text:
The Alex Jones Speech about Transhumanism, compared to The Book of The New Sun.
Alex Jones originally made this speech on February 1st, 2017 on The Joe Rogan Experience #911. It is perhaps his best improvised speech he has ever done. A lot what he says I agree with. I have faithfully transcribed his speech for others to read. In addition, I have added footnotes, explaining the significance of Jones's claims. What he says relates to the theories of Nick Land and a science-fiction book called The Book of The New Sun. If more people understood what is really happening, there would be less tension between the political left and right.
This is really big.
Let me give you my best deep research approximation.
Here is what the elite believe… And let me be very clear without going out of context.
I only go with what I can prove. And people can't even handle that. We are fighting a pedophile conspiracy,¹ but beyond that, it is a vampire conspiracy,² in that they are inter-dimensionally sucking the essence of our youth and they believe they are possessed by an off-world entity.³
I studied the elite and I also communicated with a lot of the top people. And if you want to know, I will actually break down the best knowledge right now what's happening on the planet.
The elite are all about transcendence and living forever and the secrets of the universe and they want to know all of this.⁴ Some are good,⁵ some are bad, some are a mix. But the good ones don't ever want to organize, the bad one's don't want to organize because they lust after power. Powerful consciousnesses don't want to dominate other people, they want to empower them⁶ so they don't tend to get together until things are really late in the game. Then they [people] come together, then evil is always defeated because good is so much stronger!
And we are on this planet, and Einstein's psychics showed it, Max Planck's psychics showed it, all of them, [they showed] that there are at least twelve dimensions.⁷ And now that's where all the top scientists and billionaires are coming out and saying "It's a false hologram! It is artificial!" The computers are scanning it and finding tension points where it's artificially projected and gravity is bleeding in to this universe. That's what they call "dark matter."⁸
So we are like a thought or a dream thats a wisp in some computer program, some god's mind, whatever.⁹ They are proving it all.¹⁰ It's all coming out.
Now, there is this sub transmission zone below the third dimension¹¹ that is just turned over to the most horrible things that what it resonates to and it's trying to get up into the third dimension that is just a basic level consciousness to launch into the next levels. And our species are already way up in the fifth or sixth dimension consciously from our best people. But there is this big war trying to basically destroy humanity because humanity has free will and there is a decision to which level we want to go to.¹² So we have free will, but evil is allowed to come in and contend, not just good.
And the elites themselves believe they are racing while using human technology to try and take our best minds and build some type of breakaway civilization where they are going to merge with machines, transcend, and breakaway from the failed species that is man,¹³ which is kind of like a false transmission because they are thinking what they are is ugly and bad projecting it on to themselves, instead of believing, "no, it's a human test about building us up!"
And so, Google was set up 18-19 years ago because they wanted to build a giant artificial system. And Google believes the first artificial intelligence will be a super computer based on the neuron activities of the hive mind of humanity with billions of people wired into with the internet of things,¹⁴ and so all of our thoughts go into it and we are actually building a computer that has real neurons in real time that is also psychically connected to us that are organic creatures. So that they will have current prediction powers, future prediction powers, a true crystal ball.
But the big secret is, once you have a crystal ball and know the future, you can add stimuli beforehand and make decisions that control the future. And so then its the end of consciousness and free will for individuals as we know, and a true "2.0," in a very bad way, hivemind consciousness with an AI jacked into everyone knowing our hopes and dreams delivering it to us, not in some Phillip K. Dick "wire head" system where we plug in and give up on consciousness because of unlimited pleasure, but because we were already wired in and absorbed before we knew it by giving over our consciousness to this system by our daily decisions that it was able to manipulate and control into a larger system.
There is now a human counter-strike taking place to shut this off before it gets fully into place¹⁵ and to block these systems and to try to have an actual debate about where humanity goes and cut off the pedophiles and psychic vampires that are in control of this AI system before humanity is destroyed.
Pedophiles, at whatever level, "the devil," or whatever you want to call them, this inter-dimensional thing that gives them advance off-world technology, "the fallen one" that is not from this world, is giving them advance knowledge on how to construct these systems that might of been used before on other populations.
That's Satan!¹⁶
Satan becomes some thing that the stupid preacher tells you about who's totally controlled, or something you read about in the news or TV. But this a inter-dimensional force that wants to influence us to build something that absorbs us and kills us rather than the divine free will we are given to build something much better than empowers the species, so the species is now making a decision about it's entire future.¹⁷
From looking at all the data and researching, studying it, watching the enemy, that's the big decision that humanity has now got before us.
You get some place finally in deep research where it's every culture already has said, what everybody already knew,¹⁸ what they are telling you in movies like in Prometheus (2012), what the elite admit in The New York Times they believe in.
Everything they are doing points towards this, and you read their own writings, they believe we are this ugly fallen species and that we are only to be killed. They are the rich billionaires who are better than us and they are going to merge with machines and become gods and go to the next level. The elite literally believe, inter-dimensionaly, they were given this information¹⁹ and then built it. Google admits (even in Wired in 2015), that they building an AI that will end human consciousness, free will, and take over and the next species will rise out of that. There is a centralized system of what they are building that isn't naturally occurring.
They are getting, not off-world, but inter-dimensional communications,²⁰ to then build this system that we see lowers our IQ, makes us live less. All the studies show stream time, all the computers lowering IQs, lowering fertility, lowering our health.
The globalist admit a lot of this. It's in a lot of their white papers, all their reports, etc. They believe they are going to become gods, the rest of us are profane.²¹
They get the technology they believe from another dimension!
That's what they believe!
Studying what the establishment believes, none of them are atheist. They all believe they are getting inter-dimensional stuff. So if you go back to Galton, Wedgwood, Huxley, and Darwin, he had an hallucination and believed he was given all this stuff from demons. Darwin wrote this! They were all apart of a secret breeding program where the British though that they would have this superhuman if they bred these six families together to create all this. Galton, who was related to all these other guys, in the 1850s, he started having these ideas and he says, "there is a double helix!," which is like the snakes for science and medicine. And he said, "we are gonna discover the keys and building blocks to life," and he said it's gonna be called "biometrics," and will track everybody by reading their genetics (and this is what Hitler freaked out about and picked up). So the media and the liberals give you this one thing, On the Origin of Species, which is super heavy galactic stuff! And you go at look what these guys wrote, they were intermarrying and involved in wicked séances and channeling and all this weird ass crap. And they envisioned, "OK THERE IS A DOUBLE-HELIX, DND DISCOVERED. OK BIOMETRICS. OK WORLD GOVERNMENT. OK COMPUTER. OK ATOMIC WEAPONS. GIVE ME THE EQUATIONS!" And then they were all then going to other science convention meetings and were like, "WE BELIEVE THERE IS A PROGRAM WHERE YOU TAKE DIFFERENT MATTER TOGETHER AND ISOTOPES AND WILL CAUSE AN EXPLOSION."²² They were given this!
Either humans are super advance and already had this knowledge from somewhere else, in our genetics. Or it was given off-world. But humans have all this data compacted and compressed ready like programs.²³
Now, there is this open rebellion against these criminals that hijacked our government. And so we overthrew the globalist and Obama. And now we are just overthrowing their whole system. There is this huge war going on. It's beautiful. We are kicking their ass on every front.²⁴
1. The "pedophilia conspiracy" is related to Pizzagate. This also refers to the term "transgressive liberal elite," which is a depraved and decadent elite / upper class that cares only about originality, queer culture, and exploiting the middle / consumer class with art and politics. Pizzagate is a fringe part of the TLE because they want to legalize pedophilia. "Pedophilia" also means, "that which takes innocence away." Also to note, NAMBLA stems from the TLE.
2. Like the Inhumi in The Book of The Long Sun. Or in word use, metaphorically "sucking" our freedom.
3. This is the Heirodule in The Book of The New Sun. A possible decadent alien class of some sort. They exist in Yesod, a dimension (or a few) above us.
4. See "The History of Urth," in The Book of The New Sun GURPS or "The First Empire" in Lexicon Urthus. The character Baldanders might be an elite trying to live forever.
5. Father Inire. See The Shadow of The Torturer.
6. Give them an alternate, consumer reality. "Ethnonationalism" is being hijacked to promote this escapism and weakness.
7. Three of these dimensions are called Yesod, Briah, and Abandon. The elites are from Yesod, we are existing in Briah, and something bad lives in Abaddon. Black holes teleport either to Yesod or Abaddon.
8. This is Jones prediction of what dark matter is. Or, a thing in Briah we cannot sense.
9. The elites use "The Atrium of Time" or some Yesod technology (Book of Mirrors) that allows elites to control the past that also controls the future. It is happening right now even against our own will. Destiny is the ultimate truth.
10. Nick Land, Gene Wolfe, and Terence Mckenna might be the suspects.
11. The third level might be our own level, Briah. Not sure if Abaddon might be the evil place.
12. The Shakespearian drama within the elite Typhon family (a million years in the future) created the drama of all humanity, past, present, and in the decaying future. His son who was blind caused others to be blind by throwing a black hole in the sun. (It might be true that black holes lead to other dimensions as well).
13. Nick Land's Skynet, something like in the Terminator movies.
14. Deleuze and Guattari's A Thousand Plateaus could be a reference.
15. Human Bio-Diversity, antil-liberalism, monarchy and anarchist communes are all against transhumanism. Meanwhile, the Transgressive Liberal Elite are nihilist and would rather sell and create art until they all die, sedating these forces and pleasing the Transhumanist future. The Heirodule elite class are in favor of this, so they help the past to dictate this future.
16. A "god" from one of The Group of Seventeen. See The Citadel of The Autarch.
17. That decision is a fight between two ultimate futures. Either a beautiful world known as "Ushas," a world of green people, oceans, and a new sun, or the deadly "Ragnarök," the endless winter where the Earth will die out in darkness without sun. Good people want Ushas, nihilist want Ragnarök.
18. See Joseph Cambell's The Hero with a Thousand Faces. It is said that Severian drinks the Alzabo soup and takes in all heroes past of "a thousand faces." Jones is predicting the future prophecy of Severian. Severian is also the real Jesus Christ because of time travel, thus proving some "ancient astronaut" theory Jones might believe in as well. See The Urth of The New Sun.
19. Ancient astronaut theory, but according to what Apu-Punchau, Ymar, and Severian have said in The Book of The New Sun. But it is Severian that is the ultimate avatar that saves humanity. Or the real meaning and purpose of religion.
20. "Off-world" refers to the aliens, "Inter-dimensional" refers to time traveling.
21. Typical cultural marxism, the arrogance of liberal popular culture, and the Transgressive Liberal Elites disdain for the cis-white-and-boring-normie.
22. Jones is attacking the middle-class and liberal obsession with the success of "STEM" (science, technology, engineering, math) students. It is very popular to hate on PATH students (philosophy, arts, theology, and humanities). Yet without the arts, humanity will exist no longer. A worship of the STEM class is a worship of the Transhumanist doom that will kill us all. See Andrew Hacker's The Math Myth.
23. Our destiny is set in motion without control of it. People that exist millions of years in the future already have time-traveling technology. They are quite aware about the politics happening in own period, and their own futuristic politics. The time-traveling elite want to stop us from knowing anything about them. So either we as humans will face a future destiny of the time-travelers that keep us in check, or it is aliens that are keeping us back from real free will. Jones believes destiny is already set, both ironically and in hope we may overthrow them.
24. While the future cannot be stop, Jones believes we can escape the elites control by knowing this classified information. Right-wing movements, as he says, are apart of this cultural revolution. By understanding the Transgressive Liberal Elite that exploits us and want nihilism, and by understanding the real transhumanist issue beyond petty consumerism, could we fight against our comfort zones, our sheep mentality, and create a new resistant art movement that advocate the morally good future of Ushas and fighting against those who shut down free will.
Posted by pilleater at 2:03 AM 5 comments:
"The Problem with Fantasy Flight Games." Or, "Board Game Culture Died When 'The Board Game Renaissance' Began." An Outline.
This is an outline for an article that should of been written two months ago.
Fantasy Flight Problems:
1. They reissue old board games into Ferrari cars. Meaning that for a game like Wiz-War, that was small and very basic with paper components in the early editions, is then turned into a giants size game with miniatures and a whole lot of unnecessary visual improvements based upon some fancy art direction. The games become a "pimped-out" art piece than an actual game. The people who once enjoyed Wiz-War will end up playing the original game instead of the new edition. The popularity of the non-FFG game Gloomhaven was solely based upon visuals and components, not the game itself. This Ferrari car fad is an easy cash-grab and promotes a materialistic consumer mindset.
2. Outsourcing all new board games to ONE team that dictates board game culture (a monopoly and head of metapolitics). Such figures: Daniel Lovat Clark, Corey Konieczka (ugly motherfucker), Steven Kimball, Lukas Litzinger, Damon Stone, Christian T. Petersen (abusive money maker and dickhead), Molly Glover, Nate French, Kevin Wilson (left a long time ago), Brad Andres, Eric Lang, and other non-white token persons etc.
3. FFG's "universal ruleset," from the new "learn to play" books to "rules refernce" that makes all rules written by a robot than an actual human being.
4. Rules are written as an ultimate truth, forgetting rules are just a guideline. FFG assume rules take over the human spirit, when in fact, the game is a toy-box for man-children. FFG has became anti "roleplay" over the years.
5. The huge or even giant size of their games. Too big to carry around. (I remember when games were still small).
6. The same-old card stock is used over and over again from the same merchants they buy from China.
7. They make their games a "sit-down" experience, because, you know, it's "tabletop." Spending at least 3-5 hours invested into a slow video-game with physical pieces. This can be done with limited pieces and a shorter time. But FFG is too focus on a big dumb "experience" than an actual practical game that can be cleaned up and stored with minimal ease. In other words, they are catering to fat autistic nerds who sit and do nothing for 4 or more hours. Often they will turn a simple game into an "epic" sit-down fart fest.
8. FFG's board games are just video games with physical pieces, which ignores the heart and essence of a board game, that is, a game about people. But instead, they would rather cater to a supremacist audience of STEM nerds, believing games are all math. FFG will double-down and try to cater to all the audiences of people, storytellers, and math/computer cucks, creating an autistic mash of Arkham Horror: The Card Game. Their games rule over us, not the other way around.
9. Player's don't have real choices. Rather, just calculated math equations that makes players believe (suspension of disbelief) they are making a dramatic choice that will "unbalance" the game, which is impossible because it is a delusion. There were examples of Jackson Howard and some other cards breaking Android: Netrunner, giving the players the real freedom to control the game. However, FFG hates this and tries to reset everything to a "universal ruleset." A player's choice and interactivity within the game is ultimately an illusion.
10. There is only ONE outcome, a winner. And FFG promotes this idea to compensate this fact "it's how you play the game!" Very ironic to their philosophy that humans control the game. [Mention the passive-egressive nature of winning or losing and it's philosophy. Making people win on purpose to create safe spaces for weak and cucked consumer culture normies with blue hair].
Board Game Culture Problems:
1. Gen-X loves it.
2. Millennials are "gamers" and don't understand an era when games were physical, compared to a video and digital realm of coming transhumanism.
3. A market compromised to sell a consumer identity. Otherwise, the market would fail.
4. A resistance against video games, but ironically FFG games are becoming one, culturally and systemaitcally.
5. Benefits a STEM-related demographic where skill is rewarded than luck or surprise. In fact, it is now culturally accepted in BoardGameGeek to hate on luck. These players are fat man-children with nonwhite wives that work as a cuck for a slave labor job based on lying (I won't be surprise if they have an interest in beer/microbreweries too).
6. There is only one "winner." This creates a reward feedback system of congratulating one self that they were not a nerd in high school and are finally a "man." Or become apart of a fictional "nerd culture," where they have to apply meaning against how they made wrong choices in life. Winners create weak people.
7. The market is inflated with useless board games (and now they know this). Everything is being repeated over and over again and new game mechanics come in like fads based upon generational likings. "Board gamers," like buying $50-99 board games over and over again every week with their magic disposable income, believing one day they may transfer their games to "the next generation" of nonwhite children they will bore. Board games also have little resale value. Only games that are timeless go up in price.
8. The consumers find it enjoyable to constantly re-learn new games over and over again, thus forgetting about the new game they bought two weeks ago, and then the next game they bought today. The old games get put on a shelf and never played again. The game collection becomes a fashion statement for delusional board gamer YouTubers and consumer cucks. All that money could of been spent on a college education and books to read and learn, instead of forgetting about instruction booklets that have no future outcome.
9. The culture promotes "equality" and "fairness" through a "balanced" game. Playing games and the liberal egalitarian agenda goes hand in hand. This promotes a political agenda.
10. The culture has a common hatred (and no respect) for classic commercial family games like Yahtzee, Risk, Stratego, or Clue. This is really just a form of generational hatred. Ironically, there would be no board game market without these games. These games are classic because everyone can play them (and introduced some mechanic that is timeless). The culture is too obsessed with finding something "new" and "original" to play. When the sheer irony is they think Settlers of Catan, Ticket To Ride, Betrayal at House on The Hill, Splendor, Power Grid, and Cards Against Humanity, are somehow revolutionary. Again, this is the normie consumer mindset. (Compare it to the vinyl toy fad of the early 00's with the bad inflation of Funko toys).
11. They promote the fraudulent "game-designer" philosophy which believes "all games are intersectional." Ironically, no of these "tabletop" players want to play a normal game of basketball anytime soon (or vice versa for that matter). These fake "game designers" made up GamerGate. They are pretensions charlatans invested in the fad of the board game market plus autism that justifies their declining decadence.
12. The predictability that the game "reminds" you have to play it. Most board games now have iconic language to remind players how to play the game. The problem is the language itself is self-defeating. It is no longer a game like Dune if the game (more like reissue) tells you it's about "alliances, backstabbing, and combat in an orderly fashion." This creates a meta-thinking level of irony within the players and the consumer culture. Nothing is meaningful. These new games expect players to feel this way, or a sense of irony. Soon, players become detached, ironic, and so-called "experts" on how to play the game (like they played it a million times, when in all actuality, about 7 times, at least one time with good friends and a memorable experience). For example, "Well, that's the game of Cosmic Encounter, it's always 'wacky,' 'random,' and 'unbalanced.' Thats why people enjoy it!" No it's not, you fucking dweeb.
13. Assuming you have political control in games as a "diplomat" is a false lead. Again, there is no control. The only freedom you have is when the human rules over the game, not the computer transhumanist-AI ruling over you.
= Control can only be regain through the practice of roleplaying games, or players becoming the computer and fudging rules/introducing new rules as game designers.
Posted by pilleater at 1:27 PM 146 comments:
"People Who Want To Play a GM-less RPG are Transhumanist Cucks." Or, "If Everyone Is The GM, Everyone is Playing Dixit and Once Upon a Time, Which Are 'Storytelling' Games For Blue-haired Cat Ladies."
The title of this blog post is sincere. I mean it.
People who want a traditional roleplaying game without a game master are nihilist cucks. Note I added "traditional" referring to games like Dungeons & Dragons and Pathfinder, that is, something you do only with a group of people in a room together. I could also be talking about World of Warcraft, where the computer is the game master (and that one day, it will become virtual reality), or the one-and-only LARPing games of Darkon and Dagorhir.
As a digression, the "LARP" genre itself is a novelty, and no cohesive group of "gamers" actually take things like it seriously. The niche scene of LARPing is made up of "cosplayers" and dysfunctional escapist. I remember watching a documentary film in high school called Darkon (2006) about a group of sincere LARPers. You observe that these "gamers" have emotional and mental baggage, and the "game" itself is an outlet for their shortcomings. There are avant-garde freak films out there by directors such as Harmony Korine, and Darkon gave me that same Trashhumpers vibe.
No one has ever asked a LARPer this simple question, "If you believe RPGs are better off being played IRL, then how come you are not a MGTOW-seductionist, reading Roosh V's Game or actually playing in an Olympian Sport instead?" If these so-called "games" are just a form of play based around it's culture, then why are you assuming everyone MUST like Depression Quest? (Yeah, I'm kind of sounding like TheQuartering and his lame anti-SJW excuse, "we just want to play our games!") "LARPing" is now a derogatory word. A simple term use to label someone that is taking things too seriously like a fictional protagonist in a fantasy or science-fiction novel. Often I use to say, "your life is an anime nobody is watching." Most Chads and Stacies think LARPing is cool because "nerds" do it. (White people need to feel that they had it worse than the popular kid) And nerds are the true underdogs that get social attitudes (Ironic, isn't it?). I could go on about the recent Chad and Stacy normie invasion of cosplay (not that a Western appropriation of it was authentic in the first place, let alone Asian-Aryan in design), but it relates to the disease of LARPing over traditional games. (Yes, LARPers are "queers," but they are the worse kind of queers I have ever met, worse than the Wesley Willis kind). In a nutshell, LARPers make a game out of acting, since we are bombared with fake actors on television and in the movies all the time.
Now, I grew up playing video games. I had a Sega Genesis, a Neo-Geo, a Nintendo 64, you name it. I memorized and "beat" games like Gunstar Heroes, Dynamite Headdy, Tomba, Metal Slug, and some other fringe titles which are now considered sacred in video game consumer culture. Yet video game culture rules over us as the ONLY form of gaming culture in the mainstream, and these definitions are pushed by a decadent normie class. Of course I eventually grew out of video games, and the last video game I ever really played was Space Hulk 2013 (based upon a board game) and the new Doom game.
Board games and sports have much more in common with the human spirit than a mastermind computer ruling over us. These two genres are classified as the classic definition of "games," and humanity have been playing these games for a very long time. It is recent that "gaming" is used as an opiate for the masses? To sedate people and use it as a form of brainwashing? We play games, yes. But is it truly our natural lifestyle? Not everyone who plays games should be consider a "gamer," and that those same self-identified "gamers" certainly don't want to hear their precious "life is a game" philosophy destroyed. LARPers will continue to be dysfunctional and play Ludwig Wittgenstein-style social games of masturbation.
But the normie-creeps are still preensters that make our lives worse. Such LARP philosophy has taken over all cultures of gaming. They are the egalitarians ready to force their daddy issues onto you.
The word "tabletop" refers to an intersectional definition of any game played on a table (why not the ground?). As such, "tabletop" games refers to board, card, tile, miniature, or whatever type of game sitting down. This recent definition and word choice is illogical and clunky, assuming I play Cosmic Encounter on a table, not the floor. In addition, those who like "tabletop" games MUST have an intersectional consumer interest with others. Must I like collectible card games and Warhammer 40K at the same time? Does this make me an open-minded person? I don't think a basketball player and a Dungeons and Dragons nerd have anything in common. Or that someone who plays Chess verse someone who only plays Cosmic Encounter should have the same shared interest. There is a reason why "chess" is a worthy game, while Cosmic Encounter is apart of an avant-garde art culture. Cultures can't just intersect with one another by force, but the term "tabletop" assures this. (Ben Shapiro's "What Is Intersectionality?" on PragerU is a good example of the failed attempt of intersectionality).
I agree that traditional roleplaying games, like Dungeons and Dragons, is a dying industry. It is certainly generational. It has only been around for half a decade, while modern chess has been around over three centuries or more. The traditional pen-and-paper-sitting-in-a-room-together role-playing game will die once virtual reality takes us over. And already, the normie wants to escape the liberal hellhole of the Western world through consuming, and as well through some kind of ironic Asian-Aryanism where it's ok to have that kind of authentic identity.
Only intellects that are passionate about preserving the written word of ludology, narratology, and esoteric subjects like game design will keep traditional roleplaying games alive. Only human beings have an unlimited imagination, and games can only be enjoyed with other human beings, not with a cold computer ironically created by humans. Dumb people cannot enjoy the rich entertainment of chess. It requires a certain intellect. The same is said about an advance sport which requires athleticism. When a dumb, normative person is in the room, all he want's is all "games" to be like his. And this results in the cuckholded nature of the "game design" industry and the corrupted consumers who run it (see http://deepfreeze.it and Tom Vasel/Eric M. Lang).
By definition, game design is the art of variant creation, rules, and player interaction expressed through culture. No game is alike, and it is inhumane to teach one person to get accustomed to a different game. To reference TheQuartering again, "we just want to play our own games." This theory that everyone has their own game aligns with the theory of ethnonationalism, a theory against the neoliberal and globalist invasion of the world and the creation of the self-autotomize future.
The culture of Lake Geneva, the very people from the Midwest that created the role-playing genre of games are dying and with it are losing it's history and meaning. The millennial generation will have to relearn these rules and cultural expressions again, for better or for worse. More good people will die out, and the isolated intellect who remembers the past will be very lonely (like myself).
When so-called "roleplayers" want to play a role-playing game without a game master, I cringe. I cringe because it's not possible to do it. Either one should read a gamebook, use tables to make the game act like a robot, play a board game with cooperative challenges, or maybe just a simple video game. People who assume roleplaying games are better off with a game master are delusional, since they are the egalitarians that are arguing "it's not fair!" (Huge respect towards Lewis Pulsipher). These idiots rather want a robot playing god, ironically pushing their precious ethics of equality they project onto one another like a preening moralist. People who assume role-playing games are unfair or "not balanced" shouldn't being playing those games then (plebeians should be playing Eurogames).
The SJW scene of nerds have lost of sense of a natural patriarchal influence. It takes a patriarch, a god, to implement rules and challenges and the imagination onto the players. I cannot name a single game without a game master. When a visiting baseball team visits another team's field, the "home" team itself is the game master, and should uphold the rules accordingly. Rules are only guidelines, not the truth. It takes one human to introduce another human into a game. Yet game designer Lewish Pulsipher has notice that there is certainly a "cult of the new" consumer culture that will only play a game once and then forget about it and then buy the next worthless game. Pulsipher argues that millennials "have favorite games," but not a single "favorite" game that they have time devoted to. This is similar to the promiscuous porn-star "hookup" culture that millennials casually daydream as "the life to live."
Then there are those who assume that everyone should be a game master so the game can be "fair." There is a good roleplaying game called Ars Magica that lets players shift the game master role every turn, and is truly a unique game of it's own (take note, one of the designers of the game, Jonathan Tweet, is an annoying anti-racist boomer hippy). Other games that let people be imaginative gods are Dixit and Once Upon A Time. These games are intended to be played by families, and women seem to enjoy these games. Are they roleplaying games? Maybe one mechanic is in use, but the games become a silly postmodern irony fest where nothing creative is truly accomplished. Other normies under the cultural marxist spell will express their "feelings" with one another while playing these games. It's a culture that can only play games to express animalistic emotions. A trivial affair for an intellect above animal instincts.
I have become an elitist over the years playing games, and I only play certain games I associate with and people who I admire. Sometimes I will play with strangers, but only as a teacher to enlighten a student. There are those fake board gamers that will bring up lame games like "Ticket to Ride" and "Betrayal at House on The Hill," and assume they are "great games." I follow the wisdom of the Antifa, who end relationships with any punk rocker that flirts with Nazi imagery. Except that I end relationships with people who play bad games. Similar to a liking in music, a bad taste in art is a bad soul in general.
The first step saving roleplaying games requires a cultural vanguard or society willing to protect games from the depraved normie class of LARPers. Slowly have I realized that sports and chess are the ultimate games to play. But everyone has a favorite physical game, and I have a list of esoteric games I prefer to play and enlighten others with.
My culture and my interest must be protected in the muddy waters of the pozzed "gamer" fad. An interest in ludoloy is only for an elitist.
Posted by pilleater at 4:36 PM 12 comments:
Fast Food Fascism & It's Esoteric Meaning
Again, we have ANOTHER article about the "innate fascism" lurking behind crass popular culture. What a rag!
Spencer J. Quinn wrote a review about the new Incredibles 2 film. What did you expect from him?
"The Incredibles, in my mind, is a perfect gem of a film which transcends the artifice of merely excellent film making and enters the realm of timeless art."
And then leading up to his climatic persuasion,
"It should be clear to all who watch The Incredibles 2 that when the man was the center of the story the women were treated realistically and with respect. But now that the woman is the center of the story, the men get nowhere near the same level of respect and behave quite unrealistically."
There is a limit in the far-right intellectualism, and as well with this Žižekian style criticism, that popular culture, in all actuality, is bad. No need to bring up Evola, Derrida, or some observe philosophy talk promoted by these computer geeks, what they are doing is justifying bad art for normal people.
Jef Costello as well wrote a piece for Counter-Currents titled, "Our Sheep Are The Best," arguing that a love for normal people is a must, because it's family!
While the editor Greg Johnson will say that every author on his website will conflict with one another, the main argument found at Counter-Currents is that (to paraphrase) "there will still be a world that will have both the left and right, but white suicide will be off the menu."
Johnson has declared himself "a man of the right," even though his publications has to deal with being stuck in a "right-wing ghetto."
It's hard to imagine that the far-right a few decades ago was classified as an evil child molester movement full of crackhead rednecks and James Bond super villains. Neo-Nazis were side attractions for a liberal circus, and gave normal people a good reason to be normal. Meanwhile, another movement, strongly influenced by punk culture and the decadent avant-garde art scene, published Apocalypse Culture and Answer Me!. Although these two books did not make an open association with the far-right, they had their best sympathies with Neo-Nazis because they had a common hatred of liberal normies. These individuals, from Jim Goad to Margot Metroland, have been published on Counter-Currents. (Although Goad has denied wanting to be published on a scary far-right website and has even called Johnson a faggot).
There was something interesting happening in the 1990s. Young people wanted to feel emotions from bands like Whitehouse and Anal Cunt. Now, millennials have cracked the liberal code that boomers find national socialism the most disgusting sin of all. And eventually, with the help of Richard Spencer's webzine "Alternative Right," and with the aid of Jack Donovan, the far-right became cool. And within the past four years, the "Alt-Right" movement grew as an exciting intellectual and hip movement of "far right intersectionality." Boomers didn't get it, but young people sure loved reading about Savitri Devi while being ironic by laughing at jokes from The Daily Shoah.
But ever since Unite The Right, the Alt-Right became a household name, and normies shunned it forever. The hipsters realized that the alt-right wasn't giving them the street cred they needed, and so the most "innovative" bloggers and e-celebrities disavowed both Unite The Right and the Alt-Right altogether (although they were invested in the scene, they will make a casual "I hate jews" remark once in a while for browny points). The far-right scene has became nothing more than a sad Verso books knock off cashing in on "dank Hitler memes" and "esoteric" nonsense that popular culture is somehow innately fascist.
And I declare the far-right scene dead after Spencer J. Quinn's horrendous approval of the Incredibles. To quote him again,
"Whether the film makers realized it or not, The Incredibles struck a blow for the Right in the culture wars, and a brilliant one at that."
I simply cannot take Counter-Currents seriously if they continue to publish "Buttercup Dew" style arguments about far right trojans. There is absolutely no substance in these articles, but boring, New-York-Times-Sunday-Morning-opinionism.
Since the left died over a century ago, the Frankfort School took is over. So now the so-called "left" is what we call cultural marxism. The actual right-wing is also dead because it too is now a "cultural" ghost.
Young people, though radical and political, get caught up in Wikipedia definitions of how they should act in life, have a few things in common.
Preening, fitting in, finding meaning, and growing up.
Academics know that young students are open vessels. As once said by holocaust revisionist Bradley R. Smith, "I want to go to students. They are superficial. They are empty vessels to be filled." Young people will believe in anything so as long you persuade them an agenda. But once they grow up, they grow out of the ideology that made them inexperienced and young.
People evolve, and so does both art and ideology. And this leads to something more important in the next era of the shock art scene.
Something I call, "fast-food fascism."
There was another writer during the 90s by the name of Shaun Partridge, who later became obsessed with psychedelic rock, the 1960s, corporate logos, Hanna Barbara cartoons, lame sitcom shows, dated popular culture, and Anne Frank.
To make sense of this new collage art, Shaun Partidge, Boyd Rice, and Brian M. Clark created a movement called Unpop.
The rules of the movement follow:
"pop: adj. -- Of or for the general public; popular or popularized; Of, relating to, or specializing in popular music; Of or suggestive of pop art. n. -- Popular music; Pop art; Popular culture.
un-pop-u-lar: adj. -- Lacking general approval or acceptance; Regarded with disfavor or lacking general approval. u
un-pop: adj. -- The application of pop aesthetics, stylings, or techniques to unpopular, unpleasant, repressed or otherwise censored ideas. n. -- Unpop art; Unpop music; Unpop writing; Unpop films."
Ironically, the movement ended in 2010, because "it stopped being Fun and groovy. [Perhaps Unpop will return some day? Today is not that day]." Like a fashion sense and a hipster's concerns of being cool, the movement was thrown to the side because of normie liberals "not getting it." (Or that they were just being jerks and offending people). However, Shaun Partridge still practices fast-food fascism under The Partridge Family Temple or The Church of Anne Frank.
But more importantly, what is fast-food fascism? And what is it's esoteric meaning behind it?
Matt P. wrote an article about "Neonnationalism" describing an alt-right that is based around old popular culture aesthetics. While Brandon Adamson describes movies from the 1970s and old American malls as the pinnacle of a movement called the "Alt-left." And Adamson notes how cool it was walking into an outdated Arby's restaurant. Surely fast food fascism is not legitimate fascism, but apart of something bigger going on.
(I made up my own term called "Asian-Aryanism," describing a future where Eurasians reign supreme. This and the word "islamofascism" are not to be taken seriously. Muslims are not fascist, and Asians are not "aryan." However, Asians will become like an Aryan nazi solider in the future if currents trends continue, and radical islamic terrorist have similarities to actual fascist).
Such origins can be traced back to the art of Frank Kozik and Ron English, where they juxtapose childhood cartoon characters mixed with political activism and punk culture. The vinyl toy scene was an extension of the low-brow art scene they were in. It was an appreciation of the kitsch and quirky children's toys of the the past decades, found in cereal boxes and candy stores.
Fast food fascism is certainly a variant of Unpop art that it mixes popular culture with controversial subjects. If you can think of a "cringe" worthy character, like Chuck E. Cheese, singing "smile America" while in front of a flag from Nazi Germany, then you might be able to understand fast-food fascism.
Postmodernist claim no attachment to the work they present. A victorian poet would say, "I love you madly, my dear." But this indicates that the poet sincerely loves a woman he is willing to die for. He has to commit and be authentic with his actions. But how does the new poet say he loves someone without being a fuddy-duddy victorian? As Umberto Eco writes, "Like a famous romance writer, i love you madly." This way, the poet removes himself from his claim and puts his commitment to someone else. This not only makes him sound witty, but denies any association of sincere authenticity.
Chuck E. Cheese with a Nazi flag could be ironic, the same way the band Killing Joke flew a Nazi flag next to the image of the pope and got banned from playing in Scotland.
…But what if they are really sincere with such an action?
Since the alt-right has dissolved, fans who love far-right imagery still want to be appreciated without being labeled as a right-winger or nazi for it (most of them are not actual nazis anyway). While juxtaposing popular culture from the 1960s though the 1980s (and only those periods), could this art of symbolism be authentically appreciated.
Here is some fast food fascist art I made. I have juxtaposed the following,
1. A Chuck E. Cheese Pizza Time Theater banner above a Volkswagen eagle.
2. Chuck E.Cheese Pizza Time Theater being blessed with the Dukhanen gesture.
3. A Totenkopf being compared to CalArt faces.
4. The Hindu deity Vishnu compared to Huckleberry Hound.
And 5. How the new Mellow Yellow logo looks like the Othala rune.
As you can see, juxtaposition has a lot to do with the creation of fast-food fascism and it's esoteric nature. Doug Pearce of Death in June doesn't claim to be an actual fascist, but a gay hipster that loves the ancient and forgotten esoterica, which he realizes that certain symbols causes offense against normal people.
Isn't it odd that a jain swastikas causes offense, when it is actually a symbol about life and death? This is the point of fast-food fascism.
Shaun Partridge also has taken fast-food fascism to a sincere point of actually making prayers and worshipping food institutions like McDonalds. Watch this video,
It could be a performance art, but in all respect, this is very similar of the alt-right belief of a problem solving "ethnostate." A sincere belief can be absurd as worshipping Mcdonald's. So why not worship fast food?
Big corporation are just as offensive as the far-right, as it is uniquely hated by every liberal white person. Movies like Super Size Me demonize McDonald's while rival corporations like Panera Bread and Surf Shack shape their store to be a safe space for white yuppies. But when taking a closer look at "the golden arches," we can make assumptions that the logo has some kind of innate fascist wisdom or some ancient hindu symbolism beneath it.
Two revered symbols in fast-food fascism are the NBC Peacock and the CBS Eye. The peacock's feathers introduced America to the world of color TV, and the CBS Eyes is actually the eye of god that looks after us (and god actually could be something like of Cthulhu and the CBS corporation knows all about it). A blogger actually has an entire blog why he fears the peacock!
In the neofolk movement, there is a fascination with everything from ancient Europe to esoteric Asia. Dead Can Dance still plays on this motif and has opened up the viewers conscious to whole new levels of artistic exploration. However, in the "post neofolk" movement, where fans of Death in June are afraid of being called racist or Nazi smyphtatizers, Jamie Stewart's band Xiu Xiu mixes imagery of pornography, shock art, sitcom weirdness, and Asian culture to create a neofolk that is based in both transgressive art and true unpop art. This is very similar to the post neofolk style of Shaun Partidge, who mixes the "Far-out, radical, and groovy," nature of the hippies, with the up-to-date style of the "hate scene gang of the hardcore 90s." Boyd Rice will concentrate on the neo-nazi and serial killer collage art, while Partridge keeps it cool with drug-tripping memorabilia, lost television programs, goofy commercial products, and Peter Max style art.
Often Partridge will remember "the good old days" of an obsolete decade of masculine, beer-drinking white handymen, without SJWs or liberal feminism. This is the genius behind Unpop art, that is takes the viewer back to a time where their suburban parents were both verbally and physically abusive, mixed with the psychedelic attitude of the very first youth movement of hipsters. A shock art that is both truthful to the past, esoteric in juxtaposition, and introducing new ways of thinking for the viewer.
Art has became incredibly stale in the far-right (and the left) is because the only thing they can write about is truth, justice, and a nice white country from the perspective of a cookie-cutter Disney film. The very notion that they take this normie art as sincere! No new feelings are expressed. You might as well say that Moana promotes child pornography because the movie shows topless little CGI girls in Trevor Brown fashion. Quinn's is using normie art to proselytize norms onto the far-right, but ironically will get offended over a cool, communist fruit drink. (Which is a product of fast food fascism. Note, that the term "fascism" is used facetiously).
Quinn is a square! And not even radical one bit. It's conformist, and sounds like he is developing a new type of normie that will hate on "degenerate" art. The avant-garde arts is against the interest of what normal people want, and I disregard Jef Costello's article on the subject completely.
You can collage the Incredibles as a "fascist" family with swastikas all you want. But what point does it prove? Where is the meaning behind this text of nothingness? What is left is the juxtaposition of images. The feeling when a normie is scared of a swastika for no apparent reason.
The problem with Quinn's piece is not acknowledging the absurdity of The Incredibles mixed with the message of white survival, but taking the movie as a "sincere" form of art that will help a dying movement called the Alt-right. A fast-food fascist would see the Incredibles for what it is. A crass, family-value cash-grab. …Now mix it with pictures of totalitarianism, esoteric religious art, or offensive symbolism or subjects. The work of Trevor Brown is controversial because he likes drawling little underage Asian girls in bondage or in violent positions. This is the real mind opener. The Alt-right is afraid to promote such art in fear that it will be called "degenerate." Yet such art is true and authentic to a majority of intellectual individuals in the far-right.
Is fast-food fascism degenerate? It certainly is both offensive and mind expanding. This juxtaposition, similar to what the work of vaporware is doing, will reinvent the shock art scene, the far right, and the punk scene by going forward by appreciate the thing we all hate, …consumer culture. Consumer culture itself becomes a truth. And fast food fascist will sincerely like it!
National Socialism would borrow many of it's imagery through a mix Heideggerian philosophy, which came from Human Bio-Diversity and a Western admiration of Eastern culture and religion. Hence, the swastika was used as a symbol describe the super man, going through life, dying, and creating a new people over again. The greatest meaning of life. And this imagery is ancient wisdom. One day, the CBS eye will be on the coat of arms in 2200. And will the symbol be offensive after a certain political party commits an atrocity as well?
Consider the genre of vaporwave. 식료품groceries is a vaporwave act that mocks the mindless consumerism of food shopping in a grocery mart. The feeling, the "aesthetic" that we must embrace through consumerism, can be appreciated as a fine art.
Now add that with the 90's hate scene, 60's hippy movement, and 10's anti-liberalism. You get the "picture."
Move away from "The Incredibles is fascist," and lean towards "The Incredibles is our consuming doom."
Labels: fast food fascism
I have been lazy in the past six months. Disappointment from work? Yes. I mean, getting rejected from JET is one thing, and working at Home Depot is another. Why would such a turn of events happen like this? However, things like getting my cassettes out, performing live, relationships, and published works have improved. I write this with two bandages on my palms, one on my knee, and two scabs on my elbows and one around my stomach. I fell off my bike, listening to The Orb. Ouch.
I really only have the time to write when I get on my typewriter. This typewriter, an Alphasmart Neo2 (a digital one to be exact). If I am going to upload this piece on my blog, I have to attach this into my computer and send the text. It was nice having a cloud button on the Freewrite, but it was for show. This device is better to use. My writing has improved using this typewriter.
Now what I really wanted to write about was actually an update on my existence. I will upload some of my other writings to my blog as well, just will take some time. I am the introverted type, and tend to leave the work I made hidden from the public until I (or someone) gets the work up online.
I swear a month ago I had some good ideas to write about. I wrote a "to-do" list like I always do. However, my ideas are still "blocks." Only did I start to recently figure out that the action of writing breaks down this block into comprehensive meaning. The less I write, I will decay faster. Writing preserves my 26 year old self on a canvas. So many people live their life without recording the past. Yes, we have social media, YouTube, cooperate watchdogs farming us as capital. My blog is owned by Google, I can't do anything about that. This blog is digital, not physical. Their is a high chance the internet goes down, and everything we uploaded is lost. It is why I published my books so that I have piece of the past recorded.
I had many good ideas back in February, but I think I lost those theories. I wake up one day, write it on a post-it note, and tell myself I can forget it forever now that it has been written down. Too late, I did actually forget about it.
I have been spending more of my time filming myself than writing. I can improve upon my acting. Improvised ideas come out naturally when I film myself for 10 minutes. Those 10 minutes speaking could actually be written on my Alphasmart. I could use my fingers and type out the words, by QWERTY standard (I gave up on COLEMAK two years ago), and get out the same thought, yet with bigger words and comprehensive logic. The latter makes me sound like a Harvard graduate, yes? Much of creative writing today has been boiled down as a transcript for those who speak. Logical writing is used as instructions and in academia. Too bad the system is becoming more depraved by being "creative."
Old people read. Young people watch. Yet as I watch, I am becoming more passive.
…That one thought that came back to me. Why am I glued to my smartphone? Why, for the past three months, allowed myself to write "good morning" for a girl I am not so sure I will be with? Why, in my spare time, is binge watching random videos about how to work Reason and political echo chambers? There are good amount of projects I am getting out by the end of June, but in these past 6 months, have I changed into a passive consumer. I need to step out of the internet world and back in the physical.
Working the internet is a job. It's a drug. It's also a mind killer. Instead of becoming an artist, I am joining the millennial collective as passive consumer, consuming things I could possibly do by action. Action means work, and work causes pain. This is a common translation for most people. Yet action creates art. It's a matter of me getting off my smartphone and getting onto this Neo2 and writing something.
Always that thought crosses me by as I write, "Why didn't I write earlier? I feel so much better about myself. Starting today, I will create a new habit where I will write every day, until 2020, when I will become an expert."
Everyone has those thoughts. I been doing those habits for quite some time now. But again, it's about action, not consumerism.
Right now, I am going to clean my room.
Universalism [unfinished draft]
Since the age of modernity, white people have been suffering greatly. They have turned the Christian ethos of guilt into shame and self-suicide and continue to buy things under cultural capitalism. But one uniting factor that makes white forgot all of this, is their arrogance in universalism.
In a board sense, universalism accepts the notion that people can have the same access to one practical thing. Christianity is universal on the fact that Jesus accepts the sins of any believer. Universalism in the material world suggest people can buy the same things and achieve the same greatness. While the reality of the world is deeply biological and innate, white people can be stuck in the middle of nowhere, working on a farm and suffering through the harsh reality of labor and survival. They can escape this through universalism. White people have build cities throughout no-mans land. To name a few; Cincinnati, Austin, Nashville, Topeka, and Las Vegas. These cities offer economic and (most importantly) cultural centers for white people to enjoy and achieve greatness. Along the way, most black Americans live in the cities, as some liberal whites feels it's an obligations to keep their once pet slaves alive. The city is a place where white people can live out their dreams by becoming paid intellectuals and artist. The city liberates the farm boy and makes him become a hipster. It is through universalism that white people can have access to the bourgeoise life. White people also have a selection of many different things to consume at their disposal. For example; anime, black music that black people don't like anymore, exotic food, art galleries, and exotic nonwhite women to have sex with (and lets forget about how these exploited girls will commit suicide a few decades later). White people will grow entitled to the sense that universalism creates more then free food, but creates cosmopolitanism. Cosmopolitanism makes white people feel that they are the "citizens of the world." White people can do to a different city and still feel a greater uniting universalism, known as cosmopolitanism. In fact, white people will even go to Hong Kong, Tokyo, (city in South Korea) and even Dubai and still feel a sense of universalism from people unlike themselves. They have to justify this cosmopolitanism through a bigger ideology, namely egalitarianism. Egalitarianism argues that every human being on this planet are in same structure and intellect as white people. All of these philosophies; universalism, cosmopolitanism, and egalitarianism and innate with in the Faustian spirit of western civilization. However, this in turn can only be achieve through two opposing white people systems; capitalism and communism. Communism lost the war, but seethes through the culture that capitalism has one. But cultural capitalism is alive, and white people lives are determined by the things they buy and money they can can make. This has created a superficial reality of dishonestly, which confuses and upsets white people's nature of universalism. So white people then want to push a democrat socialist environment so everyone can be liberated through egalitariansim. Because nonwhite people want universalism too, yes? It is through a screwed system called "social justice" where white people can serve this kind of "justice" to nonwhites. Justice is the act of serving what is right and wrong for society. But when it comes to something so artificial like "social justice," it is only justice to serve universalism for nonwhites, ultimately advocating cosmopolitanism under the egalitarian religion. And one day, when white people and nonwhite people get so advance, whites will advocate for trans humanism, which will kill our natural biological realities and whites and nonwhites will be transplanted into Fankenstien-like monsters. No natural connection to mother earth anymore, but space marine robots, without a real biological identity, flying through space to create one big Borg empire. What kind of future that? Just so white people take on their own burden and beat mother nature? Isn't that what western civilization wants?
Or am I taking this too seriously, and what really happening is that all these inner-city hipsters are dying by committing hedonism and nihilism, where all white people will die out, and the world will be left to overfed and pampered nonwhites (where ironically white people thought could be trans humanist robots). The world continues, while all nonwhites practice ethnonationalism, and white people have committed suicide or have become the second-class elite jews.
Either way, all of these problems are the root of every millennial's miserable existence. They just want to run away from it all. But it all starts with having pride in your city. That is the first step towards universalism. This by the Heideggarian standard is called inauthenticity. If this is not checked, whites will develop cosmopolitanism, then egalitarianism, and finally, transhumanism.
But why do whites fall for universalism every time? This is the real tragedy. Is universalism only acceptable when thinking in terms of other white people? And nonwhite people can never truly become universalist?
So are we just going to uphold this religion of universalism so we can have sex with Chinese girls and watch lo-fi rap concerts on Saturday night? Just to escape our own boring replies? To live a life that is all in our heads?
Take on the white man's burden.
Posted by pilleater at 4:41 PM 3 comments:
The Alex Jones Speech about Transhumanism, compare...
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text:
Devoted mum in 'wrong place' at the wrong time
The scene of a fatal traffic crash at Hatton Vale early last Monday morning. Claudia Baxter
by Tom Threadingham
Tom Threadingham
TRAGIC LOSS: Linda Elliott, 64, was killed in a traffic accident at Hatton Vale last week. Contributed
THE Winch family will remember Hatton Vale woman Linda Elliott as a caring mother, grandmother and friend who would do anything for her children.
Ms Elliott, 64, tragically died after the car she was travelling in was hit by a B-Double truck in roadworks at Hatton Vale early last Monday morning.
She had been on her way to a routine blood test at the time and was the sole occupant of the car.
Ms Elliott will be farewelled at a funeral service to be held at the Zion Lutheran Church in Minden on Friday.
Colin Winch said his mother, who had three sons and eight grandchildren, was a caring person who wasn't afraid to stand up for what she believed in.
"Her biggest thing was she always fought for what was fair so if she thought something wasn't fair she would fight for that," Mr Winch said.
"It wasn't to do with money or anything like that it was just to prove the principle and making it fair.
"She was a caring person and loved her family."
Former partner, Paul Winch, flew from England as soon as he found out about the accident and remembered Ms Elliott as a great mother.
"She was a really good mother and loved her kids and supported them immensely in everything they did," Mr Winch said.
"She was really, really supportive and they meant everything to her.
"She worked very hard for the family and was willing to do all sorts of things to make it work."
Originally from the UK, Mr Winch and Ms Elliott owned several businesses in the Ipswich area including a mixed business in North Ipswich and later a tyre shop and spare parts shop.
Ms Elliott made the move to Hatton Vale 10 years ago for a different pace of life.
A timely reminder of how life can be cut short so quickly and with multiple roadwork sites across the region, the Winch family urged motorists to take care, slow down, and be more alert when driving through roadworks.
"It'd be nice if other people learn from it so that the same thing doesn't happen to someone else," Colin Winch said.
"She was, from what we know, just an innocent person in the wrong place.
"Especially with the roadwork and how it's changing every day, you don't know whether you're going to be detoured or what so you should just drive slow and look out for what's around you," Colin's wife Julie said.
The Winch family welcomed anyone who may have known Linda to come to the funeral at the Zion Lutheran Church in Minden on Friday at 11am.
Woman killed as car is crushed between truck and tanker
fatal traffic collision

redpajama_set_name: RedPajamaCommonCrawl


text:
Desmond Thomas Doss (ur. 7 lutego 1919 w Lynchburgu, zm. 23 marca 2006 w Piedmont) – żołnierz Armii Stanów Zjednoczonych, pierwszy człowiek w historii Stanów Zjednoczonych odmawiający walki oraz dotykania broni (tzw. obdżektor), który jako sanitariusz otrzymał Medal Honoru. Podczas dokonywania heroicznych czynów, za które został odznaczony Medalem Honoru, miał stopień starszego szeregowego. Służbę pełnił w Medycznym Korpusie 307 Pułku, 77 Dywizji Piechoty.

Życiorys

Urodził się w Lynchburgu w stanie Wirginia w Stanach Zjednoczonych. Był synem stolarza Williama Thomasa Dossa i Berthy E. (Oliver) Doss.

Do wojska został powołany w kwietniu 1942 i tego samego roku w Richmond wziął ślub z Dorothy Pauline Schutte na przepustce w trakcie szkolenia, przed wyjazdem na front. Z powodów światopoglądowych – był adwentystą dnia siódmego – odmówił dotykania broni podczas walki oraz zabijania przeciwników. Przez całą służbę wojskową podczas II wojny światowej był sanitariuszem, ratując życie wielu żołnierzy, zarówno rodaków, jak i z armii wroga. Przez cały czas był wierny swoim przekonaniom religijnym.

Był trzykrotnie ranny w maju 1945 roku. Krótko przed opuszczeniem armii zdiagnozowano u niego gruźlicę (w wyniku choroby i odniesionych ran stracił jedno płuco). Zwolniony ze służby wojskowej w 1946 roku przez pięć lat poddawany był leczeniu.

Zmarł (miał problemy z oddychaniem) w roku 2006 w swoim domu w Piedmont w stanie Alabama. Został pochowany jako bohater wojenny w asyście wojskowej na cmentarzu w Chattanooga, w stanie Tennessee.

Wiara
Desmond Doss był wiernym wyznawcą Kościoła Adwentystów Dnia Siódmego. Do Kościoła Adwentystów należała matka Desmonda, Bertha E. Doss, a ojciec został adwentystą w późniejszym czasie. Chrzest przez zanurzenie Desmond przyjął w młodym wieku. Był bardzo aktywny w życiu Kościoła, co wiązało się m.in. z dużym poszanowaniem i studiowaniem Pisma Świętego.

Doss nie rozstawał się ze swoją Biblią i studiował ją nawet w najgorszych momentach. Traktował sobotę jako siódmy dzień tygodnia, uświęcony przez Boga, często określany mianem szabatu, i odmawiał wykonywania w tym czasie pracy. Z tego powodu wielokrotnie doświadczał szykan i wyznaczano mu wykonywanie karnych zadań podczas szkolenia wojskowego. Nie wzbraniał się jednak w tym dniu ratować ludzi. Główna walka na Okinawie, przedstawiona w filmie Mela Gibsona Przełęcz ocalonych, miała miejsce właśnie w sobotę, 5 maja 1945 r.

Desmond był też, jak spora część adwentystów, wegetarianinem, co wiązało się w jego wypadku z wrażliwością na cierpienie. Stosował się do zachęty Kościoła Adwentystów Dnia Siódmego, by nie angażować się w bezpośrednią walkę. Choć stanowisko Kościoła nie jest sztywne dla członków Kościoła, to daje wskazówki, pozostawiając poszczególnym jednostkom swobodę w kwestii własnej oceny swojej sytuacji.

Biblia Desmonda
Traktował religię jako najważniejszą sprawę życia i był w pełni zaangażowanym chrześcijaninem regularnie czytającym Biblię i uważającym, że jest ona Słowem Bożym, szczególnie w odniesieniu do Dziesięciu Przykazań, ważnym niezależnie od okoliczności.

W czasie walk miał przy sobie Biblię podarowaną mu po ślubie przez żonę Dorothy z oznaczonym przez nią wierszem 1 Listu do Koryntian 10,13, który stanowił niejako motto jego służby wojskowej: "Dotąd nie przyszło na was pokuszenie, które by przekraczało siły ludzkie; lecz Bóg jest wierny i nie dopuści, abyście byli kuszeni ponad siły wasze, ale z pokuszeniem da i wyjście, abyście je mogli znieść". Ulubionymi fragmentami Desmonda były Psalmy 91 i 93.

W Biblii podarowanej mu przez żonę znajdował się list od niej:Najdroższy Desmondzie!Gdy będziesz czytał i studiował bezcenne obietnice znajdujące się w Słowie Bożym, w tej małej Biblii, obyś otrzymał siłę we wszelkich trudnościach, jakie mogą Cię spotkać.Niech Twoja wiara w Boga przyniesie Ci pocieszenie i da pokój serca, abyś nigdy nie był smutny ani samotny, choćby przyszłość wydawała się najciemniejsza.Jeśli nie spotkamy się więcej na tej ziemi, mamy pewność, że będziemy w niebie. Niech Bóg w swojej łasce sprawi, abyśmy byli tam razem.Twoja kochająca żona – DorothyBiblia ta zaginęła w dżungli pod koniec kampanii na Okinawie, lecz została odnaleziona dzięki poszukiwaniu całej kompanii, po czym odesłana do jego domu, gdzie została odebrana przez żonę. Pomimo śladów przemoczenia, pozostała w dość dobrym stanie, a lekcja szkoły sobotniej na 26 maja 1945 r. została włożona tam, gdzie Doss ją zostawił (został ranny 21 maja).

Kultura
Historia Desmonda Dossa znalazła kilka odniesień w kulturze. Już w kwietniu 1946 r. na łamach "True Comics Issue" nr 48 został opublikowany komiks "Hero Without a Gun" (Bohater bez broni)

W 1967 r. ukazała się książka The Unlikeliest Hero: The Story of Desmond T. Doss autorstwa Bootona Herndona (pol. Nietypowy Bohater, Wyd. Znaki Czasu 1991). W 2005 roku biografię Dossa wydała jego druga żona Frances M. Doss (Desmond Doss: Conscientious Objector, pol. Szeregowiec Doss, Wyd. Znaki Czasu 2016).

Historia Dossa została przedstawiona w filmie dokumentalnym Terry'ego Benedicta The Conscientious Objector (2004).
Poświęcono mu film pełnometrażowy pt. Przełęcz ocalonych (org. Hacksaw Ridge), oparty na historii jego życia. Film miał premierę w Stanach Zjednoczonych i Polsce 4 listopada 2016 roku. Scenarzystami filmu są Andrew Knight, Robert Schenkkan. Reżyserem filmu jest znany aktor i reżyser filmowy, Mel Gibson, w roli głównej występuje Andrew Garfield. Producenci to: Bill Mechanic, David Permut, Bruce Davey, Brian Oliver, Paul Currie, William D. Johnson, Terry Benedict.

Nad dziedzictwem Desmonda Dossa oraz prawami autorskimi do historii i zdjęć czuwa powołana w 2000 r. Desmond Doss Council.

Odznaczenia

Spis odznaczeń

 Medal Honoru Kongresu
 Brązowa Gwiazda z brązowym liściem dębu i literą "V"
 Purpurowe Serce z dwoma brązowymi liśćmi dębu
 Medal za Dobre Zachowanie
 Medal Kampanii Amerykańskiej
 Medal Kampanii Azji-Pacyfiku z grotem i trzema brązowymi gwiazdami
 Medal Zwycięstwa w II Wojnie Światowej
 Medal Wyzwolenia Filipin z brązową gwiazdą
 Presidential Unit Citation
 Meritorious Unit Commendation
 Combat Medical Badge

Odznaczenie Medalem Honoru
Informacja prasowa o awansie dla Desmonda Dossa do stopnia kaprala oraz o odznaczeniu go Medalem Honoru miała następujące brzmienie:

"Odmawiający ze względów moralnych posługiwania się bronią, przydzielony do Korpusu Medycznego Armii Stanów Zjednoczonych, szeregowy Desmond T. Doss z Lynchburga w Wirginii wykazał się tak niezwykłą odwagą i niezłomnym męstwem, pomagając swym rannym kolegom podczas ciężkiej kampanii na Okinawie, że jak podało dzisiaj Ministerstwo Wojny, został odznaczony Medalem Honoru.

Najwyższe odznaczenie naszego kraju otrzymał dwudziestosześcioletni żołnierz, który choć nie nosił broni, dał tyle dowodów heroizmu na polach bitew ma wyspach Guam, Leyte i Okinawa, że jego nazwisko stało się symbolem bezprzykładnej odwagi w 77 dywizji piechoty spod znaku Statuy Wolności".

Order został przekazany kapralowi Dossowi przez prezydenta Trumana w Białym Domu, 12 grudnia.

Cytat z ceremonii odznaczenia Medalem Honoru

Ranga i jednostka:

Szeregowy Armii Stanów Zjednoczonych, Korpus medyczny 307 pułku piechoty, 77 dywizji piechoty.

Miejsce i data zdarzenia: W pobliżu Urasoe Mura, Okinawa, wyspy Riukiu, 29 kwietnia – 21 maja 1945.

Rozpoczął służbę w: Lynchburg, w stanie Wirginia.

Urodzony: Lynchburg, w stanie Wirginia.

G.O. No.: 97, 1 Listopada 1945.

Szeregowy Desmond T. Doss był sanitariuszem kompanii 307 pułku piechoty w czasie, gdy 1 batalion tego pułku szturmował niedostępne, 130-metrowe urwisko.

Gdy nasze oddziały osiągnęły szczyt urwiska, napotkały zmasowany opór artylerii, moździerzy i karabinów maszynowych, wskutek czego około siedemdziesięciu pięciu ludzi zostało rannych, a pozostali byli zmuszeni wycofać się. Szeregowy Doss, zamiast ratować się ucieczką, pozostał na silnie ostrzeliwanym szczycie wraz z wieloma rannymi, wynosząc ich z pola bitwy na brzeg urwiska, a potem spuszczając kolejno po linie na dół, gdzie mogli otrzymać pomoc ze strony kolegów.

2 maja na tym samym urwisku, wystawiony na ogień z broni palnej i moździerzy, ratował człowieka leżącego 200 metrów w głębi przedpola. Dwa dni później ocalił czterech ludzi podczas ataku na silnie strzeżoną grotę, podchodząc do nich pod nawałnicą granatów ręcznych na odległość dziesięciu metrów od wejścia groty, gdzie opatrzył ich, a potem wyniósł w bezpieczne miejsce, czterokrotnie pokonując tę samą drogę.

5 maja, nie zważając na ogień nieprzyjaciela, spieszył na pomoc rannemu oficerowi artylerii. Założył opatrunek, zaciągnął rannego do zagłębienia terenu, by dać mu ochronę przed ostrzałem z broni ręcznej, i wśród wybuchów pocisków armatnich podawał osocze, sam będąc nieosłoniętym przed kulami nieprzyjaciela. Tego samego dnia, gdy ranny żołnierz padł kilkanaście metrów od nieprzyjacielskich pozycji, udzielił mu pomocy i niósł przez odcinek około 100 metrów pod ciągłym ostrzałem.

21 maja w czasie nocnego ataku na ufortyfikowane wzniesienie w pobliżu Shuri pozostał na przedpolu, podczas gdy reszta kompanii wycofała się i ukryła. Ryzykując, że może zostać wzięty za japońskiego żołnierza chcącego przedostać się na teren amerykańskiego oddziału, niósł pomoc potrzebującym, dopóki sam nie został ciężko ranny w nogi na skutek eksplozji granatu. Zamiast przywołać innego sanitariusza, sam próbował opatrzyć sobie rany i czekał pięć godzin, aż noszowi dotarli do niego i zabrali go na tyły.

W drodze zostali zaskoczeni atakiem nieprzyjacielskiego czołgu, a szeregowy Doss, widząc leżącego ciężko rannego w głowę żołnierza, zczołgał się z noszy i polecił noszowym, by najpierw zajęli się tym człowiekiem. Czekając na ich powrót, otrzymał kolejną ranę. Tym razem kula snajpera ugodziła go w ramię, powodując skomplikowane złamanie kości. Okazując najwyższy hart ducha, z pomocą kolegi przywiązał łożysko karabinu do swej złamanej ręki, by ją unieruchomić, i w takim stanie czołgał się jeszcze około 300 metrów po pobojowisku w kierunku stacji medycznej.

Dzięki swemu bezprzykładnemu męstwu i niezłomnej woli w obliczu skrajnie niebezpiecznych warunków szeregowy Doss uratował życie wielu ludzi. Jego nazwisko stało się w 77 dywizji piechoty symbolem waleczności i poświęcenia sięgającego daleko poza granice obowiązku.

Pomniki

Rząd Stanów Zjednoczonych wzniósł po wojnie dwa pomniki na szczycie urwiska. Jedna tablica jest w języku angielskim, druga w japońskim. Oryginalne tablice z brązu zostały później skradzione. Zastąpiono je tablicami marmurowymi.

Szer. Desmond T. Doss, adwentysta dnia siódmego, sanitariusz 77 dywizji piechoty, otrzymał Honorowy Order Kongresu za zasługi w bitwie o Urwisko Maeda. Szeregowy Doss, gdy jego oddział już został wycofany, pozostał na szczycie urwiska po to, by ratować rannych; 75 z nich wyniósł na brzeg urwiska i opuścił w dół na linie.

Przypisy

Linki zewnętrzne
 Desmond Doss i jego wojna bez karabinu
 Strona poświęcona Desmondowi Dossowi

Amerykańscy wojskowi
Pacyfizm
Sanitariusze
Odznaczeni Medalem Honoru
Urodzeni w 1919
Zmarli w 2006
Odznaczeni Brązową Gwiazdą
Odznaczeni Purpurowym Sercem
Odznaczeni Medalem za Dobre Zachowanie
Ludzie urodzeni w Lynchburgu (Wirginia)

redpajama_set_name: RedPajamaWikipedia


text:
Results in Glace Bay, Guysborough, Amherst, River Philip and Granville Ferry
Groups & Organizations 2
Listing 14
River Philip
River Philip, River Philip, Nova Scotia B0M , Canada
Cumberland County Museum and Archives
150 Church Street, Amherst, Nova Scotia B4H 3C4 , Canada
Cape Breton Miners' Museum
42 Birkley St, Glace Bay, Nova Scotia B1A 1V7 , Canada
in Registered African Nova Scotian Historic Places, Museums
Glace Bay Universal Negro Improvement Association
35 Jessome Street, Glace Bay, Nova Scotia B1A , Canada
The Glace Bay Universal Negro Improvement Association Hall is located on Jessome Street in Glace Bay, Nova Scotia.
in Employment, Government, Groups & Organizations
The Cumberland African Nova Scotian Association
24 Crescent Avenue, Amherst, Nova Scotia B4H 1V1 , Canada
The vision of CANSA is that all citizens, including persons with disabilities, African Nova Scotians and youth at risk be respected and grow socially, economically and culturally in Cumberland County.
Glace Bay
Glace Bay, Glace Bay, Nova Scotia B1A , Canada
Like other parts of Cape Breton, Glace Bay has a strong legacy in mining.
Amherst, Nova Scotia B4H , Canada
Today Amherst sits about 2 miles east of the original town.
in Exhibit
The Sand Hill Historic Walking Trail Map Exhibit (AMHERST)
150 Church Street, Amherst, Nova Scotia , Canada
The Exhibit features a full color self-guided visual map and promo material that will take you past the homes of politicians, preachers, midwives, merchants, stone masons, sports figures and a stage coach Inn...
When Sat From 02/01/2020 to 02/01/2020
Guysborough, Guysborough, Nova Scotia B0H , Canada
A large group of Black Loyalists settled here at Chedabucto Bay in 1784 after fire swept through and destroyed their Port Mouton settlement during the winter.
Delaps Cove, Granville Ferry, Nova Scotia B0S , Canada
The Black settlers of this area came primarily in the 18th century. Former Canadian "Snow Bird" instructor and pilot, retired Canadian Air Force Major Walter Peters, hails from Litchfield.
in Groups & Organizations
Afrikan Canadian Heritage & Friendship Centre
27 Green Street, P.O. Box 19, Guysborough, Nova Scotia B0H 1N0 , Canada
The Centre holds numerous valuable resources recording the history and heritage of African Nova Scotians in the Guysborough and Strait regions, it was established in 2001 and runs under the auspices of the Strait District School Board.
Old Court House Museum
106 Church Street, Guysborough, Nova Scotia B0H 1N0 , Canada


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text:
Photo: Mac Jeans
From left: Elias Becker, Raffaello Napoleone, Noah Becker
Discover how Mac Jeans is celebrating its 50th anniversary
by Maria Cristina Pavarini — January 11, 2023
Mac Jeans is celebrating its 50th anniversary in 2023. To mark this milestone, the German family-owned jeans brand specialised in offering sustainably produced trousers, is launching its own jeans' collection together with Barbara Becker, an experienced fashion designer and former actress and model, and her sons Noah and Elias, for the first time collaborating together as a trio designing a collection.
From left: Noah, Barbara and Eliah Becker
The new collection was launched at Pitti Uomo and will be available in stores under the name "B Mac – Denim for Generations" starting in June 2023.
Mac Jeans is specialised in producing high-quality, sustainably produced trousers for men and women. With annual sales of six million pairs of trousers, Mac Jeans not only sells in the European market, but is also active in other countries such as the USA and Canada.
Eveline Schönleber, managing partner of Mac Mode GmbH & Co. KGaA, commented: "We are very proud to collaborate with Barbara Becker and her sons Noah and Elias on the occasion of our company's anniversary. From the very first moment, this cooperation has been based on a shared sense of creativity and zeitgeist. The result is not only a highly fashionable collection, but also a deeply felt friendship between us. The campaign exemplifies the cosmopolitan spirit of Mac Jeans and highlights the modernity and diversity of our DNA."
From left: Noah and Eliah Becker, Eveline Schönleber (Mac Jeans), and Barbara Becker
"The B Mac collection and the accompanying campaign reflect our creativity and express our multifaceted nature, both in terms of the age groups we appeal to and the diversity of our trouser shapes and washes," she added.
Noah Becker has built his career from Berlin over the past ten years as an internationally renowned artist, musician and producer. His younger brother Elias, who is currently studying film and acting in New York City, has a strong affinity for fashion and is also active as a model. The two brothers also unite their creativity internationally as a DJ duo.
Their mother Barbara is a multitalented creative who is constantly at work on several different projects at the same time, she works in fashion, but also a best-selling author. The topics of sustainability, health and vitality are especially close to Barbara Becker's heart.
B Mac launch at Pitti Uomo
Part of the collection are men's, women's and, for the first time, unisex trousers designed by Barbara, Noah and Elias Becker. This gender-fluid casually cut denim baggy jeans are part of both the menswear and womenswear lines. True to the campaign's claim, it creates both a cross-generational and cross-gender fashion consensus. The new "B Mac Baggy" is also a unifying element and fashionable highlight in the first capsule collection.
"I have always dreamt of doing something professionally together with my sons! Working together is very special and new for us – and it is also a lot of fun! All three of us love jeans, and we have always shared our clothes and accessories, although each of us has their own style. With Mac we have now even developed our own unisex jeans – and they fit each of us perfectly," said Barbara Becker.
B Mac at Pitti Uomo
The collection consists of several different styles and washes, each of which is characterised by a casual and loose-fitting design attitude.
Starting with the fall/winter 2023 season, Barbara Becker represents the unique cooperation for Mac Jeans in womenswear. This capsule collection includes modern boot cuts in denim, flat weaves and casual cargo styles. The entire collection is based on Barbara Becker's personal style, which combines sporty casualness and elegance.
Noah and Barbara Becker
The entire B Mac collection pursues a resource-saving approach. Each model embodies several decisive sustainable aspects. For example, recycled cotton is use in the production of the B Mac collection, conventional leather labels are replaced by labels made from apple pomace, and a substitute made from bamboo was used instead of conventional viscose, and reaffirms Mac Jeans's holistic approach in caring for environmental protection.
The exclusive cooperation is planned for two seasons. After its debut at Pitti Uomo, it will also be presented at the Düsseldorf Fashion Days, it will also be presented at other international trade fairs.
Why you cannot miss this January edition of Pitti Uomo
How Pitti Uomo is warming up its engines
The Materials
Luigi Caccia, Pure Denim: "Durable jeans are truly sustainable, not biodegradable stretch denim"
Label To Watch: Karl Lagerfeld Jeans
Noah Becker
Elias Becker
Pitti Uomo
Elisa Becker


text:
A gypsy moth in a photo posted to gov.bc.ca/gypsymoth.
Final bout of Gypsy moth spraying in Surrey bumped up to Thursday, May 23
Again, they're targeting 62 hectares area near Highway 1 and Port Mann Bridge from sunrise to 7:30 a.m.
Tom Zytaruk
UPDATE: The final aerial spraying in North Surrey for gypsy moths has been moved up to Thursday, May 23. A Ministry of Forests press release states "this will allow for optimum weather and operational conditions."
The final aerial spraying for gypsy moths this year in North Surrey is set for Friday, May 24.
On May 1, the government did the first of three planned sprays for gypsy moths in a 62-hectare area in North Surrey near Highway 1 and the Port Mann Bridge, between 5:20 a.m. and 7:30 a.m.
The second was on Monday, May 13, between sunrise and 7:30 a.m.
A low-flying airplane will be spraying Foray 48B, which contains bacillus thuringienis var kurstaki, or Btk – same time, same place.
The province will issue bulletins 24 hours before each spraying session, by phone at 1-866-917-5999 and at gov.bc.ca/gypsymoth.
According to the Ministry of Forests, poor weather or wind may postpone the spraying with little advance notice.
READ ALSO OUR VIEW: Beware, gypsy moth spraying has begun in Surrey
tom.zytaruk@surreynowleader.com
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