are changing and that’s bc REVENUE like revenue from kpop is fucking huge for SK and again so much about that is bc of what happened in their history from japanese imperialism to WWII to the US—so for “queer” stuff it is sort of now important to make that an export and it sure is one. Not only globally or to the west but a lot of these places make their money within asia (duh!) outside of their countries. OBVIOUSLY. so BL is a way to output and gain money. The thing is, it doesnt seem to be put back into the industry at all. For people in all these countries to make works that aren’t for mainstream or wont reach as many people there’s a difference between trying and just shoving shit in your face and going here it’s gay you like it right? But dont antagonize the inherent patriarchal nature of BL.

Another thing: did you guys know thailand was never colonized? You should look it up. There’s little hints of things in ITSAY to represent french influence still. Isnt that fascinating? Find out why. It’s certainly interesting that the representation, though damaging and dubious many times and also incorrect like any media, is huge in asia and this isnt a commodity here (the US) exactly. A lot of that has to do with colonial ideas of gender of which I am sure. But listen………lmao

Sometimes people dont give a shit. And it very much shows. Here is the thing once again. GOOD TRANSGRESSIVE WORK exists.

Een within the capitalist Bs paradigm or you can see people trying (I can sort of applaud parts of lovely writer) also queer media has always existed everywhere the reason you don’t know about it is because it gets takena nd commodified into a mainstream product. We hvae little incentive, particularly if we are not fans of cinema or art in gen, to search fror others when the output is right here. Being dictated by others and the state and who will give you money. No longer an effort of a cast and crew who want to convey things. But google [any country] independent cinema, radical cinema, queer radical cinema, or even retrospectives on the cinema and rethinking what is queer and radical in film. What if we took that, diluted it, got rid of the creators who put themselves through all the work, ignroe al the nuances and do……………….two actors who are conventionally attractive with no chemistry making out.

It’s the same here lets say daniel kaluuya winning the oscar for the film about the BPP. I heard it was okay and not too offensive but it still isnt’ enough. It still isn’t like hwood isn’t trash, nnati black, misogynistic towards BW and women, and all that other shit. It was pushy but it can’t be enough where we are. Black KKKlansmen i think won an oscar, by circumstance i fuckin hate these award shows they mean nothing, and i like the film a lot but he has his misogynoir still resting in his films even if it is poignant. And it was a film that honestly wasn’t really made for black people. And should all art be a response to direct trauma or trying to make ourselves palatable when we’re just human?

$$$$$$$$$$$$$$$$$$$$$$ and it’s importance (capitalism) but also sorta individual responsibility

Considering a lot of these actors are rich and then just dip that’s another problem. Mainstream isn’t what sustains marginalized art ever. It doesn’t change in the vast ways we think it does. What changes is the people of these groups pushing, fighting, forcing and then capitalism trying to make it work under capitalism. It will not. It cannot.

This is why artists and labels often don’t mix or you see people like Sonic Youth doing whatever they want and pissing off their label but making them give them money. Same with Nirvana. Vince Staples. The thing is they can fight and make good shit but what capitalism helps people….not care? They don’t respect the audience? We’re getting those returns on poor executed product placement, lighting, editing, framing, fucking acting. And you surewon’t see mixed black asians in these shows. WHY R U is the oNLY one i have seen it in and he just disappears (but that was pretty cool.) so who the fuck is this representing? And before you start: asian countries are not homogenous the way we believe them to be. There are marginalized communities outside of even mixed people that are harmed. So you can skrrt cause on that one: you’re wrong buddy. But it gives us the IDEA of a paradise which is what they NEED.With representation and visibility comes consequence and responsibility as artists. What it allows them to do is coast and not think complexly because why should they; it’s mostly the fantasies of some older woman who probably has money and much less interaction with the world. It’s bonkers. And what that allows even further is for them to say YOU ARE THE THING THAT YOU CONSUME and the THING THAT YOU CONSUME IS YOURS. It is not, it is not your identity, form a close bond but figure it the fuck out. Especially for adults who are hellbent on twisting their minds into pretzels and can’t acknowledge what’s just laziness in art and not giving a fucking shit. Truly.

There’s damage that has been done from Parasite as he was supported by CJE&M and the bullshit obsession america had and eveyrone’s poor interpretation of it if they are rich. BJH is a socialist and he is a filmmaker. He has made films that are outstanding and cost a lot of money. But now a fear for indie filmmakers is just not being able to raise that much or have that much attention. Getting funding that helps them instead of expecting the Next Big Thing that is a fad because capitalism is trash. Yes this funneling of money is absolutely harmful to us artists. Even buying in is strategic. Additionally, that film is probs one of the most radical films to have that wide release and accolade (unlike “Sorry to Bother You” which i have a lot of thoughts about. One being that asian exports are acceptable but black ones are not. This is an overall art critique and global media critique. Blackness is removed, not respected.) However, filmmaking isn’t green, it can’t be socialist, and it’s a lot of work. They used tons and tons and TONS of water to do a huge beautiful feat but we still know there is a cost. We have to figure that out because it shouldn’t be. It doesn’t go back into the crew’s pockets the way it should and the work becomes that of the director’s and actors solely. It’s fucking hard. We have to do our part but it doesn’t mean we are doing it perfectly. We just have to try to do better. So does BJH cos he needs to not be a misogynist but anyways i digress.

additionally and this is something some users fail to understand: people in the media sphere generally have fucking money. I went to film school that was international with super fucking rich kids. Taiwanese kids, kids from south asia, china, thailand. They had money. No not upper middle class money, not “rich” money, not some paltry 1m that’s chump change. Fucking money. Fucking RICH-RICH. MILLIONAIRES. BILLIONAIRES. WHICH IS DISGUSTING MIGHT I ADD. The domestic people didn’t have the money for school (in the UK) and i am in a massive amount of debt like every other black student that went there. You do not understand how much money is needed to survive so people who turn to these crew positions even casting etc need this fucking money usually. OKAY. A lot of the people that do well in these dumb shows or even on a larger scale HAVE MONEY. The reason these industries are small and struggling is because of lack of people and lack of resources to independent shit because oh gee it takes money to make things.

Why should I try? Well you don’t have to really if you have money or a name. Yet...

We can tell when like those Tik Tok shows or DCOMs dont give a shit (anymore.) You know how frustrated we get when content for young people is garbage? Well, see, BL is literally that under that system. Occasionally we will get something good now but there is virtually no need in any sector in the world at this point to truly figure out how to make it better and what to do to enhance artistic literacy, outreach, teaching people new things, getting people from these communities there and having true realistic says. Art and culture is IMPERATIVE TO WORLD LIBERATION but not when it is so stiffly trying to bend to capital’s idea of progressiveness. No. Neoliberalism. No.

That’s why in a way ITSAY is a huge feat; it takes from films etc and they clearly had money (the actors rae rich too which….lmaooooo j’aime pas) but it was a respected fucking script, acting was important, blocking, framing. There’s very little to critique as a visual medium for that because I understand what they are trying to do, their market is going to be mostly young girls, but they RESPECT THE FUCKING AUDIENCE. And guess what guys? You can make money from it!!!! WOAH! Since that may be the only goal which is disgusting and repulsive.

HOWEVER AND THIS IS WHAT IS SAD: itsay is an ex of a great show however knowing the actors backgrounds and the pseudo trouble it stirred when they weren’t supporting people protesting against the coup in the summer it really put a damper on my enjoyment. And this is how we can see that:

a) it’s honestly just a show and a good one but b) now what?

These kids (actors, who are like idk 19? 20?) are rich and not saying anything while countless actors, who were filming, did. Even tul who has $$$$ and the thing is the protesting against the coup legitimately attacks the rich. As it should. The protests going on were cries for help, against a dictatorship and fucking coup, asking people to get fucking help for covid, having kids be able to live. There’s a mini on VICE about this and it probably doesnt go too in depth but there’s a kid in there who talks about his friends getting into drugs and how he just wants to make music, have fun, skateboard. And it’s harrowing to see. This is a direct example of what these things do and don’t do. Yea we know a good show is here, we know growing up and slice of life, we know this is a bit of escapism and idealism but the idealism is reflected in the way these actors also choose to live their lives. So what progress? To who? For who? How is this helping me? What purpose does it serve? I say ITSAY serves its purpose as a piece and a glimpse into possibility of growing up but i do not say it antagonizes a broader issue that needs to be relevant in some sense but simply is not. It’s very singleminded and, well, it’s sort of like “besides my sexuality, what do i have to worry about?” But for real humans like....a lot. I do not respect their decision at all.

Why can’t we do our jobs and make something decent and respect our audience? No time, gotta make that sweet sweet sweet cash baybee. Look how progressive we are! Don’t look at history and material conditions. Thanks in advance, management.

History 4 does not have that respect. Many of these shows do not. Sometimes we hit good, sometimes we don’t. But in the end we cannot settle. And I won’t. If I am critiquing something I will not be shy and if I am meant to enjoy something as escapism then these shows NEED to highlight that and it’s rare sometimes (the best twins is a good reminder like that show is bad but man do i Brain Empty when i turn it on and i like that and there’s not much in it that makes me want to kill myself from annoyance but there are transphobic jokes i dont love however the whole show is a comedy about this dude’s crazy homophobic sister and she is constantly positioned as wrong and they talk about the aforementioned trans women as the actor was in drag. Interesting that they can manage that, huh?)

Oh btw.....taiwan has a very complicated history but ignore all the bad stuff it’s good now you can kinda sorta get married and stuff. KMT? You know how i learned that? I care about human beings and read about it lmao. I am not Taiwanese and look at that. So now I have historical and DIALECTICAL~**~*~****~*~*~ context so i can judge it as an artist, a black woman from america, and from the knowledge i have to pick up on their history to see if this fits into a broader picture besides the micro-one of sexuality on an individualized level. And this is kinda where it comes full circle: these shows are not you, you are not them, they do not exist in a vacuum because nothing does. The failure to critique now means continuing on as it has and it will still do so. History and time are not linear in the sense we think it is. Someitmes things are better, sometimes things feel more austere. We are not living under liberation though and these shows are not going to do so. So they are not US nor are they for a nebulous “us” of which the groups are all fractured and have diff opinions anyway (my opinion as a black american is going to vary from an asian woman’s say and that could really clash and i do not feel solidarity with all those in every community i am for several reasons.)

Final thots that have taken up my time and the only thing i actually wanted to write but got distracted:

Anyway my dissertation is that I ilke Muren and LiCheng a lot a lot and i like how cute they are and how truly dumb li cheng is. This is an example of mostly good writing, decent actors, nice chemistry, and sort of a calmness to them. And I super enjoy how Muren is pretty forward with LC in the sense that being together is like very important to truly be together. When he was like “no i didnt forget!” Or when LC asked him something in the office I forget it was 6 am and again i almost threw up and muren nodded and then LC leaned on him. Very cute. I want more of them tho i may have to skip that othre couple (the cameo the ones from MODC) but omfg the younger one HIS HAIR GREW SO MUCH HE LOOKS SO MATURE AND CUTE OMFGIJ0HUG9SAOGIJPKOAGJSIOHUAGIJP hahhaha the one good thing i will say about THEM.idk how old the actor is i figure he was young idk it makes me happy to see him he’s very cute. I hope he’s in something i can watch and not gag at. Is he hot? Who knows but he is a cutie!!

Anyway muren and lc have a good thing going it’s nice to watch ho\pe they dont fuck it up but im truly a sucker for some true finds 2 luvas i think some user on her\e was like i’m not a fan of friends ot lovers bc it doesn’t seem like they’re actually friends and maybe they were referring to this show idk. But it made me think and it was a very good observation. So i think they are friends and also luvrs <3

[selfmadesuperhero]

i’m very much not okay 

and i’ll probably take very long for me to explain why

i don’t know how to write this. i don’t know where to even start. i’m here because i just don’t have anywhere else to go. i can’t afford therapy. i no longer have any close friends other than Mabu (gf).

it’s getting pretty bad inside my head

i know most people’s lives are hell this year and i’m not special. i know that. to me, this year is feeling like the last nail in my coffin because 2019 had already chewed me up and spit me out. 

i kept my last job for eight years. after my first year there, another developer came in, and we became friends. we worked side by side less than 4 feet apart for six years. our hours were flexible but we always agreed upon our schedule just so work would be more bearable, because we both hated it and often had to team up against our boss’ downright abuse. it was a very small company (at its biggest we were only 7 employees). we were also going to graduate at the same time from the same school (different majors), so we had a bit of a pact to leave our shitty boss once we’d graduated and start developing our own, way less shitty games.

at the start of 2019, he got an excellent job offer. i was thrilled for him and told him to of course get out of that hellhole we hated so much, we were only there because the pay was decent and the hours were flexible so we could get our degree, you know? it stung, but i was happy for him. on the last day i gave him a ride home (which is also something i did almost daily), he surprised me by hugging me and telling me i was like a brother to him and our plans weren’t going to change. 

i believed him, and went back to work. he was soon replaced, obviously, by a junior developer because that’s how capitalism works. but suddenly, i no longer had someone to take a stand with me against my boss - there was no one left that i knew, everyone had resigned or been fired and i was the oldest employee. you’d think that’d earn me something, after eight years being dedicated to the same company, right? 

(shortly after, my grandma passed, after years and years of agonizing in a wheelchair. we lived together)

fuck that

the first months were fine. i was being the senior developer and teaching the junior constantly, so my boss stayed out of my way. but see, this is where he started to get ansty. the more the junior stopped being a junior and was actually useful for something, the more that piece of gigantic ass just started thinking only about our salaries. i started in that company in 2012 making little more than 3 bucks/hour (remember i live in a third world country, but it was still specialized work), but by 2019, my salary was pretty much double of what the junior was making, and every penny extra i got during those years was a CONQUEST. i also worked six hours while he worked eight, so.

my boss basically started treating me even more like shit. he wasn’t nice to be around before, but he was bearable in small amounts. suddenly it was obvious to everyone that he was really fixating on me and my performance, and to me it was obvious he just wanted me to walk away too so he could replace me with TWO junior developers instead of just one measly charlie. 

then, the nationals elections began. oh boy.

this probably wouldn’t read as news to anyone, but i’m a huge leftie, obviously. if you’re at all interested in politics, read about what socialist policies have done for uruguay during the past 15 years and how they turned us into AT LEAST a developing country, but i digress. 

the people that sat in my office even shared my political views or whatever, but my boss is actually part of the conservative party and started actively campaigning. every time something involving politics happened, he made a point to come barging in the office and telling me and specifically me about it like i was personally running against his party. i actually recorded him once to have proof of him at least screaming at me, so i could check if i was crazy for thinking he had something against me. he frequently called me communist and just mocked my views. if you’re wondering, yes, this is illegal, but nothing happened. 

then, two big things happened at once: we lost the election, and my recently adopted puppy was diagnosed with distemper. yes, it happened on the same that and it’s a day i’ll never forget. 

my girlfriend and i had talked about getting a puppy once we moved in together. we’d named him like two years before it actually happened. we moved in together on may 2019 and on september i found the most precious boy for adoption on facebook and i was innocently all like “oh i’ve had to put rescue dogs for adoption before, let’s give back!”. 

on october 27th, he had a seizure and the vet told us it was likely we’d have to put him down because only 20% of dogs survived, and it was even less for puppies. 

when i went to work, i had to put up with my boss laughing and mocking me for winning the election “against me”. i guess i missed my running for anything?

this post is already too long for me to get into details about my dog’s disease. for months, every day we looked after him constantly. i read everything there was to BE READ about distemper online, spent thousands of pesos on medicine and treatments just in case he had a chance. good news is he did! this is the only positive note in this post. 

it still wasn’t easy. he made us cry at least three times a day. we really thought he was dying, and we’d made the mistake of naming him 2 years before he was even born. we’d taken PERFECT care of him while he was unvaccinated, but the vet told us it was most likely he was already infected before he came home to us. i’d never seen such a small puppy so sick. he hallucinated constantly. if you don’t know, distemper is a neuro/digestive/skin/bone/HELL disease that’s really nasty. he’d have seizures almost daily and poop and pee himself. he stopped being able to control his body other than his two front legs, which he didn’t even have full control of. when he stopped being able to walk, he started crying constantly, it really tore the heart out of my chest

we called another vet, a dog physical therapist, so she’d tell us how we could help him. she told us to make him stand as long as possible, so every time he had a meal, i’d bend down with him and hold his hips - so he’d be able to stand, and slowly gain back some muscle mobility. every day we massaged his legs and flexed his joints, even his tiny toes, so he’d avoid atrophy. and we did it!! as i’m writing this, he’s one year old now, he’s no longer sick even if he’ll carry with him plenty of lifelong sequels, and he walks and runs and barks like the best of them ♥ i wasn’t going to plug anything but if you wanna see his progress, it’s on instagram @hamiltonthefighter

okay, i guess i ended up talking at length about his disease in the end, sorry. his walking again had a price to pay for me: my own back. for two or three months i was bent over this dog, you know? i still can’t get out of bed without help sometimes lol around december it got really bad but i just kept popping pills because joy oh joy, i was doing my thesis and i didn’t really have time or money for anything else. my job was basically paying for our rent, my university classes including the thesis course which was ridiculously expensive, and our dog had given me credit card debt out of desperation (we even had to buy those rubber things used for yoga to place on our floors so he’d have something to use his nails against instead of constantly slipping on the floor, we tried every medication that might help, we gave him CBD oils, all kinds of vitamins, constant vet visits where during the first two weeks he got like three different shots every day, etc)

i’m rambling, and i’m sorry, but i don’t really think anyone will read this. i started this post crying my eyes out and writing about my dog at least has been calming, because even if he’s a drooling mess now, he’s still the same he ever was and i love him very much and he’s sleeping soundly next to me and he’s finally close to fine. 

remember the friend i talked about like half an hour ago? the one that worked with me for six years? nothing changed between us during the first months. for my thesis, i was going to develop a videogame with Mabu, but we were allowed to have external coding help because it was about GameDev, not the actual coding. i knew how to code, obviously, but Nico (the friend, guess we’ll give him a name) was also part of our project so he was gonna help us code so i had more time to focus on art and 3D modelling. the idea was kill two birds with one stone, make something we all liked, mabu and I were going to graduate with it and then we’d keep working on it during 2020 as we’d always always talked about.

by december, even if nico and i still talked regularly, i could tell he had just moved on with his life. he’d said he’d help us, but he was doing his own thesis, so i told him not to worry at that time, our final due date was in february. he asked us to forgive him during december and promised us he’d come back in january to DEVOTE himself to the project. i started coding the project besides working on the art and i was thankfully able to meet all the deadlines, so it was really fine, of course i understood where he was coming from. 

then, on january 7th, Mabu’s grandma passed away. she was scheduled for a heart surgery that supposedly only had 1% risk, and she passed on the table because of a doctor’s mistake. the surgery was here in the capital, but Mabu’s family lives five hours away. she comes from a very big, very loving family, and her grandma (being the mother of five children) was very much the center of it. i also loved her. she’d replaced my grandma the second she passed and every time i saw her she hugged me like i was a lost grandson. 

when my girlfriend called me during her surgery, i immediately left work because i just knew she would be crying if things were okay. this was a nightmare come alive for a family of 20+ people, and most of them were 5 hours away from their own house. my mother in law was (and still is) devastated by the lost of her mother because she was the one to encourage the surgery and she still thinks she killed her. i drove my her, my girlfriend, her sister and her sister’s boyfriend on my mother’s in law van for five hours while they all cried or slept and i had to really, really pinch myself because i was EXHAUSTED but what else could i do? 

logically i missed work the next day. LOGICALLY. i had the service to attend and i was 5 hours away from the office and i didn’t even have my own car with me. i told my boss to discount the day, since i wasn’t entitled to the mourning day by law because it wasn’t my grandma. he didn’t even reply - he almost never talked to me by this point unless it was to berate me for something. i went back to work the day after the service.

now, remember we were doing our thesis and it was due in february? it really wasn’t great timing for anyone to die, but i was trusting Nico’s promise that he’d have more free time and he’d make up for not helping us code sooner. i told him the news about Mabu’s grandma, and then basically had to tell him to say something to her for her loss because he was supposed to be her friend, what the fuck, why aren’t you at least sending her a text.

let’s just say, january wasn’t a great month for Mabu and myself. two weeks after the passing, we still hadn’t had news from Nico. Mabu didn’t even have time to properly mourn because we had to turn our thesis in like, little over a month. i wrote to nico just downright ASKING if he was gonna be able to help us or WHAT, to which he said to me...

he’d never promised anything because he was really busy with his own stuff and he didn’t want to bring it up sooner because he knew Mabu was mourning and things were hard for us at the moment? 

like that’s great pal, thanks for telling me at the last POSSIBLE second you were just dropping out altogether, what the actual fuck? it still baffles me that someone can be so thick headed, but he kept saying he had made no promises and both Mabu and I knew that was a lie and i honestly just couldn’t deal with someone so selfish he couldn’t at least give a heads up sooner

the icing on the cake during the beginning of this year is someone i haven’t even mentined: MY PIECE OF SHIT BROTHER. talking about him may deserve another post, because this is already so long and convoluted and i haven’t even talked about his involvement in my misery during 2019-2020. i’ll try to make the story short if anyone’s still reading this far: 

a lot of years ago, our maternal grandmother moved to uruguay from russia and bought a tiny shitty house here next to my mother’s. my mother still hasn’t talked to me since 2013 because i’m trans, but that’s neither here nor there. i tried to keep in touch with my brother (we don’t share dads so he was no relation with my side of the family), and around 2017 i finally succeeded in making friends with him. or so i thought, clearly. 

that grandmother passed... sometime. i don’t really know because they cut me off. she didn’t speak to me either, she was literally a crazy old nasty woman and i didn’t even care when i heard she’d died, to be honest. she was such a nasty woman, she’d put her tiny shitty house to my and my brother’s name just to keep her own daughter out of the inheritance when she bought it. 

that also meant i was inheriting something for the first time ever, even if it was shitty. BUT my brother had his own fake grandma (the woman who looked after him his whole life instead of our mother) who was very old and frail and asked me if he could house her there. i said yes because again, i didn’t give a shit about the inheritance or the house or anything regarding my mother’s side of the family (other than him obviously), so for years this woman occupied the house. my brother basically took all existing furniture and appliances because he was moving in with a girlfriend and i even loaded up my shitty car with his stuff. all i wanted to inherit was the couch set, which had come all the way from russia and everyone had promised me since i was a wee lad, but he started whining about his fake-grandma not having a living room set and nowhere to sit and i didn’t even live by myself yet so i let them have the fucking couches, too. 

oh boy this is already too long but now i’m too lazy to make a separate post

anyway, sometime during 2019, the woman moved out to an old folks home because she could no longer take care of herself. i immediately asked about the couch set with hope in my heart that it could finally be mine, but my brother told me our mother didn’t want me to have it. 

he wanted to rent the house to make a profit, which sounded good to me because of that dog related credit card debt i talked about. and here’s where you might think i’m not that there in the head, but all my life i didn’t want anything to do with that house until my mother was in the ground - not out of hate but because i thought it was a shitty thing her own mother had done to her, and the inheritance should have been hers. she doesn’t have a degree or a stable job because she’s a russian translator so hey, whatever, they needed it more than i did. but then my brother starting getting ideas about improving the house so we’d make more money, and how we should do it together, and... i think i might have mentioned already why i didn’t exactly have time to redo a house? i was doing my thesis? about to graduate? my boss was constantly on my case? my dog was about to die? 

i helped as much as i could at first, but then december came, and then january, and my brother just kept nagging me about the house like i was purposefuly sitting on my ass doing nothing, because oh every day it’s not rented it’s money lost. no amount of explaining how stretched thin i was seemed to suffice, not even when mabu’s grandma died and nico left us hanging with the thesis and i had less than a month left to code the whole project by myself while ALSO taking care of the art. 

by the end of january, i was so stressed, i called a doctor after a panic attack. he gave me a weeks rest because of my back, because i wasn’t even able to get up without help at that time. it wasn’t much of a rest because i still used that time to sit at the computer and code 15 hours a day at LEAST, but hey. 

it was the first time in 8 years i’d taken medical leave of ANY kind. i didn’t even get medical leave when i got my chest surgery. it happened on a friday and i was back to work the next monday. i’d never skipped more than 2 days of work at best when i had a bad case of the flu or something, but that was it. 

when i went back to work, my boss immediatelly called me to his office. he started berating me about my performance again, bringing graphs comparing the amount of lines of code i’d written next to my coworkers. i didn’t mention this, but the graphic designer had also quit during 2019, so i was also covering that workload and no, that didn’t exactly translate to lines of code. i also had to spend HOURS every day tutoring the junior because he was too much of a cheap shit (didn’t use those words) to hire an experienced developer. i’d even WORKED AS A GRAPHIC DESIGNER FOR MEDIA CONTENT FOR HIS POLITICAL CAREER, EVEN IF IT WAS AGAINST MY BELIEFS AND NOT AT ALL RELATED TO MY JOB. he denied everything. EVERYTHING. he stuck to the narrative that i was just lazy and the proof was i’d just taken AN ENTIRE WEEK because “my back just hurt a little” and i had the audacity to skip work for someone else’s grandmother dying

i’m not exaggerating, i swear to anyone who might be reading this. that day was brutal and i’m still not over it half a year later, i don’t care if that makes me sound like a wuss. i worked eight years of my life in this fucking place. 

this argument lasted for hours, but i kept my head down because i couldn’t afford to lose the job, specially not then. i even apologized for any loss in performance and tried to explain my point of view and what i was going through (which i’d already done to another superior weeks ago anyway). but just when i thought i’d MAYBE be able to keep my head above water, he told me he was denying my the request i’d made to take two weeks of holiday days before the thesis final due date. 

i had already explained everything to him. everything, even nico dropping the team and my having to do everything by myself. i broke down and i told him he was forcing me to leave my job, i’d just have been certified by a doctor and i was asking for leave for SCHOOL (all things that are protected by law here), but he just kept repeating i could either walk away from my job or show up during those two weeks. he just wanted me gone, but he couldn’t fire me right away without having to pay me THOUSANDS because of my seniority (by law). he knew what he was doing to me and he didn’t care about it. he didn’t even let me TOUCH MY COMPUTER, he told me he wasn’t the one pushing me away, that i was doing this to myself, and he’d ask for a lawyer to check my computer for any “inconsistencies in my activity”, even. i really have a hard time just thinking about that day and how utterly humilliating it was. i lost a lot of personal files, because i sat at that desk for eight years and of course i had personal files because sometimes i stayed after hours before going to class. 

imagine for a second a sixty year old man, rich as shit, political candidate, standing in front of a computer, disconnecting the mouse and keyboard so i couldn’t touch it, yelling at me i was doing this to myself and i was losing my job because i had the audacity to ask for two weeks leave to finish my fucking school thesis. 

and yeah, i lawyered up. i didn’t have actual money to AFFORD a lawyer, but mabu’s cousin’s girlfriend was a lawyer and lived one block away and i immediatelly told her everything there was to tell. she brought me to the firm she worked in and they guaranteed me i had a pretty strong case and i was at least gonna be able to walk away with something.

that put things in hold for a while because the “trial” or whatever wasn’t gonna be held until after the thesis, so i tried to forget about it. my boss even owed me my untaken paid vacation days, which i told the lawyers because i was pretty sure he’d just forgot, but i wanted to know if it made a better case against him. they agreed, and i left it at that. 

but you know who was still making my life miserable even when february began and i had less than three weeks to finish our project right? MY SWEET BABY BRO. he was constantly nagging me about having to do all the work himself, like I’D ASKED ANYTHING FROM THAT HOUSE TO BEGIN WITH. but see, the nastier he started getting, the more apparent his lies began to appear. he got nasty to the level where ON THE DAY I WAS TURNING THE PROJECT IN he kept calling me demanding MONEY for stuff he’d paid for the house without checking in with me. i was honestly baffled by his level of selfishness, i was already sleeping three hours a day tops and he expected me to what, paint walls? he was FIERCELY against having to wait for my project to be done even if it was two weeks away and he was asking and asking for money when i’d just told him i’d lost my job without a penny to show for it. nice guy, really. 

suddenly, the following lies became clear: 

 my mother didn’t care if i took the couch set, he told me that because he was moving again and he was planning on taking the couches himself. (he ended up doing just so, too). he lied to me with the thing that hurts me most in the world: my mother hating me. he had even made a joke about it, because my mother had bought a new couch not long ago, and he didn’t “get” why she “didn’t want me to have anything”

 years ago he’d told me he had refinanced a tax debt the house had, and i gave him money for it. now that the house was about to be put up for rent, he pretended that had never happened and suddenly started talking about how we needed to take care of that

 he wasn’t planning on splitting the rent three ways between him, our mother and i. he was gonna keep two thirds, and i later even found out my own mother had given him the idea. 

 then poor mabu confessed to me once, two years ago, she’d wore a skirt one time visiting my brother and his then girlfriend, and he had told her nasty stuff to her year upon saying goodbye and she had never said anything because didn’t want to hurt our sibling relationship 

talk about final nail huh? 

i confronted him and he denied everything, obviously, he instantly played the victim card, how dare i think that way about him, how dare i break his dreams of reuniting the family again. he said things to me i’ll also never forget like, apparently, it shows that i’m a shit person because i have no friends and no one wants me around, unlike him that has so many. he told me i thought the world owed me when i was shit and i believed anything anyone told me before believing him. no one told me any of his lies, i caught them all by myself, but whatever. he cursed me and told me he never wanted anything to do with me because i was rotten and i only cared about money and i was so so selfish. this must have been around march and i still don’t know anything from him, or care.

what do i have to do for that side of the family to leave me alone, i wonder? all i ever wanted to do was be his friend

the “trial” against my boss came and suddenly every lawyer that worked at that firm was taking a fucking holiday except for the one that was supposedly leading my case - except suddenly, i didn’t have much of a case at all. i walked away with less than 2 thousand dollars and that was WITH the vacation days i hadn’t taken. the agreement was the lawyers were gonna keep 25% of however much i made but THAT vacation money wasn’t supposed to count because it didn’t come out of the “trial” thing, you know? 

well, it did. the lawyer screwed me over too. but hey, at least he’d gotten me unemployment for a couple of months (you only apply for unemployment if you’re fired, not if you walk away from a job, and my having been fired or not was what was being contested), i still tried to be optimistic, i had a few months to figure things out while i looked for another job, and at least i was able to finish paying for school with that money.

yeah, this was late february, beginning of march. joke’s on me for being optimistic at all

my own brother plotting with my own mother against me has done a number for my mental health. i already had baggage aplenty, like every trans dude or girl whose parents would rather see them dead than be a dyke/fag (my mother’s own words, ladies and gents)

my boss of eight years kicking me to the curve at the worst moment in my life in the most humilliating of ways while blaming me for it has left me feeling so worthless to people in general. i’m getting better with time, i think, but i’m still all not there. i have a really hard time thinking my work is worth anything at all.

i keep thinking my brother was right, and i’m a shitty friend, and i don’t deserve anyone around. my only real friend at the moment is my girlfriend, which makes it really hard to have any arguments because i start feeling like my life is ending because she’s pretty much all i have left and she’s the most important thing in the world to me because i wouldn’t have survived all this shit i’m writing without her by my side. i would walk to hell and back for her. but nico also left me behind without a second thought, after telling me i was like a brother to him, no matter how many times i invited him to hang out or anything to keep in touch. i’ve been a shitty friend to a lot of people, but not him, and he still didn’t care about me at all, so i just stopped trying. 

but now social distancing has got me all fucked up. i can’t trust people. i can’t go outside. everything is scary to me, i have at least two or three panic attacks per WEEK and they get nastier and longer every time. i know i need help, but i can’t even afford rent, let alone therapy. Uruguay has the worst unemployment rates since 2006 now thanks to our baby-Trump right now. i look for jobs daily even if the notion of having a job even SIMILAR to the one i had before gives me the shakes. programming isn’t as hard as some people may think, but the workplaces are usually VERY toxic because you’re valued by the amount of lines of code you write, and i’m so so tired. i’m still looking because I NEED. TO. PAY. RENT. but not because it’s something i want in life, at all. i’d much rather be poor and just do freelance work instead, but i’m failing.

i thank the people that have helped me or commissioned me these past few months from the bottom of my heart. i’m sorry i’m not more active, i’m sorry i’m still rusty and can’t draw faster, i’m sorry i sometimes spend half a day crying my eyes out because i just don’t know how to move forward. i have a week left, i still haven’t made enough for rent, let alone the bills or food. mabu used to get plenty of art commissions on etsy, but she hasn’t sold anything since march either and she’s younger than me so our financial struggles have an even deeper impact on her

i’m just so, so tired. i’m lucky to have mabu, and that is about it. i honestly don’t think i could have survived this year without her. for months the future has looked like a black screen to me. i can’t even trust the vegetable market in front of my fucking house because some piece of shit spread the rumor that i’m trans and now i can’t even open the door to my front house without getting stares sometimes, it’s ridiculous. i wish i could trust more than one person in the world so that everything wasn’t on her shoulders.

i’m not okay. we’re not okay.

that’s about it. i’m sorry i can’t end this on a more positive note. at least we graduated with an excellent score. not that we had a graduation, obviously. thanks corona.

thank you for reading if you read this far ♥

[livingdeadinsideyourhead]

Free Music in a Capitalist Society - Iggy Pop's Keynote Speech Transcript

Hi, I'm Iggy Pop. I've held a steady job at BBC 6 Music now for almost a year, which is a long time in my game. I always hated radio and the jerks who pushed that shit music into my tender mind, with rare exceptions. When I was a boy, I used to sit for hours suffering through the entire US radio top 40 waiting for that one song by The Beatles and the other one by The Kinks. Had there been anything like John Peel available in my Midwestern town I would have been thrilled. So it's an honor to be here. I understand that. I appreciate it.

Some months ago when the idea of this talk came up I thought it might be okay to talk about free music in a Capitalist society. So that's what I'm gonna try to talk about. A society in which the Capitalist system dominates all the others, and seeks their destruction when they get in its way. Since then, the shit has really hit the fan on the subject, thanks to U2 and Apple. I worked half of my life for free. I didn't really think about that one way or the other, until the masters of the record industry kept complaining that I wasn't making them any money. To tell you the truth, when it comes to art, money is an unimportant detail. It just happens to be a huge one unimportant detail. But, a good LP is a being, it's not a product. It has a life-force, a personality, and a history, just like you and me. It can be your friend. Try explaining that to a weasel.

As I learned when I hit 30 +, and realized I was penniless, and almost unable to get my music released, music had become an industrial art and it was the people who excelled at the industry who got to make the art. I had to sell most of my future rights to keep making records to keep going. And now, thanks to digital advances, we have a very large industry, which is laughably maybe almost entirely pirate so nobody can collect shit. Well, it was to be expected. Everybody made a lot of money reselling all of recorded musical history in CD form back in the 90s, but now the cat is out of the bag and the new electronic devices which estrange people from their morals also make it easier to steal music than to pay for it. So there's gonna be a correction.

When I started The Stooges we were organized as a group of Utopian communists. All the money was held communally and we lived together while we shared the pursuit of a radical ideal. We shared all song writing, publishing and royalty credits equally – didn’t matter who wrote it - because we'd seen it on the back of a Doors album and thought it was cool, at least I did. Yeah. I thought songwriting was about the glory, I didn't know you'd get paid for it. We practiced a total immersion to try to forge a new approach which would be something of our own. Something of lasting value. Something that was going to be revealed and created and was not yet known.

We are now in the age of the schemer and the plan is always big, big, big, but it's the nature of the technology created in the service of the various schemes that the pond, while wide, is very shallow. Nobody cares about anything too deeply expect money. Running out of it, getting it. I never sincerely wanted to be rich. There is a, in the US, we have this guy “Do you sincerely wanna be rich? You can do it!” I didn’t sincerely want to be rich. I never sincerely felt like making anyone else that way. That made me a kind of a wild card in the 60's and 70's. I got into the game because it felt good to play and it felt like being free. I'm still hearing today about how my early works with The Stooges were flops. But they're still in print and they sell 45 years later, they sell. Okay, it took 20 or 25 years for the first royalties to roll in. So sue me.

Some of us who couldn't get anywhere for years kept beating our heads against the same wall to no avail. No one did that better than my friends The Ramones. They kept putting out album after album, frustrated that they weren't getting the hit. They even tried Phil Spector and his handgun. After the first couple of records, which made a big impact, they couldn't sustain the quality, but I noticed that every album had at least one great song and I thought, wow if these guys would just stop and give it a rest, society would for sure catch up to them. And that's what's happening now, but they're not around to enjoy it. I used to run into Johnny at a little rehearsal joint in New York and he'd be in a big room all alone with a Marshall stack just going "dum, dum, dum, dum, dum" all my himself. I asked him why and he said if he didn't practice doing that exactly the way he did it live he'd lose it. He was devoted and obsessive, so were Joey and Deedee. I like that. Johnny asked me one day - Iggy don't you hate Offspring and the way they're so popular with that crap they play. That should be us, they stole it from us. I told him look, some guys are born and raised to be the captain of the football team and some guys are just gonna be James Dean in Rebel Without a Cause and that's the way it is. Not everybody is meant to be big. Not everybody big is any good.

I only ever wanted the money because it was symbolic of love and the best thing I ever did was to make a lifetime commitment to continue playing music no matter what, which is what I resolved to do at the age of 18. If who you are is who you are that is really hard to steal, and it can lead you in all sorts of useful directions when the road ahead of you is blocked and it will get blocked. Now I'm older and I need all the dough I can get. So I too am concerned about losing those lovely royalties, now that they've finally arrived, in the maze of the Internet. But I'm also diversifying my income, because a stream will dry up. I'm not here to complain about that, I'm here to survive it.

When I was starting out as a full time musician I was walking down the street one bright afternoon in the seedier part of my Midwestern college town. I passed a dive bar and from it emerged a portly balding pallid middle aged musician in a white tux with a drink in one hand and a guitar in the other. He was blinking in the daylight. I had a strong intuition that this was a fate to be avoided. He seemed cut off from society and resigned to an oblivious obscurity. A bar fly. An accessory to booze. So how do you engage society as an artist and get them to pay you? Well, that's a matter of art. And endurance.

To start with, I cannot stress enough the importance of study. I was lucky to work in a discount record store in Ann Arbor Michigan as a stock boy where I was exposed to a little bit of every form of music imaginable on record at the time. I listened to it all whether I liked it or not. Be curious. And I played in my high school orchestra and I learned the joy of the warm organic instruments working together in the service of a classical piece. That sticks with you forever. If anyone out there can get a chance to put an instrument and some knowledge in some kids hand, you've done a great, great thing.

Comparative information is a key to freedom. I found other people who were smarter than me. To teach me. My first pro band was a blues band called The Prime Movers and the leader Michael Erlewine was a very bright hippy beatnik with a beautifully organized record collection in library form of The Blues. I'd never really heard the Blues. That part of our American heritage was kept off the major media. It was system up, people down. No Big Bill Broonzy on BBC for us. Boy I wish! No money in it. But everything I learned from Michael's beautiful library became the building blocks for anything good I've done since. Guys like this are priceless. If you find one, follow him, or her. Get the knowledge.

Once in secondary school in the 60's some class clowns dressed up the tallest guy in school in a trench coat, shades and a fedora and rushed him in to a school dance with great hubbub proclaiming "Del Shannon is here, Del Shannon is here." And until they got to the stage we all believed them, because nobody knew what Del Shannon looked like. He was just a voice on some great records. He had no social ID. By the early 60's that had really changed with the invasion of The Beatles and The Stones. This time TV was added to the mix and print media too. So you knew who they were, or so you thought anyway. I'm mentioning this because the best way to survive the death or change of an industry is to transcend its form. You're better off with an identity of your own or maybe a few of them. Something special.

It is my own personal view having lived through it that in America The Beatles replaced our assassinated president Kennedy, who represented our hopes for a certain kind of society. Didn’t get there. And The Stones replaced our assassinated folk music which our own leaders suppressed for cultural, racial, and financial reasons. It wasn't okay with everybody to be Kennedy or Muddy Waters, but those messages could be accepted if they came through white entertainers from the parent culture. That's why they’re still around.

Years later I had the impression that Apple, the corporation, had successfully co-opted the good feelings that the average American felt about the culture of the Beatles, by kind of stealing the name of their company so I bought a little stock. Good move. 1992. Woo! But look, everybody is subject to the rip off and has to change affiliations from time to time. Even Superman and Barbie were German before America tempted them to come over. Tough luck, Nietzche.

So who owns what anyway. Or as Bob Dylan said "The relationships of ownership." That’s gates of Eden. Nobody knows for long, especially these days. Apparently when BBC radio was founded, the record companies in England wouldn't allow the BBC to play their master recordings because they thought no one would buy them for their personal use if they could hear them free on the radio. So they were really confused about what they had. They didn’t get it. And how people feel about music. ‘Cause it’s a feel thing, and it resists logic. It’s not binary code. Later when CD's came in, the retail merchants in American all panicked because they were just too damn tiny and they thought that Americans want something that looks big, like a vinyl record. Well they had a point but their solution was a kind of Frankenstein called "The Long Box." It didn't fool anybody because half of it was empty. It had a little CD in the bottom. You’d open it up and it was empty. Now we have people in the Sahara using GPS to bury huge wads of Euros under sand dunes for safe keeping. But GPS was created for military spying from the high ground, not radical banking so any sophisticated system, along with the bounty it brings, is subject to primitive hijacking.

I wanna talk about a type of entrepreneur who functions as a kind of popular music patron of the arts. It’s good to know a patron. I call him El Padron because his relationship to the artist is essentially feudal, though benign. He or she (La Padrona) if you will, is someone, usually the product of successful, enlightened parents, who owns a record company, but has had benefit of a very good education, and can see a bigger picture than a petty business person. If they like an artists’ style and it suits them, they'll support you even if you’re not a big money spinner. I can tell you, some of these powerful guys get so bored that if you are fun in the office, you’ll go places. Their ancestors, the old time record crooks just made it their business to make great, great records, but also to rip off the artist 100%, copyright, publishing, royalty splits, agency fees, you name it. If anyone complained the line was "Pay you? We worship you!" God bless Bo Diddley.

By the time I came along, there was a new brand of Padron. People like this are still around and some can help you. One was named Jack Holzman. Jack had a beautiful label called Elektra Records, they put out Judy Collins, Tim Buckley, the Doors and Love. He'd started working in his family record store, like Brian Epstein. He dressed mod and he treated us very gently. He was a civilized man. He obviously loved the arts, but what he really wanted to do was build his business - and he did. He had his own concerns, and style, and you had to serve them, and of course when he sold out, as all indies do, you were stranded culturally in the hands of a cold clumsy conglomerate. But he put us in the right studios with the right producers and he tried to get us seen in the right venues and it really helped. This is a good example of the industry.

Another good guy I met is Sir Richard Branson. I ended up serving my full term at Virgin Records having been removed from every other label. And he created a superior culture there. People were happier and nicer than the weasels at some other places. The first time he tried to sign me it didn't work out, because I had my sights set on A&M, a company I thought would help make me respectable. After all they had Sting! Richard was secretly starting his own company at the time in the US and he phoned me in my tiny flat with no furniture. He said he'd give me a longer term deal with more dough than the other guys and he was very, very polite and soft spoken. But I had just smoked a joint that day and I couldn't make a decision. So I went with the other guys who soon got sick of me. Virgin picked me up again later on the rebound. And on the cheap. Damn. My own fault.

Another kind of indie legend who is slightly more contemporary is Long Gone John of the label Sympathy for the Record Industry. Good name. John is famous with some artists for his disinterest in paying royalties. He has a very interesting music themed folk art collection – its visible online - which includes my leather jacket. I wish he'd give it back. There are lots of indie people with a gift for organization who just kind of collect freaks and throw them up at the wall to see who sticks. You gotta watch 'em.

When you go a step down creatively from the Padrons who are actually entrepreneurs you get to the executives. You don't wanna know these guys. They usually came over from legal or accounting. They have protégés usually called A&R men to do their dirty work. You can become a favorite with them if your fame or image might reflect limelight on their career. They tend to have no personalities to speak of, which is their strength. Strangely they're never really thinking about the good of their parent company as much as old number one. Avoid them. If you’re an artist, they’ll make you sick or suicidal. The only good thing the conglomerate can do for you – and they’ve done it recently for me - is make you really, really ubiquitous. They do that well. But, when the company is your banker, then you are basically gonna be the Beverly Hill Billies. So it's best not to take their money. Especially when you’re young. These are very tough people, and they can hurt you.

So who are the good guys?! They asked me when they read this thing at BBC 6 Music. Well there are lots of them. If fact, today there are more than ever and they are just about all indies, but first I want to mention Peter Gabriel and WOMAD for everything they've done for what seems like forever to help the greatest musicians in the world, the so called world musicians to gain a foothold and make a living in the modern screwed up cash and carry world. Traditional music was never a for profit enterprise, all the best forms were developed as a kind of you’re job in the community. It was pretty good, it was “Yeah, I’m a musician, I’m gonna skip like doing the dishes or taking the trash out.” It's not surprising that all the greatest singers and players come from parts of the world where everybody is broke and the old ways are getting paved over. So it's crucial for everyone that these treasures not be lost. There are other people of means and intelligence who help others in this way like Philip Glass through Tibet House, David Burn with Luaka Bop, Damon Albarn through Honest John Records. Shout out to Hypnotic Brass Ensemble. Almost all the best music is coming out on indies today like XL Matador, Burger, Anti, Epitaph, Mute, Rough Trade, 4 A D, Sub Pop, etc. etc.

But now YouTube is trying to put the squeeze on these people because it's just easier for a power nerd to negotiate with a couple big labels who own the kind of music that people listen to when they're really not that into music, which of course is most people. So they've got the numbers. But the indies kind of have the guns. I've noticed that indies are showing strength at some of the established streaming services like Spotify and Rhapsody – people are choosing that music. And it's also great that some people are starting their own outlets, like Pledge Music, Band Camp or Drip. As the commercial trade swings more into general show biz the indies will be the only place to go for new talent, outside the Mickey Mouse Club, so I think they were right to band together and sign the Fair Digital Deals Declaration.

There are just so many ways to screw an artist that it's unbelievable. In the old vinyl days they would deduct 10% "breakage fees" for records supposedly broken in shipping, whether that happened or not, and now they have unattributed digital revenue, whatever the **** that means. It means money for some guy’s triple bypass. I actually think that what Thom Yorke has done with Bit Torrent is very good. I was gonna say here: “Sure the guy is a pirate at Bit Torrent” but I was warned legally, so I’ll say: “Sure the guy a Bit Torrent is a pirate’s friend” But all pirates want to go legit, just like I wanted to be respectable. It’s normal. After a while people feel like you’re a crook, it’s too hard to do business. So it’s good in this case that Thom Yorke is encouraging a positive change. The music is good. It’s being offered at a low price direct to people who care.

I want to try to define what I am talking about when I say free. For me in the arts or in the media, there are two kinds of free. One kind of free is when the process is something that people just feel for you. You feel a sense of possibility. You feel a lack of constraint. This leads to powerful, energetic, sometimes kind of loony situations.

Vice Media is an interesting case of this because they started as a free handout, using public funds, and they had open, free-wheeling minds. Originally a free handout was called Voice and these kids were like “Just get rid of the old! I don’t wanna be Vice, yeah!” Okay. By taking an immersive approach with no particular preconceptions to their reporting, they've become a huge success, also through corporate advertising, at attracting big, big money investment hundreds of millions of dollars now pumped into Fox Media and a couple of others bigger than that in the US. And they get it because they attract lots of little boy eyeballs. So they brought us Dennis Rodman in North Korea. And it’s kind of a travesty, but it’s kind of spunky. It's interesting that capital investment, for all its posturing, never really leads, it always follows. They follow the action. So if it's money you're after, be the yourself in a consistent way and you might get it. You’ll at least end up getting what you are worth and feel better. Just follow your nose.

The second kind of freedom to me that is important in the media is the idea of giving freely. When you feel or sense that someone that someone is giving you something not out of profit, but out of self-respect, Christian charity, whatever it is. That has a very powerful energy. The Guardian, in my understanding, was founded by an endowment by a successful man with a social conscience who wanted to help create a voice for what I would call the little guy. So they have a kind of moral mission or imperative. This has given them the latitude to try to be interesting, thoughtful, helpful. And they bring Edward Snowden to the world stage. Something that is not pleasant for a lot of people to hear about, but we need to know.

These two approaches couldn't be more different. To justify their new mega bucks Vice will have to expand and expand in capital terms. Presumably they'll have to titillate a dumb, but energetic audience. Of course all capitalist expansions are subject to the big bang – balloon, bust, poof, and you’re gone. As for the Guardian I would imagine that the task involves gaining the trust and support of a more discerning, less definable reader, without spending the principal. There is usually an antipathy between cultural poles, but these two actually have a lot in common in terms of the energy and nuisance to power that they are willing to generate. I wish red and blue could come together somehow.

Sometimes I'd rather read than listen to music. One of my favourite odd books is Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin. I bought the book in the 90's because a couple of my bootlegs were mentioned. I loved my bootlegs. They did a lot for me. I never really thought about the dough much. I liked the titles, like Suck on This, Stow Away DOA or Metalic KO. The packaging was always way more creative and edgy than most of my official stuff. So I just liked being seen and heard, like anybody else. These bootleggers were creative. Here are two quotes from the dust jacket by veteran industry stalwarts on the subject of bootlegs in 1994.

"Bootleg is the thoroughly researched and highly entertaining tale of those colorful brigands, hapless amateurs, and true believers who have done wonders for my record collection. Rock and roll doesn't get more underground than this." – that was David Fricke, the music editor of Rolling Stone "I think that bootlegs keep the flame of the music alive by keeping it out of not only the industry's conception of the artist, but also the artist's conception of the artist." – that was Lenny Kaye from the Patti Smith group, musician, critic and my friend.

Wow!! Sounds heroic and vital!

I wonder what these guys feel about all of this now, because things have changed, haven't they? We are now talking about Megaupload, Kim Dot Com, big money, political power, and varying definitions of theft that are legally way over my head. But I know a con man when I see one. I want to include a rant from an early bootlegger in this discussion because it's so passionate and I just think it's funny.

This is Lou Cohan "If anybody thinks that if I have purchased every single Rolling Stones album in existence, and I have bought all the Rolling Stones albums that have been released in England, France, Japan, Italy, and Brazil that if I have an extra $100 in my pocket instead of buying a Rolling Stones bootleg I am going to buy a John Denver album or a Sinead O'Conner album, they are retarded."

So the guy is trying to say don't try to force me. And don't steal my choice. And the people who don't want the free U2 download are trying to say, don't try to force me. And they've got a point. Part of the process when you buy something from an artist. It’s a kind of anointing, you are giving people love. It’s your choice to give or withhold. You are giving a lot of yourself, besides the money. But in this particular case, without the convention, maybe some people felt like they were robbed of that chance and they have a point. It’s not the only point. These are not bad guys. But now, everybody's a bootlegger, but not as cute, and there are people out there just stealing the stuff and saying don't try to force me to pay. And that act of thieving will become a habit and that’s bad for everything. So we are exchanging the corporate rip off for the public one. Aided by power nerds. Kind of computer Putins. They just wanna get rich and powerful. And now the biggest bands are charging insane ticket prices or giving away music before it can flop, in an effort to stay huge. And there's something in this huge thing that kind of sucks.

Which brings us to Punk. The most punk thing I ever saw in my life was Malcolm McLaren's cardboard box full of dirty old winkle pinkers. It was the first thing I saw walking in the door of Let It Rock in 1972 which was his shop at Worlds End on the Kings Road. It was a huge ugly cardboard bin full of mismatched unpolished dried out winkle pickers without laces at some crazy price like maybe five pounds each. Another 200 yards up the street was Granny Takes a Trip, where they sold proper Rockstar clothes like scarves, velvet jackets, and snake skin platform boy boots. Malcolm's obviously worthless box of shit was like a fire bomb against the status quo because it was saying that these violent shoes have the right idea and they are worth more than your fashion, which serves a false value. This is right out of the French enlightenment.

So is the thieving that big a deal? Ethically, yes, and it destroys people because it's a bad road you take. But I don't think that's the biggest problem for the music biz. I think people are just a little bit bored, and more than a little bit broke. No money. Especially simple working people who have been totally left out, screwed and abandoned. If I had to depend on what I actually get from sales I’d be tending bars between sets. I mean honestly it’s become a patronage system. There’s a lot of corps involved and I don’t fault any of them but it’s not as much fun as playing at the Music Machine in Camden Town in 1977. There is a general atmosphere of resentment, pressure, kind of strange perpetual war, dripping on all the time. And I think that prosecuting some college kid because she shared a file is a lot like sending somebody to Australia 200 years ago for poaching his lordship's rabbit. That's how it must seem to poor people who just want to watch a crappy movie for free after they’ve been working themselves to death all day at Tesco or whatever, you know.

If I wanna make music, at this point in my life I'd rather do what I want, and do it for free, which I do, or cheap, if I can afford to. I can. And fund through alternative means, like a film budget, or a fashion website, both of which I've done. Those seem to be turning out better for me than the official rock n roll company albums I struggle through. Sorry. If I wanna make money, well how about selling car insurance? At least I'm honest. It's an ad and that's all it is. Every free media platform I've ever known has been a front for advertising or propaganda or both. And it always colors the content. In other words, you hear crap on the commercial radio. The licensing of music by films, corps, and TV has become a flood, because these people know they're not a hell of a lot of fun so they throw in some music that is. I'm all for that, because that's the way the door opened for me. I got heard on tv before radio would take a chance. But then I was ok. Good. And others too. I notice there are a lot of people, younger and younger, getting their exposure that way. But it's a personal choice. I think it’s an aesthetic one, not an ethical one.

Now with the Internet people can choose to hear stuff and investigate it in their own way. If they want to see me jump around the Manchester Apollo with a horse tail instead of trying to be a proper Rockstar, they can look. Good. Personally I don't worry too much about how much I get paid for any given thing, because I never expected much in the first place and the whole industry has become bloated in its expectations. Look, Howling Wolf would work for a sandwich. This whole thing started in Honky Tonk bars. It's more important to do something important or just make people feel something and then just trust in God. If you're an entertainer your God is the public. They'll take care of you somehow. I want them to hear my music any old which way. Period. There is an unseen hand that turns the pages of existence in ways no one can predict. But while you’re waiting for God to show up and try to find a good entertainment lawyer.

It's good to remember that this is a dream job, whether you're performing or working in broadcasting, or writing or the biz. So dream. Dream. Be generous, don’t be stingy. Please. I can't help but note that it always seems to be the pursuit of the money that coincides with the great art, but not its arrival. It's just kind of a death agent. It kills everything that fails to reflect its own image, so your home turns into money, your friends turn into money, and your music turns into money. No fun, binary code – zero one, zero one - no risk, no nothing. What you gotta do you gotta do, life's a hurly-burly, so I would say try hard to diversify your skills and interests. Stay away from drugs and talent judges. Get organized. Big or little, that helps a lot.

I'd like you to do better than I did. Keep your dreams out of the stinky business, or you'll go crazy, and the money won't help you. Be careful to maintain a spiritual EXIT. Don't live by this game because it's not worth dying for. Hang onto your hopes. You know what they are. They’re private. Because that's who you really are and if you can hang around long enough you should get paid. I hope it makes you happy. It's the ending that counts, and the best things in life really are free.

[anhed-nia]

BLOGTOBER 10/7/2020

I missed THE GOLDEN GLOVE at Fantastic Fest last year. It was one of my only regrets of the whole experience, but it was basically mandatory since the available screenings were opposite the much-hyped PARASITE. As annoying as that sounds, it was actually a major compliment, since what could possibly serve as a consolation prize for the most hotly anticipated movie of the year? Needless to say, I heard great things, but I could never have imagined what it was actually like. I'm still wrapping my mind around it.

Between 1970 and 1975, an exceptionally depraved serial killer named Fritz Honka murdered at least four prostitutes in Hamburg's red light district. Today, we tend to think of the archetypal serial killer in terms of ironic contradictions: The public is attracted by Ted Bundy's dashing looks and suave manner, and John Wayne Gayce's dual careers as politician and party clown. Lacking anything so remarkable, we associate psychopathy with Norman Bates' boy-next-door charm, and repeat "It's always the quiet ones" with a smirk whenever a new Jeffrey Dahmer or Dennis Nilsen is exposed to the public. The popular conception of a bloodthirsty maniac is not the fairytale monster of yore, but a wolf in sheep's clothing, whose hygienic appearance and lifestyle belie his twisted desires. In our post-everything world, the ironic surprise has become the rule. In this light, THE GOLDEN GLOVE represents a refreshing return to naked truth.

To say that writer-director Fatih Akin's version of the Fritz Honka story is shocking, repulsive, and utterly degenerated would be a gross understatement. We first meet the killer frantically trying to dispose of a corpse in his filthy flat, wallpapered with porno pinups, strewn with broken toys, and virtually projecting smell lines off of the screen. One's sense of embodiment is oppressive, even claustrophobic, as the petite Honka tries and fails to collapse the full dead weight of a human corpse into a garbage bag, before giving up and dismembering it, with nearly equal difficulty. The scene is appalling, utterly debased, and yet nothing is as shocking as the killer's visage. When he finally turns to look into the camera, it's hard to believe he's even human: the rolling glass eye, the smashed and inflated nose, the tombstone teeth and cratered skin, are almost too extreme to bear. Actually, suffering from a touch of facial blindness, I had to stare intently at Honka's face for nearly half the movie before I could fully convince myself that I was, in fact, looking at an elaborate prosthetic operation used to transform 23 year old boy band candidate Jonas Dassler into the disfigured 35 year old serial murderer.

Though West Germany remained on a steady economic upturn beginning in the 1950s and throughout the 1970s, you wouldn't know it from THE GOLDEN GLOVE. If Honka's outsides match his insides, they are further matched by his stomping grounds in the Reeperbahn, a dirty, violent, booze-soaked repository for the dregs of humanity. Though its denizens may come from different walks of life, one thing is certain: Whoever winds up there, belongs there. Honka was the child of a communist and grew up in a concentration camp, yet he swills vodka side by side with an ex-SS officer, among other societal rejects, in a crumbling dive called The Golden Glove. The scene is an excellent source of hopeless prostitutes at the end of their career, who are Honka's prime victims, as he is too frightful-looking to ensnare an attractive young girl. These pitiful women all display a peculiarly hypnotic willingness to go along with Honka, no matter how sadistic he becomes; this seems to have less to do with money, which rarely comes up, and more to do with their shared awareness that for them, and for Honka too, it's been all over, for a long time.

Not to reduce someone’s performance to their physical appearance, but ???

To call Dassler's portrayal of Honka "sympathetic" would be a bridge too far, but it is undeniably compelling. He supports the startling impact of his facial prostheses with a performance of rare intensity, a full-body transformation into a person in so much pain that a normal life will never become an option. His physical vocabulary reminded me of the stage version of The Elephant Man, in which the lead actor wears no makeup, but conveys John Merrick's deformities using his body alone. Although there is an abundance of makeup in THE GOLDEN GLOVE, Dassler's silhouette and agonized movements would be recognizable from a mile away. In spite of his near-constant screaming rage, the actor manages to craft a rich and convincing persona. During a chapter in which Honka experiments with sobriety, we find a stunning image of him hunched in the corner of his ordinarily chaotic flat, now deathly still, his eyes gazing at nothing as cigarette smoke seeps from his pores, having no idea what to do with himself when he isn't in a rolling alcoholic rampage. The moment is brief but haunting in its contrast to the rest of the film, having everything to do with Dassler's quietly vibrating anxiety.

Performances are roundly excellent here, not that least of which are from Honka's victims. The cast of middle-aged actresses looking their most disastrous is hugely responsible for the film's impact. These are the kinds of performances people call "brave", which is a euphemism for making audiences uncomfortable with an uncompromising presentation of one's own self, unvarnished by any masturbatory solicitation. Among these women is Margarete Tiesel, herself no stranger to difficult cinema: She was the star of 2012's PARADISE: LOVE, a harrowing drama about a woman who copes with her midlife crisis by pursuing sex tourism in Kenya. Her brilliant, instinctive performance as one of Honka's only survivors--though she nearly meets a fate worse than death--makes her the leading lady of a movie that was never meant to have one.

So, what does all this unpleasantness add up to, you might be asking? It's hard to say. THE GOLDEN GLOVE is a film of enormous power, but it can be difficult to explain what the point of it is, in a world where most people feel that the purpose of art is to produce some form of pleasure. This is the challenge faced by difficult movies throughout history, like THE GOLDEN GLOVE's obvious ancestors, HENRY: PORTRAIT OF A SERIAL KILLER, MANIAC and THE TEXAS CHAIN SAW MASSACRE. Describing unremitting cruelty with relentless realism is not considered a worthy endeavor by many, even if there is real artistry in your execution; some people will even mistake you for advocating and enjoying violence and despair, as we live in a world where huge amount of movie and TV production is devoted to aspirational subjects. (The fact that people won't turn away from the Marvel Cinematic Universe movies, no matter how monotonous and condescending they become, should tell you something) How do you justify to such people, that you want to make or see work that portrays ugliness and evil with as much commitment as other movies seek to portray love, beauty, and family values? Why isn't it enough to say that these things exist, and their existence alone makes them worth contemplation?

A rare, perhaps exclusive “beautiful image” in THE GOLDEN GLOVE, from Fritz Honka’s absurd fantasies.

You may detect that I have attempted to have this frustrating conversation with many people, strangers, enemies, and friends I love and respect. I find that for some, it is simply too hard to divorce themselves from the pleasure principle. I don't say this to demean them; some hold the philosophy that art be reserved for beauty, and others have a more literary feeling that it's ok to show characters in grim circumstances, as long as the ultimate goal is to uplift the human spirit. Even I draw the line somewhere; I appreciate the punk rebellion of Troma movies as a cultural force, but I do not enjoy watching them, because I dislike what I perceive as contempt for the audience and the aestheticization of laziness--making something shitty more or less on purpose. A step or three up from that, you land in Todd Solondz territory, where you find materially gorgeous movies whose explicit statement is that our collective reverence for a quality called "humanity" is based on nothing. I like some of those movies, and sometimes I even like them when I don't like them, because I'm entranced by Solondz's technical proficiency...and maybe, deep down, I'm not completely convinced about "humanity", either. However, I don't fight very hard in arguments about him; I understand the objections. Still, I've been surprised by peers who I think of as bright and tasteful, who absolutely hated movies I thought were unassailable, like OLDBOY and WE NEED TO TALK ABOUT KEVIN. In both cases, the ultimate objection was that they accuse humans of being pretentious and self-deceptive, aspiring to heroism or bemoaning their victimhood while wallowing in their own cowardice and perversity. Ok, I get it...but, not really. Why isn't it ever wholly acceptable to discuss, honestly, what we do not like about ourselves?

The beguiling thing about THE GOLDEN GLOVE is that, although it is instantly horrifying, is it also an impeccable production. The director can't help showing you crime scene photos during the ending credits, and I can't really blame him, when his crew worked so hard to bring us a vision of Fritz Honka's world that approaches virtual reality. But it isn't just slavishly realistic; it is vivid, immersive, an experience of total sensory overload. Not a square inch of this movie has been left to chance, and the product of all this graceful control is totally spellbinding. I started to think to myself that, when you've achieved this level of artifice, what really differentiates a movie like THE GOLDEN GLOVE from something like THE RED SHOES? I mean, aside from their obvious narrative differences. Both films plunge the viewer into a world that is complete beyond imagination, crafted with a rigor and sincerity that is rarely paralleled. And, I will dare to say, both films penetrate to the depths of the human soul. What Fatih Akin finds there is not the same as what Powell and Pressburger found, of course, but I don't think that makes it any less real. Akin's film is adapted from a novel by Heinz Strunk, and apparently, some critics have accused Akin of leaving behind the depth and nuance of the book, to focus instead on all that is gruesome about it. This may be true, on some level; I wouldn't know. For now, I can only insist that on watching THE GOLDEN GLOVE, for all its grotesquerie, I still got the message.

[ms-demeanor]

thank you for posting more about how much you hate that idiot fucking book I fucking live for this

I have, no joke, probably read Atlas Shrugged a hundred times. I’m on my twelfth copy. I won one of those copies for entering one of the Ayn Rand scholarship essay contests. I once helped a communist friend of mine write an objectivist essay in order to apply for financial aid because “I don’t think like those people, you do”

(full disclosure y’all, I was a libertarian raised by libertarians and i stayed that way until my mid twenties)

I don’t know that I hate it so much as I’m completely fascinated by it.

I actually consider it a REALLY interesting piece of dystopian literature that I enjoy as a dystopia but it is so hyperbolic that it almost reaches the level of magic realism.

Atlas Shrugged (along with most of Rand’s other work) is so fundamentally broken in its assumptions about what motivates people to do what they do that it has always struck me as a weird dreamy fantasy novel. Like, imagine describing the construction of New York’s skyscrapers in a Lana Del Rey music video but all the characters are Fae and have impenetrable social rules about what is acceptable behavior.

And I know I’m in the minority here but I genuinely enjoy her prose, with the obvious caveats that the John Galt speech is terrible and the clear power exchange fetish works better if it’s addressed as a fetish instead of a weird recurring rape fantasy.

I don’t want to make excuses for Rand; her philosophy is ghoulish and her real-life attitudes about imperialism and capitalism and, just like, human rights and interpersonal relationships are repugnant. But if you want to get some insight into *why* she’s like this I’d recommend reading We the Living; it may not be accurate and when it was published it was controversial and frequently considered anticommunist propaganda (how fucking strange is it that a book published in the united states would be controversial for being anticommunist; that really hammers home how successful mccarthyism was) but I get the sense that it’s very much what *she* believed to be true in her experience and since I didn’t grow up in Soviet Russia and defect to the US I can’t exactly say she wasn’t, to a certain extent, justified in her views.

But, god, the way you see that exploded out in later work is just farcical. It’s so dramatic and overwrought - it’s not enough that politicians make mistakes or are self-interested, no, they’re moochers who are out to hasten the end of the world, bloodsucking parasites looking to enslave anybody with the audacity to be productive. It’s not enough that Lillian Rearden married for money, no, she’s out to destroy the soul of the productive man, only capable of measuring her worth by how far she’s able to make her husband fall. It’s not enough that Jim Taggart is an inept company president put in place by nepotism instead of skill, he’s also working to tear down everything his sister built because he wants her reputation but also wants to destroy her for having the gall to accomplish the things that built that reputation.

It’s fascinating. It’s bizarre. It’s looking through a glass darkly, examining the private fears of petty, bitter people. It’s not true, but there’s a truthiness to it to the people who buy into it; they haven’t experienced the world the way that Rand has written it but that’s how they believe the world works and they’re taking her writing as the evidence for it.

AND WHAT DRIVES ME UP THE WALL IS THAT IT’S SO CLOSE TO BEING RADICAL.

Like, okay, look at The Fountainhead - the climax of the book is about a dude who’s frustrated that his art is being perverted by bureaucracy and who wants equal access to fair housing. Crooked contractors and bloated budgets fueled by favoritism and scope creep are all legitimate problems with state building projects and the idea of working on one of those and wanting to blow it up is SUPER relatable. Yeah, dudes, I don’t want the DeVos family getting any more contracts from the government, I don’t want contractors who have worked with Trump bidding on housing projects. That DOES seem fucked up.

But I mean come on, you’ve got a journalist right there in your storyline; the way you make a hero isn’t to blow up a housing project it’s to report on the corruption. But the journalist is one of the craven lesser men Dominique fucks to get back at Roark to punish him for working with statists. So an exposé is out and an explosion is in.

And I know that seems radical but the thing is it’s not a call to fix a corrupt system, it’s not looking to replace a flawed method with a better method - it’s saying “my way or not at all” and that’s just. Petty. Petulant and wasteful.

Childish.

Same for Galt’s Gulch and the “Strike of the Mind” - in Galt’s Gulch there’s a fucking *doctor* who bitches that he was made to heal people who he thought didn’t contribute to enough to society. Dude. DUDE. Keep your mobile xray technology, and your cure for strokes; I’d prefer a doctor who isn’t basically a eugenicist.

FUCK.

It’s so frustrating that she creates this world where everything can be abundant and everything can be accessible and instead of going “luxury gay space communist post-scarcity society” she goes “what if everything COULD be free but instead we had the gold standard and let children with the “wrong” parents starve to death?”

(uh, in case it’s not clear: I’ve had something of a strong ideological shift away from the libertarian party)

And oh god the way she writes and thinks about women.

You know what, I’ve had arguments with some people about the “I’m not like other girls” trope and if/how it exists and Ayn Rand’s protagonists are the perfect example. Dominique only hosts tea parties in order to crush the soul of the man who won’t live up to her exacting standards, not because she likes them or wants friends or anything. Dagny has a long straight neck and an imperious profile and the short hair of an American woman; she saw a bunch of socialists once and put her middle finger up at them. She didn’t want to come out in society at a ball (and be flirted with by boring boys like some kind of silly GIRL), she wanted to go back to the trains (and also maybe get fucked rough against a wall by a man who knew what she deserved and was bold enough to give it to her) like a serious person. Ayn Rand is the queen of Not Like Those Other Girls.

Goddamnit.

Also everybody talks about how awful the John Galt Speech is but the John Galt torture scene? Hot. Great. 10/10 whump. Please skip the rest of the book and instead read about Galt’s friends/admirers rescuing him and tenderly wrapping his shaking shoulders before they carry him to safety, silently brimming with emotion and pride at how well he resisted the torture. (I maintain that if Rand had stuck to just writing actual porn she’d be much better thought-on and more widely beloved because her fetishy stuff only sucks in context; pull it out of her screeds against altruism and you’ve got something that it at least five orders of magnitude better than 50 Shades)

[sagemoderocklee]

Reiteration ❤️ A (but not GaaLee :p) P T

A - Your current OTP(s)/OT3(s)/OTX(s)

oof. okay so aside from GaaLee:

1) ShikaTema 2) NejiTen 3) Kakagai

i think these are the only like three ships i could say i feel strongly enough about that i’d classify them as OTPs. GaaLee honestly gets its own category anyways. im not really active in any other fandoms, and the only other ship I’ve ever felt as strongly about as i have gaalee was really Harry/Draco and well... ya know. Although if i were still super active in CLAMP fandom KuroFai and DouWata would 100000% be up there. And of course the forever and unbeatable Sakura/Shaoran but specifically CCS SakuShao because I think TRC isn’t quite as good with their romance

P - Invent a random AU for any fandom (we always need more ideas)

oh. that’s. okay we’re answering hard questions tonight i see.

something niche for you and me: new member of your MLM/communist/leftist reading group is Very Cute but very new to MLM/etc and needs extra help to understand the complicated history, theories, etc.

T - Do you have any hard and fast headcanons that you will die defending, about anything at all (gender identity, sexual or romantic orientation, extended family, sexual preferences like top/bottom/switch, relationship with poetry, seriously anything).

oh god. this is really opening a can of worms lmao and also.... i may have to put this under a cut because god i have so fucking many and some of them may need elaboration.

1. Gaara doesn’t ever take up sleeping/napping post Shukaku

this is something that I know a lot of ppl don’t like/want because everyone wants Gaara to be happy and like big same! but i do think that Gaara’s physiology is entirely altered from Shukaku and the lack of sleep. I feel like having it ingrained in him that he couldn’t sleep, knowing the devastation it would cause, plus all the trauma he has--he’d be plagued by nightmares first of all, and no shinobi is gonna wanna take a sleep aid or something to help them sleep more easily because that would just be a huge opening for someone to attack you. but the other thing is i think it would genuinely make him feel sick. like i know that when i get too little sleep i feel sick because my body needs a certain amount. BUT i also know that those days where im too depressed and don’t get out of bed and sleep too much i ALSO feel like shit. Gaara has lived his entire life without sleep--barring specific instances of forced sleep to release Shukaku--and his body has to have adapted to that. fifteen years of not sleeping there’s no way his body would know what to do with that. his body is so used to subsisting (and this is my own like explanation for how Gaara survived pre and post Shukaku) off of massive quantities of food and by funneling his own chakra into his brain to act as rest, healing, etc.  like i think at this point it’s so unconscious that he isn’t even aware he’s doing it anymore--like breathing. His chakra--which is already another physiological system in their bodies--is just taking up the job of the rest portion of his brain.

that all being said, i do still think this will have an overall affect on his lifespan, but not necessarily his physical or mental health in the immediate sense.

2. Kankuro is straight.

this goes for like all the characters i see as straight, and like i hate like putting this in the like “die defending” category, but there’s this sort of.... sense that when you’re LGBT in fandom you’re gonna see every character as gay and you’re sus/someone’s gonna side eye you if you don’t. like i get the whole ‘well obviously everything is straight and cis IRL, and im sick of it’ reasoning behind “everyone is gay/trans” but the thing is.... I wanna see cis and straight people who support their gay/trans friends and family. I don’t need to live in a world where no one is straight and cis. I need to live in a world where people who are straight and cis actually support and love LGBT people. i personally don’t get anything out of the fantasy of no straight cis people because what does that solve? and what does that say about the homophobia and transphobia within the series? It doesn’t solve or say anything. And quite frankly a series like Naruto is inherently homophobic and transphobic (especially trans misogynistic), and i think brushing that aside with an “everyone’s gay/trans” is more insulting than helpful because it’s not addressing the issue. I’m more invested in seeing the characters who aren’t LGBT supporting and loving and working to make the world better for their LGBT friends, family, and community.

like i know not everyone is writing/reading fanfiction or art or what have you in fandom for like realism or whatever, i get the whole escapism of it all, but i approach it this way because for me I just don’t get anything out of pretending that the -isms and -phobias within the series don’t exist.

also straight trans people exist?????

i could go on about this--like some characters are just... not good and i don’t wanna claim that as LGBT because of that--but like i think this is the biggest thing for me at the end of the day: seeing ppl who aren’t LGBT supporting LGBT ppl.

3. Gaara is a polyglot. Also, he’s self-taught in just about everything. He spent most of his youth in the Suna library for obvious reasons, so reading, writing, language, poetry, history, politics, arts, etc he learned there on his own.

4. Shikamaru and Temari live in Suna 6 months out of the year, and Konoha the other 6. Temari does NOT give up her job to be a nagging wife, and Shikamaru is 100% a wife man.

5. Lee is not originally from Konoha or Fire. He doesn’t remember his parents or how he wound up at a Konoha orphanage because trauma. Also his first language isn’t Japanese.

I have more specific HCs about who Lee’s parents are, where he came from, and what happened to his parents, but that’s like spoilers for a fic.

6. Tenten is not an outright orphan. She actually comes from a clan of weapons masters and smiths.

I think it’s fairly common for ppl to assume Tenten is an orphan because we obviously never see her family--granted we just don’t see much of her to begin with--but I personally fell in love with the idea of her having a clan with the focus being weapons. Her parents are still dead, but she lives with her grandmother, who’s renowned for her weapons.

7. Lee has a HUGE amount of chakra. Like obnoxiously huge stores of it that he just doesn’t know how to manipulate--not quite Kisame levels, but definitely a LOT. He gets as far as walking on water and walls, but he absolutely has to be focused to accomplish those feats and prefers just going really fast so he doesn’t fall in/off.

8. Sage mode!Rock Lee.

I have talked about this before(x, x), but you can absolutely pry this from my cold dead hands--actually, you couldn’t. I’d still hold on to this even in death.

9. Lee has like a photographic memory which is why he always writes things down that people tell him.

10. Gaara will be the last Kazekage--whoever comes after him (and i do have a HC for that) will be Kazekage only in the sense that they’re like the figurehead maybe, but ultimately Gaara is working to completely change the shinobi way of life and the Kage system will be dismantled starting with Suna/Gaara.

11. In a modern AU context, Lee is a HUGE fan of Queen and Bruce Lee.

12. Lee definitely grows his hair out later on in life and changes up his attire and becomes his own person.

13. The Kazekage Estate is a generation home--most households in Suna are, and in fact, it’s really fucking weird for someone not to live in a generational home--so Gaara lives there with his siblings. When Temari gets married, she and Shikamaru live there, and continue to do so when they have kids. If Kankuro has a kid (and a spouse), they’ll live there too. Lee eventually moves in. The house is always filled with love. When Gai visits with Kakashi, or when Tenten and Neji visit, they stay there too.

[weaselbeaselpants]

That Krispy Cat: A Warning, part 3

The last of the images cause I don’t want this bitch on my computer anymore. 

Knowing tumblr I kept the images hidden JUUUUST in case no one reads the fine print and can’t tell I’m being critical of this and gets me in trouble.

VVV ((Just in case you thought the JewishGriffon piece assured everyone that Crispy couldn’t POSSIBLY hate people of color, some of her earliest Nazi art had her character Klaus beating up Amigo Bear. She also made Amigo into a liberal strawman. )) VVV

((Dialogue to one of her TROLLARIOUS pictures that featured Amigo:

Amigo Bear: *muttering* "Your leader was a !@#$% little #@%^!@$^*!, you fascist feather duster..." General Klaus: "Fräulein, Ich vant you to cover your ears und shut your eyes as tight as you can." Crispy: "How come, General?" General Klaus: "Klaus ist about to say und do very bad sings zhat he does not vant his little Edelweiß to see or hear." Crispy: "Alrighty!" General Klaus: "WHO SAID ZHAT ABOUT DER FÜHRER? WER DIE FICK GESAGT? WHO'S ZUH SCHLEIMIG LITTLE COMMUNIST-SCHEISS SCHWANZLUTSCHER DOWN ZHERE, WHO JUST SIGNED HIS OWN DEATH VARRANT? NIEMAND?! GOTTVERDAMMT STALIN SAID IT! HERVORRAGEND! VHICH VUN OF YOU VANTS TO BE ZUH FIRST TO FIND OUT ZUH HARD VAY VHY MEIN FEINDE CALLED MIR DER BUTCHER BIRD?" ))

^^^ ((BUTOPHERARTISGOODSOYOUCAN’TCOMPLAIN

also the disc. for this pic before it was deleted had a ‘joke’ about cooking Jews in ovens. Oh and yes, that IS Hitler she’s giving that ugly ass cupcake too.))

^^^ (( - Thanks dA I never would have known I had a notifications unless eclipse blah -

This is one of her rants about how #Triggered she is that Starlight be compared to the Nazis when she runs a communist cult. Because A) that’s the real problem here and B) I too get upset when people say my OC is based on Jeffrey Dahmer when he’s so CLEARLY based on Ed Gein, Bwwwaaaah D> D> D> !)) ^^^

VVV ((Ugly art of her friend’s awful OCs.)) ^^^

VVV ((Crispy showing off why no one wants to be a patriot in our country.)) VVV

((FYI, Crisp, that attitude will make the Hamilton fans stronger so just keep that SJW-flinging coming you little SJW.

WHAT?! Social Justice is a broad term and as Crispy’s plainly demonstrated, you can circle it around and make a majority-class sound like the real underprivledged if you have enough fancy frou frou know-how and furries. Also, if a Social Justice Warrior constitutes someone who takes their cause soooo seriously that they’re annoying/petting/cruel/stupid about it....idk I think Crispy qualified.))

^^^ ((Crispy and her friend muse about what other races occupy the world of MLP in her headcanon. This, more than any other dA disc. and picture shows you her brand of “Segregationist-Nationalism is OKAY” thinking, cuz the art of these different races isn’t super offensive or cruel and neither are the characters. BUT if you scratch under the surface you’ll find that Crispy really likes these different people staying in their place and not in “someone else’s” country.

THEN, this same kind of thinking is used to convince you any mix of cultures is just cultural appropriation, again acting like she and her Nazi-stans are the only ones standing up to actual bigotry.)) VVV

^^^ ((Crispy makes the world a worse place by bringing up actual decent points; like how Americans dress Thanksgiving up as progressive and for the natives when we all know that’s not true...all to better her worldview.

fyi, GET OUT whenever you see a selfproclaimed Nazi fawn over Native Americans, because: Nazi Germany had a deep fascination with American Indians and used their struggles about their land being taken away from them to justify their eugenic genocide.)) ^^^

^^^ (( Crispy laughing it up on Furaffinity how she couldn’t be banned from her Furaffinity and then mysteriously never using her site there wowie.)) ^^^

^^^ (( Crispy complaining about SOPA cause her freedom of speech and blahblahblah.

Freedom of Speech is important. Unfortunately what people like Crispy don’t understand or care for is there’s no freedom of consequence. )) vvv

VVV ((LOL Joseph Mengele was such a stinkah let’s tell blithe jokes about him. At least WE AREN’T LIKE HIM!!!)) VVVV

VVV ((Early onset eugenic BS from her Spyro stuff that would be easy to miss if you didn’t know what this woman was talking about)) VVV

((Crispy admitting she thinks gays are pointless cuz they don’t reproduce but apparently loves them anyway. Also big shock Crispy’s seen Hetalia.)) VVV

VVV ((Crispy probably wanting Weeaboos to attack her cuz aren’t Japan’s animations so laaaaaaazy?!!?!? GUUdd think’ I’m a naziaboo! Germany’s never made any shitty animation evah. You know what, I lied. She doesn’t deserve Hetalia. She just doesn’t.)) VVVV

VVV ((Crispy dragging Brazil down with her as the apparent “Best South American Country”. Yikes.)) VVV

VVV ((More “it’s trolling ergo it’s not harmful” shit. Bulgarians probably do deserve their own Care Bears, but they certainly don’t want yours Crispy.)) VVV

VVV ((Disc. for her Richard Spencer bear art)) VVV

------

I know, I know...this isn’t what you wanted to read today, guys. I know it’s offensive and I’m sorry if it made you ill. I also know I’m putting my own blog under fire by showing these images here but I think that should say something about dA’s bad policies that this art gets a filter slapped on it and nothing more when the artist is blatantly pro-fascist.

Crispy resonates with me so much - and no it’s not cause I DARED to be “triggered”.

It’s because, for one, she was talented. I MEAN I HAVE EYES! That’s some nicely drawn digital stuff I’m not gonna deny. She had some cool rewrites and sequel ideas that, had it come from someone else I would have eaten up and faved to hell and back onceupona2012. But I didn’t, where a ton of MLP and furry fans did because they undervalued their own talents and would say “well it’s pretty who cares about the message?” 

Unlike so many commercial+published artists, it’s REALLY hard to separate the art from the artist here because the artist is so connected and a part of her art and storytelling. If you fav her art, even if you didn’t like her, that was telling Crispy she’d won. It’s so defeating to have other artists say their gonna ignore their gut for the sake of prettypretty-Don-Bluth style art. And yes, that stigma DOES affect my view on 2D purists btw.

Crispy was so holier than thou’, and that attitude also was appealing to dA folks, not to mention her knowledge of art history by the time she dropped off the radar. Crispy was the kind of person who’d make long, detailed, justified rants against the design and color choices in Hazbin Hotel and then a bunch of antis would eat her redesigns up only to learn the awful truth later and embarrass themselves cuz they were so taken up by the craft they didn’t know they were reblogging a fucking Nazi.

Not to underplay Viv’s wrongdoings of course, but I’m sorry; the two aren’t comparable on the problematic artist meter. THAT’S HOW BAD CRISPY WAS.

If this somehow was just a faze and she’s come to her senses or doesn’t really think this shite she preaches...I don’t care. She said some vile shit and fuck no I’m not forgiving her. It’s like KenDraw or Shadman. You’ve changed your life around and realized you’ve done/drawn nasty shit that’s done real harm? Cool....I’m still not talking or ever promoting you, ya dingbat. You ain’t no Roman Polanski or Doug Tennaple. You’re a singular internet artist and any support of the project has to go to you - and you suck!

ThisCrispyKat was a wakeup call that showed me these people not only still exist but will be allowed to get away with it. I was very touchy bout this kind of thing back in the day. Fuck, I STILL AM TOUCHY. The rabbit holes I found thanks to Crispy opened up to reveal communities where people think my hair color’s going extinct. People would detail how much they wanted to rape me - a natural blonde - and kill my friends and family for not looking like me. That they want to jerk off in my naturally curly hair and see me in glowy German princess gowns preparing them dinner.

Crispy and other Nazistans would look at me; a blond-haired blue eyed Polish/German American woman and think I need to be “fixed” because I DARE to repeat propaganda that the Nazis were bad. They’d call me a traitor for thinking that celebrating the Nazi party ISN’T German pride.

HOW DARE YOU TELL ME THAT’S GERMAN PRIDE! I’LL SHOW YOU GERMAN PRIDE YOU EGOSTROKING-LIMPDICKED ATTENTION WHORES.

People like Crispy make it 1000x harder to actually show interest in German things. Because I AM interested in German shit btw.

Like for real: it’s a country I’d love to visit one day (at least the black forest, which is where my mom’s fam comes from). I love German art and German fairytales slap. I really do want to explore my heritage through art and stuff.

But guess what? Much as Crispy would argue to the contrary I DO know my WWII history and beyond and FUCK YOU if you honestly think jerking it to cuddly Nazi-furs is empowering or just “showing your interest in history”. Take your own advice and read a god-damn book.

TL;DR: I DO NOT have to be proud of Nazis to enjoy German culture and if you think otherwise, FUCK YOU. It’s a slap in the face to everyone even if you are ‘just trolling’ and it in no way values actual German’s feeling on the matter. It’s annoying how people undervalue real people just for the sake of fan art.

The Nazis were evil. They were racist, eugenic-genocidal idiots who killed over six million Jewish people, Romani, Slavs, Jehovahs Witnesses, disabled people, Poles, homosexuals and prisoners of war. They would have killed my dad’s side of the family if they were in Poland at the time. They made bullshit tanks that killed the people making them and didn’t work on the battlefield. Their leader was a fat, farting one-testicaled bastard who preferred animals to people.

They ruined everything for everyone and then took the easy way out, leaving the Germans that were left in the hands of the also-genocidal Soviets and Americans. Germany is still paying their war debts and now, 70-80 years later everyone else wants to laugh off this dark period of history with memes and forget what they did, and as such, are forgetting the victims of the genocide.

I have 0 tolerance for Nazi things for the sake of HUMANITY, let alone the individual groups they target. I don’t have to have German ancestry or know a single Jewish person to tell you any of this. It’s fucking history.

Eat shit.

[evilelitest2]

Why do fascists hate capitalism?

Good question.  About half the reasons they hate capitalism are the same reason most leftist do, bad people are still likely to be annoyed at a bad thing that hurts them. Here are the other reasons 

1) Fascists don’t believe in social mobility.  Capitalism core tenant is “social mobility’, that somebody can work hard and become a billionaire, blah blah blah.  Now this focus on social mobility is and always has been mostly a lie, but even rhetorically capitalism values the notion of social advancement.  fascists do not, in fascist ideology, your birth determines your place in the world, and is part of a “natural order”.  The only way to improve yourself is through war, and even that is more fulfilling your existing destiny rather than creating your own.  Thus Fascists despises any form of social advancement outside military leadership, which is a major reason why they hate liberalism, socialism and communism, but its also a reason why they hate capitalism (though they usually prioritize the left wing ideologies first).  This is even more true for them when somebody they think is “inferior” advances ‘above their station.  Fascists aren’t aristocratic, but they hate capitalism for much of the same reason that the feudal aristocrats and monarchs hated it.  It brings change and challenges the caste system 

(Speaking of which) 

2) On that note, capitalism is rarely…ideologically racist.  Now capitalism is racist, it promotes and enforces existing racial hierarchies, and much of the damage of colonialism can be laid at the feet of capitalism.  However capitalist ideology rarely buys directly into blood purity or “The Volk” style race theory that fascists so love.  Capitalism in the US makes it super difficult for a black man to advance compared to his white counterpart, but if a black man does manage to become a billionaire, capitalism is basically cool with it.  If you look at a demographic breakdown of the 1%, it is mostly old white men (and almost all people who at least partially inherited their wealth) but it also includes a lot of non white people and women.  its a minority and many of them come from dictatorships (Saudi Arabia, China ect) but the ‘richest people in the world club isn’t entirely monochromatic.  To leftists, this doesn’t seem especially impressive, but to fascists it is way too much diversity.  Because capitalism is at its heart…amoral, the system will keep going even if the 1% are majority non white, gay or women, but to fascists that is terrifying.  they barely tolerate capitalism because the ruling class are mostly straight white dudes, but the thought of the ruling class not overlapping with their belief in racial science to them is terrifying 

3) Capitalism is ultimately an amoral system.  It doesn’t really believe in a larger ideology beyond “make a fuck ton of money”  and “innovate…somehow.” It does evil things because it believes that doing so will make them money, if doing the right thing will make them more money, they will.  Capitalism is just an utterly mercenary ideology, and will gladly pretend to support progressive causes if it turns a profit.  Again, leftists (rightly) aren’t big fans of this, but fascists hate it for the same reason we do honestly.  

Like you know the whole “Woke capitalism” thing that gets leftists worked up.  its doing something good but you know they don’t care and so they will abandon us the moment they feel like they can get away with it and all that.  That is how fascists feel about the racism in capitalism, they like it but because it is not ideological, they don’t trust it. 

Again this seems weird to leftists, but yes, fascists don’t like capitalism because it isn’t racist enough.  We tend to interact with capitalism more than fascism, so people often don’t realize how much worse it can get 

4) Capitalism doesn’t care about the spiritual, except as something to sell.  ironically for all the hatred capitalism and communism have for each other, the two ideologies actually share a lot in common, they are super secular, materialist, and basically assume that everything in the world is nothing more than simply products.  Communists and capitalists disagree on what should be done with these goods, but neither of them believe there is anything beyond this world.

Fascists utterly reject this world view, they hate it, they hate it with a thousand suns.  I know that there current image is a sort of ironic racism chanboard nonsense, but in terms of their actual beliefs, Fascists take everything super seriously.  The entire argument of Nazism is that they value symbols more than actual human life, and they are fiercely attached to various “spiritual” political issues even if they are officially atheists.  I mean capitalism doesn’t give a damn about “degeneracy” because it isn’t actually a material thing, its just an aesthetic preference, there is no like “measurement” of degeneracy.  same goes for honor, the family, purity, and their approach to art, fascism is in many ways about finding meaning in otherwise mundane things.  So at fascist rally to them is this transcendental almost religious experience, while a capitalist would be more It interested in trying to find a way to make money off it.   Fascism is a highly Romantic movement, which doesn’t play well with the cynical wordy perspective of capitalists, who believe in nothing.  

Fascists also dislike aristocracy, but they love the myth and romance that is necessary for aristocracy and monarchy.  They basically want aristocracy of the skin.  

5) Fascists kinda…hate the idea of money.  Like Capitalism emerged from the merchant classes and is basically came about with the argument “all of your aristocratic concerns over honor, titles, and god are stupid, what matters is who has the money and how you use it”  And Fascists just hate that worldview, one of their defining traits is their love of war and conflict, in fact fascists prioritize war over almost everything else.  It has been noted by smarter men than I (I recommend Ur Fascism) that Fascism is basically a death cult, they want effectively an endless war that they can die gloriously in destroying their enemies.  

Consistently by the way, fascists will prioritize destroying the people they see as inferior over securing their own material best interest.  Hitler probably could have run his dictatorship in Germany on his own for quite a long time and lived in luxury, but he wanted a giant war because that is what they care about.  

in fact actively seem to indulge in self destructive short term ideologies.  The Nazi economic policy was an absolute joke, with the economy serving as nothing more than something to keep the war effort going.  Stephen Miller, the most fascist like person in trump’s administration, is hyper fixated on a brutal immigration policy, even though it actually hurts the economy.  Fascists oppose freedom of movement and free trade, even though those are policies neoliberal capitalism supports.  The reason is that Fascists value the preservation of “The Volk” over profits, and would rather their people suffer than have to live alongside other races (these people are deeply stupid)

6) Fascism doesn’t enjoy having fun.   I know for most of, our experience of capitalism is misery as we work, to earn the right to work, to earn the right to give, ourselves the right to buy, ourselves the right to live, to earn the right to die.  However the way that capitalism sells itself is basically “buy lots of shit and that will make yourself happy”.    

Fascism doesn’t really…like being happy.  As i said before, they like war, they like conflict, they like having an enemy who they can destroy.  To fascists, what matters most is how you kill and how you die, rather than enjoying life.  Fascism is about fetishistic death.  Pink Floyd was right that Fascism is almost a form of intellectual suicide.  

If you look at Japanese fascism, there is big fixation on aesthetic purity focus, with the only thing mattering being conflict 

7) Capitalism tends to value the urban, the industrial, and the technology, while fascists, like the Confederates before them, are enamored with the rural and the pre-industrial.  This might seem surprising, but there are a lot of fascists who are into environmentalism, Nazis Germany was one of the first states to pass laws banning animal cruelty and limiting smoking.  Fascists are really into this sort of “Clean earth, clean people’ aesthetic which always serves as the breeding ground for cruelty.

8) Capitalism tends to be leery of state control and fascists are all about that shit 

9)Finally….we need to be frank.  A lot of the ways we talk about anti capitalism actually can fit really nicely into the antisemitic narratives that so dominated fascist thinking.  

so the Marxist says 

“Hey the entire world is controlled by a tiny elite of rich greedy parasites who are making us fight each other in order to benefit themselves”

And the Fascist says 

“Yeah….they are Jewish”

its actually really hard to depict the rich as a class without accidentally wandering into anti Jewish sentiments, because the last 2,000 years of anti Jewish racism has been about creating conspiracy theories where they secretly control the entire world.  A lot of what fascism does is taking existing issues of capitalism and being like “oh yeah…that is the fault of the Jews.  Or migrants/African Americans/Muslims/feminists ect.  Gamergate is a good example of this, they are pissed at corporations, but they blame feminists rather than you know…the inherently predatory nature of capitalism.  Many of the things we don’t like about capitalism are things they also don’t like about capitalism.  This is a major thing they do in terms of recruiting, they focus on getting people pissed at capitalism but then make it be secretly run by Jews rather than you know..Jeff Bezos.

  (nazi properganda and below are soviet Images of capitalism ) 

(and sometimes both) 

This is why btw, I am less anti capitalist than most leftists, because talking to fascists makes you appreciate things about them.  Hitler was destroyed by both a communist dictatorship and a capitalist democracy working together.  

Its worth noting that while fascists do hate capitalism, they hate socialism a lot more, and tend to ally with capitalist to kill leftists, as we see from the Weimar Republic.  Fascist are often ok with certain types of corporate authoritarianism, but in the same way the left can be ok with somebody like Obama.  

(Frank Miller’s Batman is if Libertarian and Fascism had a baby) 

The lesson I would take from this is that just because somebody hates the thing you hate, doesn’t mean they are necessarily your ally, they might in fact be even worse. Yet another reason to distrust the dirtbag left 

[eldunea]

karl marx has a cult following among certain alteans. alteans pretty much universally hate capitalism because they see it as exploitative and--you guessed it--an inferior human invention compared with their “perfect” society. most alteans dismiss human philosophy because they find it simplistic and downright childlike compared with their own, and certainly many of them think the same of marx. but among others, marx in particular is favored because they’re like……this guy gets it.

the reason why they like him so much is because the final utopia he describes in the communist manifesto is actually in line with altean values. there is no exploitation of workers, nobody has any material want, and with the freedom from exploitation there is a constant renaissance of sapient creativity. “from each according to his ability, to each according to his needs” is also a highly altean sentiment, forming the basis of their social fabric. and while many altean peoples still have classes and form nations, many others do not, embodying marx’s vision of a classless, stateless society.

there is one statue of him in an altean city--an honor accorded to no other human except lao tzu--and he is given some representation in art, clothing and items. there are sculptures of him, handmade notebooks with his quotes translated into altean languages, heck, if you go to a moon elvish traditional open-air marketplace you’ll probably see freaking. karl marx beaded earrings. a lot of alteans tend to ignore him due to his species, but among the ones that do like him, they tend to be really obsessed, almost fangirl-y. this fascination is usually pretty racist and condescending, because they’re like “oh my gosh! a human who actually thinks similarly to how we do! we didn’t know humans could be this smart! he’s a miracle!”

however, many other alteans justifiably dislike him given the negative aspects of his ideology and legacy. most of them vehemently disagree with marx’s conception of the dictatorship of the proletariat, tying it to humans’ totalitarian communist dictatorships. they feel they have no reason to fear it, as they already found their “perfect society” without having to go through that stage. but they believe that in any “sensible” species a dictatorship of the proletariat would not be necessary to creating a world free of exploitation, and they hold marx’s conception of it responsible for communist dictatorships that have ravaged many countries on earth. and then, as stated before, there are the ones who immediately write him off because he’s human, saying even his ideals could never fully encapsulate the true glory and nobility of altean society, similar though they are. they usually point to his more unsavory beliefs as proof of this. and then there are the ones that say that his ideology is useless because while the “superior” alteans are upright and just enough to live out a utopian dream, marx’s ideals can never bear fruit in human societies because we’re too greedy and selfish.

it should be noted, on the other hand, that among marx’s altean supporters, there are a disturbing amount of alteans who don’t care about how many that this ideology has killed. the primary reason is because, like many spacefaring races, they are desensitized to non-spacefaring race death tolls in the “mere” millions by the universal scale of atrocities committed by spacefaring peoples. i’ve calculated before that 3.6 SEXTILLION people were killed under zarkon’s regime and i headcanon that fifty billion alteans were either exterminated or enslaved. compared with that, the communist death tolls are “nothing.” lastly, i’ve personally met some modern communists who are basically in denial about the depth of communist crimes, so there would be a very small minority of nutjob alteans who are similarly in denial.

[kingofthenorth49]

Made in China

I don’t know about you, but it sure feels like we are living through the start of World War III.  

Now before you scroll past and think my tin foil hat is on too tight this morning, hear me out. It’s not like this doesn’t make sense or anything, if you connect the dots it would appear that the next global conflict will look much different than the previous two.  

Think about it. China has been posturing for years to become the next world superpower, and if you can see through the medias bullshit you can read the overtures that are being made in the Asia region along with the saber rattling in the Middle East, you can see that it didn’t take long for Biden to unravel almost 50 years of progress towards peace.

War is inevitable and necessary to the state, and if you ever read Sun Tzu “Art of War”, a Chinese war treatise from the 6th dynasty you would understand the supreme art of war is to subdue the enemy without fighting. He also said that the outcome of war is pre-decided and gave solid advice on the best way to conduct campaigns to conquer foreign powers.

Now before you get your panties in a bunch, I’m not accusing China of deliberately inducing a world-wide pandemic through the use of a genetically modified pathogen after spending years devaluating the US dollar using printed money (not like we have room to talk, but we also haven’t been on a buying spree like the Chinese have in say, Canada for example.), but if I were President Xi Jinping that’s what I’d do. The best war is one where you risk no resources.

Again, not saying the Chinese are attempting to destabilize the United States, not at all. Just saying if I were going to take over the world that’s how I’d do it, from a far, using disinformation and creating confusion and chaos in the streets of my enemy. Not like it hasn’t been done before.  

See many of you see people like me as conspiracy theorists, people who are to be dismissed because we believe in things others’ think are foolish, things that seem farfetched and impossible to be going on in a frame of present reference. I just see myself as a guy who likes history and reads a lot of books that were written before Google came along and dumbed down our nations. Anyone who has ever read a book on the rise of the National Socialist German Workers’ Party in 1920’s Germany would understand completely. If you were to pick up a couple other books on how Hilter rose to power on the back of that party, you’d understand also how quickly people can be manipulated, and how the media and ideology can quickly create a firestorm of hate that makes it easy for societies to crumble. Read even further on how the German army used deceptive tactics to invade Austria and Poland so quickly they didn’t have a chance to prepare.  

That’s not a conspiracy theory, that’s history and we all know those who fail to learn from history are doomed to repeat it.  

I guess watering down history is a good thing, right? Taking down statues, changing historical accounts in the name of political correctness, and not encouraging people to critically examine all aspects of history to learn from them helps us become a better society.  

Let me give you the Cole’s notes version of how quickly things can go off the rails when the wrong ideology gains traction in a society where people intend to do evil. Again, not saying our current situation is remotely commensurate with our current situation, but it’s a good example of how quickly things can go from good to evil.

Here we go.

1933 - The Nazi Party takes power in Germany. Adolf Hitler becomes chancellor (or Prime Minister) of Germany. Nazis temporarily suspend civil liberties.

1934 - Hitler combines the positions of chancellor and president to become “Fuhrer” or leader of Germany. Jewish newspapers are no longer allowed to be sold in the streets of Germany.

1935 - The Nazis intensify the persecution of people that do not agree with their political philosophy. Jews are deprived of their citizenship and other basic rights.

1936 – Nazi's boycott Jewish owned businesses. The Olympic Games are held in Germany; Signs barring Jews are removed until the event is over. Jews no longer have the right to vote.

1938 - German troops annexed Austria. On Kristallnacht, the “night of broken glass,” Nazis terrorized Jews throughout Germany and Austria and 30,000 Jews are arrested. Jews must carry ID cards (papers!) and Jewish passports are marked with a “J”. Jews no longer had businesses, attend plays, concerts etc. (maybe they were unvaccinated??)  All Jewish children are move to Jewish schools. Jewish businesses are shut down; They must sell businesses and hand over securities and jewels. Jews must hand over drivers licenses and car registrations. Jews must be in certain places at certain times.

1939- Germany takes over Czechoslovakia and invades Poland. World War Two begins as Britain in France declared war on Germany. Hitler orders that Jews must follow curfews; Jews must turn in radios to the police; Jews must wear yellow stars of David.

Now I’ll stop there.  

Those are all non-debatable historical facts, no subjectivity in my interpretation, just the facts m’am. Look how quickly one ideology took hold in a country ripe for change. At the time of the 1930’s German’s were desperate for change as they had just came out of world war 1 and were suffering from paying reparations for their conduct during that conflict and when Hilter came along he lit a fire under the German people by blaming the Jews for the loss of WW1.  

Five years. Five years from the time a tyrant took power until he was able to start killing 6 million people.

Now if you are one of those types that believe “it can’t happen again” look no further to all the other genocides over the past 100 years, up to and including the Uighur crisis currently going on in China where they have over 1 million Uighur Muslims in concentration camps and they are mass sterilizing these people to the point it’s actually consider a genocide, as it’s reducing the Muslim population in the western provinces of China though declining birthrates. If these women don’t submit to forced intra-uterine devices or monthly pregnancy tests, they are put in prisons.  

Put in prision because they needed to take a test, shot, or device and wouldn’t?  

Say it ain’t so Joe, say it ain’t so.

Folks, some people are evil. Rotten to the core. They have no soul and are in the most desperate need of getting laid of any person on the planet. That’s reality. You can choose to stick you head in the sand and pretend the boogeyman doesn’t exist, but in truth the boogey man will always exist because humans are nasty evil creatures capable of the most horrendous conduct, and if you think ignoring them or passing laws to prevent them from doing things are going to stop them, well you are just stupid. Sorry, I can’t soften that up any because I owe it to you to be blunt in these times.

Now if you’ve made it this far I think you would agree that something is amiss these days, there’s too many conspiracy theories of the past few years that are now seeming to be true, yet no one wants to talk about where the end game is. I’m not sure what it is, but I have some theories, most involved China or George Soros, but the data indicates more towards the former versus the latter.

Trudeau loves China, he’s said so on many occasions to the point of gushing over their communist form of government. His father was a Marxist, and his mother loved communists. Literally. **bow chica bow wow**

Hunter Biden and the Big Guy are in bed with the Chinese in a different way that Margret and Fidel. We’ve seen the emails, the testimony, and the allegations. For them, it’s about money. Last week the Big Guy shut down the investigation that Trump started into the Wuhan lab. That’s now created a firestorm that will likely make 9/11 look like a traffic accident. Coincidence? I think not.

We recently had two Chinese scientists with ties to the Chinese People’s Army kicked out of our highest security epidemiology lab here in Canada after CSIS had concerns they were passing information back to the Wuhan lab (a lab so highly classified Canadian scientists have a hard time getting security clearances to access it), and Trudeau drew the ire of senior Canadian military personnel when he bullied them into allowing the Chinese to hold winter war games at CFB Petawawa. Why is Trudeau so moonstruck with China?

Dot, Dot, Dot.

Once again, I hope I’m wrong. I really, really do, but go back and walk that timeline again and ask yourself if you now understand why Netanyahu hit Hamas as hard as he did.

Never again.

Can you blame him Comrades?

Now as you sit here in North America today, especially in Canada, does it not seem eerily similar to what has happened before in history? Keep in mind that Jews were loaded onto boxcars under the premise to take them to safety from the angry German peoples.  

I really do hope my tinfoil hat is too tight and it’s cutting off the circulation to my frontal lobe, I want the Canada back I grew up in, and the America I fell in love with. I just hope this really is just a bad bug that’s part of a cyclical pattern of virology and this isn’t the start of a global war to reorganize the planet power structure and de-populate the globe.

The dots just tell a different story.

Jim Out.

[hms-chill]

#5 and #36 orrrr #60 and #72. gotta have some fluff and some angst. preferably les mis and whatever ship strikes your fancy.

So... consider: both. Here’s some Courferre, with Eposette coming soon because I love those girls.

60. “You’d be a great dad.”

72. “They’re going to love you, don’t worry!”

“Alright, but you know I’m not, like... historically great with kids? You know they don’t like me, right?” Combeferre’s lost track of how many times he’s adjusted his tie. Courfeyrac says he doesn’t need it. He’s wearing it anyway, because first impressions are important, and meeting your boyfriend’s extended family is no time to cut corners. Even if that means wearing a tie to a cookout.

“Well, we can eat at the grown up table if you want, but if Aunt Lena’s there, they’re going to get into politics and it’s going to be uncomfortable for all of us. Organizing the kids table for a game of water gun tag is way more fun.” Combeferre rolls his eyes, and Courf stands on his tip toes to kiss his boyfriend’s cheek. “They’re going to love you, don’t worry! And if they don’t, well, half of them live in Colombia anyway, so we won’t have to see them that often. It’ll be okay. I mean, it’s probably going to be a lot, but we can leave if you’re uncomfortable.”

“I just want them to like me.”

“They will. Trust me.”

“Quiz me on who’s related again?” Courfeyrac rolls his eyes. The light turns green, and they start forward as Courf asks whose son Sebastian is, and Combeferre focuses on remembering the family web so he can’t worry.

They get to Courf’s parents’ house sooner than he’s ready, a sprawling ranch style that Combeferre’s been to a million times. Never for a family reunion, but still. The sight of the window he used to crawl through or the tree they used to climb every day after school helps him relax a bit. Beside him, Courf is all but bouncing in the seat, demonstrating for the upteenth time why he’s not allowed to drive them places. There are people on the big wrap around front porch, and even before the car is off, Courf is on his way to greet them. By the time Combeferre gets it parked and gets out himself, there are at least three children around Courfeyrac’s legs, and he’s picking one of the youngest up to talk to her. He’s so happy that for a minute, Combeferre forgets to be worried. If these are the people who produced someone as loving as Courfeyrac, he’s going to be fine.

Courf waves him over, introducing his cousins. He calls Combeferre his boyfriend, which is normal, but still feels special, especially with kids. One of them asks what Combeferre does, and Courf explains that he’s a scientist helping people get better, and then the questions start. One of them asks if Combeferre ever helps people who threw up because the plane was shaky, because they had to sit next to someone who did that on the flight from Colombia and they didn’t like it. Another kid asks why people throw up when planes shake, and Combeferre explains that their brains don’t like it when they’re sitting still but moving, so they think something’s wrong and make people throw up to fix it. And suddenly, there are four pairs of wide eyes trained on him, and Combeferre has accidentally become the center of attention from an enraptured and growing crowd of children. 

Courfeyrac goes to greet his aunts and uncles, but Combeferre stays with the little cousins, telling them about why they need shots and get scabs and why their ears hurt on planes. When it’s time to eat, he’s dragged to the kids’ table, where he explains what happens when they eat and why some people are allergic to things and why dinosaurs are on bandaids. When he eventually has to go introduce himself to some of the adults, Sebastian insists on being the one to do it, so Combeferre gets pulled around by a very excited eight year old, Courfeyrac following them to help with introductions. 

They eventually convince the kids to play hide and seek, and Combeferre and Courfeyrac both go for the best spot in the house. Somehow, they manage to squeeze in together trading shushes and giggles easily.

“I thought you said you were bad with kids,” Courfeyrac says once they’re somewhat settled. 

“I thought I was. I don’t know why they like me so much.”

“Maybe because you’re amazing, and wonderful, and smart, and the best boyfriend on the planet?” Combeferre feels the heat in his cheeks, but between his skin tone and the darkness of their hiding place, he’s pretty sure Courfeyrac can’t tell.

“I just thought... I mean, Gavroche likes me, but that’s because I don’t treat him like a kid because he’s way too mature for that. I thought... I thought normal kids would hate me. I thought they’d love you, because everyone loves you, but I’d be stuck making small talk with your siblings and cousins and aunts and uncles while you were off with the nephews and nieces, not the other way around.”

“Wow, if only someone had predicted that the kids would love you,” Courfeyrac mutters, and Combeferre shoves him, earning a squawk as Courfeyrac struggles to stay hidden. 

It’s all for naught, as Sebastian’s head pokes in a minute later to say, “you’re not any good at this. If you’re so smart why didn’t you hide by yourself?”

Courfeyrac says something about letting him find them, and Sebastian rolls his eyes, leaving them to figure out how to get out of their hiding spot without hurting each other while he looks for the others. On their way back to base, Courfeyrac says, “you know how you’re always saying if we had kids I’d be good with them? Well, you’d be a great dad, too. Not now, but you know, in the future. If a kid ever needed our help, you’d be good at it.”

On AO3

--

Anyway I used her name so shoutout to Lena, my badass Chicana prof who taught me about social justice and once snuck into communist Cuba for vacation

--

Want to support the Hannah Makes Art fund? You can tip me in ko-fi here!

[emeraldsiren19]

Don’t blame AD for your insecurities

Cancel culture is the modern equivalent of the junior high cafeteria pettiness. Most people outgrow it as soon as they graduate high school, but unfortunately many never get the memo. 

People are free and expected to skip whatever entertainment they don't want to see for reasons. Nothing wrong with that. But unless you are watching a straight up documentary, you are watching fiction. Same for books too. Because a film is made or a book is written does not in any way imply that the storyteller and actors involved are sympathetic to the cause. You can tell a great story and it's the most uncomfortable thing anyone sees or reads. Does that make it bad or that the actors share the views of the villains/protagonists? Of course not. It is ridiculous to even assume that is happening.

For reasons unknown to the general public or anyone with an iota of intelligence and logic, Adam Driver is the latest scapegoat of said cancel culture. 

His wife, who gets an insane amount of unwarranted hate directed toward her, said in an interview when he was starting his career: Adam prefers to make art that is uncomfortable and makes people think. 

Which is why Kylo Ren was such a huge divergence from his previous filmography of mostly indie films. At that point, he was thrust into the mainstream limelight with everything involved, especially chaotic folks claiming to be fans who get pissed when he doesn’t fit their mold of what an ideal actor/heartthrob should be. He’s not their imaginary husband or their personal porn star as some “fans” believe he should be. And don’t even get into the homewrecking angle of it that some attempt with no shame, even if it’s just verbal wishes. Those folks don’t deserve any piece of him. Find another actor to do what you do with. Adam deserves more respect than that.

He is one of the very few actors who make you fully believe for 2 hours that he is someone else entirely. It’s because he has a gift that the universe has blessed him with. He’s just that good. So he can portray anyone he wants to and no one else has the right to say a damn thing. Even if that’s a Midwestern man in mid-century America (he was raised in the Midwest so he is an expert, and even if he wasn’t, he could still pull it off with little effort) or a medieval knight falsely accused.

Which leads into why do modern American ideals and morals have to be the universal standard for storytelling? You miss out on so many good tales when you toss out the “problematic” ones just to appease a rare few clutching their pearls and who get offended by the sky being blue. What law says that an actor or storyteller has to condone and agree with the ideals and beliefs of their characters? You would have a crap ton of boring stories and out of work actors/writers that way. 

If you don’t like the story, that’s fine. But calling out an actor/writer for upsetting you is not ok because at least in this country (America), you have the freedom to not watch said movie or read said book. You don’t get to call yourself a fan if you cancel an actor because you explicitly do not like their career choices as they make you think and feel uncomfortable. Again, move on to someone else who fits your shallow ideal, and there’s a whole sea of them that no one cares about. 

Adam, sofar, has been gifted with choosing good films. I haven’t seen anything that I hated to the point of avoiding entirely even if I only liked his 2 minute role in it. Yes, his characters are gritty and make you use the part of your brain that most people aren’t aware exists. 99% of other actors don’t.  

He’s not an undercover KKK operative, he’s not a theater student accused of stalking, he’s not a Senator’s aide digging up dirty secrets, he’s not a misogynistic fuckbuddy, he’s not a womanizer, he’s not a medieval knight accused of rape, he’s not an average guy turned Communist officer, and the list goes on. People insist he is though, because their brains haven’t figured out what the difference is between reality and fiction, and they don’t want to see it. They want someone to project their hate toward and he’s an easy target because he chooses the tough, gritty projects that he does instead of the easy romantic comedies that every other actor does and then can’t get work because no one takes them seriously. 

Then you have the labels and trigger words tossed around like confetti when people don’t fully realize what they mean, because they’re never used in proper context. People know they are. Your “abusive”, “problematic”, “toxic” etc. The latest being “Communist” with his new project in the works after the Plague ends. 

Outside of schoolbooks and other media propaganda from before these people were even born, no one understands what it means because it is so outside of what they can comprehend. Not saying at all that Communism is right or wrong, but don’t judge something without fully understanding it, and don’t dare put Adam Fucking Driver in the middle of your debate because he is earning his living  telling a story for entertainment reasons.  

In the modern context, anything the GOP doesn’t agree with is automatically considered “Communist” and therefore evil because it’s trying to bridge the gap of the Grand Canyon social divide. That’s why people like Bernie Sanders (love him, hate him, don’t care, your choice) who are trying to put equality into action are so hated and labelled as such, just because it’s the popular thing to do. 

Adam is not Communist either nor promoting Communism in any form because he plays a character we know nothing about at this point. Don’t dare judge a film before you have watched it. You can choose to not watch it, but unless you do view it, you have nothing whatsoever to base your arguments on.

Cancelling actors/writers and their work is essentially a 10 year old’s temper tantrum because he doesn’t like what he was given. Your parents and grandparents just skipped whatever they didn't like and moved on to whatever they did without makng a huge fuss. This is just juvenile insanity disguised as “being a good informed fan” and failing miserably because the costume doesn’t hide any of the rotting flesh underneath.

[thedivineidea]

“We’ve Lost”: A Commentary on Modern Conservatism

A lot of thinking has gone into this first blog post, and I keep coming back to the same phrase in my mind - “We’ve Lost”.  Now before I jump into my thinking, I want to preface all of this.

This has (almost) nothing to do with the current “election” and its aftermath.

This is not meant to be hopeless.  Even now as I think about the path this post is going to take, it’s hard to expect anyone to take in any other way, but just know that I am not without hope.  

With that out of the way, what have we lost exactly?

The Public School System:  Under our noses our Public Education System has been replaced by a Public Indoctrination System.  Our schools have shifted from teaching how to think to teaching what to think.  This has become crystal clear to me as we have labored under COVID fascism.  I am blessed to have two daughters currently learning from home.  My middle school daughter has spent the last three months of her English Language Arts class studying authors who have hated the United States and everything it stands for, mostly viewing the country through the lenses of race and poverty.  These authors certainly have every right to their opinion, and there works are certainly worth reading and learning about, but would it hurt to highlight a author or two who appreciated the opportunity afforded by the United States?  Could we balance that scale a little bit?  And this is in English Class!  Don’t get me started on their Social Studies class!  I can sum that up in one experience: On the first day the teacher told her students that citizens in Communist China enjoyed more rights and freedoms than citizens of the USA.  Enough said.

The Media: Here I am not only referring to the news media, although we have most certainly lost there.  With the help of “Big Tech”, we have a media in this country that Joseph Stalin would be proud of.  There is a Democratic Party narrative that is pushed and everything else is silenced.  

The media is more than just the news.  Take a look on any major streaming service and tell me, is there a new show or highlighted series that doesn’t push liberal social ideas?  Conservative ideas are mocked and often portrayed as evil or in the best case, horribly misinformed.

Our Election System:  I know.  I said this article wasn’t in response to the current election, and then I write this.  This is why I inserted the (almost).  We have just witnessed the single biggest instance of election fraud in the history of voting.  Even without digging into the numbers, you can see there was something wrong.  There is a great piece at The American Thinker about this that I would encourage you to read.  Link:

https://www.americanthinker.com/blog/2020/11/a_compilation_of_twenty_alleged_election_facts_that_dont_pass_the_smell_test.html

If this is the way elections are going to be handled, why even vote?  And I’m sure that attitude is exactly what the people who perpetrated this fraud are counting on.

Higher Education: Our universities have become pulpits from which egotistical leftist professors can spout vile, anti-American rhetoric, often times to the captive audience of students who are dependent on them for their academic careers.  The Washington Free Beacon keeps their eyes on this and puts out updates on radicalism on US campuses.  Here is their latest:

https://freebeacon.com/campus/this-week-in-campus-insanity-vol-21/

So, there are four areas we have definitely lost.  Granted, it is only four, but you have to admit that they are four pretty big ones, and I have not claimed that this is a complete or definitive list.

Now, saying that one has lost implies a few things.  It implies that two sides were playing a game, one side lost, and that the game is over.  I’m not sure that any or all of those assumptions are true.  

First, I’m not sure that conservatives have been actually playing the game.  In the words of my father, most conservatives just want to raise their families, get drunk on Saturday, and BE LEFT ALONE.  The other side is much more engaged and relentless.  I’m not exactly sure where that comes from, but it’s definitely there.

Second, the game is not over.  In spite of what you hear on CBS, the election is not decided.  Whichever way it goes, conservatives are likely to be extremely fired up by the result.  Could this fraud be the spark that lights a fire under conservatism in the United States?  Could this lead to our side engaging more and fighting back?  Could the Democrat party be exchanging a short-term “win” here for huge defeats in 2022 and 2024?

Lots of questions, and unfortunately I have very few answers.  What do you think?