Theodicy (/θiːˈɒdɪsi/) means vindication of God. It is to answer the question of why a good God permits the manifestation of evil, thus resolving the issue of the problem of evil. Some theodicies also address the evidential problem of evil by attempting "to make the existence of an all-knowing, all-powerful and all-good or omnibenevolent God consistent with the existence of evil or suffering in the world."Unlike a defense, which tries to demonstrate that God's existence is logically possible in the light of evil, a theodicy attempts to provide a framework wherein God's existence is also plausible.The German philosopher and mathematician Gottfried Leibniz coined the term "theodicy" in 1710 in his work Théodicée, though various responses to the problem of evil had been previously proposed. The British philosopher John Hick traced the history of moral theodicy in his 1966 work, Evil and the God of Love, identifying three major traditions:
the Plotinian theodicy, named after Plotinus
the Augustinian theodicy, which Hick based on the writings of Augustine of Hippo
the Irenaean theodicy, which Hick developed, based on the thinking of St. Irenaeus
The problem was also analyzed by pre-modern theologians and philosophers in the Islamic world. German philosopher Max Weber (1864–1920) saw theodicy as a social problem, based on the human need to explain puzzling aspects of the world. Sociologist Peter L. Berger (1929–2017) argued that religion arose out of a need for social order, and an “implicit theodicy of all social order” developed to sustain it. Following the Holocaust, a number of Jewish theologians developed a new response to the problem of evil, sometimes called anti-theodicy, which maintains that God cannot be meaningfully justified. As an alternative to theodicy, a defense has been proposed by the American philosopher Alvin Plantinga, which is focused on showing the logical possibility of God's existence. Plantinga's version of the free-will defence argued that the coexistence of God and evil is not logically impossible, and that free will further explains the existence of evil without threatening the existence of God.
Similar to a theodicy, a cosmodicy attempts to justify the fundamental goodness of the universe, and an anthropodicy attempts to justify the goodness of humanity.
The character Ernie (Don Calfa) is thought to be a Nazi due to him sharing his name with Ernst Kaltenbrunner. There are also character details that provide an indication of his past: Ernie listens to the German Afrika Corps march song "Panzer rollen in Afrika vor" on his Walkman while he embalms bodies, carries a German Walther P38, has a picture of Eva Braun in his morgue, refers to the rainstorm coming down like "Ein Betrunken Soldat" (which means "A Drunk Soldier" in German), really knows his way around a crematorium, and seems surprised and ashamed when he learns that the dead can feel pain. Dan O'Bannon, in the DVD commentary, mentions that Ernie was intended to be an escaped Nazi in hiding.
Can Christian be a misanthrope? Can I be...? Will you allow me to be...?
Is it okay, fellow sinful human, if I....?
"Can a Christian be a misanthrope?" What you'll find online: No. Despite Desert Fathers, Despite...long history of Esoteric Christianity. Despite not taking cues from anyone but God. **Some Prius driving, guitar playing, frisbee throwing bugman deacon online will lecture you otherwise but don't believe him. What do I know though_eh?After all I'm still here typing this instead of fasting praying meditating seeking God
>"An anchorite or anchoret (female: anchoress; adj. anchoritic; from Ancient Greek: ἀναχωρητής, anachōrētḗs, "one who has retired from the world", from the verb ἀναχωρέω, anachōréō, signifying "to withdraw", "to retire") is someone who, for religious reasons, withdraws from secular society so as to be able to lead an intensely prayer-oriented, ascetic, or Eucharist-focused life. Whilst anchorites are frequently considered to be a type of religious hermit, unlike hermits they were required to take a vow of stability of place, opting for permanent enclosure in cells often attached to churches. Also unlike hermits, anchorites were subject to a religious rite of consecration that closely resembled the funeral rite, following which they would be considered dead to the world, a type of living saint. Anchorites had a certain autonomy, as they did not answer to any ecclesiastical authority other than the bishop.
>The anchoritic life is one of the earliest forms of Christian monasticism. In the Catholic Church today, it is one of the "Other Forms of Consecrated Life" and governed by the same norms as the consecrated eremitic life. In England, the earliest recorded anchorites existed in the 11th century. Their highest number—around 200 anchorites—were recorded in the 13th century.
>The anchoritic life became widespread during the early and high Middle Ages. Examples of the dwellings of anchorites and anchoresses survive, a large number of which are in England. They tended to be a simple cell (also called anchorhold), built against one of the walls of the local village church. In Germanic-speaking areas, from at least the 10th century, it was customary for the bishop to say The Office of the Dead as the anchorite entered his cell, to signify the anchorite's death to the world and rebirth to a spiritual life of solitary communion with God and the angels. Sometimes, if the anchorite were walled up inside the cell, the bishop would put his seal upon the wall to stamp it with his authority. Some anchorites, however, freely moved between their cell and the adjoining church.
>Most anchoritic strongholds were small, perhaps no more than 3.7-4.6 m (12-know15 ft) square, with three windows. Viewing the altar, hearing Mass, and receiving the Eucharist were possible through one small, shuttered window in the common wall facing the sanctuary, called a "hagioscope" or "squint". Anchorites provided spiritual advice and counsel to visitors through this window, gaining a reputation for wisdom.[Another small window allowed access to those who saw to the anchorite's physical needs. A third window, often facing the street but covered with translucent cloth, allowed light into the cell.
>Anchorites committed to a life of uncompromising enclosure that could not be reversed at any time. Those who attempted to escape were returned by force and their souls damned to Hell.:93[n 1] Some were burned in their cells, which they refused to leave even when pirates or looters were pillaging their towns.[ They ate frugal meals, spending their days both in contemplative prayer and interceding on behalf of others. Their bodily waste was managed by means of a chamber pot.[ Some anchorholds had a few small rooms or attached gardens. Servants tended to the basic needs of anchorites, providing food and water and removing waste. Julian of Norwich, for example, is known to have had several maidservants, among them Sara and Alice. Aelred of Rievaulx, who wrote De Institutione—the "Rule" for anchoresses—suggested having two maids: an older, sober woman and a younger one.
>In addition to being the physical location wherein the anchorite could embark on the journey towards union with God, the anchorhold also provided a spiritual and geographic focus for people from the wider society who came to ask for advice and spiritual guidance. Although set apart from the community at large by stone walls and specific spiritual precepts, the anchorite lay at the very centre of the community. The anchorhold has been called a communal 'womb' from which would emerge an idealized sense of a community's own reborn potential, both as Christians and as human subjects.
Album: "Live Infinity" (2019)
>Master–slave morality is a central theme of Friedrich Nietzsche's works, particularly in the first essay of his book, On the Genealogy of Morality. Nietzsche argued that there were two fundamental types of morality: "master morality" and "slave morality". Master morality values pride and power, while slave morality values kindness, empathy, and sympathy. Master morality judges actions as good or bad (e.g. the classical virtues of the noble man versus the vices of the rabble), unlike slave morality, which judges by a scale of good or evil intentions (e. g. Christian virtues and vices, Kantian deontology).
>For Nietzsche, a morality is inseparable from the culture which values it, meaning that each culture's language, codes, practices, narratives, and institutions are informed by the struggle between these two moral structures.
Album: Superstarshine Vol.3 (1972)
<b>Eros + Massacre</b> (エロス＋虐殺, Erosu purasu gyakusatsu) is a Japanese black-and-white film released in 1969. It was directed by Yoshishige Yoshida, who wrote it in cooperation with Masahiro Yamada. It is the first film in Yoshida's trilogy of Japanese radicalism, followed by Heroic Purgatory (1970) and Coup d'Etat (1973). It is considered to be one of the most representative films from the Japanese New Wave movement, and often one of the finest Japanese films. David Desser named his book on the subject after Eros + Massacre. The film touches upon many themes, such as free love, anarchism and the relationship between the past, the present and the future. Although the film is a biography of anarchist Sakae Ōsugi, Yoshida states that he didn't focus on Ōsugi as a historical character per se, but rather on how reflecting on the present influences reflecting on the future.Like most of Yoshida's films, Eros + Massacre is characterized by the immense visual beauty, the appearance of the director's wife, actress Mariko Okada, and richness in psychological and historical complexities.
<b>London Voodoo</b> is a 2004 British horror film written, produced, and directed by Robert Pratten; and starring Doug Cockle, and Sara Stewart.The film centers on an analyst who has relocated his family, only for his wife to become possessed by a dark spirit that wishes the family harm.
<b>Nature Morte (2006) </b>, 1h 29min, Horror, Thriller: An undercover French cop and an American art critic travel to a mystical island to verify the source of a painting of a scene that only the infamous "Marseilles Monster" serial killer could have created.
"An all-synthesizer work done for a film, Visions is a majestic and expansive work that never gets tired. It runs a gamut of feelings and emotions, and manages to do so without pretension. Fans of the Banshees (and goth in general) should have this one." ~ AllMusic Review by Chris True
1 Sphere 4:58
2 The Absolute 5:46
3 Come Deliver Us 5:02
4 The Fourth Water 4:18
5 Baphomet 2:40
6 Enter Into These Bonds 7:55
7 Skin Crawl 3:24
8 The Radiance 3:59
9 Transverberation Of The Heart 5:28
"Nietzsche became the youngest ever to hold the Chair of Classical Philology at the University of Basel in 1869 at the age of 24. He resigned in 1879 due to health problems that plagued him most of his life; he completed much of his core writing in the following decade. In 1889, at age 44, he suffered a collapse and afterward a complete loss of his mental faculties. On 3 January 1889, two policemen approached him after he caused a public disturbance in the streets of Turin. What happened remains unknown, but an often-repeated tale from shortly after his death states that Nietzsche witnessed the flogging of a horse at the other end of the Piazza Carlo Alberto, ran to the horse, threw his arms around its neck to protect it, then collapsed to the ground. He lived his remaining years in the care of his mother until her death in 1897 and then with his sister Elisabeth Förster-Nietzsche. Nietzsche died in 1900." ~ Wikipedia
"A Song of Ice and Fire is a bestselling Doorstopper epic fantasy series written by George R. R. Martin. The series premiered in 1996, and there have been five books released in the series so far, with the most recent published in 2011.
Set in a medieval fantasy world, the series primary follows various political and supernatural threats to the Seven Kingdoms, a vast nation still recovering from a civil war that ousted the previous ruling dynasty of three centuries, the Targaryens. The plot begins by focusing on the Stark family, a noble house that rules the frigid and sparsely populated North. Forced to journey south and enter the unfamiliar territory of the capital, King's Landing, the family must suddenly contend with deadly court politics, intrigue, plots, feuds and mysteries from a host of rival factions. As the nobles busy themselves playing the game of thrones, a supernatural threat looms beyond the Wall to the far north that threatens to destroy the Seven Kingdoms and drive the continent into a permanent winter. Meanwhile, the last Targaryen scions, now in exile, have their sights set on reconquering the Seven Kingdoms and reclaiming their family's throne with fire and blood.
The novels feature a large ensemble cast, narrated in chapters that relate action from the third-person limited perspective of alternating protagonists, some of them on opposing sides of a conflict. Many of the plots and subplots of the protagonists overlap with each other directly and indirectly, while others merely parallel the central action or counterpoint it in key ways.
In addition to the main series of novels, there are a variety of spin-offs and related media, including prequels and in-universe history texts."
Artist Biography by Rovi Staff
The creator of hundreds of spirited, extroverted instrumental works, Italian composer Antonio Vivaldi is widely recognized as the master of the Baroque instrumental concerto, which he perfected and popularized more than any of his contemporaries. Vivaldi's kinetic rhythms, fluid melodies, bright instrumental effects, and extensions of instrumental technique make his some of the most enjoyable of Baroque music. He was highly influential among his contemporaries and successors: even as esteemed a figure as Johann Sebastian Bach adapted some of Vivaldi's music. Vivaldi's variable textures and dramatic effects initiated the shift toward what became the Classical style; a deeper understanding of his music begins with the realization that, compared with Bach and even Handel, he was Baroque music's arch progressive. Though not as familiar as his concerti, Vivaldi's stage and choral music is still of value; his sometimes bouncy, sometimes lyrical Gloria in D major (1708) has remained a perennial favorite. His operas were widely performed in his own time.
Details regarding Vivaldi's early life are few. His father was a violinist in the Cathedral of Venice's orchestra and probably Antonio's first teacher. There is much speculation about other teachers, such as Corelli, but no evidence to support this. Vivaldi studied for the priesthood as a young man and was ordained in 1703. He was known for much of his career as "il prete rosso" (the red-haired priest), but soon after his ordination he declined to take on his ecclesiastical duties. Later in life he cited ill health as the reason, but other motivations have been proposed; perhaps Vivaldi simply wanted to explore new opportunities as a composer. It didn't take him long. Landing a job as a violin teacher at a girls' orphanage in Venice (where he would work in one capacity or another during several stretches of his life), he published a set of trio sonatas and another of violin sonatas. Word of his abilities spread throughout Europe, and in 1711 an Amsterdam publisher released a set of Vivaldi's concertos for one or more violins with orchestra under the title L'estro armonico (Harmonic Inspiration). These were best-sellers (it was this group of concertos that spurred Bach's transcriptions), and Vivaldi followed them up with several more equally successful concerto sets. Perhaps the most prolific of all the great European composers, he once boasted that he could compose a concerto faster than a copyist could ready the individual parts for the players in the orchestra. He began to compose operas, worked from 1718 to 1720 in the court of the German principality of Hessen-Darmstadt, and traveled in Austria and perhaps Bohemia. Throughout his career, he had his choice of commissions from nobility and the highest members of society, the ability to use the best performers, and enough business savvy to try to control the publication of his works, although due to his popularity, many were published without his consent. Later in life Vivaldi was plagued by rumors of a sexual liaison with one of his vocal students, and he was censured by ecclesiastical authorities. His Italian career on the rocks, he headed for Vienna. He died there and was buried as a pauper in 1741, although at the height of his career his publications had earned him a comfortable living.
David Keith Lynch (born January 20, 1946) is an American film director, television director, visual artist, musician, actor, and author. Known for his surrealist films, he has developed a unique cinematic style. The surreal and, in many cases, violent elements contained within his films have been known to “disturb, offend or mystify” audiences.
Born to a middle-class family in Missoula, Montana, Lynch spent his childhood traveling around the United States, before going on to study painting at the Pennsylvania Academy of Fine Arts in Philadelphia, where he first made the transition to producing short films. He moved to Los Angeles, where he produced his first motion picture, the surrealist horror film Eraserhead (1977). After Eraserhead became a cult classic on the midnight movie circuit, Lynch was employed to direct a biographical film about a deformed man, Joseph Merrick, titled The Elephant Man (1980), from which he gained mainstream success. He was then employed by the De Laurentiis Entertainment Group, and proceeded to make two films: the science-fiction epic Dune (1984), which proved to be a critical and commercial failure, and then a neo-noir crime film, Blue Velvet (1986), which was critically acclaimed.
Next, Lynch created his own television series with Mark Frost, the popular murder mystery Twin Peaks (1990–1991; 2017): he also created a cinematic prequel, Twin Peaks: Fire Walk with Me (1992); a road movie, Wild at Heart (1990); and a family film, The Straight Story (1999); in the same period. Turning further towards surrealist filmmaking, three of his subsequent films operated on “dream logic”, non-linear narrative structures: the psychological thriller Lost Highway (1997), the neo-noir mystery film Mulholland Drive (2001) and the mystery film Inland Empire (2006). Meanwhile, Lynch embraced the Internet as a medium, producing several web-based shows, such as the animated DumbLand (2002) and the surreal sitcom Rabbits (2002).
Lynch has received three Academy Award nominations for Best Director and a nomination for best screenplay. He has won France’s César Award for Best Foreign Film twice, as well as the Palme d’Or at the Cannes Film Festival and a Golden Lion award for lifetime achievement at the Venice Film Festival. The French government awarded him the Legion of Honor, the country’s top civilian honor, as a Chevalier in 2002 and then an Officier in 2007, while that same year, The Guardian described Lynch as “the most important director of this era”. Allmovie called him “the Renaissance man of modern American filmmaking”, while the success of his films has led to him being labelled “the first popular Surrealist.” – Wikipedia
“…at that time, I thought of myself as a libertarian. I believed in next to zero government.”
I could be dreaming
I could have ordinary people chasing me from town to town
They've got a spy for every blink of your eye
I'm feeling hunted
I'm feeling haunted
They've got a knife for every time you take the same train into work
A family's like a loaded gun
You point it in the wrong direction someone's going to get killed
If you had such a dream
Would you get up and do the things you've been dreaming
Is he your husband?
Or just your boyfriend?
Is he the moron who's been beating you and keeping you inside?
I've never done this kind of thing
But if I kill him now, who's going to miss him?
I went up to the school
I went up Castlehill
For every step there is a local boy who wants to be a hero
Do you want to do it now?
Outside the butchers with a knife and a bike chain
Artist Biography by Stephen Thomas Erlewine
A band that takes its name from a French children's television series about a boy and his dog would almost have to be precious, and to be sure, Belle and Sebastian are precious. But precious can be a damning word, and Belle and Sebastian don't have the negative qualities that the word connotes: they are private but not insular, and pretty but not wimpy; they make gorgeous, delicate melodies sound full-bodied. Led by guitarist/vocalist Stuart Murdoch, the seven-piece band has an intimate, majestic sound that is equal parts folk-rock and '60s pop, but Murdoch's gift, not just for whimsy and surrealism but also for odd, unsettling lyrical detail, keeps the songs grounded in a tangible reality.
Based in Glasgow, Scotland, Belle and Sebastian released their first two albums in 1996 at the peak of the chamber pop movement. At first, some critics in Britain's music weeklies tied the band into the subgenre, yet the group was too pretty, too delicate, to bear that label. Through their first two years of public existence, the bandmembers shielded their personalities, submitting publicity photos featuring a girl that wasn't in the band and reluctantly posing for photo shoots. Furthermore, they performed in odd venues, playing not only the standard coffeehouses and cafés, but also homes, church halls, and libraries.
"Face of Belle and Sebastian Reveals Faith" ~ Christianity Today
AllMusic Review by Mark Deming:
Or, "Grant Lee Phillips Sings All Your New Wave Favorites". The theme of this album is summed up simply enough in its title, on which Phillips covers 11 songs that should be immediately familiar to anyone who had their ear tuned to college radio or MTV's The Cutting Edge during the early to mid-'80s. The list of artists covered is certainly stellar enough -- the Smiths, the Cure, Pixies, R.E.M., Joy Division, Nick Cave, Robyn Hitchcock, the Psychedelic Furs, and more. However, rather than going for a spunky, electric sound here that might match the style of the originals, Phillips' arrangements are measured and atmospheric, dominated by acoustic instruments and a gentle approach that blends nicely with the smooth, bittersweet flow of his vocals. While this isn't the way you remember hearing these songs back in the day, Phillips reaches into the material with an obvious love and respect, and he finds a beautifully melancholy essence in these tunes that makes for a satisfying marriage of artist and material. (Oddly enough, the song that makes the transition least comfortably is also the first cut on the album -- "Wave of Mutilation" does not get Nineteeneighties off to a flying start, though "Age of Consent," which follows, is a major improvement.) Phillips produced the album and plays most of the instruments himself, and his feel for the material is all but faultless; while it's hard not to be overtaken with a sense of nostalgia while listening to this album if you knew these songs from back in the day, Phillips pulls them out of their original context and in the process reveals their strength is more timeless than one might have imagined. In short, you don't have to have a sideways haircut to like this.
From William Ruhlmann on Allmusic:
"In May 2006, Leonard Cohen published his first collection of poetry in 22 years, Book of Longing, having previously used some of the material as songs on his most recent albums, Ten New Songs (2001) and Dear Heather (2004). The book touched on many of the themes he had explored throughout his writing career, including spirituality (he had spent part of his time between books as a postulant at a Buddhist monastery), eroticism, and self-deprecating humor. On June 1, 2007, at the Luminato Festival in Toronto, Ontario, composer Philip Glass premiered his song cycle based on Book of Longing, which is here given a two-CD recording. Cohen is present on the album speaking (not singing) some of his poems, and Glass also has set some of them to music, with singing by a soprano (Dominique Plaisant), a mezzo-soprano (Tara Hugo), a tenor (Will Erat), and a bass-baritone (Daniel Keeling). The obvious antecedent is Glass' 1986 album Songs from Liquid Days, which set lyrics by the likes of Paul Simon and Suzanne Vega, but perhaps a closer one is Cohen's album Death of a Ladies' Man (1977), his collaboration with Phil Spector. It's not that Book of Longing ever sounds like Death of a Ladies' Man, but the similarity lies in the mixture of two distinct styles. For better or worse, Death of a Ladies' Man sounds like what one would expect of the unlikely mixture of Cohen's droll, deep-voiced singing with Spector's elaborate production style, and Book of Longing is, as one might expect, a fusion of Cohen's poetic voice with Glass' distinctive circular rhythmic motifs. It is actually somewhat more respectful of the text than Songs from Liquid Days, although listeners still may find it odd to hear art songs in which Cohen's sometimes R-rated language is sung in a formal style by classically trained voices. These selections alternate with a series of tracks, notably "Not a Jew," "I Enjoyed the Laughter," "Don't Have the Proof," and "I Am Now Able," in which Cohen (without any musical backing) recites a very short poem either before or after a solo by an individual instrument (oboe, violin, saxophone, and cello, respectively). Fans of Ten New Songs and Dear Heather will hear some familiar phrases and references (e.g., "a thousand kisses deep" is the tag line of "You Came to Me This Morning," as it is of the song "A Thousand Kisses Deep"), although no complete song/poem has been repeated. Cohen may still be at his best as his own interpreter, but this is one of the more interesting and ambitious attempts to recast his writing in musical form."
"Led by a mysterious Utah-born troubadour named B'eirth, In Gowan Ring formed in the early '90s, featuring a rotating cast of musicians fusing elements of traditional European folk music with heavy doses of psychedelia. After appearing on a series of compilations, In Gowan Ring's debut album, Love Charms, appeared in 1994 on the World Serpent label. Three years later, The Twin Trees was released on World Serpent, an album that sounded like an updated version of the Incredible String Band or Pentangle. The Glinting Spade, released in 1999 on the Bluesanct label, saw In Gowan Ring making more prominent use of drone and trance music." - Jason Nickey, Allmusic
Seven Pines – Nympholept
Label: Dysphorie Records – DYS04
Format: 2 × CD, Album, Limited Edition
Genre: Electronic, Rock
Style: Folk Rock, Modern Classical, Industrial
1-1 Nuages Blancs 2:23
1-2 Forêts 4:50
1-3 L'appel Des Nymphes 6:15
1-4 Chanson Des Terres Sauvages 4:32
1-5 Printemps De Pierre 6:54
1-6 Vagues 5:55
1-7 Fleur D'ange 6:25
1-8 Ivresse Quotidenne 5:18
1-9 Nympholept 5:54
GET OFF THE STAGE
Oh, you silly old man
You silly old man
You're making a fool of yourself
So get off the stage
You silly old man
In your misguided trousers
With your mascara and your Fender guitar
And you think you can arouse us ?
But the song that you just sang
It sounds exactly like the last one
And the next one
I bet you it will sound
Like this one
Downstage, and offstage
Don't you feel all run in ?
And do you wonder when they will take it away ?
This is your final fling
But then applause ran high
But for the patience of the ones behind you
As a verse drags on like a month drags on
It's very short, but it seems very long
And the song that you just sang
It sounds exactly like the last one
And the next one
I bet you it will sound
Like this one
So, get off the stage
Oh, get off the stage
And when we get down off of the stage
Please stay off the stage - ALL DAY !
Get off the stage
Oh, get off the stage
And when we've had our money back
Then I'd like your back in plaster
Oh, I know that you say
How age has no meaning
Oh, but here is your audience now
And they're screaming :
"Get off the stage"
Oh, get off the stage
Because I've given you enough of my time
And the money that wasn't even mine
Have you seen yourself recently ?
June Miyake - Lost Memory Part 3
Shit, I Don't Even Remember, KEK
Okay, here we go...
3:14 SDk - Ishimori
6:00 NON - Rise
7:48ish Bohren Club Der ov Gore - Tango Maggot
12:31 Job for a Cowboy - Rumination
J17:21 une Miyake - White Rose (das ist gud! They fought Commies as well as das Nazis, btw! Shills! Are ya warching??)
22:00 Jun Miyake - STILL LIFE
25:00 Big Daddy Kane - Mr Pitiful
(Peel Away the Ivy?)
Super Secret Track (a pleasant one we all know!!! you will love it!!!) <~(-_-)~> !!!!!! ;-)
BTW, listening to someone...under no circumstance...means you "respect their views."
You can respect someone's human right to think, speak, experiment with their own beliefs...without falling ass over teakettle for whatever they've found for themselves. Take note, shills: ["Why I, as a black man, have gone to KKK rallies with no violent intent."](https://youtu.be/ORp3q1Oaezw)
Also, this gem:
>**"The line from Confucius was that 'Virtue is never solitary; it always has neighbors.' What he meant by that was that good behavior and good thinking is contagious. In a way, virtue is like the homeowner who moves into a rundown neighborhood and through that investment and the cheerful improvements they make to their own home and the friends and family that follow, the block begins to turn around.**
>It’s become a point of virtue-signaling these days to criticize this as 'gentrification,' but of course that’s silly. We should want people to be doing this--not just in housing but in all walks of life. If politics is a snake pit of corruption and avarice, then good people should enter it and improve it, not simply denounce it. If capitalism is too selfish, then the caring should start businesses with better cultures (which, when successful, will steal market share from the bad actors). If a group has extreme or offensive views, it shouldn’t be cut off and isolated for fear of “normalizing it.” It should be normalized--by encouraging normal people to interact with it, correct it and prod these misguided people towards the right path.
>The silliness of Ayn Rand’s book Atlas Shrugged is the premise that the talented, brilliant people leave society to create their own utopia...because they weren’t appreciated enough by everyone else. What childish nonsense. Since Plato’s allegory of the cave, the duty of the philosopher and of the virtuous person is clear: To come back to the group and share one’s knowledge. To resist the urge to be the solitary wiseman and to instead be a good neighbor.
>Remember that today as you work on your studies. That the point of all this is to make the world--not just yourself--a better place." - Daily Stoic blog, Ryan Holiday
Also, why we're here...
> “Conservatism starts from a sentiment that all mature people can readily share: the sentiment that good things are easily destroyed, but not easily created. This is especially true of the good things that come to us as collective assets: peace, freedom, law, civility, public spirit, the security of property and family life, in all of which we depend on the cooperation of others while having no means single-handedly to obtain it. In respect of such things, the work of destruction is quick, easy and exhilarating; the work of creation slow, laborious and dull. That is one of the lessons of the twentieth century. It is also one reason why conservatives suffer such a disadvantage when it comes to public opinion. Their position is true but boring, that of their opponents exciting but false.” ! Roger Scruton, How to Be a Conservative (?)
Bookmarking this age for future reference, thanks!
Highly recommended to turn this on as you peruse:
If you don't watch /hear anything else from this list, Bruce Sterling:
"Bruce Sterling | SXSW 2019"
Timothy Leary - The Psychedelic Experience (Audiobook,1966)
John Michael McDonagh
"JOE ROGAN DUMPED ME"
"Gavin McInnes: My 15 Most Controversial Moments"
Some "Pram - Bathysphere" Som
Confession: I am "white pride" but no further. :I
Don't hate no one. :p None of us chose how we were born, to the best of my knowledge.
God loves us all and wants us connected. To Him and to each other. Love love love...
So yeah. I rep my people, same as anyone does who's been in lockup. But, I try not to judge or hate and if you don't like that well that's your own business. Life is too short for me to give a fuck. Keep breathing until you stop. <3
==> Warren/Sanders 2020, lol
Whourkr - Coiffer un ours 2:47 / wAgAwAgA - RuBBeRBoAT 7:11/ Sir Edward Elgar - Pomp and Circumstance March No. IV 1:38/ wAgAwAgA - charliefluff 6:31/ Ed Kuepper - Electrical Storm 4:19/ wAgAwAgA - Mythocracy ( Amiri Baraka ?) 13:37/ Coldcut - Tital 07 5:00/ Wendy Carlos - Timesteps 4:18 / Gene Kelley - Singin In the Rain 2:37
Nice music to wake up to.