richardmurray

I saw a post about a white person named Pasterski and it was an ugly lie about the role of money with merit in modern humanity MY COMPLETE THOUGHT Marty Steinberg your assertion is correct, but I want to go deeper, the original post doesn't mention money at all. Why? The post is suggesting something very ugly, and untrue, that a simple penniless homeless child in nyc, hungry most of the year, if they simply, focus on engineering and physics and have determination will be able to have a plane right on the sidewalk. I don't know where they will get the metal from or the ability to mold the metal, or the rubber , or the glass or any of the tools to cut and mold any of these things, let alone the paper needed to make a draft cause they are Explicitve homeless and on the expletive street they can't have a computer because they are on the street, and a child needs to be in a warm loving home first... I have been fortunate to have parents as a child who not only believed in me but were able to support me. But I am not going to suggest to anyone that mere belief is enough. that is a lie. And I find it sad that so many people in the usa love to chime this belief bullshit. Money is crucial. Her father since the original post didn't want to say it https://en.wikipedia.org/wiki/Sabrina_Gonzalez_Pasterski is an attorney + electrical engineer. I wasn't able to find out his law firm or the firm he engineered for but it seems he lives at Oxford Ave, Chicago Ridge, IL 60415 and that is in https://en.wikipedia.org/wiki/Worth_Township,_Cook_County,_Illinois Not homeless, not penniless. MY COMMENT IN THE REFERRAL Marty Steinberg your assertion is correct, but I want to go deeper, the original post doesn't mention money at all. Why? why is money not warranting any mention at all in this post? no justification exist to not mention money. Cause don't tell me that the homeless children I have seen in NYC who are hungry and sleep outside can simply mirror sabrina pasterski by picking up a book they don't even have or can afford or should choose over something to eat. THE POST CONTENT Pasterski’s interest in engineering and physics emerged early, demonstrated by her decision to construct a working airplane while still in her teens. The project required not only technical knowledge but also persistence and discipline, qualities that would characterize her later academic career. Flying the plane she had built herself at 16 made her the youngest American to achieve such a milestone, gaining early recognition for her abilities. Her academic journey was equally remarkable. At MIT, Pasterski pursued physics, completing her degree in three years with the institution’s highest possible GPA. Her work there reflected a focus on theoretical physics and quantum field theory, subjects that would guide her into advanced research. After MIT, she entered Harvard University for doctoral studies, specializing in high-energy physics. Her research focused on topics such as black holes, particle physics, and fundamental symmetries of the universe. This field demands mastery of advanced mathematics and theoretical models, underscoring the depth of her academic contributions. Pasterski’s trajectory from teenage aircraft builder to physicist illustrates how early technical curiosity can lead to advanced scientific achievements. Her path highlights the interconnectedness of engineering skill, intellectual discipline, and scientific research in shaping careers that push the boundaries of knowledge.

I have been there Stallone, I rarely write fantasy , with enough fantasy https://youtu.be/KONu5mxxPZA?t=3498 56:53 and it kills me because that's why I like up endings because life usually doesn't end that way so why do you have 56:59 to go out and spend money and see it and feel bad because I feel bad enough walking in here I don't need you to make 57:05 it worse that's my simple philosophy it doesn't exactly go along with true art 57:11 but I never said I was going to make true art yeah and it's ironic that with that period of not working and being in 57:18 the you know the movie theater for so many hours you came back by writing Rocky baloa right which was basically 57:24 the thing that started you in the first place so you went back to the first thing that you got you to the top and 57:30 when you're at the bottom again you brought Rocky back into the picture and you said it was your most proud work by 57:36 far because uh nobody wanted to do it I I felt so worthless and I was so embarrassed to be 57:44 your father tell you the truth because you didn't even know what I did basically for a living we saw your Spy 57:51 Kids Toy Maker what does my father do for a living just wanders around looking 57:57 depressed and I realized you you people that you thought were your friends and 58:04 not your friends when the good times go away that's when you find out your 58:10 family is so important cuz I'm telling you the ship sailed on me it was pretty 58:15 bad it was pretty bad but I took all that in and I thought you 58:21 know if this is if I'm done and I thought I was it was definitely done phone wasn't ringing it was done and I 58:28 was so embarrassed because people did not understand Rocky 5 Rocky five was 58:34 about one of the more real situations that you're so desperate to not be a 58:42 failure for your family that Rocky basically gave up his family because he wanted to get Glory again even if it was 58:49 through another man that he for you know his son he gave up wife he was this and 58:56 that and I wasn't I was not smart enough to realize that's not what people wanted 59:02 to see because that's what happens right you know that's a little too real right 59:10 and I said if I can just go back and do one more because I never thought I'd 59:15 ever do another movie again but in my fantasy I want to do Rocky B Bo which is 59:21 about loss about grief which is is the hardest thing in the world to live with 59:26 girls I swear to you oh [ __ ] it it's it's 59:38 hard I think anyway yeah I don't know why all of a sudden get traumatic like 59:44 that you know some [ __ ] just comes up and you I said how can I write a story 59:51 that I portray that kind of sad you know what I mean and but in the end it's you 59:58 purge yourself of it and that's what Rocky Balo is about he loses his wife he loses everything and people have they 1:00:06 you know they they that's what they experience but in the end he purges himself with what he says I want to get 1:00:13 rid of this old pain and put in some new pain I don't want that those memories 1:00:18 anymore and it worked it really worked well and uh that's my proudest moment 1:00:24 because nobody wanted to do it and they actually said you're done Ro's done I'm going 1:00:31 these are people that represented me that were like I paid lots of money to 1:00:38 and I went wow you really are yeah on your own and I want your girls to know that your best friend has got to be you 1:00:47 I'm serious it's great to have best friends and parents or whatever but you then I got and I did that thing I told 1:00:53 you about in the mirror and I sh you come back you fight you get off your knees you stop feeling sorry for 1:00:59 yourself and you write the best words you've ever written and I think it is by 1:01:04 far Rocky one I think has the element of surprise but Rocky 6 is the best I I I I Full Video First Interview https://youtu.be/666OF8M-cJQ?si=J-i7bY34P8jhzp-a Second Interview https://youtu.be/KONu5mxxPZA?si=WP6z3915mjHgerOg

King of Fantasy weapons https://www.youtube.com/watch?v=KvcCIDJj-NQ my comment Are you going to do a king of fantasy bows? What about King of Fantasy Bos? I imagine Monkey Kings Bo that can extend is the winner. What about King of Fantasy Chakrams? I imagine Xena's wins, though her Chakram that can split into two "brass knucle" esque I thought was the coolest chakram she had. What about King of Fantasy spears? What about king of fantasy armor, split between chain mail and plate? In Amendment Why Aragon fights like that? https://www.youtube.com/watch?v=RcjohYgAQQw The Lord of the Rings SWORD you've Probably NEVER Seen! https://www.youtube.com/watch?v=dO0zmB9ai1Y restricting weapons will not deny opportunity to get dangerous weapons https://www.youtube.com/watch?v=lgtX4NgU8OA my comment I am glad you guys mentioned that a piece of thick wood is dangerous, for some reason people don't realize a metal pipe or a thick piece of rectangular wood can kill someone. Can you imagine a piece of wood , like a baseball or cricket bat with nails driven in, then it becomes like the Macuahuitl . and thanks for still finding the time in comparisons to give weapons history. comment referral https://www.youtube.com/watch?v=lgtX4NgU8OA&lc=UgwFW7xGXWtTmzHmsel4AaABAg&pp=0gcJCSMANpG00pGi TOPIC: double blade sword https://www.youtube.com/watch?v=X1xk04EoUE0 my comment Tyranth said what if the double blade was curved, i hope you try that one day. But what about a double bladed knife or even really short sword, where the distance between blades was really small.It wouldn't be needed to kill anyone but since a knife is for cutting, thrusting, not necessarily blade on blade action or getting through armor, maybe the multiblades add an extra level of danger. comment referral https://www.youtube.com/watch?v=X1xk04EoUE0&lc=UgylOfRTFzHg2F0fcGZ4AaABAg

Captian Marvel truth https://www.youtube.com/watch?v=xyMYj9R8YDY my comment You could had excerpted the "They Live" sunglasses realization scene:) What can MArvel do to get the people who are angry about the lack, and it is a lack of female characters? Or is the answer the Xmen female characters are coming? What are your thoughts on Sylvie from the Loki show? I oppose your position on the people behind the scenes. Did Chris Claremont have passion for Ms. Marvel when he was writing her? she wasn't Wonder Woman from an age perspective or media clout. I think writers simply failed, and that is ok. Writers have the right to fail. I think the writers (most of whom are women) for she hulk/ms marvel/Wonder woman in film or streaming in the last ten years, or similar female comic book characters, simply failed. to your question, are we, we meaning a "united humanity" or comic book fandom, going to avoid tokenism? What is the parallel to tokenism? It is admitting + embracing a majority. tokenism in media is when a character has an aspect rarely viewed in a certain way. Black Lightning for example. The first character described as black in a non black owned comic [black owned comic books had black headliner characters pre milestone] book firm to headline a comic. That is tokenism. What is the parallel? DC comics admitting to the growing number of potential black comic book buyers they simply don't have a black comic book headliner and will not. There are going to be women who say they want more female superheroes, to be as various as the male superheroes, and various not just in success but failure. DC+ Marvel can simply say, we don't have the female headliner characters for that. IN AMENDMENT Her words in the video show the problem. The producers, people with the money, are giving their money to people who can convince them of market trends. Black panther could had been made in the 1960s / without question 1970s but it was till now because the statistics show the average wealth and purchasing power of blacks in the movie going market alongside their viewing habits warrants a black panther. The studios thought women would go all in for women, especially after DC , to be blunt, botched wonder woman. Linda Carter is only a few years difference from Christopher Reeves and Wonder Woman unlike superman had a 1970s hit show. Superman one was made in the late 1970s. So, DC was able to make the superman movies with christopher reeves, make a supergirl movie, make the batman movies with keaton though never gave adam west's batman anything , and Linda Carter with a successful wonder woman show before the first superman movie with christopher reeves, who she is extremely near in age too, was given nothing. So, Marvel felt women moviegoers wanted superheroes. Captain MArvel made over a billion dollars from a 175 million dollar budge. The Green Lantern movie made 200 million , it broke even. No one hates green lantern for that really bad film. Was the writing the best? no. but, male superhero films that were poor and I argue far worse than Captain Marvel movie didn't lead to their characters being hated or the actors in the roles being deemed unpleasant. So to avoid tokenism, I think an admittance of bias [both positive or negative] + truth have to occur. Marvel + DC were started at a time where negative biases existed which meant most superhero comics are males, it is that simple. So today, making movies on popular characters will be mostly male characters. Milestone comics whom I love more than DC or Marvel, never had a female character be the headliner of a comic. So, I think comic book firms just have to be honest and say, we don't have too many female characters that we can headline for movies. Cause the reality is, the modern audience is popularity driven. yeah, Kpop demon hunters, but here is the problem using them as a yardstick. They never went to theaters. they were in the netflix ecosystem only, which has a particular membership demographic. Millions of people , though it may shock folks, do not have netflix. Now you can argue, Marvel + DC need to learn from Netflix and work through their streaming services, which all the companies want to do or are trying to do I think, but that is a whole other argument, because streaming services don't have to deal with the customer base of movie theaters. I think the industrial change is coming where firms will work through their streaming services and then when things click take them to streaming and sell blue ray and all of that. Which will allow for affordable testing to occur. IN AMENDMENT 2 The rape of ms marvel from carol strickland https://carolastrickland.wordpress.com/ms-marvel/ FULL TEXT So I was reading this issue of Avengers, #200 to be precise. Ms. Marvel had suddenly become pregnant — how she didn’t know — and the pregnancy had lasted only three days, but apparently this was full-term. In issue #200 we had the grand birth and the revelation of Marcus (the grown baby-no-more) who said he’d wooed Ms. Marvel and won her over and impregnated her with him and la-de-da, wasn’t it romantic. All the Avengers said, “Ah!” and Ms. Marvel left with Marcus to a happily-ever-after ending. But I didn’t get it. Here Ms. Marvel had been kidnapped, held for “weeks,” according to the narrative provided by Marcus himself, and not been won over even though Marcus had done the A-B-C of stereotypical male-mindset romance: given her nice clothes, serenaded her with history’s best musicians. Why, I bet he even gave her candy and flowers. At no time is love or respect — not even “like” — mentioned. But apparently she hadn’t been won over because he says, “with a boost from Immortus’ [mind] machines” (which he had access to), Ms. Marvel finally became his (and we may think of this being the truly possessive use of the word). At which point he impregnated her using non-technical techniques without her knowledge of what he was truly doing. Okay, class, anyone see anything wrong with this? Apparently the guy wanted foreplay before he raped her. I don’t know why he couldn’t have artificially impregnated her if he just had to use her body. Maybe in some sick way he thought he was in love with Ms. M. But the point is, it was rape and obvious rape at that. The writer had to go an extra, knowing step to add that line about mind control. If he’d just left that off, it would have merely been a fanboy romance, where the blonde and buxom heroine is swept off her feet by flowers and candy (no need for romance or love), and readily agrees to anything and everything the hero (or fanboy in clever disguise) wants. But time went by and NO ONE said anything about the rape! Not one word besides how some readers were so happy that Ms. M had finally found a good man. I wanted to barf. Granted, I don’t presently condone the very vehement tone of the article — really, I don’t know how many Cokes I’d had before writing this, but I bet you money I’d been reading a lot of feminist literature that had me all fired up — but besides the tone I have to agree still with my sentiments of that January in 1980 within the pages of LoC #1… The Rape of Ms. Marvel by Carol A. Strickland Am I just overly sensitive, or what? I know that I have a tendency to shoot my mouth off about the role of women in comics, but shouldn’t everyone be concerned when a comic displays a struttingly macho, misogynist storyline that shreds the female image apart with a smirk — and rewards the one who did the shredding? I should think that such a story would create an uproar in fandom — but where is there even a whisper of discontent? I realize that females are only a small part of comics readers and fandom, but it should not just be the women who raise the roof over such a story. It should be everyone. Isn’t everyone entitled to respect as a human being? Shouldn’t they be against somthing that so self-consciously seeks to destroy that respect and degrade women in general by destroying the symbol of womankind? Could it be that the great masses of fandom actually approved of a travesty like Avengers#200: “The Child is Father To…”? In that issue, an all-male Marvel staff, presided by Jim Shooter and watched by the Comics Code, slaughtered Marvel’s symbol of modern women, Ms. Marvel. They presented her as a victim of rape who enjoyed the process, and even wound up swooning over her rapist and joining him of her “free” will. Such a storyline might have fit into the 1950s, when people actually believed such a thing was possible — I mean, they thought that women invited and enjoyed rape back then — but to present such a storyline today shows a collection of medieval minds at work. Or at vicious play. For such a storyline to pass throug the echelons of editor, editor-in-chief, and Comics Code can only be a crime. For those not familiar with Ms. Marvel, or only familiar with her from her unsatisfying stint with the Avengers, let me explain who she is relative to circumstance and character: Most people know, if they don’t truly understand, that women have been stomped on by the comics industry ever since there were comics. From the sniveling Lois Lane of Action#1 right through today’s so-called “liberated” heroines (you can tell who they are by their low-cut or see-through costumes and stolen dialogue from the outdated Feminine Mystique), the male-dominated comics industry has gone out of its way to preserve the macho male and weak (or vicious) female image, ensuring the small percentage of females in their reading audience. You’d think that in the comics of the 1980s there would be zillions of characters who were themselves first, women second, and adventurers always. But look closer; where are they? Wonder Woman is a preaching man-hater with a memory that has more holes in it than her lover has lives, if that’s possible. She is a symbol of modern womanhood, supposedly, and that makes her an interesting character. Now think — name a male comics character who is a symbol of manhood: there is none! That’s because a male comics writer realizes that a symbol cannot be of real interest to a reader. But becauase women are all aliens from another planet, it’s all right to make them symbols, especialy if they are misshapen cliches drawn from maligners of the women’s movement, the people who designate females who want to be themselves as “bra-burners,” an archaic and never-correct term. Black Canary is less than a shadow of her man, the ultra-macho Green Arrow. The Invisible “Girl” whimpers and complains from the nearest corner while her menfolk do the fighting. The Wasp dreams of new costumes and new hunks to pester. Supergirl cries over a broken date. These are the stalwarts of comicdom’s females. The truly liberated women, those Tigras and Elasti-Girls and Black Widows, are resigned to limbo or just prolonged neglect. As of this moment in the comics industry, only Chris Claremont is portraying a modern woman — and he manages to do it with every one of them entrusted to his care. People may not agree with all that he is doing, but they must agree that he is lightyears beyond the other writers (even Jo Duffy, who is next in line to him), and that is a very sad picture of comics. This is the Nineteen-Eighties, folks. But who would believe it, to look at the state of comics? Back in ’72 Marvel had created a trio of books designed to hook the female audience: the insipid Night Nurse, the violent and poorly-written Shanna the She-Devil, and the interesting Claws of the Cat, written by Linda Fite and drawn (in its first issue) by Marie Severin and Wally Wood. The Cat was a fascinating character, even if she was a bit heavy-handed in places. But like many a TV series, the book was given only a few shots to make it. Cat #4 was the last issue. The concept was later reincarnated as the vapid Hellcat, whose costume-derived powers were never explained. The original Cat’s powers came from scientific treatment and training, but the Hellcat merely put on her emblemless costume to be super. I suppose women can’t really be expected to train at anything, but must rely on chance to give them the skills they need to make it in the real world. In 1974 the Cat was revamped in a different fashion: she was mutated into a horror-genre Cat creature named Tigra. When given a solo shot in Marvel Chillers a year later, she surprised everyone by becoming a stylish, snappy-pattered heroine whose future could have been bright. But she was bogged down in a five-issue continued story, and if anything will lose a reader’s interest faster than a multiple-issue tryout story, I don’t know what it is. Tigra and the Cat-People have been forgotten by Marvel except in two team-up stories since then. Surely such a sparkling, weird hero should be popular in today’s menagerie of sought-after non-humans like the X-Men, Hulk, et al. 1976. Marvel decided to try to cash in on the “liberation craze” yet again with a new spin-off from the popular Captain Marvel to be called Ms. Marvel. She would, like the Cat, be a symbol of the liberated woman. They plastered the words “This Female Fights Back!” on the cover and bared a lovely blonde woman’s navel — thus began Ms. Marvel. For the same number of beginning issues, both the Cat and Tigra had Ms. M beat hands down. But for some reason Ms. Marvel stuck with it. There was a shuffle of writers; Chris Claremont admits that he didn’t give Ms. Marvel his entire attention at first. Thus it was that Marvel’s own origin remained a jumbled mess until almost her twentieth isuse. Once Mr. Claremont settled into his job, though, Ms. Marvel began to do things. Things few, if any, women characters (or men, for that matter!) had done before. While her first adventures had been composed of the obligatory fight scenes upon more fight scenes, now her stories began to have plots, now her life as a hero was being tied into her life as a civilian. By the time Carol covered her navel in a Cockrumized costume, the comic had hit new heights of interest in plotline and artwork. Notice I didn’t add “for a heroine” there. That’s because Chris Claremont and Dave Cockrum were both looking at Ms. Marvel as a person — a beautiful, female person, yes, but a super-hero above all! There is only one drawback to this duo of issues: that existing artwork was changed from showing Carol Danvers (Ms. Marvel’s alter-ego) in sensible desert-exploring wear to having her in a midriff-exposing blouse. The Word was to make her more sexy, attract more male readers not so they’d get hooked on Ms. Marvel’s electric characterization, but so the comic could become a Code-approved girlie mag. Ms. Marvel was mature, powerful, intense and sure of herself. And two issues later she was cancelled. Now she started to pal around with the Avengers as a fighting companion, and later, as a replacement for the Scarlet Witch. Under the writing of Jim Shooter, Ms. Marvel suddenly developed a pushy, intimidating quirk to her nature. Mr. Shooter, whose portrayal of females has not changed one iota since his writing as a fourteen-year-old in the mid-1960s, has a Gerry Conway-ish quality to his work. No, no, Mr. Conway is not the only or worst writer to do this; he is simply the most consistent, when it comes to portraying any female who does not cower in the corner or behind her man when things get rough, to categorize her as 1) pushy — and usually hypocritical, 2) over-sexed, and/or 3) a castrating manhater. Ms. Marvel was granted the character trait of oversexed pushiness as she proclaimed Wonder Man a “hunk” and that she’d really like to get to know him better — heh, heh. With Shooter giving up the writer’s role in order to edit The Avengers, David Michelinie stepped in and Ms. Marvel became one of the super-gang; a normal super-hero, although one to stop action with an “important” message about liberation. Many writers do this for some reason. I suppose they don’t realize that example has always been a better teacher than preaching. Most comics females today do a lot of preaching. This is why most female characters today are uninteresting and frail. With a landmark issue coming, big number 200, staff wondered: what to do for the occasion? It was decided that Ms. Marvel would have a baby. Michelinie said that it would be the Supreme Intelligence’s kid, since the Supremor has always wanted a Kree-Terran hybrid. This would natually lead to an intriguing adventure, a climax to the years of scheming through countless comics for the Supremor, and a probable end to the Supremor himself, once Ms. Marvel beat him up for what he did to her — and her child. Ah — but Jim Shooter said no! What If #20: “What if the Avengers Fought the Kree-Skull War without Rick Jones?” had ended its tale with the imaginary/parallel world Supremor merging his intelligence with the inert form of Mr. Jones to become himself his precious hybrid. Jim Shooter, editor-in-chief of the Marvel Multiverse, proclaimed that the story would be too much alike and too soon after the What If? story. He didn’t bother to look at the many times in which the Supremor’s plans have infiltrated a half-dozen titles within as many months in years past, with no complaint from readers. Instead Mr. Shooter came up with a wonderful plan of his own for Ms. Marvel’s anticipated Happy Event. He would make magic number 200 a landmark in bad taste. He would portray a rape that would be applauded and rewarded by all who had news of it. To my way of thinking, this shows questionable judgment on Mr. Shooter’s part. But let the finished product help you decide. For those of you who either missed it or chose to forget it as quickly as possible, the plot went something like this: Ms. Marvel is three days pregnant at the start of the the issue, and is about to give birth to a full-term baby. For some reason the Avengers do not call in an obstetrician, but leave their most powerful member in the unspecialized hands of mentor Tony Stark’s good buddy, Dr. Don Blake. I suppose Blake won’t bill them the way an obstetrician would. In a male-fairytale version of birth, Ms. Marvel delivers in a non-birthing sort of way (I don’t understand it either. Let’s look at the physical processes involved–!) There is no pain, no labor, no logic… All the while Ms. Marvel is exposed to the other Avengers without shred number one of privacy during the non-birth birth. Varying scenes show us that the story is well-written. It is merely the plot that is the blot of blots on this work. The Wasp, not knowing that the baby’s father is unknown even to Ms. Marvel, congratulates her on the delivery and baby. We see its mother: exhuasted, humiliated: “I’ve been used!” she snarls. “That isn’t my baby!” Later she refers to it as “that thing.” There is no trace of maternal instinct that any other conventional heroine would have been oozing, even at such an inauspicious time. It is a scene well done. Yet compare the concept of this, the rejecting, angry, raped mother with the final image of Ms. Marvel. The change is heinous. It and the plotline spoil everything in their wake. The story goes on: the child, a boy who names himself Marcus, develops at an ever-increasing rate, passing quickly through childhood to become a young adult. He explains his origin, starting with his real father, a man Ms. Marvel never coupled with: Immortus. The mere use of such a character is controvertible in itself, for in well-known previous Avengers plotlines, Immortus killed Kang, his earlier self. Mark Gruenwald has explained that the Immortus who killed Kang was clearly a parallel Immortus, for if Kang were killed, there would be no Immortus around to kill him. Yet Marcus (and an editorial note) clearly remembers his father as the Immortus who killed off his earlier self. I’ll pass the Bayer as I continue… Anyway, before this Immortus-who-could-not-have-existed popped into existence, he had become anxious for a “mate.” Not a lover, not a wife, just a “mate” from good old Terra. Knowing that mortals can’t exist in his home of Limbo, he created a sort-of semi-Limbo, rescued a victim of a Terran sea disaster — a woman who could be Carol Danvers’ twin — and, in Marcus’ words, “through a combination of gratitude and the subtle manipulation of my father’s ingenious machines, the woman fell in love with him.” Subtle manipulations. Equals brainwashing. Equals brain control. Immortus couldn’t get this unnamed woman into bed with him, so he changed her personality and took her against her will. Equals rape. It seems mortals can’t spend too much time in semi-Limbo, although Marcus has been there all his life. His unnamed mother vanished when he was a boy to go to her death in the real world. Marcus was left with only his father, a wonderful role model, being a rapist and such. Daddy vanished (when he killed himself off a few millenia before), and Marcus was left alone. Not particularly liking semi-Limbo, he decided to go to Earth. He concocted a scheme by which he could be unnaturally born on Earth, speeded up in growth, and thus be able to prevent the destruction his presence in normal space would eventually create. He coldly chose the mother of the thing that would be himself: “The powerful combination of Kree and human strengths, would be the perfect vessel,” he decided, and chose the perfect double of the only human woman he had ever known and loved: his unnamed mother. Of course, his old-fashioned father and mother taught him you can’t reach a woman on a level as a human being; he couldn’t explain his plight and let her decide if she wanted to go through with his crazy idea or not; he wouldn’t even consider that she might have a better idea for getting him to Earth. Instead he went about wooing her: poetry, clothes and music he furnished, thinking that those are the only things women are interested in. When Ms. Marvel didn’t respond, as he explains to her in the present, “…Finally, after relative weeks of such efforts — and admittedly, with a subtle boost from Immortus’ machines — you became mine.” This is not hidden between the lines. Little kids can read the obvious fact: he raped Ms. Marvel. The artwork goes to great lengths — two close-up panels — to show Ms. Marvel’s ecstacy during the pseudo-mating. Ah ha. Another lesson to be learned from comics. It’s okay to rape. Women enjoy rape. Immediately after implanting himself in some sort of pseudo-scientific fashion into Ms. Marvel’s womb, machinery teleported her to her jet, seconds after the time she had been abducted by Marcus. The machinery also wiped out her recent memory — better to leave these females ignorant, right? Marcus couldn’t care less about the feelings of a woman who suddenly found herself pregnant — and giving birth — for no apparent reason. This is not Marcus’ fault. He is ignorant of human feelings, being brought up by the equally unfeeling Immortus. The explanation of Ms. Marvel’s rape is made to Carol, Thor, Iron Man and Hawkeye. It is obvious that Immortus’ machines have renewed their effect upon Ms. Marvel. Remember the angry rape victim at the beginning of the story? Now with a glisten in her eye and sob in her heart, she tenderly strokes the rapist’s cheek and tells him that she will return with him to his home. She even adopts his Oedipal way of speaking. Of all the times Marcus refers to her directly, it is as “Carol” three times, “my love” once, and “mother” three times. From Marcus being “that thing,” he is now “my child” to Carol. And she’s going home to play a different kind of house with him. Aren’t the kids eating this up?! One should think that the other Avengers who have heard this story and see Ms. Marvel’s sudden reversal in attitude toward Marcus would stop her from going back, knock some sense into her… anything. But look at this carefully-chosen audience: Hawkeye — Marvel’s answer to the neanderthal Green Arrow, a psychological sickie (catch his last act with Death Bird). He probably gets a kick out of Ms. Marvel’s Getting Her Due. Iron Man — aka “playboy” Tony Stark. In keeping with his public image, Tony chooses to avoid the implications of this event. And Thor — if anyone can match Jim Shooter’s medieval thinking, it is he. The story ends with Ms. Marvel and Marcus teleporting to semi-Limbo. Iron Man begins to have second thoughts: “We’ve just got to believe that everything worked out for the best,” he temporizes. He isn’t convinced, but he won’t make a scene. Mr. Macho, Hawkeye, turns sloppy John Wayne sentimental: “That’s all we can do,” he says. “Believe… and hope that Ms. Marvel lives happily ever after.” It is a fitting end to this male fantasy. A desirable woman/mother figure is raped and then chooses to be the lover of her rapist/son. Raping is manly. Women love to be raped. Perversion is wonderful for kids and other people of taste to read. The story would be almost laughable if it weren’t written in such earnest. Someone really believes this tripe, maybe. Or someone just wants to have some fun. May I ask a stupid question? Where is the Comics Code during all this? There’s their stamp on the cover, covering the “S” in AVENGERS — but where are they? This dirty joke that someone at Marvel dreamed up is all out in the open — not a bit of it is between the lines to be hidden from the innocents who make up such a large proportion of the audience. And the entire plot is a deadly insult to every woman. The bottom line to Avengers #200 is blatant irresponsibility, with every nuance of immaturity that that word provides. “Misogynist” is also a very applicable word. But instead of either, we’ll probably see the words “collector’s item: rape issue” next to the number 200 in the Avengers column in next year’s Price Guide, with an inflated price to match it. If it takes a second round of witch hunts to rid four-color standard comics of trash like this — count me in! The Aftermath Okay, we can all agree that the issue depicted rape, and that it was deliberately thrown in, probably to get back at a “liberated” woman. And that there was no negative reaction to it except, seemingly, mine. I never saw the next issue of LoC, but it seems to me that someone did loan me issue #3, and I remember reading reactions to my article that, summed up, told me that I needed to get laid to get my head on straight. So I continued to think that I was the only one who had recognized this as rape, had recognized the fact that rape is a bad thing, and that Marvel was the personification of the Anti-Christ. Well, that they needed to improve, let’s put it that way. And then came Avengers Annual #10, 1981, written by Chris Claremont. In the story, Spider-Woman rescues Carol Danvers, who has been mind-wiped by Rogue (this was back in the days when Rogue was a middle-aged hick maniac instead of a sweet young Southern waif). The X-Men get called in (it was an Annual, after all) and Carol winds up recuperating at Professor Xavier’s, where the Avengers pay her a visit. To my extremely pleasant surprise, Carol berates them for leaving her in the lurch. Although the word “rape” is never used, the story did concentrate on that “subtle boost from Immortus’ machines” line to heavily imply it. It actually seems to sink in to some of the Avengers’ minds that rape might not be good. That a woman might be injured in many ways by it. It was great to know that others had seen Ms. Marvel’s plight and had apparently been as pissed off as I had about it. Then one day in a fit of X-Men frenzy, I bought and actually read The X-Men Companion II (of course I had volume 1 as well), copyright Fantagraphics Books, Inc. 1982, and dropped the book in shock when I got to page 23 of the Chris Claremont interview. He’s talking about the portrayal of women in comics: Avengers #199, where Carol Danvers is introduced to the Avengers, and they’re told that in two days she has become eight months pregnant by an unknown father, or by force of persons unknown, and the reaction of the entire crowd, men and women both, is to the effect of: “Can I babysit?” “Can we knit booties?” “Can I make cookies for the baby?” “Oh you must be so happy?” and my reaction was, “What an insensitive crowd of boors.” Actually, my reaction was a lot stronger than that. But how callous! How cruel! How unfeeling! Considering that these people must have seen Ms. Marvel only a couple of days before, or even a couple of months before. She wasn’t pregnant then. How could she be eight months pregnant now? Now, if that had been the point David [Michelinie] was trying to make, that these other Avengers are callous boors, okay then, I may disagree with the point, but if he followed through on it, it would have made sense. But it seemed to me, looking at the story, looking at the following story, that he was going for: “This is how you respond to a pregnancy.” As Carol [Strickland] pointed out in her article in LOC [#1], women tend to get very short shrift in comics. They are either portrayed as wallflowers or as supermacho insensitive men with different body forms, who almost invariably feel guilty about their lack of femininity. And it’s always seemed to me that, why does this have to be exclusive? Can you not have a woman who is ruthless and capable and courageous and articulate and intelligent and all the other buzz-words – heroic when the need arises, and yet feminine and gentle and compassionate, at others? That was what I tried to do with Ms. Marvel. I tried to create a character who had all the attributes that made her a top-secret agent yet at the same time was a compassionate, warm, humorous, witty, intelligent, attractive woman. Of course, Star Trek: The Next Generation did a story where they Ms. Marveled Deanna Troi, giving her an instant pregnancy. But this time the entity that did it wasn’t human, didn’t know anything about humans, and so it was forgiveable, although she seemed entirely too calm, too accepting of the whole ordeal to me. But then I never really did understand Troi much anyway. She was so wishy-washy until the very final seasons. (Oh, how I wished she could be more like her mother!) And of course, DC Comics had its own liberated female super-heroine, the equivalent of Ms. Marvel: Power Girl. So what did they do? Impregnated her without her knowing who the father was. Oh, they left off the rape bit (though it was entirely involuntary on her part) but they added incest – weren’t they cute? You win some, you lose some. But most of the time you just hope that some people will grow up. Apparently some comics writers still don’t know (1) that women are human and (2) which century we’re living in.

Ask Eddie August 28th 2025 LINK https://www.tumblr.com/communities/filmnoirpigeons/post/793249785900630016/in-case-you-missed-it-last-night-on-facebookfnf VIDEO https://www.tumblr.com/filmnoirfoundation/793249397131657216/in-case-you-missed-it-last-night-on-facebookfnf MY COMMENT Vincent + IDa Lupino in suspense Fletcher - sorry wrong number https://archive.org/details/440601 the suspense project https://archive.org/details/the-suspense-project Good comment on royalty checks Censor https://en.wikipedia.org/wiki/Censor_(2021_film) Night and the City https://en.wikipedia.org/wiki/Night_and_the_City https://archive.org/details/nightandthecity1950?msockid=4d8768708c5211f0b9d67b73563c63d2 IN AMENDMENT This Lucille Fletcher script is beloved by many Suspense fans for many reasons. A widowed musician, played by Vincent Price befriends a woman, played by Ida Lupino. They are romantically attracted to each other by their mutual love of music.

I repeat, Bernie Sanders is a fiscal capitalistic opportunist... who masquerades as a socialist or green or some extreme devout liberal when he functionally appears as a chaos agent no other than SChrumpft in effectiveness. from PBS https://www.pbs.org/newshour/politics/nobody-likes-him-hillary-clinton-says-of-presidential-candidate-bernie-sanders WASHINGTON (AP) — Hillary Clinton says “nobody likes” her former presidential rival Bernie Sanders, even as the Vermont senator remains entrenched among the front-runners in the Democratic race, with the Iowa caucus beginning in less than two weeks. In an interview with “The Hollywood Reporter” published Tuesday, Clinton was asked about a comment she makes in an upcoming documentary where she says Sanders was “in Congress for years” but, “Nobody likes him, nobody wants to work with him, he got nothing done.” Clinton replied that the criticism still holds and refused to say she’d endorse him this cycle if he wins the party’s nomination, adding: “It’s not only him, it’s the culture around him. It’s his leadership team. It’s his prominent supporters.” Sanders’ campaign said Tuesday it didn’t have a comment about Clinton’s remarks. Her comments may ultimately energize Sanders loyalists who believed the Democratic establishment rigged the 2016 primary in her favor. That could be especially helpful with this cycle’s Iowa caucuses looming on Feb. 3. Many polls show Sanders among the leaders with former Vice President Joe Biden, Massachusetts Sen. Elizabeth Warren and Pete Buttigieg, the former mayor of South Bend, Indiana. But Clinton also blamed Sanders’ supporters for fostering a culture of sexism in politics — a charge that is especially sensitive now, given that Sanders’ top progressive rival in the 2020 race, Warren, has accused him of suggesting a woman couldn’t win the White House during a private meeting between the two in 2018. Sanders has denied that, but Warren refused to shake his outstretched hand after a debate last week in Iowa and both candidates accused the other of calling them “a liar.” Warren has steadfastly denied to comment further, but the 78-year-old Sanders said Sunday that while sexism was a problem for candidates, so were other factors, like advanced age — touching off another online firestorm. In the interview, Clinton attacked a cadre of online Sanders supporters known generally as the “Bernie Bros,” many of whom were sharply critical of Clinton’s 2016 campaign for their “relentless attacks on lots of his competitors, particularly the women. And I really hope people are paying attention to that because it should be worrisome that he has permitted this culture.” Clinton further suggested that Sanders was “very much supporting it” and said, “I don’t think we want to go down that road again where you campaign by insult and attack and maybe you try to get some distance from it, but you either don’t know what your campaign and supporters are doing or you’re just giving them a wink.” “I think that that’s a pattern that people should take into account when they make their decisions,” Clinton said. His feud with Warren has overshadowed a series of clashes between Sanders and another 2020 rival, Biden, for an op-ed penned by one of the senator’s supporters suggesting that the former vice president was corrupt. “It is absolutely not my view that Joe is corrupt in any way. And I’m sorry that that op-ed appeared,” Sanders told CBS. The op-ed, published in “The Guardian” newspaper by Fordham University law professor Zephyr Teachout, claims Biden “has perfected the art of taking big contributions, then representing his corporate donors at the cost of middle- and working-class Americans.” It is a sad truth from Robert f Kennedy jr, an excerpt "Mitch McConnell & Bernie Sanders built careers in DC while America got sicker, fatter, and more dependent on Big Pharma. The longest-serving senators are also the biggest failures. " https://x.com/RobertKennedyJc/status/1965156222979784823 IN AMENDMENT I repeat what I said elsewhere about Mandela... Bernie Sanders talks a good talk to the masses of fiscally poor people who have time or are angry enough to listen. But, his results are not good, and when I look at Mamdani , Ocasio Cortez... so many legislators are simply not good at leading or improving legislative bodies. That on the reverse side said legislatures only seem to really hurt the executive branch. No one may want to hear it but Bernie Sanders cost Hillary CLinton the election and I can't see how he thought he would beat her. At the end of the day, Sanders has nothing to show for his time in Congress except being the far left rant guy. It is Mr. Smith lives in Washington. Every session, for the past fifty years, he makes a sweaty tear eyed speech but it never leads to any legislation. IN AMENDMENT https://x.com/FranksBlueHot/status/1965050848633053363 referring to a trveor jackson article I remember when Obama ran and won and I thought , if he won, he would have to succeed, get results, because if he didn't no one after him could play the hope card and that is all the donkeys[party of Andrew Jackson ] have done since Obama. Biden was a hope president. Old PApa Joe, remember. Biden didn't offer a plan. Biden offered the hope that he damage of the past, some spurred by Schrumpt would begone. Instead it got worse. Schrumpts presidencies were made by Obama + Biden, and it is funny how both in various ways, alongside Bernie Sanders blocked Hillary Clinton, who tried twice and never got the chance I think she should had. I still think what I said in the past was true. Clinton president, Obama vice president , gets eight years and then Obama , maybe biden vice president, gets eight years. The donkeys gambled Obama first and messed it up. Trevor Jackson article https://www.nybooks.com/articles/2025/09/25/how-to-blow-up-a-planet-abundance-klein-thompson/ excerpt What happened to the future? When did we lose it, and what has taken its place? Political scientists have found a continual decline in visions of a shared transformative future since the early 1980s. Around the world, in party manifestos, inaugural speeches, and programmatic policy documents, principled statements about an open-ended future have given way to numerical targets like GDP growth achieved, emissions reduced, or people deported. The political right has been more interested in returning to an imaginary glorious past; consequently, the change has been most pronounced on the left, where the politics of an alternative liberatory future have ceded to the policies of technocratic governance and market discipline. This story fits the interregnum of the 1990s and 2000s, with the collapse of the Soviet Union and the slide of social democratic parties into neoliberalism. When Francis Fukuyama declared the “end of history,” he was looking ahead to a melancholy time when we would be “jaded by the experience of history.” The conflict over the best way to organize human society had ended, and liberal capitalist democracy would remain triumphant, but the future appeared to be an empty stretch, without passion, without struggle. The financial crisis of 2008 did not recover the future so much as reveal that its absence was an ideological project. Writing in the aftermath of the crash, the radical cultural critic Mark Fisher diagnosed a phenomenon he called “capitalist realism,” meaning “the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it.” Elsewhere he wrote that the future had been “foreclosed,” and the metaphor was apt: we had been evicted from it, and now it belonged to the banks. But nothing has depleted the future quite like climate change. As target after target has been passed and promise after promise broken, the time remaining to avert global catastrophe has been squandered. There is no noncatastrophic future left, and in fact it’s already here. How, in conditions of runaway climatic disaster, can the future be recovered? What visions of a shared transformative future are possible, and what happens to emancipatory politics, and to democracy itself, without them? Abundance, by two American journalists, provides one answer. American liberals in positions of governance should commit to deregulation, which the authors believe will unleash the power of the market and of technology to provide cheap and plentiful housing, energy, and medicine. They define the “abundance” they seek as a “state in which there is enough of what we need to create lives better than what we have had,” and they believe it is “important to imagine a just—even a delightful—future and work backward to the technological advances that would hasten its arrival.” ...

Vixen cosplay by Nita Roze Nitatherebel Nita Roze Nitatherebel on tiktok https://www.tiktok.com/@nittaroze.com on youtube https://www.youtube.com/@nittaroze on instagram https://www.instagram.com/nittaroze/

Nelson Mandela https://x.com/osasuo/status/1965143159471833302 my comment From a distance, I think Mandela was a different man in temperament from life experiences,features when youngest,agenda as a president compared to schrumpft. But Mandela made mistakes as president of south africa. Osasu, what was Mandela's biggest mistake as president of SA? my sharing @osasuo makes a great point that what differs from a president/man like Mandela compared to a president/man like schrumpft is not merely humility. But to have a custom , that survived and grew from painful prison, to recognize all in a blood feud live on the ground. what say you? IN AMENDMENT well... from a distance I think Mandela as a person is vastly different from Schrumpft. As a woman from south africa said, Mandela went into jail with a traditional robe and came out in a european suit. Mandela survived prison, changed but not deleted. Schrumpft has (1/5) never had to face a similar challenge plus unlike Mandela before Mandela's imprisonment, Shrumpft never fought for the betterment of others against oppressors, only his greed or mobstarting(2/5) Mandela also post prison fought against black people including his wife and children who didn't want the integration mandela staked his remaining life/reputation/hopes on(3/5) But after three drops of honey I must say the pot is Schrumpft+Mandela have one thing in common, neither know how to make the path the populace in their respective country needs/needed. a kind heart never saved anybody(4/5) and a hateful heart never killed anybody. Results is what governors need more than their manners or temperaments being good or bad. (5/5)

What’s Your Writing Length Superpower? (Take the Quiz) https://aliciamccalla.substack.com/p/whats-your-writing-length-superpower My comment I chose to base my answers on what is publicly available for people to read with my work. 1. What word count feels most like home? A. 2K–7K (short, sharp, done) I said A though it is A to C for me, in terms of overall , most of my public work is A so A 2. How do you see stories in your head? A. One burst, one scene, one punch of meaning I first thought to say C cause I tend to see most of my work holistically, from novel length to flash fiction, but based on available work , I chose A but I have completed work where I saw from A to E in all earnest 3. What gives you the biggest dopamine hit? A. Finishing lots of small, complete stories I am not a fan of manufactured cliffhangers so no B, i know a number of writers do that intentionally. I do like C but I will say A as I have multiple collections of short stories. E type is the one I have never made. I can't stand telenovelas or soap operas, the unendings, or the very popular unending black urban fictions. aka Power. 4. Which format excites you most? This one I couldn't answer. I enjoy them all. In various contest or challenges I have participated into I enjoyed making each type. and I have been fortunate to enjoy reading each type: flash fictions/serial comics/ mass market adventures/stand alone novels/ multi book epics. The one style I don't care for is, biography. I don't like biographies as a genre. Nor do I want to write a biography or have a biography written about me. 5. How do you treat cliffhangers? Another challenge, I think it depends on the story. If I have a horror story or someone commissions a tale. It's great. But cliffhangers aren't needed for all stories. I think romantic tales don't warrant cliffhangers alot of times. It is a case by case or story by story scenario. You don't have that option so I have no answer. 6. How do you feel about novellas (12K–25K)? C. Perfect (that’s my sweet spot) Another hard one. It is case by case again for me. If a story is a flash fiction it is. I look at each tale I write as individual. If it is going to become as long as a war and peace, then it is. If it is going to be as long as a berenstein bears book then it is. Commercially , I will say I can do a novella a week so I will say my answer is C, it will take me longer than seven days to do something longer than a novella. I don't know if it is a sweet spot but commercially, for time, i think it is correct. 7. What’s your relationship with characters? B. Love returning (watching them grow across episodes) This is funny cause I am finishing stories differed by genre/tone/type with various characters. I chose B simply because it matches my thoughts most. But, i have written comedic or horror or romance and they didn't have the same characters or character development. 8. What’s your natural writing rhythm? C. Compact: finish a book in weeks or a month C is usual but I remember two years for a story, a screenplay. Here was the challenge, how to get Dupin to solve the case of the Cask of Amontillado? And i wrote it twice in that time but... anyway:) 9. What format do you prefer to read? Hard one for me, I am still waiting for the winds of winter, and trying to still keep the memory of all the prior books in my head. I loved a series in heavy metal magazine called.. I can't remember, but it was a spoof of dungeons and dragons, and it was so funny:) they attacked everything while having a cohesive honest story. it was black and white. I will always love the People can fly from Virignia Hamilton. I love the original Blood Syndicate from Milestone comics. I read the Odyssey of Homer as a kid and enjoyed it. It is not structured as well as a thousand and one knights. I read a knight of the seven kingdoms from martin and arguably was my most enjoyable in his world, but it also had illustrations which are so cool:) I also illustrate. So A to E... E is rare to see sold in modernity. I can read certain genres in various forms. I wouldn't like overly melodramatic works whether a short story or epic. 10. What makes you break out in hives? To be blunt, I haven't felt that way as a writer ... yet. I imagine if i had a commission to do a melodramatic telenovela or biographical work, even biographical fiction, i would have challenges, hives:) Three A's Two C's and one B and four None of the aboves. I am called The Sprinter:) haha And so I concur, cause most of my public work are poetries/short stories. But it is about where a story takes me. If I see something valuable I will venture into it, but I try not to push drama into characters lives, that is a bad habit of some writers. One of my favorite anime is Black Clover and the writer for Black Clover said publicly, he wanted every character to have value. And when you see the cartoon you recognize that, but it isn't pushed. The old prince saving the princess character doesn't have to have a father who has never believed he will amount to anything and a mother who is secretly a dragon and an opposing kingdom wants to kill him led by the chamberlain of his kingdom. Pushing drama is ok if you want to do it, but I don't do that. I like the idea of a prince who is raised in a loving home by his parents the king and queen who love each other and gotten old together safely with a decent army protecting their realm and good traffic/trade being aided by the chamberlain who likes to serve in his role and is ready for retirement. No drama. The prince just simply heard a woman was in a toward covered by a toxic slug demon so he ventured to save her. HE didn't even know she was a princess cause her kingdom was put under a parallel spell by a tree after woodcutters didn't heed the royal decree to leave a certain forest alone. So, now the drama. princess has to remain a certain age so she will be of a different time period. the spell that changed the kingdom did what? ok, I thought of the smurfs. clearly the tree has to be surrounded by a forest or it will keep hurting people which is silly. this isn't a comedy. so there. Drama occurs, but it shouldn't be forced. COMMENT REFERRAL https://substack.com/profile/56304731-richard-murray/note/c-154420014 What’s Your Writing Length Superpower? (Take the Quiz) by Alicia McCalla Find Out Your Strengths Read on Substack

First the two drops of lies aka bovine feces. Followed by my blankets of truth aka a minority only accept Bovine Feces Ball 1 Charlie Kirk said "What's so important to our country is to find out disagreements respectfully. Because when people stop talking, that's when violence happens" Blanket 1 our country, who is our, the native American? immigrants freely to the usa? Let's go to the history book. When did the USA or the European colonies it was born from have respectful disagreements , where talking happened instead of violence? Did the illegal plus unwanted white European colonist and their descendents, respectfully disagree or talk instead of use violence to the indigenous or first people of the modernly called American continent? No, they killed/harmed the indigenous or first people before and after the founding of the USA to 2025 and odds after. Did the illegal plus unwanted white European colonist and their descendents, respectfully disagree or talk instead of use violence to the enslaved people of Africa the unwilling immigrants ripped from their homes elsewhere and their descendents? Not, they and their forebears bought/kept enslaved/harmed the enslaved people from Africa and their descendents before and after the founding of the USA to 2025 and odds after. So based on USA history, before and after the founding of the United States of America, on the exact same land, the respectful disagreements never occurred in ninety nine percent of the interactions between White Europeans and their descendents to First peoples and their descendents or Enslaved African and their descendents. Now Wounded Knee was 1890. Wounded Knee was when the US military, slaughtered hundreds of the Lakota people under US government planning. Nineteen usa soldiers were given the medal of honor for attacking/killing/harming indigenous peoples on their ancestral land absent the means to defend themselves. In 1973 , at Wounded Knee, the American Indian Movement occupied Wounded Knee again, after the USA government used its powers to undermine their community using the likes of Dick Wilson. Multiple native americans were killed and a black man with them Perry Ray Robinson, whose clan only learned of his death officially in 2014 through the freedom of information act. Between Wounded Knees in 1963 White Europeans blew up a church using nineteen sticks of dynamite injuring twenty two and killing four little girls. So before the founding of the USA to the 1970s I have provided truth, that the usa was never a country of respectful disagreements and violence was always first over any verbal communication. People never stopped talking as Kirk suggest most disrespectfully to the truth. White people never talked only committed violent action. And non white Europeans, starting with the first peoples and seconded by the descended of enslaved, have lived from the European colonial era to now, forced to talk to whites because of their own militaristic impotency, albeit having earned a 100% right to commit violence to white Europeans. Violence in the USA has always been first, that is the essence of the USA. Bovine Feces Ball 2 Then someone else wrote in amendment to him "I don't consider myself a political person but these words are true specially after what happened yesterday in Utah and what happened today 24 years ago in New York, DC and Pennsylvania. This senseless violence must stop. The United States has forgotten the foundations on which this country was founded on LIFE, LIBERTY AND THE PURSUIT OF HAPPINESS. Somewhere along the line it that was lost and it has led to horrible acts against those who have different opinions or values. The enemy is within our borders and it's our fellow Americans because we are no longer willing to agree to disagree and unite for the improvement of everyone not just specific groups." Blanket 2 Do you know that political person translates to person of the people. When someone says they are not a political person but then speak on the people... you got problems. Second bovine feces considers Kirk's words true. Now I just refuted Kirk's entire claim, so what does that say about the person who just supported Kirk's claim? Are they are liar? 100% But why are they lying? They are not lying to be intentional, they are lying because they are in denial. I was in New York City , downtown Manhattan, at Water street when 9/11 happened. It wasn't senseless violence. The USA military, private/public/other, killed and is still killing people throughout all humanity every day. A few people wanted to strike back, hijacked a plane and struck, the same way the USA struck and still strikes, every day. Eye for an eye isn't senseless. It is negative. yes. But it isn't senseless. Don't tell me that between two strangers, the one who burned the others home, shouldn't have their home burned. If you have the right to attack me, I have the right to attack you. The only reason why First Peoples plus their descendents and Enslaved Africans plus their descendents didn't and don't attack whites because of a desire to disagree respectfully or inability to see white people listening. The First Peoples plus their descendents and Enslaved Africans plus their descendents didn't and don't attack whites with enough trouble because of feat plus impotency. That is it. Both of the abused people from before the USA was founded to 2025, are simply afraid of whites plus militaristically or physically weak. That is it. Life, Liberty , and the pursuit of happiness was never a founding of the United States of America, those were three fantasies advertised by excellent salesman to their kin and those like them in the future. Who were the founding fathers? White Europeans but also unwanted and illegal immigrants, as every single immigrant in the USA after the original white europeans, including enslaved africans who were forced to immigrate by whites. are illegal by any native American tribe's provision and unwanted by any native American tribes people. The person who spoke the second bovine feces is an willing immigrant who as those white founders knew would do everything to justify or defend themselves by trying to sell the advertisement based on a complete lie. And the lies compound, based on the second bovine feces anyone without truth will think the usa started as some multiracial civil union. where peaceful communication led functional administration and somehow, time just withered the decency away. The USA was never and is not decent, not a we, not a family, just a set of strangers who have to suffer each other for most are too impotent to get anything else and the rest are to addicted to a convenience they can't find anywhere else, all under a set of rich who are descended from the human enslavers of all humanity. IN CONCLUSION Everything I said above is worthless to power. Truth is important, it is most excellent in history books, most valuable in communication. but it doesn't lead to results in government. Truth never saved anybody's life. Power saves lives... and takes them. I don't have the power to save anybody's life, most don't. But, I can offer one action that can be very functional in the USA's future. All the people in the USA, no matter their race [phenotype/gender/religion/language/tribalism/party of governance/financial status/fiscal model adherence/indigenous status/ or other] who make points like the two who commented the bovine feces must stop. Said people must stop. Being positive is a positive thing, but living a lie as truth makes the future bound to failure. For the greatest power a lie as truth has is the damage the truth in the future forces to anything built on said lie. The lie of a usa family, a we, a heritage of civility in the united states of america, is why wounded knee happened twice, why four little girls were blown up in a church. And I am not insensitive. I comprehend illegal plus unwanted immigrants starting from the white Europeans before the USA was founded to today come for their individual betterment. My forebears had children while enslaved in the USA , don't tell me you come to the USA for children after 1965, if enslaved people can have children anybody can anywhere. you immigrate for yourself, and children, whether they like it or not have to deal with it. And some children do positiviely and some negatively. But, holding onto the old lies has to stop. It isn't helping anything. IN AMENDMENT https://www.youtube.com/watch?v=mdzIl9eG3CI IN AMENDMENT 2 Ava Raine, Dwayne “The Rock” Johnson’s daughter, faces criticism and threats for recent comments about Charlie Kirk’s death: “If you want people to have kind words when you pass, you should say kind words while you’re alive.” https://x.com/Raindropsmedia1/status/1967006500498665555

The Problem With Legislators in the USA https://x.com/Rebeccablack/status/1965883778506936510 my thoughts Ocasio-Cortez isn't shallow. This guy kennedy is wrong. But I wish more people including those in the party of Andrew Jackson would admit how elections work. AOC wasn't some great legislator, she wasn't some champion advocate. She didn't have any successes as an advocate of high reknown. I live in NYC, I know exactly how she won. The white guy who was a democrat who had the seat, underestimated the demographic shift in his district. He courted the white vote in that district which no longer had the voting power. AOC correctly, very unshallow,very wise, courted the latin American vote which had become the majority by a distance. And she won. AOC is part of a number of elected officials in New York City or New York State who basically rided a demographic shift wave to success. They didn't need to be great legislators. This is part of Mamdani now. The problem is, once you get elected, you now need to be a legislator who gets results and in the current environment, that is a challenge. Because tribalism is locked in most legislative branches in the usa. So making laws is a challenge because either you need people from another party of governance to vote for you who will not or you need people from your own party of governance but a different branch to vote for you who will not. my comment AOC isn't shallow. I concur @Rebeccablack the true problem the entire field of legislators in the usa has, is the current environment means any legislator who wants to make laws has to get votes from another party or another wing of their own party, both hard to come by https://x.com/Thetenner10/status/1966232498511433817

Vote in each booth below for the options above. I will only do three, but you can vote for each:) All will be shared on Heavy Metal Magazine's discord Pick one, The one with the most votes will be made on deviantart and I will add a small story for crliterature ALIEN WAR MACHINE SPACE PIRATE QUEEN MECHA GRAVEYARD CYBERPUNK ASSASSIN TIME RIFT EXPLORER FLOATING CITADEL BATTLE DEMONIC SORCERESS DRAGON'S THRONE FLOATING CITADEL BATTLE (Part 2: Battle Progression) CURSED FOREST SPIRIT https://www.deviantart.com/hddeviant/poll/Pick-one-of-these-themes-you-want-me-to-draw-I-will-add-a-small-story-loctober-heavymetal-8672618 Pick one, The one with the most votes I will make three versions: clothed for black artist of tumblr, nude for midnighthour, film noir for filmnoirpigeons WARRIOR RIDING A DIRE WOLF UNDERWATER SORCERER ZOMBIE APOCALYPSE RUINS VAMPIRE QUEENS FEAST ALIEN PARASITE HORROR HAUNTED ASTRONAUT GRAVEYARD DUEL POSSESSED MECHA PILOT GORGON QUEEN KRAKEN'S WRATH ODIN'S FURY PHOENIX REBIRTH https://www.tumblr.com/richardmurrayhumblr/794514088027996160/pick-one-of-these-themes-you-want-me-to-draw-for?source=share Pick one, the one with the most votes I will put in the Literature forum of AALBC with a story. CELTIC WARRIOR SPIRIT MINOTAUR IN THE LABYRINTH WASTELAND RIDER RUINED METROPOLIS RADIOACTIVE MUTANTS DYSTOPIAN EXECUTIONER FALLEN AI TITAN BIO-ENGINEERING PREDATOR COSMIC ENTITY AWAKENING DREAMSCAPE DUEL FRACTURED REALITY TRAPPED IN INFINITY https://aalbc.com/tc/topic/11863-pick-one-of-these-themes-you-want-me-to-draw-heavymetal-loctober/ Warmth from Hajime Soriyama The Loctober 2025 image If you want to support me for my endeavors financially, use the following subscription service, a $1 a month subscription, that is 3 cent a day or $12 a year , technically 00.03(28) cent a day:) https://www.deviantart.com/hddeviant/tier/Tip-Jar-to-HDdeviant-902770076 My substack post https://open.substack.com/pub/rmnewsletter/p/free-vote-poll-the-themes-for-heavy?r=xit0b&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

A cool person, lovely model INFO FOR PHOTO • My love @thepinupnoire at the Swann awards 2023 in Paris, at the Automobile club de France, Concorde square. •• Pic by @thestoryalist ••• Dandy Magazine celebrated its 20th anniversary with an AMAZING event/Gala. https://thepinupnoire.tumblr.com/post/730999305775824896 if you want your own , I do commissions https://www.deviantart.com/hddeviant/commission/Microcalligraphy-signatures-1487995 Complete Information on Calligraphy post Calligraphy Mirror - Angelique Noire 09/08/2019 - RMWorkCalendar - African American Literature Book Club Her tumblr archive- really great images and not just of her https://thepinupnoire.tumblr.com/archive Her images on her husbands tumblr https://guillaume-bo.tumblr.com/search/angelique

The Twilight Zone Season 2 Finale: "You Might Also Like" Breakdown & Easter Eggs! https://www.youtube.com/watch?v=kaF_V750Z9w EMBED MY COMMENT the most upbeat episode is "A SMall Town" reminiscent of the twilight zone episodes like the man in the bottle the episode "a traveler" has the best use of a people rarely on tv, in this case indigenous reminding me of a big tall wish the epidoe "meet in the middle" reminds me of a number of twilight zone episodes with men behaving badly , the chaser the blurryman was a nice ode to rod, like a world of his own I think the variance in episodes in the original twilight zone occured in the peele variant.

Bois Caïman (Aug. 1791) is remembered as a secret night gathering of enslaved people in northern Haiti where they vowed to fight for freedom. Led by figures like Cécile Fatiman (often written “Fatima”), it’s widely seen as the spark of the Haitian Revolution the only successful slave uprising, which led to Haiti’s independence in 1804. In this artwork, Fatiman stands with a ritual knife and a black pig, while rebels hold torches behind her symbols of the oath and the uprising that followed. https://www.tiktok.com/@chevelin_illustration/video/7538579529476902174?cid=NzU0MDA4OTg1OTI4NjQwMTgyMg

How Publishing Has Changed Since 2015 URL https://janefriedman.com/how-publishing-has-changed-since-2015/ MY THOUGHTS All should check out the insight sections to audiobooks/paperbooks/ . They are good. HEre are some examples Audiobook https://janefriedman.com/audio-revenue-predicted-to-overtake-ebook-sales-by-2023/ https://janefriedman.com/this-studio-turns-successful-self-published-novels-into-hit-audiobooks/ Paper book https://janefriedman.com/major-media-coverage-doesnt-sell-books-like-it-used-to/ https://janefriedman.com/bindery-books-a-case-study-in-combining-traditional-industry-marketing-online-influencer-strength-to-launch-debut-novels/ Direct Sales Quote [ For authors who are able to look beyond book sales and even write beyond the book ] https://janefriedman.com/the-many-moving-parts-behind-brandon-sandersons-record-breaking-kickstarter-campaign/ https://janefriedman.com/how-authors-can-sell-books-direct-to-reader/ https://janefriedman.com/a-small-publisher-doubles-revenue-during-the-pandemic/ Hybrid or Collaborative https://janefriedman.com/key-book-publishing-path/ https://janefriedman.com/imho-a-nuanced-look-at-hybrid-publishers/ https://janefriedman.com/imho-authors-equity-is-for-the-elite-not-for-you/ https://janefriedman.com/imho-the-self-publishing-scene-includes-agents-all-around/ MY COMMENT I can't wait for the "What Hasn't Changed?" if you have a way to at commentors to your blog,through their email specifically, that will be cool. Sometimes people follow you or your newsletter,but have specific desires. Someone offline said they wanted to read an audiobook of mine, so I know audiobooks are doing it, because no one ever asked to read an ebook before offline to me, and no one has still. But it is clear audiobooks are the way, and that makes sense. The way human beings like to act offline, an audiobook allows someone to walk the street and look up but still not have to read. It is that middle ground? between text and video in some ways. For text or video both need your eyes. I know quite a few fellow artists who have crowdfunded but do you have to be a certain level of popularity first? I think so. The people i know who crowdfunded successfully in video/music/comic books have all done many conventions, have many email lists and a larger network than me. What markers of popularity should one look for before they try a kickstarter, if any? "For authors who are able to look beyond book sales and even write beyond the book" I have to admit, I learned this as well, I am just not as fast in the self selling as other artists, but I am getting there. In retrospect this was inevitable. The creative aspect of being an artist in any medium will never change, that is about displaying what comes from one's soul through some method to be experienced by all. But, the commercial aspect to modern, of the now not better or worse, art stems from the change from an industry based on patronage, having a father, a financial benefactor. To one in which the artist is also the fiscal operator. Not merely because they want to but because they must. And this is going to make the world of art change, commercially. I bet one day, writers of a certain level of popularity will accept payment by other writers to put small stories into their books, as a kind of paid assistance. If that isn't already happening. Lastly, though not leastly, thank you for your efforts Jane Friedman. You have helped me see the industry better. Referral https://www.linkedin.com/posts/janefriedman_how-publishing-has-changed-since-2015-jane-activity-7369442214227259392-xnR5?utm_source=share&utm_medium=member_desktop&rcm=ACoAAC9jwHcBhMdyfurNH2JmdlAPjJgXHivmWR8 MY COMMENT TO THE REFERRAL Thank you Jane Friedman you have been helpful from the first post I read of yours. It heard of you through Kobo first and have been reading your insights ever since. Hope you have greater prescience in the ten years to come and more positive changes in the literary industry in said time. I ask all who have learned from her or have good wills to spare to leave an inspiring comment to her postaluminumal journey. the following is mine https://janefriedman.com/how-publishing-has-changed-since-2015/#comment-69309

My Questions to BisBiswas of deviantart Bisbiswas https://www.deviantart.com/bisbiswas Save the date: QA with BisBiswas https://www.deviantart.com/kovowolf/journal/Save-the-date-QA-with-BisBiswas-1236705071 MY COMMENT I looked from the back of your gallery and I noticed many of your landscapes were of night, I think sacred dragon was your first strong daylight landscape, as well as the first that suggest in artistic style an east asian landscape structure... I can be wrong of course I know that strong contrasts between light and dark, chiaroscuro when done effectively, in various ways, are always potent to attract viewers and to make inspiring artworks. The darkness isn't empty. Now to my questions. Which I will provide a partial answer to, just to spark thoughts to whomever may read. 1. In your experience what differences are near constant between how viewers react or comment to landscapes with small dark figures in the light compared to landscapes with small light figures in the dark? 2. What are your favorite examples of landscape photography in film, animated or live action or claymation or puppetry or other? For mosaic, a local black artist did something that has been in my family for many years, i love looking at it. For animated films, I will say the set of landscape scenes in entire studio ghibli films selection with my favorite among them Mononoke, sorry Howl, Triplettes of Belleville, watership down. For claymation I will say, fantastic mr fox, the black wolf scene https://www.youtube.com/watch?v=ELqdLvz60zA the underground activities scene with bogus buns and beans stores above, and the landscaping art from Mrs. Fox For live action, I select Daughters of the Dust 1991 I still think the only film that covers the geechee lands like that, Lawrence of Arabia 1962 the desert I have luckily been to the edge of the Sahara, it is beautiful , and the Peter JAckson Lord of the Rings trilogy. A commercial entry at the end but they present new zealand brilliantly. As a writer I am very interested in the next two answers. 3. What is your favorite literary description of a landscape in any prose style, no poetry or song, in any language ? I love a miracle of rare device from Ray Bradbury, remember, I wish I could see Xanadu Text for those who may not have read https://thephilosopher.net/bredberi/wp-content/uploads/sites/429/2025/03/A-Miracle-of-Rare-Device-Ray-Bradbury.pdf if not available try this one https://1drv.ms/b/c/ea9004809c2729bb/Ef2lEmutxDRNvx0JC3PbvuMBY6S0Dti-SBtdfyMOyq3iXA?e=9q8Mqg TEXT EMBEDDED A Miracle of Rare Device, Ray Bradbury A Miracle of Rare Device On a day neither too mellow nor too tart, too hot nor too cold, the ancient tin lizzie came over the desert hill traveling at commotion speed. The vibration of the various armored parts of the car caused road-runners to spurt up in floury bursts of dust. Gila monsters, lazy displays of Indian jewelry, took themselves out of the way. Like an infestation, the Ford clamored and dinned away into the deeps of the wilderness. In the front seat, squinting back, Old Will Bantlin shouted, "Turn off!" Bob Greenhill spun-swung the lizzie off behind a billboard. Instantly both men turned. Both peered over the crumpled top of their car, praying to the dust they had wheeled up on the air. "Lay down! Lay low! Please!" And the dust blew slowly down. Just in time. "Duck!" A motorcycle, looking as if it had burned through all nine rings of hell, thundered by. Hunched over its oily handlebars, a hurricane figure, a man with a creased and most unpleasant face, goggled and sun-deviled, leaned on the wind. Roaring bike and man flung away down the road. The two old men sat up in their lizzie, exhaling. "So long, Ned Hopper," said Bob Greenhill. "Why?" said Will Bantlin. "Why's he always tailing us?" "Willy-William, talk sense," said Greenhill. "We're his luck, his Judas goats. Why should he let us go, when trailing us around the land makes him rich and happy and us poor and wise?" The two men looked at each other, half in, half out their smiles. What the world hadn't done to them, thinking about it had. They had enjoyed thirty years of nonviolence together, in their case meaning non-work. "I feel a harve’s coming on," Will would say, and they'd clear out of town before the wheat ripened. Or, "Those apples are ready to fall!" So they'd stand back about three hundred miles so as not to get hit on the head. Now Bob Greenhill slowly let the car, in a magnificent controlled detonation, drift back out on the road. "Willy, friend, don't be discouraged." "I've been through 'discouraged,' "said Will. "I'm knee deep in 'accepting." "Accepting what?" "Finding a treasure chest of canned fish one day and no can opener. Finding a thousand can openers next day and no fish." Bob Greenhill listened to the motor talking to itself like an old man under the hood, sounding like sleepless nights and rusty bones and well-worn dreams. "Our bad luck can't last forever, Willy." "No, but it sure tries. You and me sell ties and who's across the street ten cents cheaper?" "Ned Hopper." "We strike gold in Tonopah and who registers the claim first?" "Old Ned." "Haven't we done him a lifetime of favors? Aren't we overdue for something just ours, that never winds up his?" "Prune's ripe, Willy," said Robert, driving calmly. "Trouble is, you, me, Ned never really decided what we wanted. We've run through all the ghost towns, see something, grab. Ned sees and grabs, too. He don't want it, he just wants it because we want it. He keeps it 'till we're out of sight, then tears it up and hang-dogs after us for more litter. The day we really know what we want is the day Ned gets scared of us and runs off forever. Ah, hell." Bob Greenhill breathed the clear fresh-water air running in morning stream over the windshield. "It's good anyway. That sky. Those hills. The desert and ... His voice faded. Will Bantlin glanced over. "What's wrong?" "For some reason ..." Bob Greenhill's eyes rolled, his tanned hands turned the wheel slow, "we got to ... pull off ... the road." The lizzie bumped on the dirt shoulder. They drove down in a dusty wash and up out and suddenly along a dry pen of land overlooking the desert. Bob Greenhill, looking hypnotized, put out his hand to turn the ignition key. The old man under the hood stopped complaining about the insomnia, and slept. "Now, why did you do that?" asked Will Bantlin. Bob Greenhill gazed at the wheel in his suddenly intuitive hands. "Seemed as if I had to. Why?" He blinked up. He let his bones settle and his eyes grow lazy. "Maybe only to look at the land out there. Good. All of it been here a billion of years. "Except for that city," said Will Bantlin. "City?" said Bob. He turned to look and the desert was there and the distant hills the color of lions, and far out beyond, suspended in a sea of warm morning sand and light, was a kind of floating image, a hasty sketch of a city. "That can't be Phoenix," said Bob Greenhill "Phoenix is ninety miles off. No other big place around." Will Bantlin rumpled the map on his knees, searching. "No. No other town." "It's coming clearer!" cried Bob Greenhill, suddenly. They both stood absolutely straight up in the car and stared over the dusty windshield, the wind whining softly over their craggy faces. "Why, you know what that is, Bob? A mirage! Sure, that's t it! Light rays just right, atmosphere, sky, temperature. City's the other side of the horizon somewhere. Look how it jumps, fades in and out. It's reflected against that sky up there like a mirror and comes down here where we can see it! A mirage, by Gosh!" "That big,-" Bob Greenhill measured the city as it grew taller, clearer in a shift of wind, a soft far whirlabout of sand. "The granddaddy of them all! That's not Phoenix. Not Santa Fe or Alamogordo, no. Let's see. It's not Kansas City." "That's too far off, anyway." "Yeah, but look at those buildings. Big! Tallest in the country. Only one place like that in the world." "You don't mean-New York?" Will Bantlin nodded slowly and they both stood in the silence looking out at the mirage. And the city was tall and shining now and almost perfect in the early-morning light. "Oh, my," said Bob, after a long while. "That's fine." "It is," said Will. "But," said Will, a moment later, whispering, as if afraid the city might hear, "what's it doing three thousand miles from home, here in the middle of Nowhere, Arizona?" Bob Greenhill gazed and spoke. "Willy, friend, never question nature. It just sits there and minds its knitting. Radio waves, rainbows, northern lights, all that, heck, let's just say a great big picture got took of New York City and is being developed here, three thousand miles away on a mom when we need cheering, just for us." "Not just us." Will peered over the side of the car. "Look!" There in the floury dust lay innumerable crosshatchings, diagonals, fascinating symbols printed out in a quiet tapestry. "Tire marks," said Bob Greenhill. "Hundreds of them. Thousands. Lots of cars pulled off here." "For what, Bob?" Will Bantlin leaped from the car, landed on the earth, tromped it, turned on it, knelt to touch it with a swift and suddenly trembling hand. "For what, for what? To see the mirage?" "Yes, sir! To see the mirage!" "Boy, howdy!" Will stood up, thrummed his voice like a motor. "Brrrummm!" He turned an imaginary wheel. He ran along a tire track."Brrrumm! Eeeee! Brakes on! Robert, Bob, you know what we got here? Look east! Look west. This is the only point in miles you can pull off the highway and sit and stare your eyes out!" "Sure, it's nice people have an eye for beauty-" "Beauty, my socks! Who owns this land?" "The state, I reckon." "You reckon wrong! You and me! We set up camp, register a claim, improve the property, and the law reads it’s ours. Right?" "Hold on!" Bob Greenhill was staring out at the desert and the strange city there. "You mean you want to homestead a mirage?" "Right, by zingo! Homestead a mirage!" Robert Greenhill stood down and wandered around the car looking at the tire-treaded earth. "Can we do that?" "Do it? Excuse my dust!" In an instant Will Bantlin was pounding tent pegs into the soil, stringing twine. "From here to here, and here to here, it's a gold mine, we pan it, it's a cow we milk, it's a lakeful of money, we swim in it!" Rummaging in the car, he heaved out cases and brought forth a large cardboard which had once advertised cheap cravats. This, reversed, he painted over with a brush and began lettering. "Willy," said his friend, "nobody's going to pay to see any darned old-" "Mirage? Put up a fence, tell folks they can't see a thing, and that's just their itch. There!" He held up the sign. SECRET VIEW MIRAGE-THE MYSTERIOUS CITY 25 cents per car. Motorbikes a dime. "Here comes a car. Watch!" "William!" But Will, running, lifted the sign. "Hey! Look! Hey!" The car roared past, a buff ignoring the matador. Bob shut his eyes so as not to see Will's smile wiped away. But then-a marvelous sound. The squeal of brakes. The car was backing up. Will was leaping forward, waving, pointing. "Yes, sir! Yes, ma'am! Secret View Mirage! The Mysterious City! Drive right here!" The treadmarks in the simple dust became numerous, and then, quite suddenly, innumerable. A great ball of heat-wafted dust hung over the dry peninsula where in a vast sound of arrivals, with braked tires, slammed doors, stilled engines, the cars of many kinds from many places came and took their places in a line. And the people in the cars were as different as people can be who come from four directions but are drawn in a single moment by a single thing, all talking at first, but growing still at last at what they saw out in the desert. The wind blew softly about their faces, fluttering the hair of the women, the open shirt collars of the men. They sat in their cars for a long time or they stood out on the rim of the earth, saying nothing, and at last one by one turned to go. As the first car drove back out past Bob and Will, the woman in it nodded happily. "Thanks! Why, it is just like Rome!" "Did she say Rome or home?" asked Will. Another car wheeled toward the exit. "Yes, sir!" The driver reached out to shake Bob's hand. "Just looking made me feel I could speak French!" "French!" cried Bob. Both stepped forward swiftly as the third car made to leave. An old man sat at the wheel, shaking his head. "Never seen the like. I mean to say, fog and all, Westminster Bridge, better than a postcard, and Big Ben off there in the distance. How do you do it? God bless. Much obliged." Both men, disquieted, let the old man drive away, then slowly wheeled to look out along their small thrust of land toward the growing simmer of noon. "Big Ben?" said Will Bantlin. "Westminster Bridge? Fog?" Faintly, faintly, they thought they heard, they could not be sure, they cupped their ears, wasn't that a vast clock striking three times off there beyond land's rim? Weren't foghorns calling after boats and boat horns calling down on some lost river? "Almost speak French?" whispered Robert. "Big Ben? Home? Rome? Is that Rome out there, Will?" The wind shifted. A broiling surge of warm air tumbled up, plucking changes on an invisible harp. The fog almost solidified into gray stone monuments. The sun almost built a golden statue on top of a breasted mount of fresh-cut snow marble. "How----" said William Bantlin, "how could it change? How could it be four, five cities? Did we tell anyone what city they'd see? No. Well, then, Bob, well!" Now they fixed their gaze on their last customer, who stood alone at the rim of the dry peninsula. Gesturing his friend to silence, Robert moved silently to stand to one side and behind their paying visitor. He was a man in his late forties with a vital, sunburned face, good, warm, clear-water eyes, fine cheekbones, a receptive mouth. He looked as if he had traveled a long way around in his life, over many deserts, in search of a particular oasis. He resembled those architects found wandering the rubbled streets below their buildings as the iron, steel and glass go soaring up to block out, fill in an empty piece of the sky. His face was that of such builders who suddenly see reared up before them on the instant, from horizon to horizon, the perfect implementation of an old, old dream. Now, only half aware of William and Robert beside him, the stranger spoke at last in a quiet, an easy, a wondrous voice, saying what he saw, telling what he felt: "In Xanadu ... " "What?" asked William. The stranger half smiled, kept his eyes on the mirage and quietly, from memory, recited. "In Xanadu did Kubla Khan A stately pleasure-dome decree Where Alph, the sacred river, ran Through caverns measureless to man, Down to a sunless sea." His voice spelled the weather and the weather blew about the other two men and made them more still. "So twice five miles of fertile ground With walls and towers were girdled round And here were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree. And here were forests ancient as the hills, Enfolding sunny spots of greenery." William and Robert looked off at the mirage, and what the stranger said was there, in the golden dust, some fabled Middle East or Far East clustering of minarets, domes, frail towers risen up in a magnificent sift of pollen from the Gobi, a spread of river stone baked bright by the fertile Euphrates, Palmyra not yet ruins, only just begun, newly minted, then abandoned by the departing years, now shimmered by heat, now threatening to blow away forever. The stranger, his face transformed, beautified by his vision, finished it out: "It was a miracle of rare device, A sunny pleasure-dome with caves of ice" And the stranger grew silent. Which made the silence in Bob and Will all the deeper. The stranger fumbled with his wallet, his eyes wet. "Thank you, thank you." "You already paid us," said William. "If I had more, you'd get it all." He gripped William's hand, left a five dollar bill in it, jumped into his car, looked for a last time out at the mirage, then sat down, started the car, idled it with wonderful case at face glowing, eyes peaceful, drove away. Robert walked a few steps after the car, stunned. Then William suddenly exploded, flung his arms up, whooped, kicked his feet, wheeled around. "Hallelujah! Fat of the land! Full dinner plate! New squeaky shoes! Look at my fistfuls!" But Robert said, "I don't think we should take it." William stopped dancing. "What?" Robert looked steadily at the desert. "We can't ever really own it. It's way out there. Sure, we can homestead the land, but ... We don’t even know what that thing is." "Why, it's New York and-" "Ever been to New York?" "Always wanted. Never did." "Always wanted, never did." Robert nodded slowly. "Same as them. You heard: Paris. Rome. London. And this last mate Xanadu. Willy, Willy, we got hold of something strange an big here. I'm scared we don't do right by it." "Well, we're not keeping anyone out, are we?", "Who knows? Might be a quarter's too much for some. It don't seem right, a natural thing handled by unnatural rules. Look and tell me I'm wrong." William looked. And the city was there like the first city he had seen as a boy when his mother took him on a train across a long meadow of heath early one morning and the city rose up head by head, tower by tower to look at him, to watch him co near. It was that fresh, that new, that old, that frightening, that wonderful. "I think," said Robert, "we should take just enough to buy gas for a week, put the rest of the money in the first poor-box we come to. That mirage is a clear river running, and people coming by thirsty. If we're wise, we dip one cup, drink it cool in the heat of the day and go. If we stop, build dams, try to own the whole river ..." William, peering out through the whispering dust wind, tried to relax, accept. "If you say so." "I don't. The wilderness all around says." "Well, I say different!" Both men jumped and spun about. Half up the slope stood a motorcycle. Sitting it, rainbowed with oil, eyes goggled, grease masking his stubbly cheeks, was a man of familiar arrogance and free-running contempt. "Ned Hopper!" Ned Hopper smiled his most evilly benevolent smile, unbraked the cycle and glided the rest of the way down to halt by his old friends. "You----,' said Robert. "Me! Me! Me!" Ned Hopper honked his cycle horn four times, laughing loud, head back. "Me!" "Shut up!" cried Robert. "Bust it like a mirror." "Bust what like a mirror?" William, catching Robert's concern, glanced apprehensively out beyond at the desert. The mirage flurried, trembled, misted away, then hung itself like a tapestry once more on the air. "Nothing out there! What you guys up to?" Ned peered down at the treadmarked earth. "I was twenty miles on today when I realized you boys was hiding back behind. Says to myself, that ain't like my buddies who led me to that goldmine in forty-seven, lent me this cycle with a dice roll in fifty-five. All those years we help each other and now you got secrets from friend Ned. So I come back. Been up on that hill half the day, spying." Ned lifted binoculars from his greasy jacket front. "You know I can read lips. Sure!" Saw all the cars run in here, the cash. Quite a show you’re running!" "Keep your voice down," warned Robert. "So long." Ned smiled sweetly. "Sorry to see you go. But I surely do respect your getting off my property." "Yours!" Robert and William caught themselves and said in a trembling whisper, "Yours?" Ned laughed. "When I saw what you was up to, I just cycled into Phoenix. See this little bitty governmen’ paper sticking out my back pocket?" The paper was there, neatly folded. William put out his hand. "Don't give him the pleasure," said Robert. William pulled his hand back. "You want us to believe you filed a homestead claim?" Ned shut up the smile inside his eyes. "I do. I don't. Even if I was lying, I could still make Phoenix on my bike quicker'n your jalopy." Ned surveyed the land with his binoculars. "So just put down all the money you earned from two this afternoon, when I filed my claim, from which time on you was trespassing my land." Robert flung the coins into the dust. Ned Hopper glanced casually at the bright litter. "The U.S. Government Mind. Hot dog, nothing out there, but dumb bunnies willing to pay for it!" Robert turned slowly to look at the desert. "You don't see nothing?" Ned snorted. "Nothing, and you know it!" "But we do!"" cried William. "We--" "William," said Robert. "But, Bob!" "Nothing out there. Like he said." More cars were driving up now in a great thrum of engines. "Excuse, gents, got to mind the box office!" Ned strode off, waving. "Yes, sir, ma'am! This way! Cash in advance!" "Why?" William watched Ned Hopper run off yelling. "Why are we letting him do this?" "Wait," said Robert, almost serenely. "You'll see." They got out of the way as a Ford, a Buick and an ancient Moon motored in. Twilight. On a hill about two hundred yards above the Mysterious City Mirage viewpoint, William Bantlin and Robert Greenhill fried and picked at a small supper, hardly bacon, mostly beans. From time to time, Robert used some battered opera glasses on the scene below. "Had thirty customers since we left this afternoon," he observed. "Got to shut down soon, though. Only ten minutes of sun left." William stared at a single bean on the end of his fork. "Tell me again: Why? Why every time our luck is good, Ned Hopper jumps out of the earth." Robert sighed on the opera-glass lenses and wiped them on his cuff. "Because, friend Will, we are the pure in heart. We shine with a light. And the villains of the world, they see that light beyond the hills and say, "Why, now, there's some innocent, some sweet all-day sucker." And the villains come to warm their hands at us. I don't know what we can do about it, except maybe put out the light." "I wouldn't want to do that." William brooded gently, his palms to the fire. "It's just I was hoping this time was comeuppance time. A man like Ned Hopper, living his white underbelly life, ain't he about due for a bolt of lightning?" "Due?" Robert screwed the opera glasses tighter into his eyes. "Why, it just struck! Oh, ye of little faith!" William jumped up beside him. They shared the glasses, one lens each, peering down. "Look!" And William, looking, cried, "Peduncle Q. Mackinaw!" "Also, Gullable M. Crackers!" For, far below, Ned Hopper was stomping around outside a car. People gesticulated at him. He handed them some money. The car drove off. Faintly you could hear Ned's anguished cries. William gasped. "He's giving money back! Now he almost hit that man there. The man shook his fist at him! Ned’s paid him back, too! Look more fond farewells!" "Yah-hee!" whooped Robert, happy with his half of the glasses. Below, all the cars were dusting away now. Old Ned did a violent kicking dance, threw his goggles into the dust, tore down the sign, let forth a terrible oath. "Dear me," mused Robert. "I'm glad I can't hear them words. Come on, Willy!" As William Bantlin and Robert Greenhill drove back up to the Mysterious City turn-off, Ned Hopper rocketed out in a screaming fury. Braying, roaring on his cycle, he hurled the painted cardboard through the air. The sign whistled up, a boomerang. It hissed, narrowly missing Bob. Long after Ned was gone in his banging thunder, the sign sank down and lay on the earth, where William picked it up and brushed it off. It was twilight indeed now and the sun touching the far hills and the land quiet and hushed and Ned Hopper gone away, and the two men alone in the abandoned territory in the thousand-treaded dust, looking out at the sand and the strange air. "Oh, no..." "Yes," said Robert. The desert was empty in the pink-gold light of the set ting sun. The mirage was gone. A few dust devils whirled and fell apart, way out on the horizon, but that was all. William let out a huge groan of bereavement. "He did it! Ned! Ned Hopper, come back, you! Oh, damn it, Ned, you spoiled it all! Blast you to perdition!" He stopped. "Bob, how can you stand there!" Robert smiled sadly. "Right now I'm feeling sorry for Ned Hopper. He never saw what we saw. He never saw what anybody saw. He never believed for one second. And you know what? Disbelief is catching. It rubs off on people." William searched the disinhabited land. "Is that what happened?" "Who knows?" Robert shook his head. "One thing sure: when folks drove in here, the city, the cities, the mirage, whatever, was there. But it's awful hard to see when people stand in your way. Without so much as moving, Ned Hopper put his big hand across the sun. First thing you know, theater's closed for good." "Can't we--" William hesitated. "Can't we open it up again?" "How? How do you bring a thing like that back?" They let their eyes play over the sand, the hills, the few long clouds, the sky emptied of wind and very still. "Maybe if we just look out the sides of our eyes, not direct at it, relax, take it easy..." They both looked down at their shoes, their hands, the rocks at their feet, anything. But at last William mourned, "Are we? Are we the pure in heart?" Robert laughed just a little bit. "Oh, not like the kids who came through here today and saw anything they wanted to see, and not like the big simple people born in the wheat fields and by God's grace wandering the world and will never grow up. We're neither the little children nor the big children of the world, Willy, but we are one thing: glad to be alive. We know the air mornings on the road, how the stars go up and then down the sky. That villain, he stopped being glad a long time ago. I hate to think of him driving his cycle on the road the rest of the night, the rest of the year." As he finished this, Robert noticed that William was sliding his eyes carefully to one side, toward the desert. Robert whispered carefully, "See anything?" A single car came down the highway. The two men glanced at each other. A wild look of hope flashed in their eyes. But they could not quite bring themselves to fling up their hands and yell. They simply stood with the painted sign held in their arms. The car roared by. The two men followed it with their wistful eyes. The car braked. It backed up. In it were a man, a woman, a boy, a girl. The man called out, "You closed for the night?" William said, "It's no use--" Robert cut in "He means, no use giving us money! Last customer of the day, and family, free! On the house!" "Thank you, neighbor, thank you!" The car roared out onto the viewpoint. William seized Robert's elbow. "Bob, what offs you? Disappoint those kids, that nice family?" "Hush up," said Robert gently. "Come on." The kids piled out of the car. The man and his wife climbed slowly out into the sunset. The sky was gold and blue now, and a bird sang somewhere in the fields of send and bon-pollen. "Watch," said Robert. And they moved up to stand behind the family where it was lined up now to look out over the desert. William held his breath. The man and wife squinted into the twilight uneasily. The kids said nothing. Their eyes flexed and filled with a distillation of late sunlight. William cleared his throat, "It's late. Uh--can't see too--" The man was going to reply, when the boy said, "Oh, we can see fine!" "Sure!" The girl pointed. "There!" The mother and father followed her gesture, as if it might help, and it did. "Lord," said the woman, "for a moment I thought ... But now.. Yes, there it is!" The man read his wife's face, saw a thing there, borrowed it and placed it on the land and in the air. "Yes," he said, at last "Oh, yes." William stared at them, at the desert and then at Robert, who smiled and nodded. The faces of the father, the mother, the daughter, the son were glowing now, looking off at the desert. "Oh," murmured the girl, "is it really there?" And the father nodded, his face bright with what he saw that was just within seeing and just beyond knowing. He spoke as if he stood alone in a great forest church. "Yes. And, Lord, it's beautiful." William started to lift his head, but Robert whispered, "Easy. It's coming. Don’t try. Easy, Will." And then William knew what to do. "I.." he said, "I am going to go stand with the kids." And he walked slowly over and stood right behind the boy and the girl. He stood for a long time there, like a man between two warm fires on a cool evening, and they warmed him and he breathed easy and at last let his eyes drift up, let his attention wander easy out toward the twilight desert and the hoped-for city in the dusk. And there in the dust softly blown high from the land, reassembled on the wind into half-shapes of towers and spires and minarets, was the mirage. He felt Robert's breath on his neck, close, whispering, half talking to himself. "It was a miracle of rare device, A sunny pleasure-dome with caves of ice And the city was there. And the sun set and the first stars came out. And the city was very clear, as William heard himself repeat, aloud or perhaps for only his secret pleasure, "It was a miracle of rare device..." And they stood in the dark until they could not see. 1962 The end Video from the show https://www.youtube.com/watch?v=IkNGJiNkKJY Kublai khan from Samuel Taylor Coleridge Kubla Khan By Samuel Taylor Coleridge Or, a vision in a dream. A Fragment. In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round; And there were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree; And here were forests ancient as the hills, Enfolding sunny spots of greenery. But oh! that deep romantic chasm which slanted Down the green hill athwart a cedarn cover! A savage place! as holy and enchanted As e’er beneath a waning moon was haunted By woman wailing for her demon-lover! And from this chasm, with ceaseless turmoil seething, As if this earth in fast thick pants were breathing, A mighty fountain momently was forced: Amid whose swift half-intermitted burst Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher’s flail: And mid these dancing rocks at once and ever It flung up momently the sacred river. Five miles meandering with a mazy motion Through wood and dale the sacred river ran, Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean; And ’mid this tumult Kubla heard from far Ancestral voices prophesying war! The shadow of the dome of pleasure Floated midway on the waves; Where was heard the mingled measure From the fountain and the caves. It was a miracle of rare device, A sunny pleasure-dome with caves of ice! A damsel with a dulcimer In a vision once I saw: It was an Abyssinian maid And on her dulcimer she played, Singing of Mount Abora. Could I revive within me Her symphony and song, To such a deep delight ’twould win me, That with music loud and long, I would build that dome in air, That sunny dome! those caves of ice! And all who heard should see them there, And all should cry, Beware! Beware! His flashing eyes, his floating hair! Weave a circle round him thrice, And close your eyes with holy dread For he on honey-dew hath fed, And drunk the milk of Paradise. 4. What is your favorite literary description of a landscape in any poetic style, songs are poetry? I admit I wish I knew better but America the beautiful from katharine lee bates is a really good one. for those who may not know https://en.wikipedia.org/wiki/America_the_Beautiful 5. A two part question, first, you can only pick one work of yours for the future to know about, now pick the work, please please link or state it, Second name the person [thespian/elected official/ someone you know personally/ or other] you want to describe the work in audio recordings? 6. Name a landscape artists you adore, adore defined as inspired you as a landscape artist, that is the least known, can be alive or dead, or from before the 1900s or on deviantart? https://www.deviantart.com/bisbiswas/art/Sacred-Dragon-751336918 COMMENT REFERRAL https://www.deviantart.com/comments/1/1236705071/5233061725

Work in progress 2 Which is your favorite? the center + bottom right are the best covers for any mens magazine. That pose in the center, male fantasy. And all men love a woman to do a little ball play:) but my personal favorite is the left center. It is a battle axe, the axe blade doesn't need to be so bearded cause the cutting motion from the top of the axe will get the area and less weight makes it easier to swing. The pike can be more dense which will make it better for armor. the short handle is slick making it ideal for close combat, but the chain , I like it , you can swing this ax and use as a whip gaining very nice distance:) https://www.deviantart.com/dualmask/art/WIPs-set-2-1234842324 I couldn't resist https://www.youtube.com/watch?v=M36j_mu6L-c WIP set 1, have all been completed https://www.deviantart.com/dualmask/art/WIPs-1232689278 an earlier sketch card https://www.deviantart.com/dualmask/art/Sketch-Card-Plans-1221990444 AND EN EXTRA TREAT!! Babes with no buttons an October Challenge https://www.deviantart.com/dualmask/art/October-Art-Challenge-991195683 OF all the works, which is your favorite row? I chose mine as the banner image from the following, top row in each image is 1 wip 1 - row 3 WIp 2- row 2 october - row 6 sketch card- row 2

No, THIS is WORST FILM of 2025! (War of the Worlds Remake) https://www.youtube.com/watch?v=wbH3fux3Thoembed my comment Is this funnier than the Room? Worst Film List https://www.mentalfloss.com/article/503248/15-worst-movies-ever-made

Final Fantasy- A Nollywood Film video https://www.youtube.com/watch?v=BgsAPZ7kL9Y Embed Starring Stan Nze , Chy Nwakanma,Scarlet Gomez, Thelma Iheanacho, Alez Ayalogu, Uche Inyamah Directed by Chidi Udensi Produced by Thelma Iheanacho Production manager Emeka Adibe Continuity Cent Micah Duke Soundman Ifeanyi Ochuba Cinematography : Jide Otutu + Tareotu III Fidel Soundtrack Tareotu IV Kennedy A.D. 1 Jide Otutu A.D. 2 John Ugoji Story by Thelma Iheanacho Editor Chidi Udensi Screenplay Chidi Udensi Executive producer Matthew Gbinije Executive producers Thelma Iheanacho + Chidi Udensi Distributed Mogson Production + Movienatics Entertainment Referral https://www.linkedin.com/posts/thelma-victoria-iheanacho-964368121_watch-and-share-this-scintillating-drama-activity-7363838381488750594-vOQd?utm_source=share&utm_medium=member_desktop&rcm=ACoAAC9jwHcBhMdyfurNH2JmdlAPjJgXHivmWR8