During times of universal deceit, telling the truth becomes a revolutionary act. ~ George Orwell

Notes from ~@~

OCTOBER 16, 1965
A Tribute to Dr. Strange

In October 1965, a small commune called the Family Dog threw an unusual dance at Longshoreman's Hall, starring a rock band called the Charlatans that had played the previous summer at the Red Dog Saloon, a restored silver rush dance hall in Virginia City, Nevada. The second-billed group, which had an even weirder name, Jefferson Airplane, was making its first appearance outside the Marina District nightclub it had opened the month before. The third act on the bill, the Great Society, featured a former model from Palo Alto named Grace Slick.

George Hunter, Dan Hicks, Mike Wilhelm, Mike Ferguson, Richie Olsen
The Charlatans, 1964, Golden Gate Park Conservatory

More than a thousand people turned up for the dance. Hair flowing over their collars, the revelers were dressed cheerfully in colorful discards plucked from thrift stores. Many were on LSD, as were many of the musicians. Virtually everyone who attended "A Tribute to Dr. Strange," as the dance was called, seemed to have the same thought about the gathering: "I didn't know there were this many of us."

Terry Dolan Tribute / Mike Wilhelm ~ "High Coin" via Jesse Block

Mike Wilhelm & Sprung (Curtis) ~ Photo: Ann Hackett

Patchworks Films

ABOUT PATCHWORKS FILMS

With 20+ years’ experience, and 9 years working in Cuba, PatchWorks tells intimate stories that invoke complicated questions about family, faith, and identity. Their 6 award-winning features and numerous shorts have broadcast worldwide and screened at festivals, schools, organizations, and community venues, facilitating complicated community conversations, enriching curriculum, and sometimes impacting legislation. Their most recent feature, Los Hermanos/The Brothers, won the Best Documentary Award at its Woodstock Film Festival premiere.

Their previous Cuban feature, Havana Curveball screened in six countries, winning Best Documentary awards at the Boston and Seattle Children’s Film Festival, a special juror award at the Olympia Festival in Greece and a spot on School Library Journal’s “Best of 2014” list. Their previous film, Speaking In Tongues, aired on PBS, won the Audience Award at the San Francisco Film Festival, and remains a catalyst for changing language education worldwide. Previous films include the ITVS-funded Born in the U.S.A., which aired on Independent Lens and was hailed as the “best film on childbirth” by the former director of maternal health at the World Health Organization, and several shorts. ~ Visit: http://www.patchworksfilms.net

Ken Schneider, ACE | Producer/Director/Editor

Ken Schneider is a Peabody- winning producer/director who has also edited nearly 40 feature documentaries for PBS, HBO, Showtime and Al-Jazeera, and others. He received a Peabody as Co-producer and editor of Soft Vengeance. He edited the Oscar-nominated Regret to Inform, described by the New York Times as “unforgettable ... exquisitely filmed, edited and scored.” Other films he edited have earned multiple Emmys, a Columbia-Dupont, three Peabodys, an Indie Spirit and top awards at the Sundance Film Festival. Ken is drawn to stories of war and peace, human rights, artists, American history, contemporary social issues, and Cuba.

Ken has taught at NYU-Tisch, Chapman University, and San Francisco City College, and lectured at the SF Art Institute, University of San Francisco, and Harvard. He has been a panelist for the National Endowment for Humanities, the Emmys, and various film festivals. Other projects include: Soft Vengeance: Albie Sachs and the New South Africa (Peabody), Have You Heard From Johannesburg (Emmy winning series), The Judge (TIFF), In Football We Trust (Emmy, Sundance), Orozco: Man of Fire, Ralph Ellison: An American Journey (PBS' American Masters), Mankiller, Store Wars, School Colors (PBS' Frontline), Bolinao 52 and Ancestors in the Americas. Ken directs and edits in both English and Spanish.

Marcia Jarmel | Producer/Director/Writer/Impact Producer

Marcia Jarmel has produced and directed a slate of award-winning films for PatchWorks Films. She also works as a consultant and impact strategist on a broad range of films, including the Oscar nominee Last Day of Freedom and HBO’s Emmy-nominated 50 Children.

Marcia has taught both undergrad and graduate film courses at NYU and Chapman University and been honored with residencies with Working Films, the Fledgling Fund, SFFilm, the Kopkind Colony, and BAVC Media Maker. She has served as a juror for the Emmys, BAVC MediaMaker, and many film festivals.

Other credits include co-editing the Academy Award nominee, For Better or For Worse, and assistant producing the Academy Award nominees, Berkeley in the Sixties and Freedom on my Mind. Prior to founding PatchWorks, Marcia directed and produced The Return of Sarah’s Daughters (Women in the Director’s Chair, DocuWeek, Cinequest, APT) and The F Word (Living Room Festival, AFI's VideoFest and the Judy Chicago film series at the Brooklyn Museum of Art).

Disclaimer #6

6. If we want world peace, we must let go of our attachments and truly live like nomads. That's where I no mad at you, you no mad at me. That way, there'll surely be nomadness on the planet. And peace begins with each of us. A little peace here, a little peace there, pretty soon all the peaces will fit together to make one big peace everywhere.

Nothing else matters, Metallica arr. Karianne Brouwer violin, Maaike Schoenmaker cello

Where Have All the Flowers Gone?

Reflections on the Spirit & Legacy of the Sixties

by Fritjof Capra, 200212.01

The 1960s were the period of my life during which I experienced the most profound and most radical personal transformation. For those of us who identify with the cultural and political movements of the sixties, that period represents not so much a decade as a state of consciousness, characterized by "transpersonal" expansion, the questioning of authority, a sense of empowerment, and the experience of sensuous beauty and community.

This state of consciousness reached well into the seventies. In fact, one could say that the sixties came to an end only in December 1980, with the shot that killed John Lennon. The immense sense of loss felt by so many of us was, to a great extent, about the loss of an era. For a few days after the fatal shooting we relived the magic of the sixties. We did so in sadness and with tears, but the same feeling of enchantment and of community was once again alive. Wherever you went during those few days - in every neighborhood, every city, every country around the world - you heard John Lennon's music, and the intense idealism that had carried us through the sixties manifested itself once again:

In this essay, I shall try to evoke the spirit of that remarkable period, identify its defining characteristics, and provide an answer to some questions that are often asked nowadays: What happened to the cultural movements of the sixties? What did they achieve, and what, if any, is their legacy?

expansion of consciousness

The era of the sixties was dominated by an expansion of consciousness in two directions. One movement, in reaction to the increasing materialism and secularism of Western society, embraced a new kind of spirituality akin to the mystical traditions of the East. This involved an expansion of consciousness toward experiences involving nonordinary modes of awareness, which are traditionally achieved through meditation but may also occur in various other contexts, and which psychologists at the time began to call "transpersonal." Psychedelic drugs played a significant role in that movement, as did the human potential movement's promotion of expanded sensory awareness, expressed in its exhortation, "Get out of your head and into your senses!"

The first expansion of consciousness, then, was a movement beyond materialism and toward a new spirituality, beyond ordinary reality via meditative and psychedelic experiences, and beyond rationality through expanded sensory awareness. The combined effect was a continual sense of magic, awe, and wonder that for many of us will forever be associated with the sixties.

questioning of authority

The other movement was an expansion of social consciousness, triggered by a radical questioning of authority. This happened independently in several areas. While the American civil rights movement demanded that Black citizens be included in the political process, the free speech movement at Berkeley and student movements at other universities throughout the United States and Europe demanded the same for students.

In Europe, these movements culminated in the memorable revolt of French university students that is still known simply as "May '68." During that time, all research and teaching activities came to a complete halt at most French universities when the students, led by Daniel Cohn-Bendit, extended their critique to society as a whole and sought the solidarity of the French labor movement to change the entire social order. For three weeks, the administrations of Paris and other French cities, public transport, and businesses of every kind were paralyzed by a general strike. In Paris, people spent most of their time discussing politics in the streets, while the students held strategic discussions at the Sorbonne and other universities. In addition, they occupied the Odéon, the spacious theater of the Comédie Française, and transformed it into a twenty-four-hour "people's parliament," where they discussed their stimulating, albeit highly idealistic, visions of a future social order.

1968 was also the year of the celebrated "Prague Spring," during which Czech citizens, led by Alexander Dubcek, questioned the authority of the Soviet regime, which alarmed the Soviet Communist party to such an extent that, a few months later, it crushed the democratization processes initiated in Prague in its brutal invasion of Czechoslovakia.

In the United States, opposition to the Vietnam war became a political rallying point for the student movement and the counterculture. It sparked a huge anti-war movement, which exerted a major influence on the American political scene and led to many memorable events, including the decision by President Johnson not to seek reelection, the turbulent 1968 Democratic Convention in Chicago, the Watergate scandal, and the resignation of President Nixon.

a new sense of community

While the civil rights movement questioned the authority of white society and the student movements questioned the authority of their universities on political issues, the women's movement began to question patriarchal authority; humanistic psychologists undermined the authority of doctors and therapists; and the sexual revolution, triggered by the availability of birth control pills, broke down the puritan attitudes toward sexuality that were typical of American culture.

The radical questioning of authority and the expansion of social and transpersonal consciousness gave rise to a whole new culture - a "counterculture" - that defined itself in opposition to the dominant "straight" culture by embracing a different set of values. The members of this alternative culture, who were called "hippies" by outsiders but rarely used that term themselves, were held together by a strong sense of community. To distinguish ourselves from the crew cuts and polyester suits of that era's business executives, we wore long hair, colorful and individualistic clothes, flowers, beads, and other jewelry. Many of us were vegetarians who often baked our own bread, practiced yoga or some other form of meditation, and learned to work with our hands in various crafts.

Our subculture was immediately identifiable and tightly bound together. It had its own rituals, music, poetry, and literature; a common fascination with spirituality and the occult; and the shared vision of a peaceful and beautiful society. Rock music and psychedelic drugs were powerful bonds that strongly influenced the art and lifestyle of the hippie culture. In addition, the closeness, peacefulness, and trust of the hippie communities were expressed in casual communal nudity and freely shared sexuality. In our homes we would frequently burn incense and keep little altars with eclectic collections of statues of Indian gods and goddesses, meditating Buddhas, yarrow stalks or coins for consulting the I Ching, and various personal "sacred" objects.

Although different branches of the sixties movement arose independently and often remained distinct movements with little overlap for several years, they eventually became aware of one another, expressed mutual solidarity, and, during the 1970s, merged more or less into a single subculture. By that time, psychedelic drugs, rock music, and the hippie fashion had transcended national boundaries and had forged strong ties among the international counterculture. Multinational hippie tribes gathered in several countercultural centers - London, Amsterdam, San Francisco, Greenwich Village - as well as in more remote and exotic cities like Marrakech and Katmandu. These frequent cross-cultural exchanges gave rise to an "alternative global awareness" long before the onset of economic globalization.

the sixties' music

The zeitgeist of the sixties found expression in many art forms that often involved radical innovations, absorbed various facets of the counterculture, and strengthened the multiple relationships among the international alternative community.

Rock music was the strongest among these artistic bonds. The Beatles broke down the authority of studios and songwriters by writing their own music and lyrics, creating new musical genres, and setting up their own production company. While doing so, they incorporated many facets of the period's characteristic expansion of consciousness into their songs and lifestyles.

Bob Dylan expressed the spirit of the political protests in powerful poetry and music that became anthems of the sixties. The Rolling Stones represented the counterculture's irreverence, exuberance, and sexual energy, while San Francisco's "acid rock" scene gave expression to its psychedelic experiences.

At the same time, the "free jazz" of John Coltrane, Ornette Coleman, Sun Ra, Archie Shepp, and others shattered conventional forms of jazz improvisation and gave expression to spirituality, radical political poetry, street theater, and other elements of the counterculture. Like the jazz musicians, classical composers, such as Karlheinz Stockhausen in Germany and John Cage in the United States, broke down conventional musical forms and incorporated much of the sixties' spontaneity and expanded awareness into their music.

The fascination of the hippies with Indian religious philosophies, art, and culture led to a great popularity of Indian music. Most record collections in those days contained albums of Ravi Shankar, Ali Akbar Khan, and other masters of classical Indian music along with rock and folk music, jazz and blues.

The rock and drug culture of the sixties found its visual expressions in the psychedelic posters of the era's legendary rock concerts, especially in San Francisco, and in album covers of ever increasing sophistication, which became lasting icons of the sixties' subculture. Many rock concerts also featured "light shows" - a novel form of psychedelic art in which images of multicolored, pulsating, and ever changing shapes were projected onto walls and ceilings. Together with the loud rock music, these visual images created highly effective simulations of psychedelic experiences.

new literary forms

The main expressions of sixties' poetry were in the lyrics of rock and folk music. In addition, the "beat poetry" of Allen Ginsberg, Lawrence Ferlinghetti, Gary Snyder, and others, which had originated a decade earlier and shared many characteristics with the sixties' art forms, remained popular in the counterculture.

One of the major new literary forms was the "magical realism" of Latin American literature. In their short stories and novels, writers like Jorges Luis Borges and Gabriel García Márquez blended descriptions of realistic scenes with fantastic and dreamlike elements, metaphysical allegories, and mythical images. This was a perfect genre for the counterculture's fascination with altered states of consciousness and pervasive sense of magic.

In addition to the Latin American magical realism, science fiction, especially the complex series of Dune novels by Frank Herbert, exerted great fascination on the sixties' youth, as did the fantasy writings of J. R. R. Tolkien and Kurt Vonnegut. Many of us also turned to literary works of the past, such as the romantic novels of Hermann Hesse, in which we saw reflections of our own experiences.

Of equal, if not greater, popularity were the semi-fictional shamanistic writings of Carlos Castaneda, which satisfied the hippies' yearning for spirituality and "separate realities" mediated by psychedelic drugs. In addition, the dramatic encounters between Carlos and the Yaqui sorcerer Don Juan symbolized in a powerful way the clashes between the rational approach of modern industrial societies and the wisdom of traditional cultures.

film and the performing arts

In the sixties, the performing arts experienced radical innovations that broke every imaginable tradition of theater and dance. In fact, in companies like the Living Theater, the Judson Dance Theater, and the San Francisco Mime Troupe, theater and dance were often fused and combined with other forms of art. The performances involved trained actors and dancers as well as visual artists, musicians, poets, filmmakers, and even members of the audience.

Men and women often enjoyed equal status; nudity was frequent. Performances, often with strong political content, took place not only in theaters but also in museums, churches, parks, and in the streets. All these elements combined to create the dramatic expansion of experience and strong sense of community that was typical of the counterculture.

Film, too, was an important medium for expressing the zeitgeist of the sixties. Like the performing artists, the sixties' filmmakers, beginning with the pioneers of the French New Wave cinema, broke with the traditional techniques of their art, introducing multi-media approaches, often abandoning narratives altogether, and using their films to give a powerful voice to social critique.

With their innovative styles, these filmmakers expressed many key characteristics of the counterculture. For example, we can find the sixties' irreverence and political protest in the films of Godard; the questioning of materialism and a pervasive sense of alienation in Antonioni; questioning of the social order and transcendence of ordinary reality in Fellini; the exposure of class hypocrisy in Buñuel; social critique and utopian visions in Kubrik; the breaking down of sexual and gender stereotypes in Warhol; and the portrayal of altered states of consciousness in the works of experimental filmmakers like Kenneth Anger and John Whitney. In addition, the films of these directors are characterized by a strong sense of magical realism.

the legacy of the sixties

Many of the cultural expressions that were radical and subversive in the sixties have been accepted by broad segments of mainstream culture during the subsequent three decades. Examples would be the long hair and sixties fashion, the practice of Eastern forms of meditation and spirituality, recreational use of marijuana, increased sexual freedom, rejection of sexual and gender stereotypes, and the use of rock (and more recently rap) music to express alternative cultural values. All of these were once expressions of the counterculture that were ridiculed, suppressed, and even persecuted by the dominant mainstream society.

Beyond these contemporary expressions of values and esthetics that were shared by the sixties' counterculture, the most important and enduring legacy of that era has been the creation and subsequent flourishing of a global alternative culture that shares a set of core values. Although many of these values - e.g. environmentalism, feminism, gay rights, global justice - were shaped by cultural movements in the seventies, eighties, and nineties, their essential core was first expressed by the sixties' counterculture. In addition, many of today's senior progressive political activists, writers, and community leaders trace the roots of their original inspiration back to the sixties.

Green politics

In the sixties we questioned the dominant society and lived according to different values, but we did not formulate our critique in a coherent, systematic way. We did have concrete criticisms on single issues, such as the Vietnam war, but we did not develop any comprehensive alternative system of values and ideas. Our critique was based on intuitive feeling; we lived and embodied our protest rather than verbalizing and systematizing it.

The seventies brought consolidation of our views. As the magic of the sixties gradually faded, the initial excitement gave way to a period of focusing, digesting, and integrating. Two new cultural movements, the ecology movement and the feminist movement, emerged during the seventies and together provided the much-needed broad framework for our critique and alternative ideas.

The European student movement, which was largely Marxist oriented, was not able to turn its idealistic visions into realities during the sixties. But it kept its social concerns alive during the subsequent decade, while many of its members went through profound personal transformations. Influenced by the two major political themes of the seventies, feminism and ecology, these members of the "new left" broadened their horizons without losing their social consciousness. At the end of the decade, many of them became the leaders of transformed socialist parties. In Germany, these "young socialists" formed coalitions with ecologists, feminists, and peace activists, out of which emerged the Green Party - a new political party whose members confidently declared: "We are neither left nor right; we are in front."

During the 1980s and 1990s, the Green movement became a permanent feature of the European political landscape, and Greens now hold seats in numerous national and regional parliaments around the world. They are the political embodiment of the core values of the sixties.

the end of the Cold War

During the 1970s and 1980s, the American anti-war movement expanded into the anti-nuclear and peace movements, in solidarity with corresponding movements in Europe, especially those in the UK and West Germany. This, in turn, sparked a powerful peace movement in East Germany, led by the Protestant churches, which maintained regular contacts with the West German peace movement, and in particular with Petra Kelly, the charismatic leader of the German Greens.

When Mikhail Gorbachev came to power in the Soviet Union in 1985, he was well aware of the strength of the Western peace movement and accepted our argument that a nuclear war cannot be won and should never be fought. This realization played an important part in Gorbachev's "new thinking" and his restructuring (perestroika) of the Soviet regime, which would lead, eventually, to the fall of the Berlin Wall, the Velvet Revolution in Czechoslovakia, and the end of Soviet Communism.

All social and political systems are highly nonlinear and do not lend themselves to being analyzed in terms of linear chains of cause and effect. Nevertheless, careful study of our recent history shows that the key ingredient in creating the climate that led to the end of the Cold War was not the hard-line strategy of the Reagan administration, as the conservative mythology would have it, but the international peace movement. This movement clearly had its political and cultural roots in the student movements and counterculture of the sixties.

the information technology revolution

The last decade of the twentieth century brought a global phenomenon that took most cultural observers by surprise. A new world emerged, shaped by new technologies, new social structures, a new economy, and a new culture. "Globalization" became the term used to summarize the extraordinary changes and the seemingly irresistible momentum that were now felt by millions of people.

A common characteristic of the multiple aspects of globalization is a global information and communications network based on revolutionary new technologies. The information technology revolution is the result of a complex dynamic of technological and human interactions, which produced synergistic effects in three major areas of electronics - computers, microelectronics, and telecommunications. The key innovations that created the radically new electronic environment of the 1990s all took place 20 years earlier, during the 1970s.

It may be surprising to many that, like so many other recent cultural movements, the information technology revolution has important roots in the sixties' counterculture. It was triggered by a dramatic technological development - a shift from data storage and processing in large, isolated machines to the interactive use of microcomputers and the sharing of computer power in electronic networks. This shift was spearheaded by young technology enthusiasts who embraced many aspects of the counterculture, which was still very much alive at that time.

The first commercially successful microcomputer was built in 1976 by two college dropouts, Steve Wosniak and Steve Jobs, in their now legendary garage in Silicon Valley. These young innovators and others like them brought the irreverent attitudes, freewheeling lifestyles, and strong sense of community they had adopted in the counterculture to their working environments. In doing so, they created the relatively informal, open, decentralized, and cooperative working styles that became characteristic of the new information technologies.

global capitalism

However, the ideals of the young technology pioneers of the seventies were not reflected in the new global economy that emerged from the information technology revolution 20 years later. On the contrary, what emerged was a new materialism, excessive corporate greed, and a dramatic rise of unethical behavior among our corporate and political leaders. These harmful and destructive attitudes are direct consequences of a new form of global capitalism, structured largely around electronic networks of financial and informational flows. The so-called "global market" is a network of machines programmed according to the fundamental principle that money-making should take precedence over human rights, democracy, environmental protection, or any other value.

Since the new economy is organized according to this quintessential capitalist principle, it is not surprising that it has produced a multitude of interconnected harmful consequences that are in sharp contradiction to the ideals of the global Green movement: rising social inequality and social exclusion, a breakdown of democracy, more rapid and extensive deterioration of the natural environment, and increasing poverty and alienation. The new global capitalism has threatened and destroyed local communities around the world; and with the pursuit of an ill-conceived biotechnology, it has invaded the sanctity of life by attempting to turn diversity into monoculture, ecology into engineering, and life itself into a commodity.

It has become increasingly clear that global capitalism in its present form is unsustainable and needs to be fundamentally redesigned. Indeed, scholars, community leaders, and grassroots activists around the world are now raising their voices, demanding that we must "change the game" and suggesting concrete ways of doing so.

the global civil society

At the turn of this century, an impressive global coalition of nongovernmental organizations (NGOs), many of them led by men and women with deep personal roots in the sixties, formed around the core values of human dignity and ecological sustainability. In 1999, hundreds of these grassroots organizations interlinked electronically for several months to prepare for joint protest actions at the meeting of the World Trade Organization (WTO) in Seattle. The "Seattle Coalition," as it is now called, was extremely successful in derailing the WTO meeting and in making its views known to the world. Its concerted actions have permanently changed the political climate around the issue of economic globalization.

Since that time, the Seattle Coalition, or "global justice movement," has not only organized further protests but has also held several World Social Forum meetings in Porto Alegre, Brazil. At the second of these meetings, the NGOs proposed a whole set of alternative trade policies, including concrete and radical proposals for restructuring global financial institutions, which would profoundly change the nature of globalization.

The global justice movement exemplifies a new kind of political movement that is typical of our Information Age. Because of their skillful use of the Internet, the NGOs in the coalition are able to network with each other, share information, and mobilize their members with unprecedented speed. As a result, the new global NGOs have emerged as effective political actors who are independent of traditional national or international institutions. They constitute a new kind of global civil society.

This new form of alternative global community, sharing core values and making extensive use of electronic networks in addition to frequent human contacts, is one of the most important legacies of the sixties. If it succeeds in reshaping economic globalization so as to make it compatible with the values of human dignity and ecological sustainability, the dreams of the "sixties revolution" will have been realized:

Leningrad Cowboys, Happy Being Miserable via Leningrad Cowboys Official

Nobody for President ~ NONE of the ABOVE should be a valid choice on VOTER BALLOTS?

Nobody for President poster by Gilbert Shelton, 1976
Nobody

speaks through the teeth!

Nobody's Print Media:
http://www.nobodyforpresident.org/media/index.html
Nobody's Rally Songs:
http://www.nobodyforpresident.org/nobodysongs.html
Open Nobody for President by Country Joe McDonald in new tab or window:
http://www.nobodyforpresident.org/mp3/NfPcountryjoe.mp3
Open Nobody for President by Jim Maxwell & The Sundown Band in new tab or window:
http://www.nobodyforpresident.org/mp3/NobodyForPresident.mp3
#9
If you are looking
to find the key to the Universe,
I have some bad news and some good news.
The bad news is: there is no key to the Universe.
The good news is: it has been left unlocked

Nobody's "Birthday Party" provided an easy, cost-effective, way to restore political balance:

None of the Above
should be a valid choice on voter ballots.

Unfortunately, a jaded two party system rejects this simple fix because Nobody has all the answers and believes if a majority of citizens voted for None of the Above, rather than lesser of evils, voters would have to find someone competent to lead them !!! The media said, "Nobody could argue with that logic."

(1) Put "None of the Above" on voter ballots.

(2) Change requirements for President:

(a) Extremely hard civil service exam.
(b) Top scores compete in Prezolympics.
(c) Top 10 winners become candidates.
(d) Election winner becomes President.
(e) Gets device implanted in brain that explodes if a lie is told.

(3) Hire a Ribbon Cutter for President.

(a) Saved money pays off national debt.

(4) Declare election day a holiday.

(a) Voting receipt required for pay.

(5) Tie election participation to jury duty.

(a) Those who don't vote go on jury rolls.

Nobody brought peace to our time, lowered taxes, balanced the budget, fed the hungry & destitute, established a corporate death penalty, created free health care, ordered Congress & Senate to use same benefits as "The People," reminded everybody Jesus said, "Love one another" (NOT murder or maim), and ...bakes apple pie better than Mom!

NOBODY should have that much power !!!

American Dream, George Carlin via Ishtar [ NOT WORK SAFE ], Alternative w/text

Forget the politicians. They are irrelevant. The politicians are put there to give you the idea that you have freedom of choice. You don't. You have no choice! You have OWNERS! They own you! They own everything. They own all the important land. They own and control the corporations. They've long since bought, and paid for the Senate, the Congress, the state houses, the city halls, they got the judges in their back pockets and they own all the big media companies, so they control just about all of the news and information you get to hear. ~ George Carlin

Curtis Spangler & Wavy Gravy , Nobody for President, 197610.12 ~ Photo: James Stark

The Sacred Clowns ~ Heyókȟa

The Heyókȟa symbolize and portray many aspects of the sacred, the Wakȟáŋ. Their satire presents important questions by fooling around. They ask difficult questions, and say things others are too afraid to say. By reading between the lines, the audience is able to think about things not usually thought about, or to look at things in a different way.

Principally, the Heyókȟa functions both as a mirror and a teacher, using extreme behaviors to mirror others, thereby forcing them to examine their own doubts, fears, hatreds, and weaknesses. Heyókȟas also have the power to heal emotional pain; such power comes from the experience of shame--they sing of shameful events in their lives, beg for food, and live as clowns. They provoke laughter in distressing situations of despair and provoke fear and chaos when people feel complacent and overly secure, to keep them from taking themselves too seriously or believing they are more powerful than they are.

In addition, sacred clowns serve an important role in shaping tribal codes. Heyókȟa's don't seem to care about taboos, rules, regulations, social norms, or boundaries. Paradoxically, however, it is by violating these norms and taboos that they help to define the accepted boundaries, rules, and societal guidelines for ethical and moral behavior. This is because they are the only ones who can ask "Why?" about sensitive topics and employ satire to question the specialists and carriers of sacred knowledge or those in positions of power and authority. In doing so, they demonstrate concretely the theories of balance and imbalance. Their role is to penetrate deception, turn over rocks, and create a deeper awareness.

Cree Prophecy

Only after the last tree has been cut down,

Only after the last river has been poisoned,

Only after the last fish has been caught,

Only then will you find money cannot be eaten.

Develop Your Mind, Not Sacred Sites

ASIFA-SF, Karl Cohen ~ Association International du Film d'Animation, SF Newsletter

ASIFA-SF October 2024 Newsletter [PDF]

Boptime ~ w/Even Steven Leech ~ Saturday Mornings

Boptime begins at 6am (EDT) on Saturday October 12th with oldies back to back to back. ~ Steve

BOPTIME: Saturday, 6 AM Eastern, 3 AM Pacific time
Go To: http://www.wvud.org/?page_id=24
Click on a listening link below the WVUD logo:

Boptime available locally in Delaware on:
WVUD-FM 91.3
Shoutcast = [Search: WVUD] || TuneIn

Neckerworld ~ A Computer Vision Game

Neckerworld ~ A Computer Vision Game , by hankster / Dr. Hank Magnuski

Overview

Neckerworld is a computer vision game designed to teach students about human and computer vision systems, object detection and identification, visual field construction, autonomous movement and strategy.

All players and resources in the game are cubes. The cube players are guided solely through autonomous computer vision programs. No human manual control or input is permitted during gameplay.

To successfully play the game requires a competent program to do object detection and identification, playing field knowledge representation and strategic decision making.

Background

The Necker Cube Illusion (first published as a rhomboid in 1832 by Swiss crystallographer Louis Albert Necker ) is a well known example of a perceptual illusion where the orientation of the cube is unstable and easily flips between two states. Serious study and research into why we perceive multiple states leads to a set of questions about the very nature of our vision. [continue: http://neckerworld.com ]

Notes from ~@~

Freedom of expression and freedom of speech aren't really important unless they're heard...It's hard for me to stay silent when I keep hearing that peace is only attainable through war. And there's nothing more scary than watching ignorance in action. So I dedicated this Emmy to all the people who feel compelled to speak out and not afraid to speak to power and won't shut up and refuse to be silenced. Tom Smothers

Carlin Step, DJ Steve Porter & Eli Wilkie via Roland Kardeby

The Great Bell Chant (The End of Suffering) via R Smittenaar

One Day, Matisyahu

Unsung Hero via Rattakarn Srithavatchai "Garn"

Message via Mike Pinder

Oh, I hope that I see you again I never even caught your name As you looked through my window pane ~ So I'm writing this message today I'm thinking that you'll have a way Of hearing the notes in my tune ~ Where are you going? Where have you been? I can imagine other worlds you have seen ~ Beautiful faces and music so serene ~ So I do hope I see you again My universal citizen You went as quickly as you came ~ You know the power Your love is right You have good reason To stay out of sight ~~ But break our illusions and help us Be the light. Mike Pinder

Why I Think This World Should End, Prince EA via Prince EA
Without love in the dream, it will never come true. ~ Jerry Garcia / Robert Hunter
And in the end, the love you take is equal to the love you make. ~ John Lennon

DuckDuckGo ~ The search engine that doesn't track you

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{ ͡ʘ ͜ʖ ͡ʘ} Did politicians lie about Daylight Saving Time? { ͡ʘ ͜ʖ ͡ʘ}

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