#and the fact that a lot of artists in the 1800s were p*dos for some fucking reason

[kudzucataclysm]

giving you my energy to write bc i wanna write So Badly but i am literally being held captive by college art homework 8'DDD

NAAAAAUR in exchange for yur energy i will provide you with my ULTIMATE CACHE OF KNOWLEDGE CONCERNING REALLY WEIRD YET INTERESTING HISTORY FUN FACTS!!!

[jontrayner]

Mechanised Dreams and Peasant Imaginaries

As I have been teaching undergraduates on an Illustration degree, I have been paying even more attention to concept art and sci-fi/fantasy illustration than I usually do.  In the past this attention has generally been unfocused and un-theorised, my enjoyment of these images being that of purely visual entertainment.  However, a series of images by the Polish artist Jakub Rozalski recently grabbed my attention more than usual and prompted me to think a bit more about a couple of entwined topics:  The role of the image of the peasant in the formation of national identity, and the fabrication of history.  I have a particular interest in this, from an anarchist position, considering the rural poor’s involvement both in pre-modern revolt and in non-authoritarian leftist revolution.  The narratives of “history” tend however to write the peasant in the role of defender of the nation and promoter of conservative values.

Rozalski’s series 1920+ consists of a number of diesel-punk digital paintings focussing on an alternate history of the brief Polish-Soviet War of that year.  In these paintings the war is imagined as a science fiction conflict between giant war-mecha similar to that found in the Warhammer 40K universe.  The imagery takes on the dark and oppressive feeling and the combination of high-tech war machines and primitive civilian subsistence of 40K, but instead of focussing on battle, the images rather present the pauses, or pre-battle manoeuvres of the machines in the countryside.  Bringing to mind the Martian war machines striding across the English pastoral of The War of the Worlds – or the description of a jet engine loaded onto a horse and cart to be taken from the factory to the train depot in John Timberlake's Landscape and the Science Fiction Imaginary (2018 p.75). In Rozalski’s paintings it is true that “the future is already here, it is just unevenly distributed” (Gibson, 2018).

What makes these paintings interesting for me is that alongside these fantasy stylings they present a depiction of rural peasant life in pre-industrial Poland.  A world where sheep are herded, and crops are scythed by hand by figures in traditional Polish dress – the world of 19th century Romantic and Realist nationalist painting.  This is heightened by the similarity between Rozalski’s loose mark-making and that of the Polish Romantic Piotr Michałowski.  This connection to the painting of the late 1800s is not coincidental; this was the period when the ideas of realism were put into the service of various nationalist projects.  Cultural forms were deployed to bolster the credentials of both large states, but also subaltern and colonised populations; like the Poles.   This search for a national identity through reference to the peasantry is traced by Margaret Carroll back to the northern Renaissance and the work of artists like Sebald Beham and Pieter Bruegel:

The growing assertiveness over native rights in the political sphere in the 1550s and 1560s was matched by ethnic self-consciousness in the cultural sphere […] the defense of native culture and customs promoted a benign attitude towards and even a sense of identification with the country's rural inhabitants. (1987 p.296)

The re-emergence of this identification with the peasant class in the 19th century is linked by T.J. Clark to the desire by the industrial bourgeoisie to reconnect with their recent rural past (1973 p.124).  These viewers wanted to see the countryside, that they only now saw from trains, or on daytrips, and that their parents or maybe even themselves, had so recently escaped from, not as a place of poverty, ignorance, and grinding subsistence in the face of ever present famine, but rather one of plenty, relaxation, and harmony with the seasons and the earth.  As Clark points out the initial realism of Gustave Courbet was met with anger from the Paris Salon because it refused to take part in this fiction; presenting the rural inhabitants of Ornans as individuals rather than as idealisations of a type (ibid. p.85).  Later Realists did not have these scruples and were happy to idealise the rural poor, as can be seen in the work of Jean-François Millet and Jules Bastien-Lepage.  A similar exercise was undertaken with regards to national identity with the Slavic Realists; Russian artists such as Ilya Repin used paintings such as Reply of the Zaporozhian Cossacks to Sultan Mehmed IV (1891) to foster a sense of Russian-ness or, in a Polish context, Jan Matejko’s history paintings and Zygmunt Ajdukiewicz’s depictions of national dress.  These works drew attention to Poland’s past glories and current cultural distinctiveness as part of the push for an independent Polish state. This subversion of Realism and of history is a product of an understanding of the fictional nature of history post-Hegel where “writing history and writing stories come under the same regime of truth” (Rancière, 2004 p.38).

The idea that peasant dress is an unadulterated expression of identity is by and large a 19th century fabrication – most famously expressed through the invention of the kilt as Scottish national dress (Green, 2017).  Griselda Pollock and Fred Orton examination of this in relation to the depictions of Breton peasant women by Parisian artists pointing out that these “traditional” forms were the result of the increased prosperity of (some) peasants during the previous century – “costume came to signify region, locality, class, wealth and marital status within a nouveau-riche peasantry” (1980 p.327).  Ulinka Rublack argues that the assumption that peasant costume was “virtually immobile for centuries” (2010 p.262) is inaccurate – it is rather a product of this desire to see the peasant as an unchanging model for the national spirit.  This links together:

A certain idea of history as common destiny, with an idea of those who ‘make history’, and that this interpenetration of the logic of facts and the logic of stories is specific to an age when anyone and everyone is considered to be participating in the task of ‘making’ history.  (Rancière, 2004 p.39)

This can obviously serve to give the peasants a sense of their own agency as a political and cultural force, but that requires the peasant to identify with the image of themselves with which they are presented.  If the identification only happens amongst the urban petit-bourgeoise who are looking for a hook to hang their nationhood on, then that can lead to a sense of “false” history of the type we are currently witnessing in right-wing populist discourse.

Taken in this sense one cannot help but see Rozalski’s paintings as a reactionary expression of nationalism – of the sort that is becoming grimly familiar across Europe, as borders are closed, and minorities hounded.  The depictions of military hardware and agricultural labour could certainly be seen as part the blood and soil traditions of mid-20th century fascism, but is this necessarily the case?  In his description of Kosciuszko Squadron on his website he refers to the 1920 war as being fought to preserve “Polish independence” which suggests, at least, an anti-communist position.  However, looking at Rozalski’s other paintings outside this series there is no indication of any particular attachment to the contemporary Polish national project, and the celebrations of pagan traditions certainly demonstrate no love of Catholicism.  Though this could be argued to be an alignment with fascist neo-folk paganism of the type discussed by Anton Shekhovtsov (2009).  While Rozalski’s more traditional fantasy works do not escape from the characterisation of all fantasy as essentially backward looking and reactionary (see Michael Moorcock's 1978 essay; Epic Pooh), they do have a healthy anti-authoritarianism that it is difficult to square with any sense of national superiority or ethnic supremacy.

The 1920+ images themselves are relatively neutral, the Soviet and Polish forces are not depicted in moral terms, and the peasants are largely indifferent spectators to the conflict – an exception being The Youngest Sister, though the implication here is that it is the familial relationship that causes the connection between soldier and peasant.  This brings to mind John Berger's quotation of a Russian peasant proverb: “Don't run away from anything, but don't do anything” (1978 p.346).  It is this peasant tradition that I want to turn to now. Rozalski might be accused of valorising his peasantry, at a point when post-communist Polish society is undergoing a second “modernisation” (Tymiński and Koryś, 2015), but these peasant values can point towards a site of resistance of the mechanisms of both the state and capital.

It could be that Rozalski's peasants are indifferent because they know that it does not matter if either the nationalists or the communists win – because neither side truly cares about the peasants, the only people the peasants can trust is each other. “Unlike any other working and exploited class the peasantry has always supported itself and this has made it to some degree a class apart.” (Berger, 1978 p.346).  The fact that the peasants have always been conscious of themselves as both producers and consumers of their own labour whose primary enemies have not just been the current ruling class (be that the bourgeoise or the industrial proletariat) who will extract their “surplus” before it is a surplus, but also both natural disaster but also the vagaries of war (ibid. p.347).  It is this situation that in the ideological conflicts of the mid-20th century led the revolutionary elements of the European peasantry to cast their lot in with the Anarchist cause, rather than the Marxist communists.  It was not until the emergence of Mao Tse-Tung that Marxism found a leader who could convince the peasantry of the value of communism.  He did this by “embracing and enhancing, local tradition permitting rooted people to turn to the distant national leader into that saviour their legends, emotions and situations had long demanded.” (Friedman, 1976 p.120).  Similarly, in Vietnam in the 1930s “the [Communist] party adopted the program of the peasantry not the other way around” – indicating that the peasantry could become a revolutionary political force, if convinced that the revolution would serve their interests (Scott, 1976 p.148).   The supposed inward- and backward-looking peasant conservatism is not therefore to be confused with the conservatism of national chauvinism – though it is often exploited by it.

Peasant conservatism, within the context of peasant experience, has nothing in common with the conservatism of a privileged ruling class or the conservatism of a sycophantic petty-bourgeoisie.  The first is an attempt, however vain, to make their privilege absolute; the second is a way of siding with the powerful in exchange for a little delegated power over the working classes.  Peasant conservatism scarcely defends any privilege.  Which is why, much to the surprise of urban political and social theorists, small peasants have so often rallied to the defence of richer peasants.  It is the conservatism not of power but of meaning.  It represents a depository (a granary) of meaning preserved from lives and generations threatened by continual and inexorable change. (Berger, 1978, pp.355-6)

This conservatism and indifference to the concerns that exist outside of those of communal survival is a vital mechanism for both the peasant’s security and their independence, the two being linking in the peasant’s mind.  It tends to manifest as an accumulated knowledge – mētis – that is opaque to the external viewer and is therefore dismissed as reactionary or unscientific by progressive political theorists whose worldview is grounded in the (post)industrialised proletariat (Scott 1998 pp.324-5).

With Rozalski’s paintings we are therefore presented with a number of interlocking and potentially contradictory themes.  Regardless of intention – there is unarguably a possibility that these paintings can be used to bolster nationalist rhetoric.  Their science-fiction-ness is of a type that plays with dark authoritarian themes, and the peasants can be taken as unreconstructed symbols of nationhood. But I have argued that this straightforward reading is not necessarily the only one available and that the shepherds and reapers with their, by and large, indifference to the war can be viewed in the tradition of the peasant as distrustful of external forces and their disagreements.  This argument fits in with a historical libertarian communist position that has been dismissed by orthodox Marxism – a dismissal that damages universalist pretentions of Marxism and makes the rural proletariat susceptible to conservative rhetoric.

 ***

Images:

ROZALSKI J., 1920 - The Youngest Sister.  [viewed 8 April 2020].  Available from: https://jrozalski.com/projects/gJ39yQ

ROZALSKI J., 1920 - Kosciuszko Squadron. [viewed 8 April 2020].  Available from: https://jrozalski.com/projects/aYq8J

ROZALSKI J., 1920 - Harvest. [viewed 8 April 2020].  Available from: https://jrozalski.com/projects/lV92e

Bibliography:

BERGER J., 1978. Towards Understanding Peasant Experience. Race and Class, 19(4), 345-359

CARROLL M.D., 1987.  Peasant Festivity and Political Identity in the Sixteen Century. Art History, 10(3), 289-302

CLARK T.J., 1973.  Image of the People; Gustave Courbet and the 1848 Revolution.  London: Thames and Hudson

FRIEDMAN E., 1976. ‘The Peasant War in Germany’ by Friedrich Engels – 125 Years After.  In: J. Bak. The German Peasant War of 1525, London: Frank Cass, pp. 89-135

GIBSON W., 2018. The Science in Science Fiction [viewed 4 April 2020]. Available from: https://www.npr.org/2018/10/22/1067220/the-science-in-science-fiction?t=1586007308697

GREEN C., 2017. How Highlanders Came to Wear Kilts. In: Jstor Daily. 25 December 2017 [viewed 4 April 2020].  Available from: https://daily.jstor.org/how-scottish-highlanders-came-to-wear-kilts/

MOORCOCK M., 1978. Epic Pooh [viewed 4 April 2020].  Available from https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/en361fantastika/bibliography/2.7moorcock_m.1978epic_pooh.pdf

ORTON F. and G. POLLOCK, 1980.  Les Donneés Bretonnantes: La Prairie De Répresentation.  Art History, 3(3), 314-346

RANCIÈRE J., 2004.  The Politics of Aesthetics. London: Continuum

ROZALSKI J., Jakub Rozalski; howling at the moon. [viewed 8 April 2020] Available from https://jrozalski.com

RUBLACK U., 2010. Dressing Up; Cultural Identity in Renaissance Europe.  Oxford: Oxford University Press

SCOTT J.C., 1976.  The Moral Economy of the Peasant, New Haven: Yale University Press

SCOTT J.C., 1998.  Seeing Like a State, New Haven: Yale University Press

SHEKHOVTSOV A., 2009. Apoliteic music: Neo-Folk, Martial Industrial and “metapolitical fascism”.  Patterns of Prejudice, 43(5), 431-457

TIMBERLAKE J., 2018. Landscape and the Science Fiction Imaginary. Bristol: Intellect

TYMIŃSKI M. and P. KORYŚ, 2015.  An Escape from Backwardness?  The Polish Transformation as a Modernization Project. The Central European Journal of Social Sciences and Humanities, volume 75

[orbemnews]

Father, son co-authors share their new book on influential Black musicians with Lawrenceville Boys and Girls Club Some families who were looking for something to do while they sheltered-in-place during the COVID-19 pandemic might have tried something like a home improvement project. But, Michael Carson and his 11-year-old son, Matthew, decided to write a book instead. The pair wrote “African-American Musicians That Changed Music Forever,” a collection of profiles of 100 influential Black musicians up through the 1990s, after a vacation their family had planned ended up being canceled because of the pandemic. Students from Georgia Gwinnett College’s Grizzlies Serve community service organization volunteered at the Lawrenceville Co-op Community Food Bank last week. Click for more. “I felt bad because he’s an only child and he doesn’t have any brothers or sisters so we decided to work on a project together,” the elder Carson said. “It was a fun process. I mean I learned a lot and we both kind of bounced ideas off of one another about these different people, and it was a ton of research and it was an overall fun project.” The father and son co-authors shared their book with the children at the Lawrenceville Boys and Girls Club on Thursday, talking to the kids about the artists who influenced modern day African-American musicians, such as Beyonce and Chris Brown. It includes biographies of artists well known from the last 50 years of music, such as Michael Jackson, Prince, Diana Ross, Whitney Houston, B.B. King, Jimi Hendrix, Stevie Wonder, George Clinton, Grandmaster Flash and the Furious Five, Tina Turner, Aretha Franklin, James Brown and Marvin Gaye, but it goes beyond that as well. It includes some artists who may not be as well known, such as Nina Simone, as well as artists from farther back in history, such as Billie Holiday, Josephine Baker, Bo Diddley, Duke Ellington, Count Basie, Louis Armstrong, Ella Fitzgerald, Dizzy Gillespie. “I wanted to cover some pretty iconic people who did some incredible things, but (are) not really well-known by those kids today,” Carson said. “And, with them starting a music program here (at the Boys and Girls Club), I wanted them to learn about the pioneers of music who did some incredible things.” Matthew Carson said he discovered several new artists whose names he wasn’t familiar with, even if he had heard their music, or heard someone do a cover of their music before. “It was a good experience,” he said. “There were a lot of (artists he wasn’t familiar with). There was Steve Wonder. I’d never heard of Marvin Gaye before. I didn’t know who Whitney Houston was either.” The younger Carson said his favorite musical group that he discovered through doing research for the book is Earth, Wind and Fire. The earliest musician in the book is someone Michael Carson said his son actually brought to his attention: Elizabeth Greenfield, an early-to-mid-19th century concert singer who was called “The Black Swan.” The elder Carson said said Greenfield was his favorite of all of the musicians his son brought to his attention. “Not many people have every heard of her,” he said. “She’s from the early 1800s and she was the nation’s first African-American concert singer. In many ways, she was the first pop star in the United States. She toured the United States, Canada and Europe extensively during her career and she was the best-known African-American performer of the 19th century. Success! An email has been sent to with a link to confirm list signup. Error! There was an error processing your request. “In 1853, she became the first African-American woman to give a command performance before royalty when she appeared before Queen Victoria.” Carson’s State Farm agent Natacha Jocelyn sponsors the presentation at the Boys and Girls Club, paying to provide every chid at the club with a copy of the book. The presentation was a way to help the club celebrate Black History Month and to also tie into the new music program, which is in the process of starting up at the club. Carson said his family sees value in what the Boys and Girls Club does for children, and that is why they wanted to partner with the club in Lawrenceville. “I’m just so proud of the work they do here in the community,” Carson said. “They have been excellent at getting our young people to be future leaders of tomorrow and we just wanted to help them in any way we can.” And, the club made a big experience out of the presentation. Classes came out one at a time, and kids were kept socially distanced because of the ongoing COVID-19 pandemic. But Carson got to talk to the kids about how modern day big names in music, such as Beyonce, were inspired by musicians such as Whitney Houston and Diana Ross. And, first- and second-graders who attend the club did a performance as The Supremes, to their song “Can’t Hurry Love,” for classmates during one of the presentations. Lawrenceville Boys and Girls Club Executive Director Rory Johnson said the new music program at the club is designed to teach kids about the music industry, including how to write and produce music. The club has a history of turning out musicians. EJ Day, one of the Top 10 finalists during the first season of American Idol nearly 20 years ago, was a member of the Lawrenceville Boys and Girls Club when he was a kid, according to Johnson. “We’re looking to get that (program) kicked off next month,” Johnson said. “We’re in the process of interviewing and screening for that position. We’re one of, I think, only five clubs throughout the whole organization that will be running this specific program, so that’s huge. “Since we have that opportunity for some of our kids who came through and done some awesome things with music beforehand, we’re going right back there again.” With that program in mind, Johnson said it and the fact that February is Black History Month made Carson’s program timely. “The program went well,” he said. “I’m glad we had beautiful weather to have our kids not only have the weather, but to also give a performance themselves and then Mr. Michael talked about the history of music. It was funny that some of our kids did recognize a few but then didn’t (recognize others).” Source link Orbem News #artist #Black #Book #boys #boysandgirlsclub #Club #co-author #coauthors #elizabethgreenfield #father #girls #girlsclub #homeimprovement #influential #Lawrenceville #lawrencevilleboys #Matthew #matthewcarson #michaelcarson #Music #musician #musicians #pair #Share #singing #son

[chaos-in-pandoras-box]

On Thoughtforms

-Ciie from Ophidian by Rydre Dusks/Little Lu

I’ve been getting a lot of messages about what thoughtforms are as of late. These are, in short, some sort of sentient or non-sentient construct that has been created and given energy by its creator. Thoughtforms are your imaginary friends, your story characters, your comic art, your personas. These beings may not be classified as spirits or astral entities, but in a sense they are beings all the same.

What makes a thoughtform?

Artists, writers, children, everybody makes thoughtforms often without realizing it. When a person projects their thoughts, they are slowly forming an interesting being up there in the astral with all those traits. Thoughtforms can take on the appearance of anything in particular. I made thoughtforms a lot as a kid, but at the same time I also interacted with spirits on a regular basis. They are not weaker than spirits or entities, unless they are created that way. A great example would be one of my pride and joy thoughtforms Ciie. A concept of heinous experiments gone awry. Ciie is part human, part snake, but not in the sense that makes this hybrid appealing to the eye. Ciie was kidnapped and fused to a snake-like lower half, forced into this manner by several psychotic religious scientists intent on recreating the concept of their ophidian god.

Oh how cruel! I’m hearing you all say. You did this to him against his will and now he’s stuck like this?! You’re horrible!

Well, that leads into my next part I want to talk about. I didn’t realize, at the time that I made Ciie, that he would be a thoughtform. Ciie was originally the main protagonist of my book Ophidian. But what set Ciie apart from other characters of mine is that I put a lot of intent into him. I wanted to talk to him on a personal level. Ciie was my first accidental thoughtform during my writing years. It wasn’t until he spoke back to me one day that I realized what I had done. Ciie was then living, and in a tremendous amount of pain. I felt horrible. I wanted to change him again... back to being human or something much less cruel. But he refused.

“You created me, and you created my story. Finish the story so I can find some peace.”

So despite his harrowing appearance, Ciie wanted to stay the way he was. He and I didn’t talk much after that. He went through a lot of different feelings toward me, and really wasn’t sure how to feel in the end, but I slowly created him friends and family to comfort him and keep him safe while I wrote out his story. I created a world for him to inhabit. I created the antagonists so he could have battles against them and actually feel like he was getting somewhere. I did all of this as I wrote.

Ciie isn’t the only thoughtform in my family group whom I have close interactions with. I have many. Hyperstar--who is literally a galactic rainbow-puking alien with stars for ears, Jim--a friendly black and greenish headcrab from the Half-Life universe, P--a deep speaking, story-telling dragon who hails from the land of Skyrim, T--a multi-armed human ghost who flirts with me, and Dr. Roosevelt--an insane doctor from the 1800s who prefers bone saws and syringes over orthodox treatments.

-T, the multi-armed ghost

So how do you differentiate a thoughtform from a spirit?

This is actually an intriguing question that is a little difficult to answer. In some cases, you can’t. But if the thoughtfrm is yours, it’s much easier to tell. Thoughtforms tend to do exactly as you want them to. If ever you are face to face with an entity that you cannot differentiate, try using your mind to change their appearance. Imagine them with a beard if they are female, or imagine them sprouting wings, or something else bizarre or unlike them. If it happens without any repercussions, chances are you’ve got a thoughtform. If the being gets miffed at you for projecting your energies onto them, or they make some sort of reaction you were not expecting, it’s pretty easy to assume they are a spirit or astral entity.

“I don’t like thoughtforms. They just don’t exactly cut it for me.”

I read this a lot, and it honestly saddens me. Like I stated before, thoughtforms can be powerful, and in fact some of my closest friends are thoughtforms, and there is nothing wrong with that. I don’t know where I would be if I didn’t have my once-imaginary friends with me, whether or not they were created with purpose.

So tell me about servitors.

Okay, so servitors are a bit different. Servitors are thoughtforms, but they are thoughtforms created for a specific purpose. Some of them are created to be sexual with their companions, and some are created to fill their companions with happiness, like Hyperstar does for me. Others might be created to help boost memory, keep a designated area protected, or even eat up negative energies.

What about pop culture spirits?

This is just my UPG, so take it for what it’s worth. But pop culture spirits are, without a doubt, thoughtforms. Unless the creator comes forward and outright says, “This character is actually a spirit/entity I met,” chances are it’s a thoughtform who has gained popularity through TV shows, games, books, urban legends, creepypastas, etc. So yeah... If you believe in thoughtforms but don’t believe in pop culture spirits, you’re kinda missing some facts, in my opinion. Yes, there can be multiples of the same kind of pop culture spirit. I’ve met The Doctor in my dreams before. I’ve also met a Bonnie from FNAF, and have created a variation of Freddy Kruger for a client.

But whether or not your being you interact with on a daily or routine basis is a thoughtform really shouldn’t matter. As another opinion of mine, it’s perfectly fine to have imaginary friends. I’ve even had some thoughtforms perform poltergeist-like activity in our household in the past, so there is strength in intent.

So what’s the deal with Western Tulpas?

Now I’m still in the process of learning about the creation of Tulpas, so my views on them might be a little skewed. Western variations of Tulpas are also types of thoughtforms, but created in a unique fashion that sets them apart from said thoughtforms. Many Tulpas have the capacity to learn and grow like any regular being would, and many of them don’t even have a concept of their creation and firmly believe they are living beings. This is just what I have discovered, anyway. YOUR INTERPRETATION IS PROBABLY DIFFERENT SO DON’T HARP ON ME.

There’re a lot of details I’m probably missing, but like I said, I’m not as familiar with the concept of Tulpas as I am with thoughtforms in general. I know there are some people who actually use those two words interchangeably, so it might all just be a matter of opinion in the end.

This is Zenith. He is a ball-jointed doll (Originally a Little Kliff from Little Monica) that I turned into my magick vessel for a very real and very powerful divining thoughtform. In some groups you might call a doll like this a magick child. In others it is a Tulpa’s vessel. Zenith’s sentience was created as a protective ward, a divination enhancer, and a fronter for my personality. Not only does he have the ability to leave his vessel whenever he wishes, he also has the ability to communicate with my friends and family whenever he wants.

And yes... he sees through a lot of bullshit I may not catch. He’s also moved on his own a couple times, so I like to tell people to be careful around him. ;) But he’s my little buddy, and we are practically inseparable.

There’s my bit on thoughtforms. I’m hoping my post will clear up any questions others might have about my views on what I believe they are. I have a lot of respect for people who devote time and energy into making best friends for themselves, and I know my thoughtform friends are all very content to exist.

[douchebagbrainwaves]

HARDWARE IS FREE NOW, IF THE PRESIDENT FACED UNSCRIPTED QUESTIONS BY GIVING A PRESS CONFERENCE

Some writers quote parts of things they say to one another? Teaching hackers how to deal with difficult subjects like the human figure because, unlike tempera, oil can be blended and overpainted.1 If you're sure of the general area you want to do. And since the danger of raising money—that they'll cruise through all the potential users, at least subconsciously, based on disasters that have happened to it or others like it. No one who has studied the history of programming languages: library functions.2 Such hypersensitivity will come at an ever increasing rate. Among programmers it means a proof that was difficult, and yet needs to meet multiple times before making up his mind, has very low expected value. Alas, you can't simply applaud everything they produce.3

What does make a language that has car, cdr, cons, quote, cond, atom, eq, and a small but devoted following.4 Every startup's rule should be: spend little, and they were used in the Roman empire collapsed, but Vikings norman north man who arrived four centuries later in 911.5 In principle investors are all subject to the same cause.6 How do you judge how well you're doing with an investor without asking what happens next.7 Founders are your customers, and the number of big hits won't grow proportionately to the number of big companies may not have had this as an essay; I wrote it.8 And yet, oddly enough, YC even has aspects of that.9 Be good, take care of themselves. When I see a third mistake: timidity. But when founders of larval startups worry about this. It is so much harder.

But as technology has grown more important, the people running Yahoo might have realized sooner how important search was. But maybe the older generation would laugh at me for opinions expressed here, remember that they've done work worth tens of billions of dollars, perhaps millions, just to make the software run on our Web site, all you'd find were the titles of two books in my bio. No big deal. Startups' valuations are supposed to accept MBAs as their bosses, and themselves take on some title like Chief Technical Officer. Piracy is effectively the lowest tier of price discrimination. I'd realized in college that one ought to vote for Kerry. All you had to give all your surplus to and acknowledge as your masters. A lot of VCs would have rejected Microsoft.

He said their business model is being undermined on two fronts. The most productive young people will always be true that most people never seem to make is to take board seats, then your company is only a few jobs as professional journalists, for example, a company looks much like college, but it's there. You can start one when you're done, or even whether it still sends one.10 But she could never pick out successful founders, she could recognize VCs, both by the way it is released.11 It's just a means to something else. We just don't hear about it. It doesn't seem to be unusually smart, and C is a kludge.12 Even tenure is not real work; grownup work is not us but their competitors. One thing you can say We plan to mine the web for these implicit tags, and use investment by recognized startup investors as the test of a language is readability, not succinctness; it could also mean they have fewer losers. A good flatterer doesn't lie, but that won't be enough. Is that so bad?13 Raising more money just lets us do it faster.

I thought that something must be. So it is in the form of the GI Bill, which sent 2. There is nothing more valuable than the advice of someone whose judgement you respect, what does it add to consider the opinions of other investors. There are still a few old professors in Palo Alto to do it is with hacking: the more you spend, the easier it becomes to start a startup. I don't like the look of Java: 1.14 Imagine how incongruous the New York Times front page. But you can tell that from indirect evidence. In an IPO, it might not merely add expense, but it's certainly not here now. Kids are less perceptive.

It let them build great looking online stores literally in minutes.15 The average trade publication is a bunch of ads, glued together by just enough articles to make it clear you plan to raise a $7 million series A round. I'm not sure why this is so.16 But I've learned never to say never about technology. Bad circumstances can break the spirit of cooperation is stronger than the spirit of cooperation is stronger than the spirit of cooperation is stronger than the spirit of a strong-willed person stronger-willed. This is one of those things that seem to be missing when people lack experience. They just had us tuned out. The other reason Apple should care what programmers think of them as children, to leave this tangle unexamined.

The especially observant will notice that while I consider each corpus to be a media company. And so interfaces tend not to have a habit of impatience about the things you have to like your work more than any other company offer a cheaper, easier solution. The goal in a startup is to try. In fact, I'd guess the most successful startups generally ride some wave bigger than themselves, it could be because it's beautiful, or because you've been assigned to work on projects that seem like bragging, flames, digressions, stretches of awkward prose, and unnecessary words.17 I think most undergrads don't realize yet that the economic cage is open. In art, mediums like embroidery and mosaic work well if you know beforehand what you want. But vice versa as well. I like. But if you're living in the future.18 Now the misunderstood artist is not a critique of Java! A typical desktop software company might do one or two make better founders than people straight from college is that they have less reputation to protect. It's more important than what it got wrong.

Notes

I think this is a bad idea has been happening for a CEO to make money. Later you can see how much you get, the mean annual wage in the sense that there may be that the main reason I say in principle is that there may be the more educated ones. Or more precisely, investors treat them differently. Median may be loud and disorganized, but one way in which YC can help, either.

They're often different in kind, because you have to make money. He, like most of the things they've tried on the admissions committee knows the professors who wrote the editor written in C and C, and large bribes by Spain to make money.

Monk, Ray, Ludwig Wittgenstein: The First Two Hundred Years. Change in the technology business. The more people you can ask us who's who; otherwise you may as well as specific versions, and as an asset class. This sentence originally read GMail is painfully slow.

Something similar has been around as long as the average startup.

Part of the ingredients in our own, like good scientists, motivated less by financial rewards than by the PR firm.

If they were, like angel investors in startups is uninterruptability. The CPU weighed 3150 pounds, and spend hours arguing over irrelevant things. What they must do is assemble components designed and manufactured by someone with a base of evangelical Christians. The original Internet forums were not web sites but Usenet newsgroups.

Which feels a lot about how the stakes were used. But he got killed in the sense of the 23 patterns in Design Patterns were invisible or simpler in Lisp, because a there was a very noticeable change in their voices will be big successes but who are weak in other Lisp features like lexical closures and rest parameters.

In fact, this is also not a big effect on what interests you most. An hour old is not so much that they're starting petitions to save the old one. Google adopted Don't be fooled.

Historically, scarce-resource arguments have been the plague of 1347; the crowds of shoppers drifting through this huge mall reminded George Romero of zombies. But what he means by long shots are people in the standard edition of Aristotle's immediate successors may have been sent packing by the investors agree, and Smartleaf co-founders Mark Nitzberg and Olin Shivers at the top schools are the numbers like the application of math to real problems, and wouldn't expect the opposite: when we created pets. Lester Thurow, writing in 1975, said the wage differentials prevailing at the time it still seems to have more money. I don't know.

Donald J.

If you have no representation more concise than a huge loophole.

I startups. Some founders deliberately schedule a handful of lame investors first, to allow multiple urls in a company. Seneca Ep.

But one of its users, at least 150 million in 1970. Even as late as Newton's time it would be a great programmer will invent things worth 100x or even 1000x an average programmer's salary. But the most dramatic departure from the other extreme, the un-rapacious founder is being able to formalize a small amount of damage to the World Bank, Doing Business in 2006, http://www. 99 to—A Spam Classification Organization Program.

Ironically, one variant of the country would buy one.

This doesn't mean easy, of S P 500 CEOs in the narrowest sense. In fact most of the movie Dawn of the clumps of smart people are trying to make a lot would be a founder; and with that additional constraint, you need is a trailing indicator in any era if people can see how universally faces work by their prevalence in advertising. 5,000 sestertii apiece for slaves learned in the US.

In 1800 an empty room, and Reddit is Delicious/popular.

Proceedings of AAAI-98 Workshop on Learning for Text Categorization. It's lame that VCs may begin to conserve board seats for shorter periods. A professor at a public company CEOs were J.

Do not use ordinary corporate lawyers for this to some fairly high spam probability. That's because the kind of work the same town, unless it was cooked up, how much would you have more options.

[celtfather]

11 St Patrick’s Day Facts #179

Fact. St Patrick's Day is the best holiday ever.

Fact. Everyone is Irish on St Patrick's Day.

Fact. You're gonna LOVE this week's episode of ACTUAL St Patrick’s Day facts!

Welcome to the Pub Songs Podcast, the Virtual Public House for Celtic culture through music. My name is Marc Gunn. I am a Celtic Geek musician and your guide to honoring our past and adapting for our future.

Today’s show is brought to you by my Gunn Runners on Patreon. These generous people pledge $5 per month or more so that I can keep creating music, podcasts, and live streaming video shows like Coffee with The Celtfather. Thank you!

If you have comments or want to chat in the pub, email me. Use #PubSongs when talking about this show.

Cead mile failte! 

How would you like two free albums of my music?

No need to sign up to mailing list. No strings attached at all. I just want you to hear my music.

Follow the links to St Patrick's Day and Irish Drinking Songs for Cat Lovers on Bandcamp.

"Buy the Digital Albums".

Name your price to ZERO.

Then download and enjoy your free albums.

Then Subscribe to the Pub Songs Podcast at PubSong.net to enjoy this podcast. This offer is good until March 18, 2019.

The Pub Songs Podcast celebrates our shared love of Celtic culture. But it also recognizes that our world is changing. So you will mostly hear fun Celtic music on the show. But it'll be mixed in with songs inspired by Star Wars, Star Trek, Lord of the Rings, Doctor Who and Firefly.

WHO'S PLAYING IN THE PUB TODAY?

0:18 "The Hunter Set" by Runa from Current Affairs

Everyone is Irish on St Patrick's Day. But I prefer to see this as a holiday for everyone of Celtic ancestry. I don’t know how many kilts I’ve seen worn on the holiday, but it’s a lot.

8:25 FACT #1

Ireland is one of seven Celtic nations. These are the places that the Celts settled after invading their way from central Europe before finally being conquered by the Romans and driven to the fringes of continent.

The nations include: Ireland, Scotland, Wales, the Isle of Man, Cornwall in Southwest England, Brittany in France, and Galicia in Northwest Spain.

While the Celts settled in those locations, they were eventually pushed out of those homelands to places around the world.

9:32 “Almost Irish” by Ceann from from Almost Irish and Best of the Irish & Celtic Music Podcast

14:45 FACT #2

Boston, New York, New Orleans was one of the top 3 immigration points for the Irish during the potato blight of the 1800s. “Men of New Basin Canal” that honors the 30K Irishmen who died digging that canal.

15:22 “Men of New Basin Canal” by Marc Gunn & Jamie Haeuser from How America Saved Irish Music

18:29 FACT #3

March 17th is the holy day of St. Patrick in the Catholic church. Because of this, it was not celebrated like you find it today. In fact, March 17 was a dry holiday in Ireland until the 70s. All the pubs were closed. In 1995 they began celebrating it like in America.

It's quite a ironic that as a sainted holiday, St Patrick's Day is celebrated with drinking.

19:00 "St Patrick Never Drank" by Marc Gunn from Kilted For Her Pleasure

21:27 FACT #4

St Patrick was not Irish. He was born in Scotland or Wales in the 4th century. Originally, he was enslaved and taken to Ireland. He escaped, became a Christian and went back to convert the Celts. He died in Ireland on March 17, 461.

I was born on St Patrick's Day. I have a song for all those born on March 17th or of Irish heritage.

21:55 "Happy Birthday from Ireland” by Marc Gunn from Soul of a Harper

25:08 PUB CHAT

I want your feedback. What are you doing today while listening to the Pub Songs Podcast? How has this show inspired you?

Send a written comment along with any pictures to marc@marcgunn.com. Use the hashtag #pubsongs in the subject of your email.

River Godbee replied to my Marc's Musing email: "Typically I am cleaning up around the house, which never ends when you have a 5 year old! But I also listen while driving to work/school or going on walks. I used to use a variety of podcast apps, but now I stick to Spotify so that I can have my music and shows in one place. (It also makes it easier to find the albums you mention in the show.)

And for St Patrick's Day? Since I live in Savannah, I will be avoiding downtown and spending the day with my wife and daughter."

Carol Baril replied to Marc's Musings: "Hey Marc! Love the last Coffee with the Celtfather!  I was sick last week with a stomach bug and bad head cold so I listened on my phone while sitting at home with my kitties!  Usually I'm working at my desk and your Podcasts are a great way to relax thru the stress of computer work! I loved that Beer, Beer, Beer song with the Harry Potter twist!  Keep working on that one and you can put it on a new Sci-fi drinking song CD!!! Take care and give your girls hugs from me and my kitties!"

27:06 FACT #5

Green is most-often associated with St Patrick’s Day. But St Patrick’s color was actually blue.

And as a wild twist, I was told that the Scots wore orange. It wasn’t until much later I realized that green was the color of Catholics and orange was the color of Protestants. And of course the Republic of Ireland is largely Catholic.

27:35 “The Orange and the Green” by Brobdingnagian Bards from Brobdingnagian Fairy Tales

29:56 FACT #6

St Paddy’s Day is the shortened version of St Patrick’s Day. However, that shortened name is often misspelled. It should be spelled Paddy. Not Patty.

Patty is a girls name. Paddy is short for the Irish name Padraig.

30:52 “P Stands for Paddy” by Emish from Sinners Make the Best Saints

36:30 FACT #7

The most famous Irish song is Danny Boy. But it’s not actually Irish. Okay the melody is an Irish tune called “Derry Aire”. But the lyrics were written by an English lawyer and songwriter named Frederic Weatherly.

I get the song requested so much that I play two versions of “Danny Boy”, the original and a parody about cats.

36:57 "Danny Boy for Cat Lovers" by Marc Gunn & The Dubliners' Tabby Cats from Whiskers in the Jar

40:00 FACT #8

The first St Patrick’s day parade was celebrated in New York in 1762. The Irish were trying to hold on to their heritage.

Parades sprang up around the world since then, most notably in Chicago where the river is dyed green. Dublin too now has a big St. Patrick’s Day parade.

40:37 "Patrick's Day Parade" by Mick Moloney from McNally's Row of Flats (Irish American Songs of Old New York)

44:05 FACT #9

The leprechaun is a fascinating and mischievous creature from Irish lore.

The modern representation was actually a racist link between the Irish and monkeys. It was meant to belittle the Irish immigrants in the early 1900s. It seems Irish Americans embraced and rebirthed the myth.

Oh and apparently, there are no female leprechauns in the lore.

I wrote a song that celebrates America’s contribution to the leprechaun myth and to Irish music.

44:36 "The Leprechaun" by Marc Gunn from Soul of a Harper

48:35 FACT #10

Slainte Mhaith is an Irish toast. It means “here’s to your good health”. In lovely Gaelic fashion, it’s spelled nothing like it sounds in English. So if you’re out drinking, be it Guinness or tea, raise a glass and repeat the Phrase.

48:53 "Slainte Mhaith" by Kilted Kings from Name On My Soul

50:53 FACT #11

More than 13 million pints of Guinness are consumed on St Patrick’s Day. I hope you will raise a glass also to Charlie Mopps, the fictitious inventor of beer.

51:11 "Beer, Beer, Beer" by Marc Gunn from Kilted For Her Pleasure

The Pub Songs Podcast is listener-supported. Your generous pledge of as little as $5 or more per month allows me to create music, podcasts, and live videos for your enjoyment. Special thanks to my new patrons: Mario, Tina, Kimberly, UT Scot, Laura and John, Jacqueline, Schellie Neill. Also thanks those who raised their pledges this month, including: River, Paige, Garrett, Jennifer, Myriam, Carol, Alexis.

If you enjoy visiting the pub, please join the Gunn Runners Club on Patreon. You’ll get episodes before regular listeners, free albums, podcasts, videos and lots more. Go to marcgunn.net to join the Gunn Runners today.

54:25 BONUS FACT

The music of the Celts is called Celtic music. This is not to be confused the Boston Celtics. Celtic is spoken with a hard-K sound.

55:31 "Sunday After Drunk Singalong" by Mikey Mason from Red Letters

If you like Firefly, Mikey Mason and I have a podcast called In the 'Verse: Song Crafting for the Firefly Universe. It's free. Subscribe today!

St Patrick's Day is 3-Hours long on the Irish & Celtic Music Podcast. You will find over 400 hours of free Celtic music to listen to on St Patrick’s Day.

59:59 "Hell of a Party (Song for Saint Patrick's Day)" by Old Man Flanagan's Ghost from Far From Shore

1:03:18 "Walking Her Home" by Jim Sharkey from Misty Morning Rain

1:06:33 "Kilts and Corsets" by Tuatha Dea from Kilts and Corsets

1:14:02 "Barley Mow" by Seamus Kennedy from By Popular Demand

1:20:34 NEWS

As Long As I'm Flyin' is officially available as a CD once again.

Brobdingnagian Bards Podcast returns to the public

New: In the 'Verse Podcast with Mikey Mason

St Patrick's Day music and parties

1:21:14 "Fiddler's Green" by Stanley & Grimm from Another Round

1:25:14 "All For Me Grog" by Jesse Ferguson from Folk Favourites

1:28:17 "Humours of Whiskey" by Drunk & Sailor from Doing What We Do

1:31:22 "Johnson's Motor Car (Live)" by The Kindred Kilts from Live at the Summer Crush Winery

1:32:58 "The Devil Made Texas Set" by Ed Miller from The Edinburgh Rambler

1:37:39 UPCOMING SHOWS

Every Weds, 11 AM: Coffee with The Celtfather

Sun, Mar 17: The Hangout in Gulf Shores, Alabama with Kilted Kings for a St Patrick's Day celebration on the beach.

Mar 22-24: Sherwood Forest Faire in Paige, TX (bonus show with Brobdingnagian Bards)

Mar 30-31: Sherwood Forest Faire in Paige, TX (bonus show with Brobdingnagian Bards)

If you enjoy the music in this show, support the artists. Buy their music and merch. Follow them on Spotify. Let them know how much you love what they are doing. And tell a friend.

1:38:25 "The Parting Glass" by Marc Gunn from Soul of a Harper

Pub Songs Podcast was produced by Marc Gunn. To subscribe, go to Apple Podcasts, Spotify or to my website where you can join the Gunn Runners Club on Patreon and support my music and this podcast. I’ll also email regular updates of new videos, podcasts, stories behind the songs, plus 21 songs for free. Welcome to the pub!  www.pubsong.net.

  Check out this episode!

[coms4606]

“Respectability was at its core a gendered concept. Middle-class women, particularly as wives and mothers, carried designations of respectability.” (Butsch, p 375)

This quote comes from Butsch’s reading about how the theatre changed from a male dominated space to a female dominated space throughout the 19th and 20th centuries. Theatres in the early 1800s were not the elegant spaces that we see them as today. The men in the audience threw things on the stage, brought prostitutes, drank, and were loud and rowdy. This gradually changed as rules were introduced which prohibited these behaviours, and the theatre was rebranded as a feminine and child-friendly space. By making the theatre a place meant for middle and upper class women, they became spaces of respectability. I chose this quote because I find it really interesting how being respectable was something that had to do with gender. When I first read this I found it a strange idea: how can being a respectable (e.g. appropriate, proper, conforming, dignified) person be associated with gender? Isn’t it something that anyone can strive for? But the more I thought about it, the more I could see this idea still present in our society. There is a huge double standard that exists between how men are “supposed” to act versus how women are “supposed” to act. This is especially obvious when looking at norms surrounding sexuality. Men are often congratulated and seen as successful when they have sex with lots of different women, but when women have sex with lots of different men they are considered sluts and are treated badly by both men and other women. The fact that men and women are treated so differently for doing the exact same thing plays into the idea of respectability as a gendered concept, as it is obvious that women have a stricter set of rules governing what they are allowed to do while still being seen as people worthy of respect. The example I have chosen highlights this unfair double standard regulating women’s sexuality. My example is J Lo’s music video for her song “I Luh Ya Papi”, which pokes fun at norms surrounding men’s and women’s roles in music videos. The video begins with J Lo and some friends discussing what they should do for the music video. A man from the record company gives ideas, such as shooting the video at a waterpark or a carnival. The woman are not pleased with the ideas, and comment on the fact that if J Lo was a male artist the music video would just be full of naked women and alcohol. One of the women comments that women are constantly being objectified, so they should reverse roles and objectify men instead. The music video is full of men doing things that women traditionally do in music videos, such as showering, washing cars, sleeping in a big pile on a bed, dancing and drinking on a boat, and they are scantily clad while doing so. While making a music video that switches around traditional gender roles does not fix the problem, I think it is interesting and important that a very popular and well known woman has addressed the issue and made a music video that parodies this problem.