the truth

atisha

things to do

apocalypse now

paradise or oblivion

true

Just 

because 

you 

believe 

something 

doesn't 

make 

it 

true.

space flight

self portrait 1979

when you dream...

dream big !

the context

International Workers' Day

The Industrial Workers of the World (IWW or the Wobblies) is an international industrial union that was formed in 1905. The origin of the nickname "Wobblies" is uncertain.

The IWW promotes the concept of "One Big Union," contends that all workers should be united as a social class and that capitalism and wage labor should be abolished. They are known for the Wobbly Shop model of workplace democracy, in which workers elect their managers and other forms of grassroots democracy (self-management) are implemented. IWW membership does not require that one work in a represented workplace, nor does it exclude membership in another labor union.

The Wobblies differed from other union movements of the time by its promotion of industrial unionism, as opposed to the craft unionism of the American Federation of Labor. The IWW emphasized rank-and-file organization, as opposed to empowering leaders who would bargain with employers on behalf of workers. This manifested itself in the early IWW's consistent refusal to sign contracts, which they felt would restrict workers' abilities to aid each other when called upon. Though never developed in any detail, Wobblies envisioned the general strike as the means by which the wage system would be overthrown and a new economic system ushered in, one which emphasized people over profit, cooperation over competition.

One of the IWW's most important contributions to the labor movement and broader push towards social justice was that, when founded, it was the only American union (besides the Knights of Labor) to welcome all workers including women, immigrants, African Americans and Asians into the same organization. Indeed, many of its early members were immigrants, and some, like Carlo Tresca, Joe Hill and Mary Jones, rose to prominence in the leadership.
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war is obsolete

"It is now highly feasible to take care of everybody on Earth

at a higher standard of living than any have ever known.

It no longer has to be you or me.

Selfishness is unnecessary.

War is obsolete.

It is a matter of converting the high technology

from weaponry to livingry."

- R. Buckminster Fuller

good question

using proper english

manifesto

tron

conflict

remember...

you don't hate

people...

you hate what

they DO...

god didn't make

any bad people

you are a human - being

Our Sacred Duty

Civil disobedience...

becomes a sacred duty...

when the state has become...

lawless or corrupt.

...Mahatma Gandhi...

Lord of the Flies

Lord of the Flies is a novel by Nobel Prize-winning author William Golding. It is about group of British schoolboys stuck on a deserted island who try to govern themselves, with disastrous results. Its stances on the already controversial subjects of human nature and individual welfare versus the common good earned it position 68 on the American Library Association’s list of the 100 most frequently challenged books of 1990–1999. In 2005, the novel was chosen by Time magazine as one of the 100 best English-language novels from 1923 to 2005 and was awarded a place on both lists of Modern Library 100 Best Novels, reaching #41 on the editor's list, and #25 on the reader's list. Published in 1954, Lord of the Flies was Golding’s first novel, in response to The Coral Island. Although it was not a great success at the time—selling fewer than 3000 copies in the United States during 1955 before going out of print—it soon went on to become a bestseller, and by the early 1960s was required reading in many schools and colleges. It was adapted to film in 1963 by Peter Brook, and again in 1990 by Harry Hook.

The book takes place in the midst of a fictive World War III, suggested by passing references to the use of an "atom bomb", British conflict with the "Reds", and the possibility of spaceflight after the war ends. The main characters are evacuees from schools in Great Britain whose plane crash landed on a deserted island. Some are ordinary students, while others arrive as a coherent body under an established leader (a choir). Most appear never to have encountered each other before. The book portrays their descent into savagery; left to themselves in a paradisaical country, far from modern civilization, the well-educated children regress to a primitive state.

At an allegorical level, the central theme is the conflicting impulses toward civilization—live by rules, peacefully and in harmony—and towards the will to power. Different subjects include the tension between groupthink and individuality, between rational and emotional reactions, and between morality and immorality. How these play out, and how different people feel the influences of these, forms a major subtext of Lord of the Flies. (read more)

the greenwood

"Rise and rise again

until lambs become lions"

Mama's little baby

Put on the skillet,
Slip on the lid,
Mama's gonna make
A little short'nin' bread.
That ain't all
She's gonna do,
Mama's gonna make
A little coffee, too.

Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread,
Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread.

Three little children,
Lyin' in bed
Two were sick
And the other 'most dead
Sent for the doctor
And the doctor said,
"Give those children some
Short'nin' bread."

Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread,
Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread.

Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread,
Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread.

When those children,
Sick in bed,
Heard that talk
About short'nin' bread,
Popped up well
To dance and sing,
Skipped around and cut
The pigeon wing.

Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread,
Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread.

Slip to the kitchen,
Slip up the led,
Filled my pockets full of
Short'nin' bread;
Stole the skillet,
Stole the led,
Stole the gal makin'
Short'nin' bread.

Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread,
Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread.

Caught me with the skillet,
Caught me with the led,
Caught me with the gal makin'
Short'nin' bread;
Paid six dollars for the skillet,
Six dollars for the led,
Spent six months in jail eatin'
Short'nin' bread.

Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread,
Mama's little baby loves
Short'nin', short'nin',
Mama's little baby loves
Short'nin' bread.

(video clip)

Oh My God...I Feel...I Feel Everything!

The Man Of Steel

Superman is a fictional character, a comic book superhero appearing in publications by DC Comics, widely considered to be an American cultural icon. Jerry Siegel and Joe Shuster first created a bald telepathic villain bent on dominating the entire world. He appeared in the short story "The Reign of the Super-Man" from Science Fiction #3, a science fiction fanzine that Siegel published in 1933. Siegel re-wrote the character in 1933 as a hero, bearing little or no resemblance to his villainous namesake, modeling the hero on Douglas Fairbanks Sr. and his bespectacled alter ego, Clark Kent, on Harold Lloyd. The character first appeared in Action Comics #1 (June 1938) and subsequently appeared in various radio serials, television programs, films, newspaper strips, and video games. With the success of his adventures, Superman helped to create the superhero genre and establish its primacy within the American comic book.

An influence on early Superman stories is the context of the Great Depression. The left-leaning perspective of creators Shuster and Siegel is reflected in early storylines. Superman took on the role of social activist, fighting crooked businessmen and politicians and demolishing run-down tenements. This is seen by comics scholar Roger Sabin as a reflection of "the liberal idealism of Franklin Roosevelt's New Deal", with Shuster and Siegel initially portraying Superman as champion to a variety of social causes. In later Superman radio programs the character continued to take on such issues, tackling a version of the KKK in a 1946 broadcast. Siegel and Shuster's status as children of Jewish immigrants is also thought to have influenced their work. Timothy Aaron Pevey has argued that they crafted "an immigrant figure whose desire was to fit into American culture as an American", something which Pevey feels taps into an important aspect of American identity.

Siegel himself noted that the mythic heroes in the traditions of many cultures bore an influence on the character, including Hercules and Samson. The character has also been seen by Scott Bukatman to be "a worthy successor to Lindberg ... (and) also ... like Babe Ruth", and is also representative of the United States dedication to "progress and the 'new'" through his "invulnerable body ... on which history cannot be inscribed." Further, given that Siegel and Shuster were noted fans of pulp science fiction, it has been suggested that another influence may have been Hugo Danner. Danner was the main character of the 1930 novel Gladiator by Philip Wylie, and is possessed of the same powers of the early Superman.


Comics creator and historian Jim Steranko has cited the pulp hero Doc Savage as another likely source of inspiration, noting similarities between Shuster's initial art and contemporary advertisements for Doc Savage: "Initially, Superman was a variation of pulp heavyweight Doc Savage". Steranko argued that the pulps played a major part in shaping the initial concept: "Siegel's Superman concept embodied and amalgamated three separate and distinct themes: the visitor from another planet, the superhuman being and the dual identity. He composed the Superman charisma by exploiting all three elements, and all three contributed equally to the eventual success of the strip. His inspiration, of course, came from the science fiction pulps", identifying another pulp likely to have influenced the pair as being "John W. Campbell's Aarn Munro stories about a descendant of earthmen raised on the planet Jupiter who, because of the planet's dense gravity, is a mental and physical superman on Earth."

Because Siegel and Shuster were both Jewish, some religious commentators and pop-culture scholars such as Rabbi Simcha Weinstein and British novelist Howard Jacobson suggest that Superman's creation was partly influenced by Moses, and other Jewish elements. Superman's Kryptonian name, "Kal-El", resembles the Hebrew words קל-אל, which can be taken to mean "voice of God". The suffix "el", meaning "(of) God" is also found in the name of angels (e.g. Gabriel, Ariel), who are flying humanoid agents of good with superhuman powers. Jewish legends of the Golem have been cited as worthy of comparison, a Golem being a mythical being created to protect and serve the persecuted Jews of 16th century Prague and later revived in popular culture in reference to their suffering at the hands of the Nazis in Europe during the 1930s and 1940s. Superman is often seen as being an analogy for Jesus, being a saviour of humanity.

Whilst the term Superman was initially coined by Friedrich Nietzsche, it is unclear how influential Nietzsche and his ideals were to Siegel and Shuster. Les Daniels has speculated that "Siegel picked up the term from other science fiction writers who had casually employed it", further noting that "his concept is remembered by hundreds of millions who may barely know who Nietzsche is." Others argue that Siegel and Shuster "could not have been unaware of an idea that would dominate Hitler's National Socialism. The concept was certainly well discussed." Yet Jacobson and others point out that in many ways Superman and the Übermensch are polar opposites. Nietzsche envisioned the Übermensch as a man who had transcended the limitations of society, religion, and conventional morality while still being fundamentally human. Superman, although an alien gifted with incredible powers, chooses to honor human moral codes and social mores. Nietzsche envisioned the perfect man as being beyond moral codes; Siegel and Shuster envisioned the perfect man as holding himself to a higher standard of adherence to them.
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