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Trump level insanity dissected.
Women speaking out against the politics of individual identity and exposing the hypocrisy that lies at the base of much of the liberal objection to radical feminist class based politics.
“i’m so tired of this liberal viewpoint that you have to include everyone at all times when talking about politics or else you’re excluding and harming them. just because someone focuses on certain issues doesn’t mean they don’t care about the people not affected by those issues. if a woman wants to talk about abortion with a sign that says “no uterus, no opinion” or respond to trump with “pussy grabs back” there is nothing wrong with this. this isn’t transphobia, these messages don’t even equate the anatomy with womanhood. this isn’t white feminism, WOC are also affected by abortion and sexual assault. you say we can’t exclude anyone from feminism and then in the same breath try to exclude people that want to talk about major issues facing women today.”
Wow. Insightful writing. :)
There’s a new catchcry in town. It’s been flying around New Zealand media like a ball in a pinball machine since February 20, when Family First launched a campaign called Ask Me First. The campaign amplifies the voice of Laura, an 18 year-old student who has challenged policy changes at a New Zealand all girls’ high school. The policy changes were made to accommodate a student who identifies as trans. Liberal media is reacting to Laura’s concerns with loud wails of “transphobia!” – but have any of these journalists really considered what “transphobia” might actually mean?
Does transphobia really mean, never questioning or turning over in one’s mind the views or demands of a trans person? Couldn’t obliging with haste and without question to someone’s demands, be a sign of fear?
And could noisy, flailing overcompensation perhaps be a symptom of deep discomfort, too?
I’m thinking of that
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There is always hope.
You know this piece, just not the full form. Skip to 2:20 if its still a mystery. :)
Although in his lifetime Ponchielli was very popular and influential, in introducing an enlarged orchestra and more complex orchestration, the only one of his operas regularly performed today is La Gioconda. It contains the great tenor romanza “Cielo e mar”, a superb duet for tenor and baritone “Enzo Grimaldo”,[3] the soprano set-piece “Suicidio!”, and the ballet music “The Dance of the Hours”, known even to the non-musical from its use in Walt Disney’s Fantasia in 1940, Allan Sherman’s novelty song, “Hello Muddah, Hello Fadduh”, and other popular works.
“As children, we count each birthday, eager to become adults so we can do what we want and make our own decisions. Once arrived, we discover that adult freedom is an illusion. Our childhood dreams of an exciting life are replaced with never-ending work and little to show for it. We feel like failures. What did we do wrong? The answer is — nothing. We did nothing wrong. This is how capitalism functions. Like a giant casino, capitalism promises much and delivers little. A few strike it rich, re-enforcing the myth that you can do the same. But the game is rigged by the capitalist class. The harder we work, the richer they get, and the sicker we become. As in every con, capitalism must resign the losers to their losses so they do not organize to end the con. Promoting the fiction of personal choice misdirects us to blame ourselves.”
bleatmop
Mystro
The Arbourist
Dead Wild Roses 
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