#The idea of using the same receptacle for both is insane to me

[casquecest]

We had a Puke Bucket -> 🪣. It lived under the kitchen sink until it was called up from the reserves to stand sentry at the sick person's bedside, waiting to fulfil its noble purpose.

OK this question has been bugging me all morning so y'all please let me know

bc ours did nd I never thought much of it as a kid but know I'm thinking about it and it feels kinda gross? so pls tell me if this experience was universal or not it will haunt me forever otherwise

[aachria]

I’m so invested in Sanji and Ed it’s not even funny (it’s very funny my friend is so annoyed I keep yapping to her about these two)

The idea that Sanji, someone who’s life stands on so much secrecy tells the one person meant to figure out secrets it’s so crazy. The irony that Sanji tries so hard to not rely on anyone else and prove his worth the whole series. Just to confine in the one or if not the most secretive person he can is crazy.

Obviously Ed already knows about Sanji’s backstory and WCI + Wano so they aren’t surprised. But the idea Sanji trusts Ed so much to tell them his mothers name is insane. The little meetings they have is just so heart wrenching to me I adore them so much

But it’s so silly at the same time! I mean latest chap, for quite awhile Ed is telling the crew to well- kill them. If something they don’t want happens and in this case they don’t wanna be anywhere near the human trafficking (explainable) and at the very end Ed somehow got themselves into a death pact thingy with Luffy

And it reminds me of Zoro and Sanji in Wano. Sanji telling Zoro to “put him down” if he becomes an emotionless machine. And Zoro agreeing and telling him not to die before he can do it himself. It’s just very silly that these two both are so ridiculously secretive and sacrificial that they both end up in a similar scenario is goofy af

I love the two dearly, Whole Cake Island is gonna hurt for me but I cannot wait. We still got awhile but just wanted to share my adoration for these two dumbasses

RAAAAAAAAAAAAAAAAAAAAH YEEEEEEEES🦅🦅🦅‼️🦅‼️🦅🦅‼️🦅

Me and Sanji, we're like this 🤞. Me and him and our privacy issues all skip in a circle holding hands. Oh and Ed is there too.

OK. So. Sanji is my darling little guy and he is also very pathetic which is exactly how I like my men. Anyway the fucking SWITCH UP from Sanji mentioning being from the North blue back on Jaya and side eyeing Ed to him voluntarily telling them shit he is fully aware they could figure stuff out from is something that can be so personal.

My guy is like a cat pushing something off the counter, seeing no repercussions, and just continuing to do it. He got no pushback from the North Blue comment from Ed, saw that they never used that to find anything out, and went 'oh so it's like putting something in the bank, got it,' and ran with that.

It's Ed not telling anyone anything about their past they don't assume and Sanji pretending his backstory doesn't exist doing the spiderman meme.

Sanji saw this little freak who knows everything and never tells anyone SHIT and decided that was close enough to a therapist it could work. My man is poking the bear over and over seeing how far he can push his luck and Ed is just letting that happen.

Little Mr. I Will Never Talk About My Feelings Ever Because They're A Burden™ telling Ed, the Trash Receptacle Of Info That Will Be Forgotten Until It's Important™, about his gay ass crush on Zoro and being rewarded with a smooch: is this what being emotionally vulnerable is like????????

Those two idiots are very important to me. I almost bungled a bunch of plot because I adore him so.

The parallels between Sanji and Ed with Zoro and Luffy AND in general are both hilarious and terribly devastating to think about. I have so many big feelings about those two.

Wholecake is gonna be A TRIP I am VERY EXCITED FOR IT and it's gonna be AWFUL for everyone involved. I have something so hilarious I want to do with that arc.

[mmmmalo]

the king/father creates/births things while the queen serves only to impregnate (him with the idea for what he will create, like a muse, if you will)? idk i hate women being reduced to their reproductive function but this also seems misogynistic somehow. also does this make roxy's ability to create objects from nothing another "she's trans" joke?

I think the discomfort you’re apprehending is discussed somewhat when Crockertier!Jane tells Jake he will only exist to sire her children? Sexual objectification is probably a more familiar experience for women, but the unease in being subsumed by some sexual function isn’t necessarily gender exclusive… (the existence of domination play attests to that probably)

This subject is probably out of my depth, but I’m going to meander a bit and hopefully say a couple useful things.

First, some clarification: “birth” is the principle of separation and “pregnancy” is the principle of union. Thus birth-as-we-know-it is rendered equivalent to ejaculation, Breathing out, pooping – all of which involve separation from that which was once part of you. Likewise the image of a gestating fetus is equivalent to taut testicles, lungs full of air, a constipated colon – states in which the union is maintained. On this level, it’s apparent that any given body can participate in both halves of the dichotomy.

But as elaborated back in the Roxy-and-Dirk post, Sburb’s queens and kings are aligned with birth and pregnancy, respectively. As per Caliborn’s enchantment, this is treated a hat-switch, a reversal of expectations on who ejaculates and who gestates. “Birth” (which Caliborn likes) is coded as masculine, so that assigning this function to the queen is met as a reversal. While “pregnancy” (for which Caliborn fetishes his disgust) is coded as feminine, so that assigning this function to the king is met as a reversal.

The problem I’m facing is evaluating whether the birth/pregnancy dichotomy (aka separation/union, aka Breath/Blood) contains an intrinsic (ie inescapable?) gendered hierarchy, or if the gendered hierarchy is imported by characters (or us) onto what is actually a gender-neutral distinction. Though there could also be a broader point that binary systems are easily co-opted as mapping to the gender binary…? So that even if a distinction “ought to be” neutral, the matter remains that it has been /rendered/ gendered?

To avoid speaking too much in terms of generalities, I’m going to reorient this discussion around John Egbert via an ask concerning the ARG:

you gotta talk about it man come on

I read the ARG as a conspiracy theory that falls in line with the kids’ paranoid fantasies. In the same way that the very real trolls function as manifestations from the psyches of those around them, the world of Homestuck is, in general, shaped by the psychological profiles of its inhabitants.

I gather this partly from the nods to an irl conspiracy (eg declaring Obama to be a cross-dimensional immigrant), but mainly because the overwhelming paranoia that defines the narrative, the conviction that the world has degenerated and that every known authority is but a feeble puppet of a nebulous overlord. Comedians Laurel and Hardy are slowly corrupted and eventually infused with Evil, resulting in the birth of the Insane Clown Posse, which is to say ICP’s low-class status translates into degenerate art within the confines of the conspiracy. Albert Einstein is renounced as a fake, whose “insights” are mere scraps cast off from a feast of truth available to some unseen master. It’s all insurmountably stupid, but there is a unifying thread:

The idea is that the world is “fallen”, in two of the senses explored via John Egbert’s fear of heights (or rather, his fear of descent). 

1. John is literally afraid of heights, having fallen from the slime pogo. But John’s entry item is an apple because he experiences a pervasive sense that there is a perfect world of ideals from which he has been thrown down – a sort of intersection between the Fall of Man from the Garden of Eden and the heavenly Platonic Forms. This manifests partly in an obsession with authenticity, a subject that pervades Act 1 (x)(x). The Obama birth-certificate conspiracy attempts to frame Obama as “inauthentic”, and framing Einstein as a feeble peddler of inherited slivers of truth relies on the idea that there is a Godly figure with access to ALL the truth, a master presiding over the Pleroma. John is susceptible to this kind of thinking; after all, the paranoid idea of Betty Crocker as an Illuminati-tier omnipotent antagonist began as one of John’s funny delusions.

2. The biblical Fall is at times phrased as the corruption of humanity, and that sense carries into Homestuck. The other Heir, Equius, is revolted and titillated by that which he regards as base. His fetishization being lower class and other modes of degradation receives a visual complement in images of a falling ideal: the death-by-fall of man-horse Arthour, and Equius’s own descent through the caves of LOCAS (the circumstances of a lusus’s death and the features of a planet both bear relation to a player’s fantasies). John complicates the picture a little bit: he specifically has a fascination with “bad movies” (low status art), but also he regards the other side of the silver screen as a Pleroma of sorts, which simultaneously elevates the art.

But my goal is to demonstrate that all of this intersects with the original topic: the division of high/low is also projected onto masculine/feminine.

John wishes to undo his traumatic fall from the slime pogo, an event that has come to represent John’s fantasy of his own birth. As hinted at the start, the birth he imagines for himself is ejaculatory: Ghostbusters is “manbro bukkake theatre”, and John fancies himself a ghost busted directly from the loins of his heavenly Father. John seeks to re-merge with his image of God, a goal implicit in John’s attempts to reunite with Dad in a more familiar sense.

But implicit in John’s quest to give up the ghost and ascend to the Father is a rejection of the implicitly feminized earth and flesh, to which the self/soul is umbilically bound. This gendering is often shown via robots: 

Jake jokingly says that Dirk is “more machine than man” – this is a jab at Dirk’s terse demeanor, but placing machines in opposition to manhood potentially feminizes the machines, compromising Dirk’s desiring to be a paragon of dudeliness. The simultaneous masculinization of reason and dehuminizing jabs like Jake’s confuse and frustrate Dirk for a variety of reasons

The ghost of Aradia enters robotic husk to be reborn, imitating the insertion of the spirit into the body. She then finds that Equius has inserted something into her body against her will, and violently removes it and destroys it. “It” was a chip that controlled her feelings, but the intimate violation has tones of assault, and Aradia’s heart is effectively aborted.

There’s more examples, but this is just an aside to push the notion that the Fall (from high to low) entails the entry of spirit into body, which via the analogous entry of sperm into womb would seem to gender hierarchy itself. Masculine/feminine is entrenched as high/low by the metaphysics.

(Here’s a nice post that notes a gendering of the hemocaste system in Zebruh’s Friendsim route)

This leads me into thinking that John’s desire to merge with the image of the Father is connected to his love of pranking people, insofar as it becomes a assertion of domination/power (which is presumed to be the masculine position). The prankster’s gambit, at its purest, is a measure of Who’s On Top.

At the end of the Chaos Dunk scene (in which John symbolically enacts Rose’s rape fantasies), John pranks Rose by dumping a bucket full of gushers on her head. Buckets are receptacles, and thus occupy the balls/womb half of the divide. Evacuating the bucket all over Rose is a repetition of earlier symbolic assault, and the moment is embellished with a prankster’s gambit to emphasize the notion that there is an element of domination to the encounter.

The bucket prank is echoed in a  later conversation between John and Rose, beginning at page 2922. John asks repeatedly whether Rose “knows everything” now, says the beta kids “were in this adventure together” but with Rose’s occult knowledge, she is now “getting away from us”. John is not anxious that Rose is separating in a neutral way – his anxiety stems from the idea that she is rising above them. “Knowing everything” is a property of mastery, and John is confused by Rose being above him. At the end of 2922, John attempts to mock Rose’s words, but she tells him he’s being mean and he apologizes.

Rose herself expresses some anxieties about her position, saying elements of her wizard shtick have made her feel “ridiculous” or “embarrassed”. Her choice of words invokes the manifestation of Eridan, who mocks Rose’s “ludicrous poppycock” – she has an ongoing worry that her phallus (masculinized symbol of power) is fake.

This is why the scene culminates in an play scenario, in which John promises to sweep in like a noble knight and banish Rose’s encroaching grimdarkness, and Rose in turn pretends to swoon. The joke is an ironic acquiescence to the (gendered) hierarchy that is implicitly being challenged by Rose’s rise to power (or rather, that the kids perceive to have challenged). Past this, the conversation goes on to the subject of the Tumor, in a way that I have difficult tying into some sort of conclusion for the gendered aspects of the conversation.

This probably bears some relation to Rose’s insistence that John is the group’s leader…? But again, I’m at a loss. Let’s wrap this up.

On your last point: Roxy creating items from nothing actually throws a small wrench into things: in another essay on Gnosticism I was reading (Schuyler Brown’s “Begotten, Not Created”), “emanation” suggested that the creation was originally part of something (God, the One, etc), and emanation was thus framed as being in opposition to creation-from-nothing.

This brings me back to the problem of not knowing which portions of Homestuck’s metaphysics are particular to a given character’s psyche, which portions are universal, and which portions are loaded with both personal and universal meaning, or personal meaning that are /rendered/ universal. The motif of Roxy throwing a dead cat out of bucket seems to carry multiple meanings at once… in the sense we’ve noted, it would relate to the terror of stillbirth and miscarriage that follows Mom and Condy around. But reading “birth” as ejaculation, the cat could also be read as a disappointed acknowledgement that she cannot create life on her own…?

[vancafreader]

BD à BC: An Interview with Alexis Beauclair

by Kim Jooha

Alexis Beauclair and Kim Jooha have talked before. This was part of my interest in bringing them together-- For years Alexis has been making some of the most inventive works in comics that both subvert and champion the form. At the same time, Kim is one of comic's great insightful minds, able to rend meaning from the most challenging works as easily as a child does an Archie Double Digest. As mentioned, their lives in comics have brought them together in the past, perhaps most notably with Kim serving as editor on Beauclair's book "Vanishing Perspective". For BD à BC, Alexis and Kim talked via email about Beauclair's collection "Freefall", forthcoming from Breakdown Press.

-Jarrett Evan Samson

KJ: Alexis, you have created Sci-fi comics since the beginning of your publishing career. What drew you to sci-fi?

AB: Sci-fi is not a goal for me, I would like it to don’t fit into any genre (without all this absurd futuristic technology that will be so cheesy just a few years later :) ). I’m driving toward a no-genre where there are just human bodies (indefinite people) interacting with/in elements or physical laws.

A kind of comic that could be read in various areas of the world and time.

KJ: Even though they have narratives unlike your more minimalist & formalist comics like LOTO (Editions Matiere) or Vanishing Perspective (2dcloud), they still do not have dialogue. Why do you hate dialogue? (just kidding 😂) But on a more serious note: why no dialogue? Is it your practice philosophy? I do love that there is no dialogue, I think it causes the readers to be more active and immersed in your work — but that’s my opinion. I am curious about your reasoning!

It is also kind of 'back to the future' of written language

AB: I love many comics with dialogue but I feel there is something that always disturbs me-- during the reading, I feel my eyes are directly jumping on the words. And I feel the drawing is only in my external visual focus, (you know, when like you are focusing on something in front of you but you also see what is around it, even if your eyes are not jumping on it). It's like the art is in the second layer, less important, just giving a background atmosphere to text, a context. And when I feel this, I feel so bad for the artists who spent so much time on drawing that I don't look directly at, haha.

Visual-only comics are a very different kind of comics. The reader has only visuals to decrypt- it is kind of hard to make it fluid because it is only chosen static images. I love this challenge.

It is also kind of 'back to the future' of written language.

KJ: In addition to being wordless, the comics in this collection feature an anonymous “body”/“bodies”, as I would like to call them, rather than a "character/characters" that are almost like the suspects in Detective Conan (LOL this is also a joke!)

AB: Yes they are bodies for me. They are vehicles. They are more like Tintin, haha. Tintin is a fascinating asexual minimalist character, with no personality, while all other second characters in the comic have strong personalities. It gives the reader a receptacle to sink in and 'live' the adventures.

I like to draw ideas more than representations of something existing. That’s a thing proper to drawing, you can show a human, you don’t need to find a specific one like in cinema.

KJ: Are they all same species? Do they live in the same biosphere? (LOL) On a more serious note, I am curious why you choose them to be anonymous? Not only they do not have names, they are not wearing clothes and, except when needed for a specific story, their genitals and/or other body parts are not apparent- thus, they are neither a naked nor clothed “body”.

AB: My approach is minimalistic, I only focus on things I want to share. I don’t care to be realistic.

It's funny to consider this, it allows us an opportunity to realize drawing comics is a crazy task ! If you decide to be realistic you have an insane amount of things to decide. You have to design everything, including some futile things that are not really needed?

If I want to express “someone is running” I chose to only say this and not talk about his race, or his age, his style of clothes. Sometimes I would like readers to not know if they have clothes or not, but it’s very difficult with line drawings. And I love to draw body curves, since I loved to draw nudes in art school.

I realize now the only thing I specify is gender.

KJ: Your work features a lot of bodily transformations and disembodiment, but they never feel grotesque, gory, or scary. Why bodily transformations and/or disembodiments?

AB: I’m trying to probe the human unconscious. Fascinations always drove me, I love to dig into them. They're so exciting, strange, deep… I’m fascinated by what we call in french “prégnance visuelle”, which means “deep resonating fertile visual force”. Why are certain forms so “prégnante” for the human eyes/brain? Why are geometric or erotic shapes so strong? These questions lead me to question human mechanisms.

KJ: How does the “texture” matter to you? I was fascinated by how you represented bodies and objects in Interface when I first read it in Gouffre. Similarly, could you talk about the material feelings of Interface and Neba Neba? I'm curious how you represented the 3D-ness of things.

AB: I always loved bas-relief. The in-between of 2D-3D is so interesting. It's intriguing how shades, giving volume, give such a sensation of reality. While making it, I realized that a slight imprecision of the line is obvious and uncomfortable, but gradient shades are very forgiving and make it more real very quickly.

I think I always focused on perception, how our inner self connects with the outside world through our sensitive receptors (I see them like holes). So, I’m interested in trying to translate different kinds of perception into the comics medium, how something enters in us. I also feel like there is something deeply connected between visual and touch. Visual sensation gives a sensation of space and so also a sensation of touch, like how the eye can navigate in the white blank/emptiness and can grab the extremity of shapes. The eye catches images.

KJ: Related to both bodily transforms and texture, many of these bodies touch, are submerged in, and become liquid. Why liquids?

AB: Life is fluid! :)

Again, I look for “prégnance”, and fluids are mesmerizing. Do we have this fascination because we connect it to lush, to life? It seems advertisements for milk/cream/coffee/chocolate/etc understand very well our deep reliance on fluids. I totally love this fluid porn on drink bottles... It’s such smooth erotic feelings. I think this is very close to ads with arousing bodies. We are driven by these deep, unconscious, very physical attractions. Fluid is more fun… and nobody will ever think to censor that!

KJ: I love that your works do not have obvious answers and make readers ask questions like I am doing right now. Do you think about how readers would react/read while you make comics?

AB: Yes. I feel I’m more a reading-designer than a comics artist. I’m always looking for in-between, strange, bizarre, undefined, evocation, ambiguity-- and at the same time I’m doing my best to make it very clear and very fluid reading. I love this tension. My motto is : “ligne claire” (clear line) blur

KJ: Is there any difference in making more minimalist/formalist comics in that/other regards? The stories in this collection have a variety of styles- is this intentional? Does it come from the specifics of each story or is it because they were made at different periods and your style has evolved?

AB: Yes, because they were made in different periods of time and evolved. I kept the 3x4 square panel configuration, with no blank separating panels. These are important choices. Lines of 3 give it more of a rolling rhythm, unlike binary/symmetry which is static. 4 panels, because 3 would have symmetry, and to better fit to a good shape of book. Square, to not have to choose between vertical and horizontal and also because it focuses attention in a specific way. I love square photographs. It leads to “imagier”, to symbolism. I like to think of panels like language unity. As well, to never stray from this organization is a stimulant constraint for me.

KJ: Some of the works in Freefall have distinctive contrasting colours (such as Vicious Circle) while some of them are more subdued. How do you approach colouring in your work? Some of the works collected in the book were published in risograph and others were not- how did you orchestrate different printings and colourings when collecting these works?

AB: I self-printed almost all of them on my risograph press. I worked on it like in the old days when artists (or printer employees, with the artist's instruction) had to make black and white transparent sheets for each colour of the CMYK printing. That’s why colours had to be simple tones like pure 100% inking (for example, "Smurfs blue" is 100% cyan) or a combination of 25/50/75% pattern dots (from pattern dots sheets that you cut) to make more subtle colours. So, I’m making things like this, but nowadays with computers and specific (risograph) colours. I make one black and white file per colour (in photoshop), and then I make them with spot colours applied and all mixed together on another software (indesign). I create a lot of back and forth. I like to have a restrained number of colours and to play with combinations, which is also coherent with this printing technique.

The Breakdown Press compilation will be 4 spot colours offset printed and I cheated a bit to have more spot colours. In risograph, the gradients were more organic with the vibrant risograph pattern dots but I like that the offset book will look different. The gradient will be more smooth/cold, and the paper is coated unlike the self-published risograph booklets.

KJ: How is the self-publishing world in France? Is it sustainable? You have also participated in international art book and comics fairs, like Printed Matter’s New York Art Book Fair. Do you find the self-publishing/indie/art book/risograph scenes in North America and France similar?

AB: I love the generous spirit of the community. The books are usually very affordable, even if they took a lot of effort to make both the content and object. Nobody is here to make money (haha, it would not be realistic!), you have to be dedicated. It is a very free and creative scene. I love the mix of approaches and I think the comics medium found new brilliant forms in this scene, ones not dependent on publishers- so not dependent on mass appeal. The internet also helped a lot to make this niche international, a good result of globalization... Self-publishing (and serialising) was great for me, I was free and I met many interesting artists at fairs around the world. And today, almost all of this publishing work finds a different/wider audience through compilations by publishers (2dcloud, Matière, Breakdown Press).

I can’t say there are differences between Europe and North America, it seems like an international movement to me.

Hopefully the fairs will return soon.

KJ: Do you plan to keep self-publishing your work first?

AB: Today, I have contacts with publishing houses, often friends, so I feel I could go directly to them. Self-publishing demands a special energy...but if nobody is interested, I will definitely make it myself.

Printing and making your own book is also the best way to control every aspect and be happy with the result.

KJ: Finally: any future projects for Beauclair fans?

AB: I’m in a break time from drawing. I needed it. I’m very busy with other stuff, like taking care of our baby and more local projects such as creating a nanobrewery (a new passion) and working with friends on a community café in our remote south of France countryside. It's funny, I was thinking I was dedicated to comics for life but today I really don’t know if I’ll make comics again. I think I’m now more attracted to more minimal art forms, like children's books, drawing series, wooden toys/volumes.

I think it will take a little while to have enough time again for this, and to share... See you there!

[clubofinfo]

Expert: And I love all people, rich or poor. But in those particular positions, I just don’t want a poor person. Does that make sense? Does that make sense? From the criminally insane leader to his insane captives, at Cedar Rapids, Iowa, Wednesday [6/21/17], as Trump was stumping for the health (sic) care (sic-sic) death bill the Republicans are pushing with the blessings of the kleptocracy that is the millionaire-billionaire class (sic). That’s us, folks, poor people – looking at a cool 150 million of us in the USA, or maybe even more! He wants zero voice or self-agency from us poor, huddled tired masses! Lately, I’ve been thinking hard about the law of time, and how fractured we are as Western Nuclear-tipped Civilization, leagues away from any sort of humane equilibrium, which if we look at white society, something the white race has been disconnected to for thousands of years, and how Western (civilization) time has warped everything, from how we live and work, and how we fornicate and defecate, how we treat our families, neighbors, the earth.  Easy to wander into philosophical and extraterrestrial thought — how we have pushed the 13 moons and 20 sequence tied to the Mayan calendar into a broken system of 12 (months) and 60 (seconds and minutes): Jose Arguelles knew this number was the key to the tzolkin, the 13 x 20 (= 260) “time matrix” upon which the Mayan calendar is based. Utilizing Oliver Reiser’s hypothesis of the psi field as a kind of DNA thought belt located in the radiation field, while finding the design key to place the DNA in the Tzolkin matrix, Arguelles was able to unlock a great system of codes underlying the programs governing the historical manifestation of civilization and its imminent transformation into a stage of galactic civilization and consciousness – the noosphere made manifest. In Projects Prometheus and Krishna, Appendix II to his fascinating synthesis, Oliver Reiser takes full cognizance of the contribution of Vladimir Vernadsky and Pierre Teilhard de Chardin. Reiser cites Vernadsky’s calling attention to the process of social synthesis, “whereby mankind become a single totality in the life of the Earth, and the psychozoic era of the earth’s biosphere be transformed into the noosphere.” Taking account of the sequence of spherical shells constituting the whole system earth – the barysphere, lithosphere, hydrosphere, atmosphere and biosphere – he writes, “Now, at long last, the processes of cultural evolution have generated another envelope, superimposed on the biosphere, i.e., a ‘sheet of humanized and socialized matter,’ which is the noosphere.”1 This discussion of the noosphere now seems new agey, especially in a time of tweets and intellectual retardants not only escaping all the orifices of the man in orange-glow-worm toxicity, but by followers, who would dare laugh with or validate this horror of a man’s premise that he only believes the rich are human enough to be in the corridors of both power and the economy. All those eggheads ratcheting up the nerve gas formulas, the smart bombs, the drone-enhanced surveillance, and the nuclear tipped nightmare missiles of this class of people. America, the business (sic) mentality (dog eat dog, let all businesses rule) tied to everything the digital kings serve us, the workers, trapped in their ever-expanding Excel Spreadsheets and microprocessor gulags. Collective consciousness, hmm. Looking for an alternative form of energizing positive thought and conscience? Hmm, pretty out of the mainstream Kick Ass Now, Shoot First, Ask Questions Never thinking that has captured this Wonder Woman endless bang-bang shit that serves as hog sty consumption. It’s the same thinking and attitude toward the poor, that is, those on the other side of strap pulling the gunny sack of gold – neoliberal, liberal, highfalutin new rich, Hollywood syphilitics, Democrats, Politically Correctives, Corrosive Corporate Media and the Mindless Mush Heads of the Suburbs. They bullshit their ways to Sundance or this or that crappy TED Talk/conference, but in the end, they too do not want your local ex-con, ex-druggie, ex-offender, current-homeless, continual recovery bloke and gal anywhere near the chambers of control over their shit-storm companies and non-profits and higher and lower educational institutions. These people — Trump or ClintonX2, GatesX2 or Any X/Y/Z Philanthropist — never-ever bring the poor and disposed and dispossessed and down-trodden and diseased and disheveled and drunk and drugged and deranged to the table. Instead, we have these insane people — like every white mutated soul roaming the corridors of power, politics, military, industry, the press, medicine, psychology, and entertainment – propping up their bullshit superficiality and absurd self-absorption. They speak for “those people,” the “other ones,” anyone “not of our caliber-pedigree-upbringing-educational/economic standard.” Is this one of the most blatantly rich/sick (monetarily) administration ever, and those yahoos in Iowa or Georgia or you name it anywhere U-S-A chanting, U.S.A. . . . U.S.A., like the maniacs they are in real time, is it the most corrosive? This battlefield today of missing IQ elites and this idiocracy ruling the people, is it so new, so unnerving today in 2017? Just go back, young man, young woman, and see that road show of lying, bombing, stealing, killing, thieving presidents, tall, squat, square jawed and flabby. This is a country of vapidity and false valor. Hokum’s and hussies. Whores and pimps groveling for one elite after another elite/chosen peoples. Surface to Air Delight in Every Bombs Bursting in Depleted Uranium-Coated Air. So, when I think hard about how wicked this economy has always been, and how blood-sucking the people running the little shows – bureaucracies – and then the big engines of pollution and garbage – corporations – ARE, I understand there has to be another field of alternative forms of thinking and communicating, whether it’s telepathy or collective consciousness. Anything but this hocus-pocus marketing crap of the Freudian nephew creation (Bernays). How many people have poo-pooed the harmonic convergence or the concept of universal disharmonics? How many know we are living in this out of sync globe, with faulty mathematics and broken time-clock chronology, so misaligned from and with the universe it’s obvious for anyone with a brain and heart to see and feel — while the pestilence of nuclear-biological-propaganda wars shapes our out of balance closed system, a cosmic disorder that has over millennial created these Caesars and Mammon worshipers, these Trumps and Carnegies, these weapons of cultural destruction, slavery and the Sixth Mass Extinction. Trump, Obama, Dell, Zuckerberg, Hitler, Mussolini, Rothschild, Pharaoh, Emir, Ford, Genghis Khan, Rabi, Pope, Minister, General, Admiral, Queen, King – these are the culmination of out of whack thinking, breathing, living and dying. Can we really admonish this warped mind, the missing link of a Trump, his racist-sexist-war monger-slum landlord- little big Mafioso-perverted version of misanthropy? Is he not the culmination of the hard soil that grows no love — the caliche planted by generations of bankers and ministers of pain, by the land thieves and empire seekers, all those twisted people who occupy the political pigsties of the world? From the Old World to this Genocidal New World. Ahh, the real law is the law of time and the principles of a noosphere where humanity can merge with the energy of the biosphere to attain a new consciousness, one that had already been ebbing and flowing in different cultures and native tribes way before the mutated white race flogged the earth with his/her/its out of synchronicity superstition and clock of horrors which have continually shaped white civilization around the black ideas of war is peace, truth is lies, death is life. I see the hollow hearts of America, the industrialists and digital kings, those hearts ticking in numeric derivative sequence as Artificial Intelligence shapes the future of this plagued world. These manipulators, and the technocrats and patent lawyers, all are living off the flesh of other worldly beasts. This is a story of stories – social worker now, and my journey begins each day and never ends, as one life is layered upon the layers of my soul, and then another set of circumstances overcomes, and then the entire field of Maya corn is planted over and over in my worst nightmares. I am working with biological and foster parents. Let it be known that most of the bastards (sperm donors) and receptacles (women) have millions of years in hell to pay for the germination and gestation and incubation and unholy labor and daily abuse of their offspring – beaten, starved, pimped out, sexually assaulted, raped, bridled and chained to these adults’ ectoplasm of sin-shame-salaciousness. It takes more than a village to re-raise a village or a child. These horror stories are like white lightning in the soul of their DNA, and my youth are struggling, whipped by PTSD and acquired traumatic developmental delays/disorders/ disabilities. I was with one of my youth today at the end of a shift when it struck me how plagued and maladjusted these captains of industry and so-called leaders really are. I am a social worker for young people in the clutches of foster care, where most are wards of the state, held into place with the fences that are guardian parents and the grips which define many levels of bureaucracy. Two months ago, I was servicing older homeless people – addicts, ex-felons, sex offenders, the mentally harassed, one day at a time adults. Many of my friends’ stories at the last non-profit are tied into abuse at a very young age – fathers and mothers, stepparents and siblings, strangers and family members raping, beating, humiliating, denigrating and plying youth with drugs and prostitution and minute-by-minute consternation and condemnation. You don’t wake up one morning and say, “I want to be addicted to meth, and I want all my teeth to fall out in 15 years, and I want all my possessions stolen, and want my life to be welded to a turnstile of constant court-jail-prison-fines-restitution homelessness.” So, most of my peeps a few months ago in another job with another non-profit tie into what the hell went wrong in a child’s life that brought him or her to the streets, to gangs, to the pipe and cooker, to the gun and the knife, to the abuse and the violence, and to the sexual assaults and criminality? Try a big bad daddy and mommy and slew of wrong people at the right time of development. Every day the clock ticks in disharmony, and the pigs juggle botulism balls and masquerade as officials and servants of the public when, in fact, they are worse than heroin-coke-booze-gambling-sex addicts all rolled up into one scabby man or emaciated woman. These pigs run the show, and we have to react to their presence in the cultural ether, and the noosphere, with so much potential, is being short-circuited by the millions blathering on TV, the millions holding seances with their millions of bucks in their 10,000 square-foot well-appointed elite prisons working on project after project to addict the next and the next generation to their flaccid Facebook and Amazon dot com worlds. That we even sit on thumbs and let the latest baboon president, Trump, say what he says . . . . * 26,000 unreported sexual assaults in the military-only 238 convictions. What did these geniuses expect when they put men & women together? * “It’s certainly not groundbreaking news that the early victories by the women on ‘The Apprentice’ were, to a very large extent, dependent on their sex appeal.” — HowToGetRich, 2004 * “You know, it doesn’t really matter what [the media] write as long as you’ve got a young and beautiful piece of ass.” — from an interview with Esquire, 1991 * When a lawyer facing Trump in 2011 asked for a break to pump breast milk for her infant daughter, The Donald reacted very poorly.“He got up, his face got red, he shook his finger at me and he screamed, ‘You’re disgusting, you’re  disgusting,’ and he ran out of there,” attorney Elizabeth Beck told CNN. Trump’s attorney does not dispute that his client called Beck “disgusting.” * “My favorite part [of ‘PulpFiction’] is when Sam has his gun out in the diner and he tells the guy to tell his girlfriend to shut up. Tell that bitch to be cool. Say: ‘Bitch be cool.’ I love those lines.” — TrumpNation: The Art of Being The Donald, 2005 * “I have black guys counting my money. … I hate it,” Trump told John R. O’Donnell, the former president of Trump Plaza Hotel & Casino, according O’Donnell’s account in his 1991 book Trumped! “The only guys I want counting my money are short guys that wear yarmulkes all day.” Trump, according to O’Donnell, went on to say, “‘Laziness is a trait in blacks. It really is, I believe that.” * Speaking to Time magazine for a profile published in January 1989, Trump was asked to give an estimate of his total wealth. “Who the f knows? I mean, really, who knows how much the Japs will pay for Manhattan property these days?” he asked in response, using a racial slur for the Japanese. Khizr Khan, the father of the late Army Captain Humayun Khan, spoke out against Trump’s bigoted rhetoric and disregard for civil liberties at the Democratic National Convention on July 28. It became the most memorable moment of the convention. “Let me ask you, have you even read the U.S. Constitution?” Khan asked Trump before pulling a copy of the document from his jacket pocket and holding it up. “I will gladly lend you my copy.” Khan’s wife, Ghazala, who wears a head scarf, stood at his side during the speech but did not speak. In response to the devastating speech, Trump seized on Ghazala Khan’s silence to imply that she was forbidden from speaking due to the couple’s Islamic faith. “If you look at his wife, she was standing there. She had nothing to say. She probably, maybe she wasn’t allowed to have anything to say. You tell me,” Trump said in an interview with ABC News that first appeared on July 30. Ghazala Khan explained in an op-ed in The Washington Post the following day that she could not speak because of her grief. “Walking onto the convention stage, with a huge picture of my son behind me, I could hardly control myself. What mother could?” she wrote. “Donald Trump has children whom he loves. Does he really need to wonder why I did not speak?” . . . . and that we even validate his big bellied thugs chanting U/S/A, this Ugly Sick America, USA, sick and ugly America, while we hunker down and hold chins to sternums, well, this is the reaction of the Rachel Maddow-loving Har-Har-Har Liberals, a la Stewart and Colbert. I’ve seen enough of the lambasting, the entertaining us to death, the Facebook billion flickers of foolishness, and the endless swill and sewage that is an America high on corporate sodium pentothal. Many Americans of the white persuasion ARE the evil seeds or evil breeders of this Trump World, where money, meanness, madness, and tossing grenades at every crowd possible to get a rise out of them is the daily blue chip special served up in their corridors of shame and horror they call families. * Cosmic Humanism, p. 557 http://clubof.info/