Scrooges of Shit

What do you suppose the effects are when a large percentage of human beings have their big mammal brains bombarded with constant video stimulation? There’s all kinds of science about what it does to your system, and the symptoms that are invoked. Hella science. I could look it up, but I won’t, because really, who gives a shit?

Exactly.

That is exactly the effect. We are the Scrooges of shit. We give not a one.

Some of us do, for some things. But even then, not much. Just enough to get by.

As for the epic load of distilled video bullshit, is anybody passionate about it? Of course, there’s a few, the ones with the anxious light in their eyes about the latest reality show or whatever, who miss not a moment of their favorite brain spam. There’s always a few. Every temple has its priests. Somebody’s gotta be the asshole.

If you give too much of a shit about anything meaningful these days, the zombies start looking at you funny. Like they might have to one day feast on your brain, or maybe fuck you.

I was about to write an ill sentence using word that rhymes with “spectro pile,” but I realized that crazy p-o …r_ -n trawlers will show up to my blog while searching for their favorite disease. How many people are there like this around, who seem to be there just to fuck it up for the rest of us? We manufacture them, too.

Have you been that person yet? Are you that person now?

I want to pass through the gates. What gates? Where do they lead? What the fuck am I talking about? Is it irritating to see all these question marks? What if I just tell you that these are the new exclamation points? Hell yeah???

Three dimensional dreams that stink and laugh and grip and touch. Typing at these keys, I jump from moment to moment.

Stop looking at me funny.

Posted in Concrete Shinobi, Mass (Death) Culture, Matrix Cults, Media and such | Tagged , , , , , , , | Leave a comment

The Great Vision

As ripples emanate from the splash of a stone in the water, my signal echoes out through rivers of time from its point of origin: the solar eclipse of December 21st, 2012. The universe cycles in its unfolding, and great doorways of possibility open up.

The impact of this astrological alignment sends a rumble through the dreaming, and spirits are pouring out into the fleshworld. Every kind of angel and demon and alien creature has come forth to walk the earth.

The city is thick with the undead, leftovers from a long gone future apocalypse. Zombies roam the streets, machine people in a flat world hologram, lost in their imitation lives. Vampires blow cigarette smoke and record their feedings and rapes to sell on the open market.

An iron prison of grids and guns and a concrete shell, maps of conquest measured out in parcels of 33 yards–the unit of measure that the british call a chain. They draw their world in chains.

Digital infospace and corporate viral infections. The screen monsters haunt us in our sleep, and in our waking lives. Who is your bogeyman? Government spooks & troops, gangsters, banksters, wild witches, men with abuse in their hearts and shame on their hands.

In the mist, a great ancestor of ancient stone whispers to me of my true origins–mine is the stone that breaks hearts open. Walking backwards, talking sideways, I am hip hop heyoka, clown prince of the mic.

From big bang to boulders to silicon chips, I ride the timeline and speak through computer buzz radiation. I am zero-dimensional, infinitesimal–only an idea. I take root in a media-mind sea and gather images from the tides to speak and mold my form. I swell into a seed of meaning, fertilized by rhyme flows. I am birthed in a flash of revelation:

Malik (king)(owner)(sovereign)
Diamond (four corners & four sides)(jewel)(crystal)(light refractor)(unbreakable)

The future comes first, then the name. Then the whaaat.

A superhero in 4-D who walks in dreams, wielding humor and supreme sorcery. The time traveller, back from 2012, with songs of absurdity and healing. Sungod incarnate, avatar of the new age of the child who destroys to create.

Black mask of the assassin, fire spirit of the unseen realms, walking the crossroads with a limp, one foot forever on the other side. Splendid and Beautiful King of the Apes! Fresh out of the waterfall cave, a blacktop holy man walking on clouds and gossiping with bodhisattvas.

I am the ace in the whole, the secret power behind all thrones.

I sing a thunder song, and this lightening electrifies. I know all the passwords, all the true names. In two dimensions I’m never defeated, in three I always overcome, in four I unfold, in five I create. Where there are doorways of perception, I am always invited in.

The citygod spirits speak to me; I reciprocate their cosmic generosity with offerings of sage and song and cigarettes. My rain dance keeps me sweating. I have spit up the liquid soul mirror to gaze in our reflection, and I have seen the light of the red sun.

As we stroll through the lush gardens of his mountain castle in the deserts of persia, the Old Man reveals to me his only secret: the End of Days is here and always, and so we are all free, monarchs under vine and fig tree, completed by unions of love and presence. The emperor never had any clothes; it was all a dream, like Biggie said.

When I woke up from that dream, I looked out from behind this mask, and a new dream began.

Malik whaaat?!

I docked with the mothership, and was brought out into healing waters by animal spirits dancing in the ocean tide at dawn, great creatures of sky and earth. I am taken apart and put back together with dream bionics, over and over again–initiation is continuous. My essence distills.

Ancestral holy men and women and in-betweens give me artifacts, knowledge, and wisdom. These doctors from beyond cure all that has ever ailed; their medicine is death, the cure for all that lives. They are the jolly roger, the dead priests, the buffalo skull.

The hellraiser wire that digs into our flesh to hold us is never eternal. We always escape, and we’ve got the scars to prove it. The dead rest, and their spirits live on within us.

All that lives will die, from the earth to the sun. Even the citygod will meet with the sheers of death one day, for without minds to host it, this creature cannot live. Those of us who love the city have seen its joy and its pain, and we pray to it to show us its golden halls and precious moments. We have grown a place for the citygod in our heavens beyond, so that when it too is released from the cruelties of life, it may be reunited in joy with its human family.

We will be waiting for it on the other side.

 

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Fat Beats

If you’re a real hip hop fan, you already know the name. Fat Beats is legendary, an internationally renowned hub of true hip hop culture. Until the closing of its last two storefronts in L.A. and New York in 2010, Fat Beats was the place to go to rifle through records, dig up underground shit, check out music by local artists, and catch live performances and parties.

Fat Beats began in a basement, selling records and shoes, and grew into a major independent company, operating as a record label, distributor, and retail sales agent with a worldwide client base. For the indie artist, getting your music into Fat Beats was the big shit on the block.

I used to drop in to the L.A. store from time to time. I bought any number of records and CD’s, mostly independent and underground stuff. This is where I picked up the CD of Necro instrumentals that would eventually distill into Necromancy. I left jewels with the counter for giveaways and left fliers on the flier rack.

They had a DVD rack with hella hip hop shit: documentaries, tabloid beef specials, instructional videos, sideshow videos, all that. If you’ve never seen a tabloid beef special, imagine those books by the checkout stand at the supermarket, the ones telling you the latest drama in the soap operas. It’s like that, but with a bunch of rappers. Sideshows are Bay Area style street parties that involve swinging and wrangling cars, dancing, and music; aspiring imitators please note, these parties are probably illegal no matter where you are. Proceed accordingly.

The dudes who ran the store used to come to the Grand Star on the regular. They were cool guys and they knew their shit. They also tipped for drinks, which is a prerequisite for a ninja bartender to consider you as cool peeps. They once put me on to a store party they were throwing on a saturday afternoon, with free beer and guest DJ’s. Sounded sweet to me, so I assembled a team and sallied forth.

A few attendees of this party were clearly not accustomed to the sight of me, the green and black, swilling beer through the fabric of my mask, looking fresh out of their videogame dreams. They feel embarrassment in my presence, but the vague threat of me being the crazy one in the room seems to keep them from turning hostile on me. Lips smack and whisper, but they leave me alone, and I successfully resist the urge indulge in my own merriment by fucking with them.

Fat Beats was on Melrose, along a stretch of city blocks packed with indy stores, boutiques, hipster joints, and various other trendy shit. I’ve never been one to drop bills on the latest stylish gear, but I like to contemplate such citygod artifacts, so I would wander through the different shops.

One of these shops had a counter display filled with hella mixtapes, including a lot by local artists. I picked up a few hot joints there and left a few jewels. There was a dude working there who was an MC, he gave a decent live show at the shop one weekend afternoon, performing cuts from a mixtape of Michael Jackson beats that he and his partner put together.

There was also a woman who worked there, she used to come into the Grand Star from time to time. She had a smile that I loved to see. She’s the one who told me when this stylish little shop closed down.

There were already plenty of empty storefronts there by the time my feet glided over Melrose. I picked up a couple of sweatshirts at one of many fashion spots that were on their way out of business, clearing their overpriced merchandise at desperate prices.

I knew in my heart that the clock was ticking for Fat Beats, and I think everybody else did, too. A gloom of decline hung over the place, unacknowledged but heavy in the air. This was a long way from the packed lines and warehouse clatter of Amoeba Records, also known as “the germ.”

I was there when Aron’s Records went down, and Stacks too. Vinyl spots are a dying breed. Fat Beats retreated to the online world, where it continues selling records around the world.

The reality is, most dedicated hip hop folks, like most people generally, are broke. They ain’t buying records like they used to, just ask the any of the (former) operators of the hundreds of music shops that have gone out of business in the last decade or so. The consumer age wears thin.

The golden age of record shops is over, forever.

DJ’s have gone digital, for reasons of price, convenience, and ease of use. Crate haulers carry a brave torch, but their numbers are dwindling. Will their skills remain in the world? Or will their signal die out, like the forgotten drums of an extinct culture?

The hip hop seed has flown and grown wide over the earth. Perhaps when the last watts are run through the last cable by the last humans to run it, there will still be party gods around to steal the current and use it to power the last two turntables.

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The Citygod

“The problem of relating to a place’s spirit or alternatively bringing a spiritual reality to a particular place is yet to be understood in the sphere of religious thought. That a fundamental element of religion is an intimate relationship with the land on which the religion is practiced should be a major premise of future theological concern.”
-Vine Deloria Jr., God is Red: A Native View of Religion

We call it the block, the turf, the neighborhood, but I’m going to take the veil off and show you what it is behind the smoke and mirrors. This god has manufactured skin–nowadays it’s made out of concrete.

The concept that spirit is inherent in all aspects of creation is basic to the indigenous human understanding of the universe. There isn’t any idea of something called “nature” that is somehow apart or aside from us. But today, most of us don’t live with the birds and mud and trees and wild fruit; we live with concrete sidewalks, blacktop roads, industrially manufactured houses, roving metal carriages, fences, and armed guardians. This is our environment. This is our nature, therefore, this is us.

Gone for most of us are the voices spoken by the wind in high grass, the trickle or crash of water over stones polished smooth by centuries of flow–they told us those voices don’t exist, and now we can’t hear them anymore.

The voices we hear are roaring engines and high frequency machine whines. Sirens and crackling electrical towers. Lightening is everywhere, passed from wire to wire and silicon chip to chip. Our ground is hard, dense, and unyielding, our trees are dead and decorated with metal, or else imported, planted, dependent, and decorative. We don’t hear them when they whisper, only when they scream; when they’re uprooted, sawed down, tossed in the trash to make room for… whatever. Once I got chills upon seeing a pile of 15-20 palm trees that had been murdered to facilitate the expansion of a hotel parking lot. Confronted with such casual destruction of life, some of us can hear, faintly in some long forgotten corner of our spirits, the trees speaking. They say: what they do to us, they do to you.

The old tribes are still here, of course, maintaining and surviving and holding court in the cracks. My cousin the hummingbird is still around, playing in our fountain. My grandparent the spider is still making they home in the corners, still showing up from time to time in colorful and terrifying armor, laying fright to the Babylonian in us. Microscopical tribes take up residence on the shower curtain, marking their territory with dark splotches that my bleached and deodorized mind regards with terror and sickness.

There are forces at work in our world, integrated into our lives, invisible and unnamed, but nevertheless consistent in their disregard for life and all its inherent meaning. I have called them by many names–the matrix, Babylon, machine gods–social entities, mechanical spirits show themselves in grids, hierarchies, factories. Our sacred objects are made out of plastic and metal, and we use them to pray to these foreign gods, in ceremonies known by names like shopping, recreation, consumerism, and employment.

Us and the trees and the bumblebees, but also the i-pods and televisions and automobiles and pocket phones. They’ve shouted down the old voices, barged into our homes and hearts, whereupon they eat away at us like a parasite, draining our vitality, feeding on our imaginations, converting us from cohesive communities and autonomous individuals into fuel. What is an economy? Can you see it? Can you touch it? It has real effects, but it’s invisible. You call it economy, I call it spirit. Machine spirit, cold to the needs and desires of the human and the great spirit.

Where do these things we call “cities” come from? The cultural narrative would have us believe that it’s a natural evolution, a mark of progress, from a debased state into a “higher, better” state. But in the countless millennia of human residency on this planet, there was never such a thing as a “city.” It was certainly nothing we would have volunteered for. Nevertheless, it showed up, maybe 10,000 year ago, pretty much out of nowhere, and has been spreading like a virus ever since. The paleskin tribes seem to be particularly vulnerable to this infection, as they have taken a lead role in spreading and perpetuating “civilization” (as they call it) for the last 500 years. These tribes have been single-minded, militant, and ruthless in their campaign to spread this virus, and have been richly rewarded in power and resources for their troubles.

The older human tribes, whose skin still receives the full spectrum of communication from the sun, have not taken well to this infection, despite having been the first to host it on earth. Where this alien mind virus succeeded in taking root amongst us, it did not spread far beyond its continental borders. Its human hosts did not seek to subjugate the rest of the earth. We developed a functional immunity to it; we had cities, but not many of them, and most of us had no interest in them. We knew they did something to people, and we didn’t want any part of it; bad enough that so many of us were taking it for the team, being hosts for the citygod. We kept dancing, the rain kept coming, the sun kept shining.

Now a lot of us are in cities, whether we want to be or not, and we are trapped there. Sometimes in the gutter, sometimes with nothing but hope and a check between us and an alleyway. Most of us feed on each other to survive, mutated into human parasites. We are occupied, colonized, under ongoing conquest. War is upon us, and thus we are all warriors, and all casualties. Our songs are war songs, our weapons are microphones and pistols and books. They made us into savages. They made us into “men” and “women,” “gay” and “straight.” They made us forget.

We are related to the space we inhabit. My brother the rooftop, my cousins barbwire and linoleum. My grandparent the hypodermic needle. My aunt factory.

In Los Angeles I learned to hear the voice of the city, and we began communicating. It told me that I don’t have to like the city, anymore than I like mosquitos. Everybody’s got cousins they avoid at the gathering, but we’re still family. We still got love for each other.  I remembered who I was, and I learned to love the citygod. It sends me messages in newspaper scraps and reflected neon lights. I offer it tobacco, coins, dancing, songs. It looks out for me, keeps me in a warm embrace, warns me of danger. I respect the ceremonies, and it keeps me out of the line of fire. I tell it stories, and it gives me more.

So don’t insult me as a vandal when I kiss this empty wall with poison painted sacred symbols. This is god talk. I tell you who the turf belongs to and who to respect. I tell you magic tales, remind you that the real hip hop is over here, in the free mind of the human. I tell you what you what we need to tell each other: we are still here.

We walk legendary.

Liz Cloudwalker, Wilma Mankiller, Sage Axe Wielder, Wolf Crusher Craig, Jesse Grizzly, Larry Dream Seer, Ice Heart Frank, Victor Vortex, Shadowpaint Lisa, Method Man, Malik the Concrete Shinobi.

In the city we’re separated, scattered tribes. We meet in dream moments and communicate the secret wisdom that maintains our power. We’re on every channel, but we are invisible.

The citygod birthed us.

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When in Doubt, Shut up

This is good advice. I try to follow it as often as possible, although occasionally I slip up.

The reason it’s good advice is because sometimes, doubt arises from an internal sense that is wiser than whatever you think you should be saying, by voice or by text, in person or online.

I’ve said a lot of things in my life that helped people. But I’ve also said plenty of things that hurt people’s feelings–sometimes because I wanted to hurt feelings. Quite a few times, actually. Past lives and all that. The willful cruelty is the easiest to stop; in the wise words I encountered in a long-forgotten forum post: don’t be a dick!

The hardest things to stop saying are the things that hurt for reasons that you don’t understand–the words that come from places of privilege, from places of power. Without a grasp of that privilege and power, and without accountability for it, you can find yourself hurting, find yourself trespassing.

White folks do this on a daily basis. I can hardly leave the house, hardly open my eyes/ears and be exposed to any snippet of media, without experiencing some privileged racial bullshit.

Men do this on a daily basis. I can hardly leave the house, hardly open my ears/eyes without experiencing dudes perpetrating. And I include myself on that list of perpetrators.

DZA pleads guilty to this, in a recent occurrence. I read a ton of radical feminist blogs. Like, a ton. Like, make my eyes cross reading them. Why? Because radical feminism is the only branch of Babylonian theory that has a comprehensive critique of power as it functions in social relationships. Recently, out of a desire for knowledge and against my better judgment, I asked a question on one of these blogs, and made a comment.

If you’re a man, this is pretty much automatically a mistake. Why? Because your boots are heavy. You leave tracks, you kick dirt and leave stench, whether you mean to or not. And these spaces are women’s spaces. They should be respected as such, and not intruded upon.

I presumed to enter, and skeeved the place up. D’oh and double d’oh!

Lesson learned: STFU

I told a friend recently that I stopped “joking around” with women some time ago, because I realized there was almost always some subtle jab or vampirism, some boundary cross. Whether they notice it or not, whether they consider it hilarious or not, is completely beside the point. It’s there. So I stopped. I like to make people laugh, so I mainly do it by making a fool of myself, through self-deprecation or preferably through sheer silliness.

The other tricky point is this: having the level of (knowledge)(wisdom)(understanding) that I have about racism and how it functions, and being a (melanated)(indigenous)(original) person, it’s easy to get caught up in some dumb shit when dealing with white women, feminist or not; I have a spectacular contempt for white bullshit, but accountability to my male privilege means that I must take the utmost caution against letting that contempt out, in even the tiniest amount, when dealing with white women, lest I oppress them as women in the act.

Talk about an emotional minefield. Example: recently I was hanging out with a bunch of white people. I had a good reason, I’m sure. I’ll think of one, anyway. Eventually. Anyway, I was. We went out to a bar, and we weren’t there 20 minutes before they start trading drug stories about their frivolous indulgence in hallucinogens, an event which culminated with one of them pulling out their superphone and showing everyone a video they recorded of one of their friends freaking out on a shall-remain-nameless entheogen.

Needless to say, I was thoroughly offended and infuriated by this on a number of levels. One, by the utter callous arrogance of using sacred plants—as white people use everything—as a form of entertainment, indulgence, and escape from their meaningless privileged lives; this mindset is the same one that enabled this group of (defective?) humans we call “Europeans”  to regard the entire world as a place for them to conquer, own, and rape; they’ve been manifesting their destiny all over us for hundreds of years now, and they continue to do so, and this is just yet another example.

Two, by the fact that someone would be so psychically crippled so as to RECORD a so-called FRIEND in such a personal and vulnerable state as being intoxicated with a hallucinogen, and then SHOW IT TO OTHER PEOPLE FOR LAUGHS. This is nothing but the pure and unadulterated effect of the anti-life equation, and I can’t abide it in any form.

Now here’s where it gets sticky: the person who told the story is a woman. Not only a woman, but a woman I’m on friendly (acquaintance) terms with, and have kicked it with on a number of occasions.

I kept my mouth shut about it at the time, but mainly because I was outnumbered, and because I have to see these people on a regular basis in order to pay my bills. Better to get them one at a time, I thought, when their evil white vampire power is diminished.

Now, after the DZA-makes-an-ass-of-himself-on-radfem-blog event of 2010, I’m thinking I may be better off to simply leave it alone. I mean, if this were a close friend of mine, I would probably feel okay to sit down and have a talk about it, but such is not the case; I like this person well enough, as far as palefaces go, but my inner circle is small and I plan to keep it that way. And frankly, I feel this is a person who is dedicated enough to her own privileges and beliefs that really all I would be doing is shaming her, extracting an apology, and feeling better about myself. None of that equals “go for it.” It equals “keep your mouth shut.”

“Doubt is the attendant of truth,” said the Great Spirit to me on Sunday. And I think in this case, the truth is that there’s no righteous end to be served by me bringing the issue up with her.

I think the moral of the story is that I need to stop hanging out with white folks, especially white women. I got no problem checking dudes, but even then I’m not trying to have the occasion come up any more than it has to. When I was in L.A. it was barely ever an issue; I had to go looking for white folks, like rare bugs. Here in Neverland, you can hardly throw a cracker and not hit one.

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The Gladiator Kid

Sometimes a Neo Ascetic like myself has to take a break from all that monkishness and dive into the festering pool of pop culture. I do it rarely and with great caution. Is it to keep a finger on the pulse? Or perhaps to give the old plugs a quick charge, indulging in the remnants of my MegaMediaMind?

Metaphors and metaphysics are the language of machines that can’t be seen. The Powers That Be we can call them, or whatever, you get what I mean. Symbolic resonance mind control. They got us by the dreams!

So what dreams are they giving? Let’s take a peak at a recent one from the Hollywood Hole: The Karate Kid. Starring Jayden Smith, boy of mediocre acting talent, arrogant offspring of white media’s favorite safe-yet-macho black boy, Will Smith. Featuring Jackie Chan, king of comedic masochism, abuser of women and stuntmen. Including various bullies, caricatures, racial program invader codes, and an 11-year-old Chinese trophy stripper girl (more on this in a bit).

Scene:
Boy asks Girl to do something.
Girl says “no,” and turns around.

Boy grabs Girl by the arm, spins her around, and attempts to drag her to do what he demands.

If you saw the movie, did you catch this? Is there a shine of fire in your golden eyes? Perhaps you were lost in the tee-hees, the giggles, you can almost hear the polo-shirted executives chuckling to themselves about one of the few scenes in the script they bothered to read, almost see the cowardly and un-credited re-writers laugh and nod their heads obediently.

“This is hilarious! She’s bigger than him and he can’t move her!” Har, har.

Well, here’s another scene, and this one is from the Temple of DZA, which means it happened in front of my eyes:

Man and Woman argue hot, with subdued voices.
Woman spins around and walks away.
Man seizes Woman by the arm and spins her around to face him.

In this scene, there wasn’t any fucking giggling. Only the spine-tingling crackle of Violence.

Quick question: How does a system of oppression normalize oppression?
Spoon feeder: By putting a smile on the victim’s face.

Moving on to the subtleties. Those of you with knowledge may have caught the above scene. If you have knowledge and an interest in the technical aspects of filmmaking, you may have caught another Jewel:

Montage:
Boy trains in kung fu.

Boy looks at Girl (the same one he grabbed earlier, if you recall).

Girl turns away.
Boy beats on a pad as hard as he can.

Just like that, we go from Training to Rejection to Violence. DID YOU NOTICE?

The truth is between the lines, the values and vibrations are behind the words, at the bottom of the well. What are they telling US about US?

What do the human women do in this movie? Well, there’s Mom, another real human black woman put into a fictionsuit of a powerless, shrill irritant life support to the Hero of the film. There’s also Girl, who is:

  • Safely powerless—why doesn’t she have any kung fu?
  • Safely feminine—plenty of shy smiles, plenty of giggles, mouth covered with the hand of course
  • Safely available to celebrate the Boy in his victory
  • Safely… a stripper-dancer?

Pole dancing on Oprah! Miley Cyrus writhing on stage! Jenna Jameson on the O’Reiley Factor! Porno goes mainstream! Rape culture live on primetime!

See, I understand that the matrix would have me believe that it’s a Good Thing for women to be transmuted by media magic into sex toys for men. I grasp that I’m supposed to think this represents freedom for women, just as I know that the sexual abuse, humiliation, and violence done to women in film is supposed to be free speech, protected by government documents.

I hear all the names, the slang, pieces of ass and bitches and what have you, and I know the pass codes that grant access permission to your mind: it’s just a joke, what’s the big deal, some women are that way, some women deserve it. I know cult-speak when I hear it.

Here’s the scene:
Boy shows off dance moves on videogame while Girl watches, delighted.
Boy requests demonstration of dancing from Girl.

Girl gets onto videogame and does a Sexy Dance for the Boy.
Boy stares up at Girl in awe and reverence.

Now go back and read all the scenes again, this time adding a few more details: “Black Boy” and “Chinese Girl.

I ask once again, what are they saying to US about US?

Barely pubescent children get viciously beaten up. The movie delights in the slow-motion torture of flesh pounding against flesh, digital sound systems booming out the sound of the impact, faces twisted in pain.

The Man teaches the boy respect and discipline. Is this a Confucian Man, who has regarded women as property since time immemorial, who worships at the pyramid altar of domination and submission and calls it morality, who says oppression is virtue?

And the climax, a cheering circus spectacle of a tournament, in Chinese pay-per-view style, complete with digital fight cards— put your kids in the Gladiator pit so they can learn what life’s all about. We’re a long way from the hometown championship of Daniel-san. Do we all need a Mr. Miyagi? When do we get to grow up?

Patriarchy, I say thee nay.

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Open Letter to Glenn Beck from AK Press

This name Glenn Beck drifts at me, and though I am clean of his (its?) voice and image, I see the glow of the sinister.

Here is another voice, one unheard on the box, speaking to this Glenn Beck.

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