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The Neo-Cons Supporting The Syrian Strike

Bashar al-Assad

I like Ben Shapiro a lot, though he’s on the wrong side here. Lauren kills it here again, and love her comments on that moderate fraud Tomi Lahren.

@theweeklystandard

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(via https://www.youtube.com/watch?v=cRQbaT-aMAg)

Pro-life conservatives are obsessed with the fetus from conception to nine months. After that, they don’t wanna know about you! They don’t want to hear from you, no nothing! No neo-natal care, no day care, no head start, no school lunch, no food stamps, no welfare, no nothing. If you’re pre-born, you’re fine. If you’re preschool, you’re fucked. You’re fucked.
—  George Carlin

“Christian” conservatives: will blow up abortion clinics and assassinate every abortion doctor alive to ensure the birth of a fetus, because “all life is precious”

“Christian” conservatives: once born, will allow that ex-fetus and it’s mother to go homeless and starve to death, because fuck you

anonymous asked:

🗓years role playing💘your first muse💻platforms you use/ have used✍long posts or short posts⭐️favorite blogs

ASK ABOUT MUN — accepting.

🗓 years role playing

     oh bud i’m going on like… nine years now. i’m a decade-long loser

💘  your first muse

     i can’t remember my first muse EVER but the first one i had on tumblr was my cute
     boy benji. he was pretty normal tbh, didn’t do much and just wanted to the best for
     everyone

💻  platforms you use/ have used

      i’m gonna. friggin date myself but i’ve used neo.pets, pro.boards, sk.ype, tumblr

✍  long posts or short posts

      you say that like i can choose LMAO long posts are where i default but i appreicate
      short-er posts

⭐️  favorite blogs

       …fuckin…. @mctherseyes, @thewitchandtheangels ( and her million and one blogs ),
       @starstxff ( this was so self congratulatory ), @fcrbidden

Breaking News: WWE releases Zahra Schrieber
[August 31st, 2015]

Just this past weekend, Zahra Schrieber debuted at an NXT show as the sister of Solomon Crowe. Wrestling fans were quick to point out imagery posted on Instagram by Zahra Schrieber in 2012, featuring a swastika.

Among Zahra’s responses to criticism of the photos were:

  • I like history ha
  • it’s really not anyone’s business anyway. I can post whatever photos I want, if you don’t like them my feelings won’t be hurt if you unfollow
  • haha it’s not a big deal! I can hang whatever photos I want in MY room or MY instagram. Just like she can post all over her networking sites how she thinks women who are prolife are idiots. We all have our own opinions and lifestyles. I don’t comment on hers so I expect the same.
  • The swastika means prosperity and luck. It was around way before hitler turned it into an icon. Take it how you want I could careless [sic]. This is too funny.
  • I said that referring to her saying the swastika symbol deserves to be spat on. It has other meanings also. f–k off. I’ll take interest anything I want. If you look next to it is a photo of an actress who refused nazism and was awarded right to America. I’ll put whatever i want on wall. Get the f–k over it.

Despite her defenses and criticisms of fans’ dislike for the photos, they were deleted by Zahra, but resurfaced this past weekend and were brought to the attention of WWE brass. Zahra Schrieber, the real life girlfriend of Seth Rollins, has been released by the WWE. Their zero-policy for racism is admirable, despite having been lenient in the past toward allegations and blatant displays. I think we could thank Alberto Del Rio for standing up against racism and CM Punk for being honest on The Art Of Wrestling for the movement.

how to tell a true war story

Listen:

Steve Rogers has come unstuck in time.

All homages to war novels aside, he represents dichotomously the ugly reality of wars past and present—sanitized (I’ll get back to this) but clearly referenced in both CA:TFA and CA:TWS—and the myths we tell ourselves about war—in CA:TFA, in both Avengers movies. The bumps and starts of various comics writers and screenwriters and directors allow the character to embody these in differing ways or in differing ratios, but the fact remains that Steve, who one might call an original comic book war machine, is by now an inherently dual creature: propagandist and warning bell in one. His successful 21st century film career falls directly on the intersection of these two roles.

I am by no means an expert, but from what little I’ve seen of the WWII comics, Steve Rogers served primarily as American propaganda; he was of course popularizing and mythologizing the particularly American—white American, I should say—struggle within the war, but the character was also, depending on any given day’s level of cynicism, either trying to reinvigorate the already-passé nineteenth century “American Dream” of the pulled-myself-up-by-me-own-bootstraps variety or trying to ease tensions surrounding the major wave of (largely Eastern or Southeastern) European immigrants during the ‘20s and ‘30s. Steve Rogers was, of course, an Irish Catholic character at a time when Irish Catholic wasn’t something you wanted to be, but he was a lot safer than - god forbid! - a Greek.

But Cap’s ties to WWII create a safety net under him that few later wartime heroes would have. WWII is the only war of the twentieth century that most of the West can feel completely justified in fighting; it’s the only war of the twentieth century with a genuine villain, a narrative that felt, and continues to feel, familiar and correct, with the US safely on the right side of the line. (It’s easy to ignore Executive Order 9066 when you’re talking about the fighting the goddamn Nazis, right? It’s easy to ignore Hiroshima and Nagasaki when you can point to the Rape of Nanking and insist it was all justified. So it goes.)  Of course the myth of the US as world peacekeeper came right out of the post-WWII years, as far as I can tell because the dollar held its value as so little of the US’s infrastructure was destroyed, compared to literally everywhere else. But all of this contributes to our modern image of Steve, who can dip right back into this mythos whenever we need a little pep in our American step.

The righteousness with which WWII has been imagined and reimagined for the past eighty years has contributed hugely, at least in my opinion, to every single war the US has fought since. I’m not enough of a conspiracy theorist to think there’s any kind of cohesive plan, there, but it’s a fairly obvious tactic to try and distract a populace during times of domestic unrest or dissatisfaction by engaging them in a more global conflict. There were other reasons to be in Korea, Vietnam, Bosnia, Kosovo, Iraq, Afghanistan, etc., etc., etc., but I can’t help but feel that nationalist pro-neo-imperialist fearmongering contributed massively. Anyway, the end result is that American foreign policy is a fucking nightmare, millennial Americans hate America (or at least that’s what our predecessors claim; certainly there is domestic unrest, certainly there is dissatisfaction), and Captain Rogers—shining and impossible hero of WWII—gets pulled out of the ice.

Listen: Steve Rogers is chimeric, unpredictable, and frankly bizarre; this is because Steve Rogers, much though I love him, is a construct. He’s less than a character, even; he’s a lens. By design he refracts the light thrown at him into a more beautiful or palatable or understandable thing. This for example is how children thrown into battle become war heroes. This for example is how you beat the hypercapitalist surveillance state by tossing some imaginary flying machines into the Potomac.

So any mention of Steve—and I don’t mean fandom Steve, who exists in many wonderful forms all their own, but who reaches many fewer people and operates under a different set of rules—immediately calls to mind this righteousness. And because Steve represents that particularly white American experience (though Steve the character grew up working class, I think it’s safe to say he has at least in recent years been primarily marketed to the middle classes), the changing paradigm of whiteness, which in the wake of the Great Recession has left many middle class white people experiencing something like a profound social insecurity for the first time, has left this so-called mainstream clinging to him. It’s no mistake we call the people who fought in WWII the Greatest Generation, or venerate FDR, who was as close to a socialist as any president we’ve ever had, by the way, or recreate this particular war in movie after TV show after book, because nostalgia is a powerful tool, and Hitler was methodically evil scum in whose horrific shadow heroes are easy enough to find. Not a Nazi? Fab. No need to investigate your actions any further. Carry on with Project Manhattan. 

It’s this kind of simultaneous righteousness and willful self-blindness that the Cap of the Avengers or CA:TFA represents. The American Way, indeed.

Now, the Cap of CA:TWS, however brilliantly handled and however fantastically unsubtle a warning sign of impending capitalist doom, is equally exploitative. Make no mistake, I appreciate as well as any the ‘70s spy thriller aspects of CA:TWS, but I also know why it caught me so well in the gut. Consider the aforementioned domestic unrest, consider the dissatisfaction; now find a way to make a profit off of it. Bingo.

Listen: I, a millennial with money to spend, love my country, at least in theory. I, a millennial with money to spend, do not trust my government. I, a millennial with money to spend, can vicariously strike back at the government I do not trust through the medium of this movie, which requires no effort, no self-examination, no demands put upon the government itself, no actual political crisis point, no actual change. Even the sanitized violence shown or referred to in CA:TFA and CA:TWS supports this pseudocatharsis; the inherent violence of the state and the horrific ugly parts of war feel properly addressed, when in fact nothing has been addressed at all, except the money escaping my wallet to continue to support the capitalist racist sexist classist xenophobic homophobic enterprise of blockbuster moviemaking. Yet we feel listened to.

Captain America’s warning bell has gone off and run around again to propaganda, because while CA:TWS unabashedly exposes many members of the fictional MCU American government as literal war criminals, the call wasn’t coming from inside the house. Instead, it was all a conspiracy theory as wide-ranging as the History Channel’s Ancient Aliens or David Icke’s reptilian government. To shift the blame to Nazis—and not even to neo-Nazis, who represent a tangibly violent and very present thread of white supremacy across both the US and Europe—but a long-descended line from the original bunch is in fact a brilliant move. It allows all the critique and none of the sucker punch, except of course the implied one to Hitler’s jaw.

Once again, Steve comes to represent the “true” America, who the US wants its citizens to believe it to be underneath the many decades of neo-imperialist attempts to take over the world. You know, just a hometown hero, misunderstood. Not a Nazi? Fab. Carry on.  No need to investigate your actions any further.

-

@bewinsome encouraged me in my madness (thank you)!  and with many thanks to the works of Hannah Arendt, Howard Zinn, Tim O’Brien, and Kurt Vonnegut.

Jaisini Gleitzeit Supermodernity Manifesto  (Short version)  1994

Jaisini Gleitzeit

Gleitzeit style based on depiction of visual flexibility with theoretical

flexibility.

A painting which purpose is to achieve composition of enclosure.

Art based on the depiction of a circle evolution of understanding and seeing.

A kind of art which draws upon imagery and seeks to reveal and abstract

idea of the connection within.

It’s flexible because it has multiple principles.

Paintings with a capacity to change visually by the artistic magic changing

your subconscious mind.

It is a session of Hypnosis that controls you by a disorganized absolute

harmony of everything expected from a “nonexistent” picture.

It depends upon the pattern of line as a primal creator of whatever associated

or disassociated from the theme.

The artist’s mind is the superior beginning of the line, but the line is free and

emancipated.

Flexi is a new neo-pro-anti-post.