Let's start with Judith Butler. A shining light of academia.

"Butler argued in her defense that radical ideas are often best expressed in writing that challenges conventional standards of lucidity, grammar, and common sense."

The distinction between gender & sex is necessary to draw. From this base, the idea of sex can be degraded. And here, she does it. Read as much, or as little, as your sanity can bear. I strongly suggest avoiding her direct work. In any other era, she would be classed as insane. Not today though.

Which begs the obvious question - why attack sex? Something we have easily co-existed with. I'll let someone else explain this too

If conventional politics is a battle between state & family - machinery of the state (in this case education) is an ideal form of artillery. Family is the realm in which one grows up. Then branches out into the wider world. If this is impeded, universities have an 'adult child' to work with. To mould in the correct manner. Replacing the family role. Witness the amount of unmitigated junk that flows. An 'adult child' whines for its 'parents' to provide for it.

Sex is (obviously) necessary for a family. It is not necessary for a state. In fact, a sexless state is a form of utopia. A Brave New World.
Why a sexless state? Well, its simple in origin. We cant be equal with sex. It has too many messy outcomes. Of course, we still need children. But they can come from anywhere. Society can mould them into the ideal form - a dependent, useless parasite. The state can keep growing to accomodate this. Family is the obstacle. In Part 2, transgenderism will be looked at directly.

Inside the Mind of the Far Left

This person will never be an adult. In January 2016 a German liberal was attacked by three migrants. She initially lied about the identity of the three. This is the letter she wrote to a fictional version of them, apologising..


'I wanted an Open Europe, a friendly one.'

- I am brainwashed. With little understanding of human behaviour.

'One that I can gladly live in and one in which we are both safe in.'

- I demand to be glad & safe. The migrants just need to be safe. Their gladness is implied by my welcome.

'I am sorry. For us both I am so incredibly sorry.'

- The process of integration is a magical tree. Turn up - be given the trappings of middle class. As all people are all the same - the magic works - everybody is glad, safe & PASSIVE.

'You, you aren't safe here, because we live in a racist society. I, I am not safe here, because we live in a sexist society.'

- The height of abstraction. Who is to blame? This exchange may shed some light :

'But what truly makes me feel sorry, are the circumstances by which the sexist and boundary-crossing acts that were inflicted on me, make it so that you are beset by increasing and more aggressive racism.'

- Oh dear, the mythical blame totem again. The attackers have little to no responsibility.

'I promise you, I will scream. I will not allow it, that this continues happening. I will not stand by idly and watch as racists and concerned citizens call you a problem.'

- The feebleness of mind on display. Racism is the culprit. Let's not bother with real solutions - fantastical ones are better.

'You are not the problem. You are not a problem at all. You most often are a wonderful human being, who deserves to be free & safe like everyone else.'

- Microphone drop. Which demonstrates her central point. She never explicitly states it - but it is white men to blame. This is, of course, indirect. White men represent Western civilization. It's a dream. A warm, open, naive society that she wishes for would remove these base instincts. This is an utterly pathetic human being excusing other human scum whilst blaming a modern day touchstone.

This is how Identity Politics & Intersectionality work. Anyone ensconced in these abject political workings is not an adult. They never can be until they abandon it. This describes a great cross section of our societies.

The job of white men is to give to all & sundry the rights we have in our countries. Whilst simultaneously protecting the citizens. And also letting anyone in. It is pure madness. We cannot continue allowing these idiots to have a say in politics. It will be the doom of us.

It should also be noted the woman is a politician...

Top 10 Dylan Lyrics

Bob Dylan - Top 10 Lyrics

1) My Back Pages 1964

"Spouted out that liberty
Is just equality in school
“Equality,” I spoke the word
As if a wedding vow
Ah, but I was so much older then
I’m younger than that now"

Here is Dylan, aged 23. Turning his back on the movement that shot him to fame. Undergoing a painful political conversion in public.

As a song, it is not great. As lyrics, it is somewhat juvenile. He was struggling inside himself to find the new. Tired of the mature nature of his previous songwriting. It exposed him to questions of intent he was determined to reject as an artist.

In amongst the confusion were some simple pearls.

"Using ideas as my maps"

"Lies that life is black and white"

"Fearing not that I’d become my enemy
In the instant that I preach"

The new Dylan was here. Even a song like "The Times they are a Changin" was misconceived to be transparent. This frustrated him.

2) To Ramona 1964

"I can see that your head
Has been twisted and fed
By worthless foam from the mouth"

A love song. A form that would never be the same for fans of Dylan. The girl's name was never important. The girl was also a lost feeling, a connection within.

The listener is free to toy with it as they wish. As background music, or as something more direct. Depending on the listener's head space, the message can be wildly different.

A love song with bite. Marvelous.

3) Positively 4th Street 1965

"Do you take me for such a fool

To think I’d make contact

With the one who tries to hide
What he don’t know to begin with"

Angry Bob. The kind of guy not to mess with. Hands out insults like they were business cards. The previous crowd who had sainted him, now admonished him as a sellout. How wrong could they be?

The song is a savage reaction.

Al Kooper's organ gave a haunting gospel feel to the last two albums of the Electric Trilogy. In combination with Dylan's vicious lyrics - a masterpiece.

4) Idiot Wind 1974

"Now everything’s a little upside down, as a matter of fact the wheels have stopped

What’s good is bad, what’s bad is good, you’ll find out when you reach the top
You’re on the bottom"

Very much the sister song to Positively 4th Street. A different kind of anger. Laid bare by his divorce.

A hypnotic ramble, filled with regret & hate. As with his love songs, it spoke of more than a relationship between two people. The direct nature of these lyrics converted me. I thought the little Dylan I had heard before to be either too simple, or too convoluted. Idiot Wind brought it all together. I could travel back and appreciate anew his old stuff. I was an idiot too.

Idiot Wind is like ocean waves. Let it wash over, or get off the beach. 'Helter Skelter' of the 70's.

5) Ballad of a Thin Man 1965

"Well, you walk into the room
Like a camel and then you frown
You put your eyes in your pocket
And your nose on the ground
There ought to be a law
Against you comin’ around"

Who is Mr Jones? Often pegged as a music journalist. Too simple.

My name is Bob. Define me and you will immediately fail. Walk with me instead.

Even for Dylan, this is far out stuff.

6) She Belongs to Me 1965

"She wears an Egyptian ring
That sparkles before she speaks
She’s a hypnotist collector
You are a walking antique"

Harsh. As with 'Just Like a Woman' which was to come. The beauty of woman. Wonderful, powerful and child-like all in one package.

The title was lazy, probably another of his songs that he picked the title first. Wrote the song. Then the title had only a loose connection. In one sense though, it is perfect.

7) Love Minus Zero/No Limit 1965

"My love she speaks like silence
Without ideals or violence
She doesn’t have to say she’s faithful
Yet she’s true, like ice, like fire"

Well, who could ever match up to this ideal? Exquisitely painted. I've danced around too much.

8) Tears of Rage 1968 (With Richard Manuel)

"It was all very painless
When you went out to receive
All that false instruction
Which we never could believe
And now the heart is filled with gold
As if it was a purse
But, oh, what kind of love is this
Which goes from bad to worse?"

Wow. Some of the most timeless of his lyrics. As described by a prophet.

9) Workingman's Blues #2 (2006)

"In you, my friend, I find no blame
Wanna look in my eyes, please do
No one can ever claim
That I took up arms against you"

Bob didn't forget you. Things have changed. He walked the road as far as could be expected. Saw other avenues, forks. Your path became predictable (for him). It's not a slight. He wanted to spread his words as far as he could. Merle Haggard's #1
10) Desolation Row 1965

"Yes, I received your letter yesterday
(About the time the doorknob broke)
When you asked how I was doing
Was that some kind of joke?
All these people that you mention
Yes, I know them, they’re quite lame
I had to rearrange their faces
And give them all another name
Right now I can’t read too good
Don’t send me no more letters, no
Not unless you mail them
From Desolation Row"

The literary references in this song are just mind boggling. Unable to keep up. Often a complaint that Dylan was being too obscure. He was indeed. It was the new way of art that led to his best work. The songs remain listenable some 50 years later. Unbelievable. The last verse of the last song, leading to...    
'Blonde on Blonde' remains his greatest album. For brevity, left off this list. As a complete album - unsurpassed.

Unlucky were 'Tangled Up in Blue', 'Masters of War' & 'God on Our Side'. Frankly, I became re-obsessed with the Electric Trilogy. Whether I selected on Lyrics/Song is debatable.

Special mentions for 'Goin' To Acapulco' and 'I'm Not There'. Lyrically weak. As emotional storehouses - incredible.

Tourist Town

I am hanging for the summer. Ah, the beach. Ah, less clothes. What? These things go together? Tourist Town puts up its heels for the tourists. This place is like anywhere else in the city during winter. Just colder.

Have you seen the smiles per hour signs? A volunteer supposedly counts the amount of smiles that pass them in the street. My local is one smile per hour. That does not surprise me. Some weeks ago, a reasonably attractive girl approached me and stood in my way. I tried to move around her but she blocked me. I stopped her spiel as it was obvious she was selling something. I said, “Nobody talks to you around here unless they want cigarettes or money. You had better work on your approach.” She replied like a five year old, “I would offer cigarettes to anybody who asked.” Subtext – ‘Yes I am selling something. You should stop and listen to me.’ At that moment, a passing chap of about 25 stopped and chimed in, “Oh OK. I’ll have a cigarette then.” He was quite a prankster. I used that moment to duck away from my unwelcome assailant. I turned around after a few paces. He got his cigarette and left with a smile. We had made a complete fool of her.

I liken the street situation to being on a crowded train. Any eye contact is unwanted and every effort shall be made to avoid it. However, this is a winter story my friends. In summer, I am happy to say “Nah” in a loud voice at ten paces. I keep walking, happy in my avoidance. I like to read how far off in the distance people are sizing others up. It’s fun to dismantle their approach at the beginning. It heightens my mood. It is a moving mosaic. In winter, as a generalisation, I do not want to be forced into unwanted contact. It bugs me. The eyes are creepy, and waiting longer. I hate it. It could simply be that there are less people. It could be that there are more, and I hate to say it, locals. I accept that we will see more ‘partially moneyed’ tourists, paying to get over here. That does not diminish my point.

Tourists, as another generalisation, want to ask directions. Actually make small talk for non-material purposes. They smile more. This brings me to my second point, ppl - the tourist girls. To continue my generalisation, these girls do not judge by the company one keeps. I must have heard at least five times, “You are so brave/cool for being out by yourself. Back home in (insert European country or city here) I would never go out alone.” I have never once heard this or a related comment from a local girl. I would expect only dismissive silence. I question whether this attitude is counterproductive. Sure, it weeds out the creeps with no friends. Even the concept of a creep with no friends I find to be ridiculous. He would have to be the most socially malnourished person of all time. I’m actually quite tired of having to organise drinks with boys with the express purpose of ditching them after a few hours. It’s a stupid hoop that I think we are forced through. I know a few girls who are tired of their girlfriends doing it to them also. Who wins?

The two strands of summer and tourist girls now collide. In summer the tourists flock to the fair beachside havens. Last summer, I made a conscious decision to avoid local girls (whom I hadn’t met) – except at parties when there was a mutual friend, ‘social proofing’. It was my best summer. What is wrong with this picture? Probably nothing, it’s nature. I haven’t done much travelling. Some mates rave on and on about the overseas girls. They are talking a language I now understand. The differences are the assumptions made by the girls. A male tourist is an assumed open book. A stranger from nearby has less to offer. I now laugh and say you can save by going to Tourist Town. The tourists have come to you.

Written 18th Sept 2009
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