© Kreator, all rights reserved.
There is also an irritating but genuine grain of truth deep beneath the layers of whining. Campus leftists and their allies in the media are often no more open to alternative perspectives than the New Republic white male elite of two decades ago; they can behave badly too.
This was my comment in response:
I came to a screeching halt in front of this disgusting apologia. The rest isn’t worth my time. This is utter bullshit, there’s no “irritating, genuine grain of truth” there at all. “Alternative Views” is nuspeak for the same old evil bigotry and discrimination that people keep trying to resurrect. Sticking an “alt” in front of these old chestnuts doesn’t change a fucking thing. I can’t even say just how much I’ve come to loathe the word alternate, thanks to all the immoral, evil, toxic assholes embracing it, as if it heralded new ideas. All the whining is because people recognize their crap for what it is, and they aren’t interested in hearing it, or providing a venue for it. It’s about damned time, too.
Let them fucking whine, but don’t be trying to sell their shit as some sterling truth that’s truly new. Farrell should be smacked for writing such idiocy.
This is an ask, an ask to consider their brave, “new” views, which are exactly the same as the very old views, which place almost all people firmly in the inferior camp for one reason or another. It’s pushing the colonial mindset with its genocidal bigotry, the same old fucking bullshit people have been fighting against for much of history. There are always more smug bigots than there are thinking, accepting people, because bigotry is easy. We all live within frameworks of institutional and systemic racism of some sort, here in Ustates, it is the framework, and has been from the start. Just getting some people to even see that framework is a serious, brain-breaking chore. That framework makes it very easy to slide into bigotry, it’s a very comfortable fit for many people, and some of them just insist on justifying their “alternative, radical” views. Those views are not alt-anything, they are as old as the hills, and firmly status quo mainstream. They are not radical, they stink of the banality of evil.
These are people who are waving the Persecution Banner, while pulling down obscene amounts of money, most of it from bigoted fans who are stuffed full of aggrieved entitlement. These are people who are so damn desperate for power, they will say anything, and do anything for a chance at real power. I suspect at least some of them are laughing their arses off on the way to the bank every month, but this does not make them less harmful. They embrace obscurantism while smiling and claiming “science” backs them up. They want to be seen as great leaders, carrying the one and only torch of knowledge, only they understand enlightenment, and that enlightenment is in silencing and oppressing those deemed inferior, dismissing the hordes of the great unwashed with a faint wave of a hand. Bring up the days of the gentry to them, and you’d no doubt hear a chorus of wistful sighs.
It’s all bullshit. It’s not even alternative bullshit, just the same old centuries long song. There is not one alternate thing about it, not one truly new view, not even a hint of originality. These are people who long for the bad old days, and cry at every opportunity because they can’t have that.
Bullshit. Piles and piles of bullshit.
From Kreator, Click for full size! Part 1, Part 2. I just get more and more impressed, there’s such a wealth of things to see, and I find myself thankful for those who are not just looking, but commenting, and pointing out things I’m still managing to miss. Those smiles in the last shot, reminds me of Shakespeare’s One may smile, and smile, and be a villain. (Hamlet). Smiles replete with evil.
© Kreator, all rights reserved.
From Kreator: This mural is called “The Transport” and it was made in 2006 by an artist called Román Cura. It is one of the largest urban murals in Argentina and I’m very proud to have it here in the city of Trelew. It decorates the walls of a transport company called Don Otto S.A. and it was commissioned by them; it homages the history of transport in the Patagonia region accompanied by scenes from important events both domestic and foreign. Unfortunately it’s not in the best shape right now, but it’s still quite impressive in my opinion. You’ll notice how the artist even took advantage of wall drains and made them part of the mural itself. It had been restored once before, so I hope they can do it again sometime.
Click for full size!
© Kreator, all rights reserved.
Oh, I would give so much to be a part of this, it sounds absolutely fabulous and it has the added bonus that it will make the Tiny Tyrant squirm all over.
Queen Elizabeth won’t the only queen greeting Donald Trump when he visits the U.K. in July.
A thousand people have signed onto a Facebook invitation for a drag-queen protest to greet the president in London on July 13. Another nearly 7,000 people are interested in attending.
Manchester drag performer Cheddar Gorgeous and four other performers have issued the call to all drag kings, queens, queers and our allies.
“Due to the appalling way the Trump administration has regarded the rights and welfare of the LGBTQI communities in the U.S., the idea of a Trump visit to the U.K. is unacceptable,” the invitation says.
“Let’s get visible, stand with our sisters, brothers and others in America.”
Indian Country Today is back! The NCAI has taken over, and this is grand news.
From September through February I have heard about the importance of saving Indian Country Today. So many people across Indian Country had the same idea:
What if … What if we all contribute?
What if I step up to make certain Indian Country has solid, accurate, fair reporting?
Is it worth it to save this voice? A national media platform for Indian concerns? And how much will it take?
Yes. Yes. And the answer is a lot — or perhaps a few tax-deductible dollars if we all contribute together.
We are building a new Indian Country Today on a public media model. We will have some advertising, but most of our resources will come from members, tribes, enterprises, and non-profits.
We need you.
We are launching a membership drive and an auction.
The membership drive will solicit help from our “members” as $100 Founding Members, $500 Sustaining Members, and $1,000 for Premier Members.
Unlike public media we don’t have nifty gifts as a thank you. No t-shirts. No coffee mugs. Just a better news report. We want to use the money to build our news operation, a multimedia reporting platform about what’s going on across Indian Country. We’ll stretch your dollars by partnering with other organizations, and amplify our reporting by letting others repurpose our editorial content.
We will serve.
This is great news, but to work, ICT needs help from people. If you can drop a few dollars into the fund, please do, and if you can’t do that, please, please, spread the word, get it out everywhere! You can read more by Mark Trahant at Indian Country today, or go straight to the membership drive. This is so very important, it’s vital for Indigenous peoples to have a voice. Also, be sure to check out the new edition, there’s all manner of interesting reading!
ETA: I should point out that it’s possible to donate $5.00 to the membership drive, which is all I can manage right now, but I’ll be dropping more fives each week.
In 1712, New York City witnessed a dramatic uprising when over 20 black slaves, fighting against their unjust conditions, set fire to several houses of white slaveowners and fatally shot nine. Known today as the New York Slave Revolt of 1712, the insurgence resulted in the conviction and public execution of 21 slaves, as well as more severe slave codes. While sources often state that these rebels were all men, the historian Dr. Rebecca Hall has identified four women who were captured during the clashing and were tried. Their names were Amba, Lilly, Sarah, and Abigail.
Erased from history books, their stories will now be told in vivid form by Hall, who has devoted much of her career to unearthing the roles of women in slave revolts. Hall is currently working on her first graphic novel, which will highlight female rebels in various 18th-century uprisings, from three in New York to those that broke out on slave ships. Titled Wake: The Hidden History of Women-Led Slave Revolts, the 150-page work emerges out of Hall’s 2004 dissertation on the same topic. She is now collaborating with independent comic artist Hugo Martinez to produce the storyboards and, through Friday, May 4, is raising $5,900 on Kickstarter to realize it for submission to publishers.
“The way the history of slave resistance has been written, this very gendered narrative developed about how manly and masculine enslaved men actually were, which served to elide the role that women played,” Hall told Hyperallergic. “I was going against everything being taught in women’s roles in slave resistance by insisting that, if I looked, I bet I would find these women.” She recalled how her dissertation advisor had told her that she wouldn’t find any sources to realize her chosen topic; how one archive claimed that it had no related material.
This is a fascinating, and I think, a necessary work. You can read and see much more at Hyperallergic, as well as on the kickstarter page, where there’s also a video. They are close to their goal, but could use a bit more help, so if you can’t donate, you can help to spread the word!
LOS ANGELES — Judging from the paintings and drawings on view at Susan Vielmetter Los Angeles Projects, Nicole Eisenman has been thinking a lot about angry white men. They are almost the exclusive population throughout the expansive gallery. There is a large contingent of shooters, each confronting us from behind a firearm aimed directly outward, so that to look at the drawings is to stare down a gun-barrel. These shooter drawings are almost all from 2016, with a few from 2017 and one from 2018, elaborated in ink, charcoal, oil, acrylic, and pencil. This last is the largest, and the only one bearing a title, “The Shooter.” One of the untitled drawings, in pencil and blue ballpoint pen, shows a man pointing his gun at us with one hand while the other grasps his penis. Along the bottom margin Eisenman has written “BAMSPLOOSH.”
While there is nothing original about equating guns with penises, the full array of drawings in Dark Light reveals Eisenman’s mind ping-ponging through a number of visual rhymes, adding up to many of the show’s most compelling moments. The circle of the gun barrel becomes the end of a cigarette smoked by impassive men. In one case, smoke billows from a man’s right nostril; in another, a sooty cloud issues from a cigarette belonging to an African American in a drawing titled “A Moment of General Anesthesia” (2018), suggesting this man’s need for relief from pain of America’s continuous police shootings of black men. Further iterations of the black circle appear: in a small 2016 sketch it is a bullet hole in the middle of someone’s face, in others it is a darkened sun. A 2015 ink drawing titled “Black Sun” has the cheerless orb spewing fecal liquid that piles like a mound of pudding below, resembling a pipe depositing sewage in our waterways. Finally and inescapably, the circle is an anus.
Nicole Eisenman: Dark Light continues at Susanne Vielmetter Los Angeles Projects (6006 Washington Blvd, Culver City, Los Angeles) through April 21.
Fascinating viewing and reading, you can do more of both at Hyperallergic.
Robert Mueller may not have succeeded in bringing Donald Trump to justice yet, but for a fleeting few hours Friday night, the shadowy art collective Indecline did what millions of people in the US and beyond have dreamed of doing since November 2016: they put Trump behind bars.
It may not have been the actual maximum security prison of our collective dreams, but Indecline — most recently known for surreptitiously staging a graveyard at Trump’s Bedminister Golf Course, hanging a troupe of “Ku Klux Klowns,” and previously for planting naked Trump statues in multiple cities during the 2016 election — managed to stage a prison cell installation, dubbed “The People’s Prison,” in a suite on the third floor of the Trump International Hotel & Tower next to Columbus Circle. The work was installed in less than 24 hours, entirely undercover, and without the knowledge of hotel employees, who unwittingly helped carry all of the props and equipment to the room.
Surrounding the one-man prison cell were portraits rendered on American flags, burned and tattered at the edges, each illuminated with its own individual lamp. Indecline worked with 12 artists — including Molly Crabapple, Ann Lewis, LMNOPI, and the Panic Collective — to create the portraits of 12 artists and activists from across history, including Muhammad Ali, Leonard Peltier, Angela Davis, Hunter S. Thompson, Howard Zinn, Noam Chomsky, and even more contemporary figures like Erica Garner and Edward Snowden. Interviews with each of the portrait subjects played for the duration of the show over a background soundtrack of strangely relaxing ambient music.
All of the figures in the portraits, an Indecline spokesman told Hyperallergic, are “activists and fighters that we look up to. Activists that made a difference and made a good point. He has to sit here with the people who actually made a difference.” The spokesman continued: “Everyone on these walls fought to make this flag stand for something greater than it does currently under the Trump administration … they’re the ones who should be regarded as historical figures.”