Category > krankheit

Ferdinand Bardamu: Bardamu’s Bookbag

17 November 2011 » In anarchism, art, biographic, blog, books, comics, games, krankheit, libertarian, magick, objectivist, ovo, portland, sperm, trevorblake, zine

This review of OVO 20: JUVEN(a/i)LIA by Trevor Blake was written by Ferdinand Bardamu, and appeared at his blog In Mala Fide in November 2011.

This is a best-of collection of articles and artwork from OVO, a zine founded and edited by friend of the blog Trevor Blake, “a public record of [his] interests and inquiries.” It’s interesting, it’s weird, and I don’t entirely know what to make of it. I guess it’s because I’m too young to appreciate it – I was barely out of diapers when Trevor was printing up the early editions of OVO on his pal’s company’s copiers in the eighties. To someone of the Internet Era, where narcissistic self-expression is just a couple of mouse clicks away, the effort and dedication involved in compiling an entire magazine, from writing and gathering the material to binding the physical copies and mailing them out, is difficult to relate to.

Still, this is a great little collection of oddities, ranging from poetry to short stories to investigative journalism on offbeat subjects. They include “Holding Games for Ransom,” about how one tabletop game creator found a way to keep online piracy from cutting into his profits; “A Pit Stop Along the Inward Journey,” a stream-of-consciousness tale beginning with white guilt and ending with madness; and “23 Sperm Stories 23,” the longest article in the book, on just about every aspect of sperm, from its discovery, its function, and its future. Of particular interest to us in the manosphere are “Warbucks Intra-Family Communique” and “Becoming More Free” by Ernest Mann. The former is a satirical article on the emptiness and mindlessness of American consumerism; the latter is on how Mann unplugged himself from the Matrix of American culture:

I am wasting less of my time (LIFE) watching, listening to and reading THOUGHT LEADERS, ie, TV, movies, radio, music, newspapers, magazines and novels. These are like spectator sports. They cause me to live life vicariously, ie, second-hand, not real, only in fantasy. These mind conditioners are subtly designed to create not only fear and anger emotions but also create feelings of guilt and inadequacy. These feeling stifle growth and keep one securely in one’s rut. And of course the more visible purpose of the media is to create the desire to acquire (BUY! BUY! BUY!) and keep up with the Joneses. ‘Buying’ uses up my savings. I spent 22 years of my TIME (life) working as a Wage Slave. I helped perpetuate the status quo, ie a world of 98.6% Slaves and less than 1% Elite (Billionaires). I don’t wish to do that any more.

But the real prize is Trevor’s own writings, comprising the second half of the book. They include book reviews (including an exhaustive review of one of my favorites, L.A. Rollins’ Myth of Natural Rights), interviews with such diverse individuals as a bulimia sufferer and an expert on out-of-body experiences/bilocation, and my favorite, “Trajectory Through Anarchism,” in which Trevor tracks the evolution of his political beliefs:

1996: Feeling free of anarchism and a little burned by what I now see was my own hooded thinking, I call up the imp of the perverse to see what other forbidden ideas might be out there. Ayn Rand is suggested, and I read her works. Having already shed one hood I’m less inclined to put another one on, and I do not become an Objectivist. But moving through Objectivism brings libertarian thinking to my attention. It’s something about the sovereignty of the individual… but I’ve walked down that path already and don’t sign on as a libertarian either.

Like The eXile, OVO 20 comes in a 8 1/2 by 11 inch size, to fit artwork and cartoons on the pages – I was particularly amused by “Attack of the Giant Killer Sperm.” One minor issue I have with the design is that all paragraphs in OVO 20 are punctuated with bullet points. I suppose they’re there to make the book look distinctive, but I found them mildly distracting, fooling my eyes into thinking I was reading a series of lists instead of articles.

Still, if you want to take an excursion into the bizarre and come back a little more enlightened, OV0 20 is a fun and informative read. If you’re still not convinced, Trevor maintains a free online archive of all OVO articles here. He also has some words of wisdom for aspiring writers and publishers:

…First and most important, get busy. Your time is already diminished by work and mortality, and neither of those situations is going to improve. Keep a printed copy of what you make and write down the date of when you made it. Large bodies of work and the pleasure they bring are made a few small pieces at a time. Learn about the history of what interests you. Novelty is rare and not always of value for being novel. Your friends are not being documented right now and you are the one who can do a good job with that. Read with regularity outside your area of interests. Nothing will point out your own ignorance and error better than attentiveness to those who disagree with you, nothing makes what you know make sense like learning something unrelated to what you know. Take as many chances as you are willing to take the lumps for.

But most of all, get busy.

OVO 20 Juven(a/i)lia (October 2011)

01 October 2011 » In art, books, comics, games, krankheit, magick, money, ovo, periodical, science, sperm, surrealism, television, trevorblake, zine

OVO 20 JUVEN(a/i)LIA

112 pages, 8.5 x 11, $10.00

The best of OVO 1987 – 2011. Walter Alter, Dmitry Babenko, Hakim Bey, Trevor Blake, Johnny Brainwash, Chris C. Cilla, Cunnichant Night Owl, Mike Diana, Yael Ruth Dragwyla, James Ellis, Karen Elliot, Feral Faun, Klint Finley, Richard Ford, Chris Gross, Mike Gunderloy, Ginger Hutton, Ian MacEwan, Ernest Mann, Melissa, Thom Metzger, Jennifer Murrian, PM, Gerry Reith, James V. Scianna, Stuart Swezey, tENTATIVELY, a cONVENIENCE, V. Vale.

[Free] [Purchase]

Review by Ferdinand Bardamu: “To someone of the Internet Era, where narcissistic self-expression is just a couple of mouse clicks away, the effort and dedication involved in compiling an entire magazine, from writing and gathering the material to binding the physical copies and mailing them out, is difficult to relate to. Still, this is a great little collection of oddities, ranging from poetry to short stories to investigative journalism on offbeat subjects.”

Trevor Blake: Introduction
Mike Diana: Read OVO
Hakim Bey: Salon Apocalypse
Hakim Bey: Evil Eye
Hakim Bey: Intellectual S/M is the Fascism of the Eighties
Hakim Bey: Ringing Denunciation of Surrealism
Johnny Brainwash: Holding Games for Ransom
Gerry Reith: Letter from the Graveyard Shift
Cunnichant Night Owl: Lunalogue
Thom Metzger: The Hypmogoogoopizin’ Man
Thom Metzger: Wad Rules
Richard Ford: Bellowing Forth and Brandishing
James Ellis: Mayhem
Mike Gunderloy: The Meta-Network
James V. Scianna: A Pit Stop Along the Inward Journey
Chris Cilla: Sperm Trek
Anonymous: 23 Sperm Stories 23
Mike Diana: Attack of the Giant Killer Sperm
Feral Faun: Thoughts on Experimentation
tENTATIVELY, a cONVENIENCE: Lidznap
Chris Gross: Three Letters
James Ellis: Control
Klint Finley: The New Currency War
PM: Liberating Wednesday
Ernest Mann: Warbucks Intra-Family Communique
Ernest Mann: Becoming More Free
Karen Elliot: Operation Negation
Walter Alter: Little Wally’s Reader (Lights = Camera = Action / Densest? / The List of Recalibrations)
Chris Cilla: Apple / Pineapple
Review: My Struggle by Mark Mothersbaugh
Review: The Skin Horse by Nabil Shaban
Review: The Myth of Natural Rights by L. A. Rollins
Interview: Melissa
Interview: Stuart Swezey
Interview: Ginger Hutton
Interview: Yael Ruth Dragwyla
Interview: Jennifer Murrian
Interview: V. Vale
Trevor Blake: Tape Fragmentation
Trevor Blake: Magnetic Poetry
Trevor Blake: Saturn Return
Trevor Blake: New Superstition from a Dream
Trevor Blake: Mutants First
Trevor Blake: Science is Anti-Authoritarian
Trevor Blake: Tipping Points
Trevor Blake: Cursed Object
Trevor Blake: Trajectory Through Anarchism
James Ellis: Suffering
Trevor Blake: The Bonus Army
Trevor Blake: Multiple Name Identities
Trevor Blake: Co-Remoting with the Thunderous
Trevor Blake: Ecclesiastes 9:10
About the Contributors

… or assemble your own anthology from what I think of as the best few dozen articles or from all 19,000+ articles.

Interview: Melissa

16 March 2011 » In biographic, food, krankheit, ovo, periodical, television, trevorblake, zine

Melissa is a friend who spoke with OVO about her eating disorder on 12 July 1991.

OVO: When did you first realize there was something wrong about the way you were eating?

Melissa: Last Fall. I was dating somebody and I started doing it a lot. I’ve noticed I tend to do it more when I’m in a relationship. I used to drink a beer every day because it would help me throw up. I came home from work and drank a beer really quick. I was in the bathroom doing my business behind the closed door and the person walked in on me. They suggested to me that l have a problem. I had thought so before but when somebody else confronted me with it I had to confront myself with it. That’s when I realized there was something really wrong with what was doing.

OVO: How long had you been doing it?

Melissa: It’s an on-again off-again thing with me, depending on how you define it. I define my eating disorder not by how long I’ve thrown up or how long ago I starved myself. I think I’ve always had an unhealthy relationship with food. It’s taken on different forms over the years. I can remember when l was young I was deprived of certain foods that my friends could eat because my mother was really into health foods. I would go over to my friends’ house or trade lunches at school, and horde junk food because I was fascinated by it and it was something that was forbidden to me. That’s the first example of it. Over the years it’s been bulimia, it’s been anorexia, there have been points where I’ve been a compulsive exerciser, but the most recurring and the problem I have now is bulimia.

OVO: What is that?

Melissa: It’s called binge-and-purge syndrome. When l start eating I don’t feel like I can stop, then I feel guilty, so to make me feel better about eating all that food I’ll make myself throw up. Or I’ll not eat for a couple days or I’ll exercise for a long time. Some people use laxative but I’ve never done that.

OVO: Was throwing up something you figured out on your own?

Melissa: Yes, it was really easy for me. I’ve always had a nervous stomach. I figured out I could do it and use it as a way of maintaining my weight.

OVO: What is the source of your concern about your eating? Why isn’t it a natural process?

Melissa: I hate to sound like “I have this horrible childhood” but I think that’s where a lot of it came from. We had a rule in our house my sister and l joke about now called the Clean Plate Club (my sister, by the way, is anorexic). We weren’t allowed to leave the kitchen table until we’d finished everything that we had been given to eat. From there I started associating food with reward and punishment instead of just what I needed, like sleeping. It became something else.

OVO: Do you think your mother has some kind of eating disorder?

Melissa: No. I think my mother getting into her health food kick was just something to occupy her because there were things going on in my family that were very stressful for her. It was a means of her being able to cope by being interested in something.

OVO: You go to a group where you talk about this with other women.

Melissa: Yes. Last spring I started group therapy and individual counseling for my eating disorder.

OVO: What are the other womens’ experiences like?

Melissa: Their experiences are very similar to mine. It‘s very interesting because a lot of the ways I react to other things, not just food, are very similar to the other women in the group as well. It’s like obsessive-compulsive behavior across the board, not just with eating. It’s a pattern that develops the way you deal with everything.

OVO: Do you or they see any kind of connection between your eating disorder and media portrayal of women?

Melissa: Yes, and that was what really invoked a lot of emotion in me because I’m very involved in feminism and the portrayal of women in our society. I think it has an enormous amount to do with that. I think that’s why it became such an obsessive thing for me as I got into my teenage years. I’m 21 now. I saw a commercial on TV the other day for a clinic for eating disorders where they called it “the national college womens’ plague.” It’s one of the biggest things that happens to women when they enter college. When l moved to Knoxville is when my eating disorder became the worst. I that has to do with being on my own and food being a focus, something that is a constant, that l could always depend on.

OVO: What is it that you’re the trying to achieve by going to group therapy and counseling?

Melissa: One thing I learned in group therapy is that we’re not there to find a cure. We’re there to give each other support and understand why we do it because that‘s more important. I’d like to think eventually I won’t have to do it. There are times now where I’ll go days or weeks or even months… there was a period not too long ago where I went a couple months without doing it and that felt good, like I had power over myself.

OVO: If it’s something that you’ve done for a long time and that a lot of women have done and do what’s bad about it?

Melissa: It’s dangerous to your health. I have medical problems now because of it. I have a stomach ulcer. You can damage your esophagus. I’ve been lucky enough not to. I’ve never had a cavity in my life and now I have seven because my stomach acid has corroded the enamel off my teeth in the back. It can cause heart problems The two effects it’s had in me have been my teeth, and I get heartburn a lot and I have upper intestinal problems now from stomach acid.

OVO: Why is this occurring in women more than men?

Melissa: I think there’s a stronger image for women to live up to. There is an image that men have to live up to but there’s more emphasis and pressure for women to look a certain way to be accepted our society. It’s contradictory because we offer women a double standard by showing her all these great things she’s supposed to eat and make in her lifestyle and then she’s still supposed to look that way, and it’s impossible.

OVO: Why is it offered if it’s obviously a double standard and impossible?

Melissa: I can’t answer that. I could say just another way for men to have control over women but I think that’s maybe not answering the question, maybe that’s just anger. I think its because women want to have a certain lifestyle that they’ve been given the opportunity to have now and yet they’re still supposed to look a certain way from the old world thinking, pre-feminist thought, and what men find appealing today in our society is thin women.

OVO: Is this a modem problem?

Melissa: The Romans and the Greeks had vomitoriums where they actually would purge on purpose, but I think that was a way of having a decadent lifestyle and there wasn’t any kind image put before them as a reason to do that. If you discount that that it is a modern problem.

OVO: A friend of mine said that anyone who has an eating disorder should have their television taken away.

Melissa: That’s a good point because that’s where the double standard comes from. Commercials. That’s where the image is the strongest, that’s where we see the women that we’re supposed to look like.

OVO: It‘s telling that if you look at an ideal for women (and I think having one is a bad idea in the first place) prior to television that ideal is very different. It‘s changed throughout history but I think there’s a strong connection between modem eating disorders and television. All the years of film before television didn’t inspire eating disorders but film is also a visual medium. The difference is commercials.

Melissa: The food industry has created a demand for the diet industry. It’s a vicious cycle. I notice when I watch MTV sometimes (I watch it when I’m getting ready to go to work to have some background none), that when I want to look a certain way the worst I know people who’ve told me that when they’re dieting that they watch MTV because it gives them inspiration to look like the women who probably have eating disorders themselves.

OVO: What would you want someone reading this who has an eating disorder to know?

Melissa: To know that they should want to get help because it’s not something you should want to do and that you can get help. And it’s dangerous. It doesn’t seem like it’s dangerous and it’s a really easy answer but I’m sure that I’ll be really regretting a lot of what I’m doing ten years from now. I’m sure I’ll have a lot worse problems. I don‘t have a problem discussing it with friends and that‘s where I get a lot of my support but maybe that’s because a lot of my friends have eating disorders. It’s a secret and we go into our rooms to talk about it. Everybody understands that what is said behind that door is not said anywhere else. That’s what defines an eating disorder, it’s something that happens behind closed doors.

OVO: Who defines the ideal image of a woman and the ideal image of a man?

Melissa: I think the media.

OVO: Who controls the media?

Melissa: Are we talking conspiracy theory here? I think a lot of media is self-perpetuating. I don’t know who controls the media, I think that’s a whole other issue, but I think that by media offering something to the public and by the public response to that, it recreates the demand for it, like the economic law of supply and demand. It’s something that perpetuates itself.

OVO: What can we do about it?

Melissa: It should start with the individual. I try not to be influenced by images of women to look a certain way. I don’t buy the magazines. That‘s a way to start. It’s a choice the individual tries to make. By doing this interview I hope I’m reaching out to someone else. I think it’s important for us to let other people know that it‘s wrong. Know that it’s wrong ourselves then try to let everybody else know why it’s wrong and maybe beyond that do something about it together.

OVO: Like what?

Melissa: Like a support network.

OVO: What about after a support network, or in addition to it?

Melissa: That‘s when you’re ready to step into things on a big scale. I’ve written letters to fashion magazines telling them that their magazine portray images that are unhealthy for women and I think maybe a group could do that. I noticed the other day that there’s a thing on MTV where you can submit a video and tell them what you don’t like about anything. People have the option to complain about something that is on MTV that they don’t like. I thought it would be a fun thing for me and some friends to do, to make one and submit it to MTV and see if there’s a response at all.

OVO: MTV has realized that it can present any criticism of itself without changing. A friend of mine did an Art Break for them. Their contract said you have to have the MTV logo in the Art Break, and even if your Art Break is one minute of you ripping the logo up or seeing it on a TV screen and shooting it or in any way criticizing it, you still have to show the MTV logo. That‘s showing how media perpetuates itself. The problem and the solution are coming from the same source and you can’t hold onto either one of them and pull them away from yourself.

Melissa: Like Coke commercials that don’t have anything to do with the product but show the image of the product.

OVO: That’s why it’s important to boycott that kind of media completely, without exception, and simultaneously to create an alternative that people would hopefully find interesting and stimulating and life-affirming. A lot of what we’ve been talking about is good commodities versus bad commodities but eventually we’re going to have to come up with something that isn’t a commodity at all and return to something like “art” and figure out some way to make art that isn’t a commodity. It’s going to be difficult. That effort started many decades ago and it still hasn’t been achieved.

Melissa: Another example of the double standard is that the commercial I saw for the eating disorder clinic came on MTV. It portrays women as this certain ideal, then offers a solution, then help for the solution later. Usually if you notice on TV diet commercials follow food commercials.

OVO: How does education figure into it?

Melissa: That’s what’s really scary. When you learn about health and nutrition in school, usually the little pamphlets and flyers you’re given are from the National Dairy Board, who say it’s good for you to drink milk. My mother was a teacher and she said it’s because its so hard for the schools to get funding from the State that they will accept funding from corporations. I don’t take it too seriously when McDonald’s gives me a nutrition guide.

OVO: What do you think is going to happen in the future regarding eating disorders?

Melissa: I hate to say it but I think it’s going to get a lot worse before it gets any getter. Maybe it will get so bad and so rampant that it will explode and will be like everything else in this world that’s wrong. It’ll just keep happening until something really horrible happens.

OVO: Or something really wonderful.

Melissa: And then we’ll stop and go gee, sorry. When Gloria Steinem came to the University of Tennessee she said more women have died as a result of bulemia than it’s ever been reported of people dying of AIDS. AIDS gets more recognition and I agree its a problem that needs recognition but… Even with me, I know how wrong it is for me to have an eating disorder and I still do it. Even as wrong as I know it is and even as much as I don’t want to be a victim of it, of the media and everything else, I can’t help it. When l go out and l see other people who look good or go shopping and l want to a certain kind of clothes but they won’t look good on me unless l look a certain way… It’s hard for me when people I care about have also have been fed this image that people should look like that as well, like my family. I recently took a family vacation and my aunt is really thin, and her whole family is thin, and it made me feel like I should be thin.

OVO: Have you talked with your mother about this?

Melissa: Yes. My mother was a lot more informed on the subject than l thought she would be. I was thankful for that. She was very supportive. It was a surprise for me to get that support. She agreed that a lot of what she went through on the health food kick maybe contributed.

OVO: How much TV do you watch?

Melissa: When I watch television and pay attention l am very critical. I sit there and watch it and get angry and critique everything. I’m glad I’m to this point now where if it’s on and it’s really bothering me and it’s disgusting I’ll turn it off immediately and I won’t just change the channel. I don’t like to watch a whole lot of television because I think it’s bad in ways besides just image. Sometimes I watch it before I go to work, sometimes I have it on to have in the background when I’m in the shower if nobody’s home. I like to have noise.

OVO: Do you watch TV while you eat?

Melissa: Yes, and it’s scary to notice how many other people do that.

OVO: Television destroys community and that’s another reason to boycott it if you’re trying to to establish a community of support for anything, for any sort of political project or personal improvement art or thought. You can’t just have the TV on all the time.

Melissa: That’s one reason I’m really glad I got a job. Some days I’d wake up and there was only so much in a day that I could do before I’d done it all and I’d find myself watching television. Especially since we have cable. We’re moving soon and I don’t want to get cable when we do. We have a VCR and that’s different. Selective viewing is different. There are a lot films that are worth seeing and are good movies I enjoy watching. That’s what is nice about cable, watching HBO. The other day one of my favorite movies came on and that was nice to watch.

OVO: What movie was that?

Melissa: Pretty in Pink. My housemate bought a TV Guide so that I wouldn’t have to turn on the TV when I was bored and I wanted to see if anything was good on because than if nothing was good on I’d find myself watching anyway. Now I look for things I might want to watch and watch those things only.

OVO: What is it that makes you bored?

Melissa: When l didn’t have a job and everyone else in the house would be at work, I felt that for that period of the day should be… I would clean the house every day, I’d get up and clean, and I was getting tired of cleaning. You can only clean so much until everything is spotless. Then I would wait for everyone else to come home. I was turning into a housewife! I’d make dinner and clean the house and write letters, I did everything I needed to do and there wasn’t anything else I could do, I was looking for a job but you know how that is. Now I’ve got my job and that’s nice but a bad thing is that sometimes when l get off from work I’m so exhausted l can’t think, so l want something to think for me, so I watch a box that tells me how to think. That’s really dangerous. Lately I’ve stopped letting that control me and I’ve only been watching selective television again. I watch Star Trek on Saturdays and I like the show Alien Nation because it deals with racism. When I first moved to Knoxville I didn’t have a TV for the first few months but I still had the eating disorder. I think it’s beyond television. Television influences so many areas of our lives that you can influenced by television without watching it.

from OVO 11 CONTROL (September 1991)

[Postscript March 2011: Melissa is just fine now and has been for a long time.]

Ernest Mann: Warbucks Intra-Family Communique

21 February 2011 » In B12, books, fight, film, krankheit, music, ovo, periodical, prohibition, religion, sex, slavery, subgenius, television, zine

House of the United States of America:
Warbucks Intra-Family Communique

I know that you don’t like to think this, but we are much like humans. We are subject to the human frailties. We forget. We get slip-shod. We fall short of our disciplines. You have selected me to be the family coordinator and I agreed to be, at least until someone better comes along. So that’s why I’m now reminding you of some of our basic principles for handling slaves.

Our slaves can get bored easily. When bored, they get restless. They start thinking, and questioning order. Therefore it is necessary for us to direct their thinking into areas which keep them dependent on our leadership. We must make them feel dependent on society for all their needs. Make them feel important to the Great Whole to which they belong. Keep them too deep in debt to have any spare time to experiment with principles of self-sufficiency, or even just getting out of hole.

A few of the slaves who refuse to conform are squatting in various places and planting their apple seeds, plum pits, grape seeds, avocado pits, orange seeds, nuts of all kinds and vegetables. They are not using our hybrid seeds. They found organic natural seeds more productive. They are creating Gardens of Eden, with free food, no rent and and acceptance of the Golden Rule instead of Government. So far, only a few of the smarter nonconformists are doing this. This gets them off our case; however, we must not give them any publicity, as it might encourage more our workers to not conform.

The family came up with a great innovation when they first decided to “allow” the peons to “own” land. Ownership gives them roots ties them down and makes it a easier to find them. It also gives us a classification of slave known as landlords. They serve us by forcing people to pay them rent in order to have a space to sleep on this planet. Thus they all work for us for the rest of their lives. We must always make them think that this is normal and that everyone has always had to pay rent and that they always will.

If the slaves deviate from present thought patterns, they might think it strange that they “agree” to work for us for 30 years to buy a place to sleep. They might wonder why some “primitive” people are able to build their homes from the material at hand in a couple of weeks and have no mortgage to pay. They might even find it simpler, more enjoyable and even more adventuresome to walk to where they wish to go instead of working for us to earn money to make perpetual car payments to us, so that they can get to a job to make the money to make their car payments. To say nothing of the car maintenance costs and depreciation. We must constantly entice them to buy. They make much better workers if are always in debt.

If we allow them space to think, they may question the vehicle with which they are killing themselves: 50,800 persons dead and 1,900,000 disabled in 1981 in the United States alone.They may see how machines and their present manufacturing processes are destroying their life-support system. They may see that all the processed junk food we’re selling them is making them sick and costing them more; see that their boring, unsatisfying jobs are driving many of them crazy. They might even discover the simplest unprocessed foods which are cheap and healthful.

As it is recorded in our family archives, one of our forefathers, Galus Julius Caesaer once sald: “Give them breed and circuses, to keep them from rebelling.” It is a simple matter to give them food, but it takes a little more imagination to give them circuses. I guess this is the creative part of being slave masters – to create diversions to keep their gullible little minds busy.

Our Watergate Scandal was a fine circus. It kept them thinking and talking along safe lines for years. We are still getting some mileage out of the Kennedy Assassination and they still aren’t sure whether we shot the real Kennedy, his double or a dummy. We have fine show going on Central America and in the Middle East, some still lingering in Germany, others in Vietnam, the USSR and China.

We may use the recent invasion to start another World War. It will be a challenge to attempt to involve our sheep in another big war, so soon after the last one. However, we may be able to pull it off, to get them angry enough to fight. We wouldn’t need to use the older nuclear bombs, as they could be dangerous to our families’ health. We might use a few of our cleaner H-Bombs. It will be a creative, fun time for us. Wars are truly the sport of kings. They are more fun to stage and run than chess games, or are hum-drum activities of production or politics.

Creating straw men for slaves to knock down is one of our best numbers. We set it up and let them tear it down. It diverts much of their creative energy. We create another excellent diversion by resisting their efforts to tear it down.

We learned long ago that people can think only one thought line at a time. We feed them thoughts and they either fight them or go along with them.

Music has always been an effective tool for setting their moods, their pace and leading their thoughts. While dancing they learn to step to the beat of our drummer and keep the pace we set. This teaches them to obey orders. The drum has always been useful for this. We let them touch each other during the dance. They seem to enjoy touching and they feel successful when they keep in step, so this training process becomes self-perpetuating. It also serves as an excellent distraction.

They must occupy their minds with keeping in step to the beat and with how they are going to entice their partners to deb. If they are constantly bombarded with distractions they will have no time to do any real thinking. They will only be aware of that which we make them aware.

Our closest guarded secret is the fact that slavery still exists in every country on this planet.

Laborers, farmers, traders, professionals, managers, directors and presidents – all take pay, so they must obey our orders. They are not aware of their bondage. Some are vaguely aware of the idea that “big money” runs everything. But they are unable to relate to the idea that they are part of that “everything.”

They think that they are free people, making all their own decisions We allow them to make the unimportant ones. The important ones we cover in their laws, and in their customs and religious and moral codes. We have even trained them to punish their own kind when they do not conform.

We have been masters for a long, long, time. We teach kids how to work, to be submissive and to obey orders. These kids grow up to he good slaves, like their parents. Most of the parents even go so far as to break their own kid’s spirits. So by the time they are of work age, them are docile, gullible and easy to manipulate.

Through all our media, including books, we give them a substitute for living. For example, we encourage them to live vicariously through the exciting adventures of fiction. This puts their fantasy life through an exciting energy drain which seems to satisfy some of their emotional hunger.

This substitute fills one of those spaces in time which they might have used to go out and experience life first-hand. Distractions keep them from discovering the bondage they are in. We must continue to titillate them to want to watch television and movies, to read newspapers, magazines and books to listen to radio and music.

We use the mass media not only for a distraction but also to help create their basic beliefs and expectations. Of course, the schools and churches serve this purpose too, as do popular songs and music. We use the media to create the desire to buy. In this way we motivate them to work for us.

They continue to administer to our needs as they did to Caeser’s and as they did for the priests in the time of the great pyamids. Our ancestors really knew how to handle people! As slaves get more education it takes a little more finesse to keep on top of them; however, it’s basically the same even today. Keep them fearful; fearful of death, fearful of pain, fearful of each other. Always encourage competition: it’s like fighting, separates people and keeps them fearful of losing.

We have made them afraid of death by telling them that they have spirits which live on after their death. If they obey our rules, which we tell them were inspired by God, their spirits will be assured entrance into Heaven or reincarnated into a better existence, depending on which of our religions they have chosen. This makes them afraid to die, because they know they haven’t obeyed all the rules (which we deliberately made too difficult to always be obeyed). If they can be kept afraid they are more easy to manage. Then they look to us for guidance and protection.

Promoting fear of pain is another distraction we have always used. We must not give them time to discover that pain is their body’s method of alerting them to the fact that they are doing something wrong to it. So before they can check out the reason for the pain, we channel them to a doctor who will attempt to numb the pain. The doctor will take up time and money doing so. It creates a great diversion, and debt. Some people talk about their pain constantly. The patients’ pain will usually return (sometimes to a different part of their body) after their cure. Doctors usually don’t remove the cause of pains. This would put them out of business.

We hire some of the slaves to act as police and soldiers so that we can threaten to inflict pain and imprisonment on the others. They literally enforce their own slavery when they take jobs in law enforcement and the military. We keep them too busy and too broke to realize this.

Sports and gambling have always been good spectacle. Sex may rate second place, drugs third. We have achieved a sort mass hypnosis by using movies, TV and music, with which we have been able to implant suggestions and beliefs without their being aware of it.

We may need to give our ecology program front page coverage again soon. It can take up the Slack to hold their attention in case it is untimely to start a war now.

Remember, the Warbucks family has ruled on this planet for six thousand years, so it is our right and destiny to continue doing so. Keep up the good work and if you have any problems, contract Alexandria or Ernest, as I’m taking a little vacation.

- Cleopatra Warbucks

from OVO 11 CONTROL (September 1991)

See also:
OVO 2 (1987)

Mike Diana: OVO

06 February 2011 » In art, comics, fight, krankheit, ovo, periodical, television, trevorblake, ufo, video, zine

Wikipedia: Mike Diana

Michael Christopher “Mike” Diana (born 1969) is an underground cartoonist who became the first artist ever to receive a criminal conviction for obscenity in the United States.

In the early 1990s, Mike Diana, a young man from Tallahassee, Florida, began producing the adult comic book Boiled Angel. This amateur comic contained graphic depictions of a variety of taboo and gory subjects, and it was distributed to only a handful of retailers. In 1991, while investigating a Florida murder case, a police officer discovered an issue of Boiled Angel and, desperate for clues, contacted Diana, informed him he was a suspect, and requested a blood sample. The real killer was soon apprehended, and Diana was not pursued. The officer in question, however, collected additional issues of Boiled Angel and sent them to the State’s Attorney’s office where they went on file. Two years later, the Assistant State’s Attorney, Stuart Baggish, came across the books and sent Diana a certified letter that said he was being charged with three counts of obscenity pursuant to Florida Statute § 847.011(1): one for publishing the material, one for distributing it, and one for advertising it. At this point, Diana contacted the non-profit First Amendment organization the Comic Book Legal Defense Fund (CBLDF), which provided him, free of cost, with the services of several prominent defense attorneys and expert witnesses.

Diana was employed as an elementary school janitor at the time of his first notoriety. He had used the school’s copier to reproduce some of his comic books representing crude, graphic drawings of sexual molestation and limb severing. Some of the material was allegedly left there, and Diana was fired.

On June 4, 1996, after a brief trial, Largo, Florida, Circuit Judge Douglas Baird declared the comics Boiled Angel #7 and Boiled Angel #ATE to be obscene, stating that he found them to be “patently offensive,” and that “The evident goal of the appellant’s publication is to portray shocking and graphic pictures of sexual conduct so it will be noticed. If the message is about victimization and that horrible things are happening in our society, as the appellant alleges, the appellant SHOULD HAVE created a vehicle to send his message that was not obscene.” Diana was found guilty on all three counts, and was sentenced to a three-year probation, during which time his residence was subject to inspection to determine if he was in possession of or was creating obscene material. He was to avoid all contact with children under 18, undergo psychological testing, enroll in a journalistic ethics course, pay a $3,000 fine, and perform 1,248 hours of community service. He was also ordered to cease drawing for personal use, and his place of residence was to be open to inspection by the police, without warning or warrant, at any time, for illustrations violating this ruling. He was not sentenced to any jail time, but spent four days in jail between the dates of the verdict and the sentencing.

To fulfill the requirement of undergoing a psychiatric evaluation, Diana was informed that the doctor whom he would see charged $100 an hour, which he would have to pay for himself, and that his evaluation would take two hours. After the evaluation, Diana was informed the session would cost $1,200 because the doctor claimed to have spent 10 hours reading Boiled Angel in preparation. Out of funds, Diana was unable to pay, and the doctor refused to give her evaluation to the court, effectively making him in violation of his probation.

Two appeals to the State Appellate Court failed to have the case reversed or reheard in Florida. During the first appeal process, the prosecution used evidence gathered after the original trial, a move that, according to the CBLDF, is usually considered unethical. The only count of the three under which Diana was convicted that was judged incorrect was the conviction for “advertising obscene material.” The Court agreed that it was improper to convict someone for advertising material that had not yet been created since Diana could not, at the time, know the nature or character of the work. The courts refused to accept an amicus brief submitted by the American Civil Liberties Union, and responded without comment to the second appeal. On June 27, 1997 the United States Supreme Court denied Mike Diana’s petition for a writ of certiorari without comment, effectively ending his legal options in his battle to overturn his conviction.

Diana moved to New York, where he was granted permission to serve out his sentence, and fulfill his community service obligation through volunteer work for the Comic Book Legal Defense Fund.

OVO was one of the handful of publishers that printed Mike’s work before his legal troubles. My only trouble connected to Mike’s work was having OVO removed from the shelves of a magazine store in Knoxville, Tennessee. Mike also contributed original art to OVO 15 SPERM (February 2005).  Compare the style and content of Mike’s work in 1990 with the 2007 television program Superjail [wikipedia][google video].  What Mike paid the price for, Cartoon Network makes the profit from.

Mike Diana
http://www.testicle.com/mikediana.htm

(from OVO 10 MAYHEM July 1991)

BBC Ouch Talk Show: End of Year Show

06 January 2011 » In krankheit, podcasts, spoken

In our End Of Year Show Mat [Fraser] and Liz [Carr] are joined by Baroness Tanni Grey-Thompson and BBC Disability Affairs correspondent Peter White to say goodbye to 2010 and hello to 2011.

[...]

TANNI    I’ve heard a lot of people, which I haven’t heard for a long time, talking again about how they can protest. And it’s more than just writing letters to your MP, how can they come together and find the right way to protest. And the trouble with that, someone was telling me about ‘let’s organise a flash mob.’ But when you can only get two wheelchair users on a train coming down from the north east and get left on at Kings Cross, it’s a bit harder to make that happen. 

LIZ    They’ll just end up on a mobile phone ad anyway won’t we?

PETER    I also think something else has happened really since… sorry, this is being my serious BBC Disability Affairs Correspondent head on,,, the organisation, the disability organisations, aren’t as strong as they used to be. In the ’90s, in the ’80s, when you’re talking about when people chained themselves to buses and so forth, disability organisation was strong. And Labour did something very clever and I reported on this quite a lot and nobody took any notice of me, which often happens. What they did was they incorporated all the leaders of the disability movement into their various quangos and organizations and disability rights commissions and you got Baroness Campbell, friend of Baroness Grey-Thompson’s here, they put them in the Lords they cut the head off the tiger, that’s what they did. 

[...]

PETER    I don’t think, you know, Disability Discrimination Act and any of the legislation, I don’t think had anything to do with celebs, What it had all to do with solidarity and marching and people tying themselves to things. That worried people and it really got to people. That is what made the difference between sixteen attempts to get a disability discrimination bill into Parliament and actually getting it there, because it was when that really built up. So I’m sorry that is what people say, ‘oh why do people demonstrate?’ They demonstrate because it works. 

MAT    So are you saying that that’s what young disabled people should be thinking about now in view of the cuts?

PETER    Well I’m not going in incite them on your programme, Mat. I’m just saying that is what works and if it gets bad enough that is what will happen. Nothing gets given to you by sitting around and it doesn’t get given to you because a celeb says it ought to happen.

Highest recommendations for the twice-monthly Ouch Talk Show from the BBC.

Trevor Blake: So You Want to Meet an Alien? The Works of Nabil Shaban

31 July 2010 » In biographic, film, krankheit, music, sex, television, trevorblake, video

The Skin Horse
1982
Written by Nigel Evans and Nabil Shaban
Featuring Nabil Shaban with Nick Finden, Tony Gerrard, Tina Leslie, Kathleen Venner

Documentaries on the disabled can be difficult to watch. Not in the sense of such films being ugly. Documentaries on the disabled can be difficult to watch because one simply can’t find them. Frederick Wiseman shot Titicut Follies in 1967. The film depicts the lives of inmates at the Bridgewater State Hospital for the Criminally Insane. Their lives were made up of being bullied, forced feed, sprayed with a high-pressure water hose and confined in unlit windowless rooms. In 1968 the film was removed from distribution and all copies were ordered destroyed by Massachusetts Superior Court Judge Harry Kalus.  Judge Kalus said he acted in the interest of the privacy of the inmates. The following year in that the film was allowed to be shown but only to health care professionals. Wiseman appealed the decision to the Supreme Court, which declined to review the case. According to Wikipedia, “the dispute marked the first known instance in the history of the American film industry that a film was banned from general distribution for reasons other than obscenity, immorality or national security.” Superior Court Judge Andrew Meyer lifted the ban on the film in 1991, on the condition “a brief explanation shall be included in the film that changes and improvements have taken place at Massachusetts Correctional Institution Bridgewater since 1966.” Today you can buy a copy of Titicut Follies from Zipporah Films, Inc.

No such luck for The Skin Horse. Channel 4 (formerly Central Television) commissioned the 1982 film but does not sell it. No one sells it, not legally. Worldcat does not list it as existing in the interlibrary loan system.  Exactly one private library has it in their collection. If you are exceptionally fortunate you may have seen it one of the few times it has been broadcast on television. The documentary isn’t banned, it is merely unavailable.

The Skin Horse is a documentary by and about disabled people and their sex lives. Not their secret longing and private thoughts, although these are part of the film. This is a documentary about sex, sex among the disabled, sex between the disabled and the able.

Co-author and narrator Nabil Shaban does not skirt around the issue. The Skin Horse is an adult film, made by and for adults able to speak most clearly about themselves. Perhaps mere suggestiveness would not have succeeded in this film. Perhaps like the Last Poets or Valarie Solanas, the time for subtlty ended long ago for Shaban. When a person is just a little different from the norm, suggestiveness and being coy are more common. When we find a birthmark or personality quirk in a partner it stands out for a moment and then is gone. When one or one’s partner isn’t even considered fully human by some people, the time to beat around the bush ends. The average life span of the disabled is shorter than that of the non-disabled. The average screen time of the disabled is measured in minutes-per-decade compared to the screen time of the non-disabled. A wink and a nod just isn’t going to cut it. These are stories told once, and there’s no follow-up special presentation later on. The Skin Horse is honest in a way most sex documentaries only aspire to be honest.

The honesty begins with a discussion of beauty.  In antiquity philosophers claimed physical beauty was a virtue, like honesty or courage. Deviation from the form was either a punishment or a moral weakness. The etymology of the word monster is that of a beast sent by the gods as a warning. In the 21st Century other theories of beauty predominate. The Skin Horse speaks of four theories of beauty.  All quotes are from The Skin Horse.

Is beauty like the sun, radiating from a center and growing cold with distance? Some sections of The Skin Horse support this classic idea. Nabil: “Most disabled or deformed people I met at special school, sheltered workshop or crip college couldn’t wait to go to bed with an able-bodied person. I know that to be true of me.”

Is beauty is in the eye of the beholder? Perhaps disability does not matter. Those who are left handed tend towards mental illness, higher rates of suicide and imprisonment and shorter life spans. But being left handed is not seen as a disability. Nor are glasses on a person with a slight vision problem. Perhaps what we see as beauty or as a disability is arbitrary, a frame of reference we are free to modify or reject. This was the thinking behind the founding of the Outsiders in 1979. The Outsiders “is a vibrant social and peer support network of disabled people. We are many different things to our many members. [...] Whenever possible, Outsiders works together with other groups to campaign for the acceptance of disabled people as sexual partners.” The Skin Horse includes interviews with a founder of The Outsiders: “If I’d thought about it before I started I don’t think I would have ever dared to do it because I never really thought it would work.  Everyone said it wouldn’t work. But actually, however disabled you are you are still able to love somebody and be loved. So the most amazing marriages and… parings… have taken place. Dispite the fact that they might not only be disabled but also homosexual. Goodness knows, they’re just like anybody else.” The Skin Horse also includes interviews with a member of Outsiders, Jack: “Everyone’s got ability and disability.”

Is beauty a spiritual force? Is beauty to the body as the mind is to the brain? Perhaps beauty and disability are not part of us at all, but a shadow cast by an inner light. Most of the speakers in The Skin Horse hold this theory of beauty. Nabil is a keen researcher into the paranormal, psychic powers, UFOs and utopian politics. Open the gates to a single taboo and the rest come marching in. Nabil: “From childhood we learn that there is always more than meets the eye, that external appearances are misleading, that what exists within us all is always greater than the sum of the parts. [...] To admit love is to admit there is more to appearances. And to admit that we all have to work much harder at being human. We have to consider not only the body but also the soul.” Another man speaks of sex as a spiritual experience rather than a physical one: “I know the joy, the contentment, the feeling of spirituality, the utter relief from the limitations of my body which comes from sex. Just calling it sex is a very limiting word. It’s far more than people think with just one word. My body is very limiting but in sex I feel complete freedom.” Tina Leslie talks about the difference between her body and her self. “Sometimes I eat in front of a mirror to see the mask as other people see me. And try to see their feelings.  But this is what they see. It’s got nothing to do with me, the real me, a lover sees that, the real me. But I still never quite, quite believe it. But my god, I’d rather this than some celibate martyrdom. [...] Some people see me as an ugly thing. They can’t see me as a being, and as a sexual person, never. Christ, I don’t mind being seen like that. What’s the point of militant feminism? I like men. I don’t want to take refuge in something disabled women use as an excuse suppress their sexuality.”

Is beauty a fetish? Are some beautiful because they are different? Thousands of gigabytes of disability pornography are shuttled about the globe every day, lending some weight to this theory. Nearly thirty years earlier, The Skin Horse made the connection between acceptable fetishes (weight lifters and surgical beauty queens) and unacceptable fetishes (in a word, freaks). Nabil: “Perfection becomes an imperfection, a curiosity, a handicap, and the handicap when taken to its physical extremes becomes an end in itself. Hence, King Size [magazine]. Jonny the Wad. Chesty Morgan. King Dong. Big Bum. And all those freaks we have learned to love and loathe. And some people lust after.” Freaks have their place, but it is a well proscribed place. Nabil: “In the world of sexuality, there are three genders: female, male and disabled. And what is more, traditionally, in the disabled group, we are categorized into monsters or children. Children, eh? So we’re either monsters or children. We’re either abused or patronized. We’re either a fetish or sexless. Never in between. [...] It seem we need freaks not only to reassure ourselves of our own normality but more importantly to help us rediscover something. Perhaps that’s why we create our own freaks in myths, legends, fairy stories, literature and films. Perhaps that’s why we impart a certain humanity in them, and allow them to love and be loved. But of course only in fiction.” Here The Skin Horse shows some of the approved and fictional couplings between able bodied persons and freaks, such as Leda and swan, a maid and a minotaur, Kala and Charleton Heston.

If the disabled are (or would like to be) similar to anyone else in their sex lives, are they similar in their loneliness? One man in The Skin Horse says so: “The problem of exploring one’s own sexuality is a problem that everyone has.”  But no matter how we sees ourselves, the challenge in starting and maintaining a relationship (or getting laid) is in how others see us.  One woman in The Skin Horse describes her everyday life at the home for incurables for the past 34 years: “Washed, dressed, put in my chair. [...] Sometimes I ache for the human contact that I’ve been denied. For a new face that isn’t a nurse or another incurable. [...] It’s this sense of waste that I resent most of all. It’s as if people like me are somehow supposed to live our lives beyond frustration. As if part of accepting our lot should include the complete denial of any emotional life at all.” Hey! you’ve got to hide your love away…

Getting off for the disabled can mean breaking laws as well as breaking taboo. One man talks about when his personal assistant brought him to a prostitute: “She was really sort of a bit freaked out by the fact that this guy carried me up the stairs and plunked me on the bed and said ‘there he is.’ I stayed there for about three or four hours. One hears so many terrible things said about prostitutes and I believe it’s still illegal and all that but in that case in point the lady who I saw fulfilled a very useful purpose and I’m eternally grateful to her. [...] The events leading on from [hiring a prostitute] did make me much more relaxed and more self confident in myself as a sexy person, to meet other people, to make relationships, and I suppose over the last few years that has been growing and it’s still growing.”

The men and women in The Skin Horse are largely still with us.  Comedian Tony Gerrard continues to perform. The Outsiders still exists, and is the only place I’ve found that has The Skin Horse in its library. The Skin Horse was where I first learned of Nabil Shaban, and I hope that this review can draw more attention to this singular work. But Shaban has done much more, prior to and since The Skin Horse. He has many stage, film and television credits to his name, some of which are listed below. He was part of the CRASS Collective and in 1980 co-founded the Graeae Theater. Shaban is an artist, an author, an animator, a director, an actor and a musician. He is a father.  How uncomfortable he must feel to know he’s been such a positive influence on my life and the lives of so many others.  Sorry, friend, you’re a hero.

Shaban offers many of his works online at YouTube and elsewhere. If I Decide to Commit Suicide, You Need Hands and The Fifth Gospel include Tina Leslie, also seen in The Skin Horse. If I Decide to Commit Suicide is a video for Shaban’s poem of the same name. It quotes from Eraserhead by David Lynch, just as The Skin Horse quotes from Lynch’s Elephant Man. You Need Hands is a dark music video. The Fifth Gospel describes Christianity as ‘body fascist’ and shows Shaban and Leslie being patronized during a trip to the non-healing fountains of Lourdes. Morticia is available as a video on demand from amazon.com. Morticia is about a girl who wants to become a vampire. A third party has posted The Strangest Viking online. This is a documentary narrated by Shaban on Ivar the Boneless, a viking who conquered much of England. An excerpt from The Alien Who Lived in the Sheds is online. In The Alien Who Lived in the Sheds, Shaban shows that for all his fire and thunder he can make fun of himself. Shaban is a believer in the paranormal, but is aware of how such beliefs can look to non-believers. Shaban is an advocate of the outsider, but it not immune from gawking when he meets a fellow outsider. Shaban is his body, but his body is also a source of pain. Alien includes a film within a film, and this film is again one of his poems set to music and video. For all his success in the theater, Shaban has experienced one significant setback. He secured money for a production of his play The First to Go when England joined the war against Iraq. The First to Go is a play about the fate of the disabled under the T4 program in wartime Germany. Shaban returned the government’s ‘blood money’ in protest and the play has yet to find another backer.

Nabil Shaban has successfully scattered the ash circle that kept able and disabled actors apart. He is a man who can be judged on his talents.  Shaban recently turned fifty and has many years of innovation and experimentation ahead of him. Thank you to Nabil Shaban for opening many doors, taking many risks and thumbing your nose at heresy.

Nabil Shaban (selected works)

Stage:

  • Godspell (1987)
  • The Emperor (1987)
  • Hamlet (1988)
  • Iranian Nights (1989)
  • Measure for Measure (1990)
  • Imagine Drowning (1991)
  • Fleshfly (1996)
  • DARE (1997) [vimeo] [youtube 1][youtube 2][youtube 3]
  • Haroun and the Sea of Stories (1998) [wikipedia]
  • The Little Lamp (1999)
  • Portadown Blues (2000)
  • I am the Walrus (2001)
  • Knocknashee (2002)
  • Jasmine Road (2003)
  • Threepenny Opera (2005) [youtube][dailymotion]
  • One Hour Before Sunrise (2006)
  • Endgame (2007) [youtube]
  • The First to Go (2008)
  • Marat/Sade (?)

Film:

Television:

Radio

  • The Ramayana (1994)
  • Treasure Island (1995)

Books:

Internet:

Trevor Blake is a sign language interpreter who lives in Portland, Oregon USA.

James V. Scianna: A Pit Stop Along the Inward Journey

26 July 2010 » In krankheit, ovo, periodical, zine

The following is an account by James Scianna of some of his experiences after temporarily ceasing to take powerful anti-psychotic and antidepressants after eight years of taking these drugs.

I go to this Vietnamese public health office, or at least when I get there it is run by a Vietnamese woman. I go in there and I guess there’s some conversation done in some curt professional manner on her part and it sort of defines the situation. I get the feeling that she’s talking down to me because I’m not of her race. I’m going there to get some special cockroach spray for the apartment that they are supposed to have there (I called them before I went). Anyway, she checks on this and I find out they don’t have it there in stock.  Then she starts talking about how I owe them / her seventy-five cents for some sort of “consultation fee” from the phone call I made, which pisses me off since they didn’t have what I wanted. I think I pay this. Then, as if that weren’t enough, she starts talking about how I owe her a pen since the last time I was there I took her pen. This becomes too much for me and an argument ensues, again, not heated but very curt, mature and professional, like that which often occurs between a customer and proprietor.  Anyway, I leave in a huff.

At this point what I am feeling is that for some reason the woman, because I am not of her race, looks down on me and is fucking with my head, trying to get one over on me, pushing me into a confrontation with her.  She’s playing on my own secret tendency to look down on Vietnamese people. The effect on me is one of frustration and of guilt. Although I know I didn’t steal her pen, I feel guilty as if I did. Perhaps I just forgot to return her pen to her accidentally. I don’t know, I’m not sure. Still, I feel guilty about this. I feel as if I’m definitely in the wrong and yet feel as if I should feel that I’m in the right. I’m frustrated.

As I’m walking home I notice that I’m at the curve of the road by the Main Public library at the intersection of Market and West San Carlos but the place is like a ghetto instead of a thriving hub of civic activity, what with with library, the civic center, the convention center and Fairmont Hotel all in that area.

A screaming, crying, half-naked Black kid comes running out of one slum yelling something about her father trying to tattoo her. I’m concernedly asking her and the brother who comes to fetch her if she is all right even though I know that there is nothing I can do if she isn’t all right, which is most probably the case.

I feel a sense of token concern over this. Again, we get a minority that l secretly look down upon. Whereas before I was not responsible for the situation, and yet I felt responsible, I felt as if I should feel responsible and wanted the other person to feel I had nothing to do with what she had accused me of. In this case, it was the flip side: even though I was not responsible for this young child’s situation, didn’t have anything to do with it and, indeed, I didn’t want to deal with it, I wanted the people involved to think that I could do something about it, a token show of concern. “Are you all right?” What was I going to do if they weren’t?  Nothing?

As I’m walking along I walk by a short cyclone fence of a house. On the inside of the fence, hanging on it by the neck, is the desiccated carcass of a tiny little kitten. Immediately I understand that another abusive father is at work here, that the cat of some poor family has had a whole litter of unwanted kittens and the father is abusing, killing and neglecting them so that they die and he doesn’t have to deal with them.

Two of these starved, half-dead yet amazingly strong and eager little unwanted things come up to me and start grabbing onto my ankles and legs with ferocious tenacity, saying (non-verbally) “Please! Save us! Take us home! Feed us! Please! Love us!” It frightens me, the intensity of their need to be rescued from this, hellish kitty concentration camp and yet I’m concerned that they are going to get run over by a car outside of the fence where they are. I pick one of them up to throw it inside of this malevolent sanctuary and it digs its claws into my hands, unwilling to let go at any cost. I throw it in anyway.

I am hurt physically and psychologically by this whole scene. The kittens are repulsive to me. I want to be rid of them, of the sight of them. I am appalled by their horrible existence and their ferocious desperation. I can’t do anything about their pain. I literally throw them back into their situation. My feeling at this point is like there is a great weight on my shoulders, the weight of the world, the world’s pain, even though it is typified in two isolated incidents. I feel I’m living in a terrible world. I keep thinking how appalled my sister would be at these kitten’s plight. This is the third instance in which I feel guilty about something I have no power over. About something I haven’t done and can’t do anything about.

I notice a roach in the room. Then another. Then another. Like that movie Creepshow, “They’re Creeping Up on You.” I’m pissed because I can’t get the roach spray that’s going to solve my problems. So I get a can of Raid out and start spraying every square inch of the place with a heavy foam of the diluted poison. Spraying it directly onto roaches as I find each one. Until, when spraying under the bed, I come upon the queen cockroach herself. No matter how hard and how much I spray her, though, she doesn’t die. She becomes bigger and bigger.

She comes out from under the bed and she’s like a huge queen ant and by now she’s agent the size of a schnauzer. I’m spraying the Raid at her like she’s some sort of monster in some B horror movie, but it’s horribly real. The Raid comes out in a long foamy stream, an endless supply of the stuff directed at her insecticide head. She just laps it up like a dog drinking from a water lose.

Again, there is the deep feeling of revulsion and horror. I want to run screaming from the place but realize that I have no place to run to. The queen cockroach is insistent. She gets bigger and bigger after she crawls from beneath my bed.

I put myself in the cockroach’s place, and speak with her “voice:” “I am a monster. I am hideous. I am loathsome. I am disgusting. I hide in the dark, buried underneath an altar on which are sacrificed all my secret dreams and lurid fantasies. And yet, when I am seen and noticed I shall not be denied. I am not evil.  I do not want to cause Jim pain. I cannot help what I am. I am what I am. I need to be loved.”

I find myself watching some sort of special Donahue show on schizophrenics, but it’s being hosted by a bearded Johnathan Winters (who was diagnosed “schizophrenic,” or at least so I’ve heard). As he goes through the panel, introducing each schizophrenic to the studio audience, he asks them: “Are you on any medication right now?” And yet, these people aren’t like the mentally ill people I know. They’re cute, they’re funny, they’re amusing, like characters off of a situation comedy. One guy is an annoying lawyer from the movie The Onion Fields (at least he looks like him). Another woman on the panel, thin, slightly older, red hair, interrupts Winters’ monologue by saying “Excuse me, sir; excuse me, sir,” over and over. Again, the audience is amused.

I know that it’s all bullshit. It’s not real. Mentally ill people tend to be shuffling, confusing, confused, unwanted souls tucked away in the cellars of society.  They are not television personalities who delight millions with their eccentric antics and bizarre behavior. And yet, I am not indignant at this realization. If anything, it is an afterthought I’m caught up in the illusion. It’s a great show. It’s great stuff. Real good television. I wish I were taping it to add to my collection. I am entertained.

As the lady on the panel is saying “Excuse me, sir,” we see a three-dimensional, real time computer animated representation of their talking heads, and of her  saying “Excuse me, sir” over and over while she’s saying it. The point of view of the computer animation sweeps over these heads, focusing on one, lifting,  panning over the panel, all to electronic music. I think it is a fine technical job. Then in this real-time cartoon, we see the heads being disassembled like  blocks of wood. Like some sort of puzzle. Sections of the scalp and face spontaneously disappear until the skull is revealed, then sections of the cranium, portions of the jaw, geometrically bisected portions of static gray matter. We see the entire interior structure of their heads. Then the whole thing happens in reverse and we’re back to the real show.

It’s all fascinating to me. How in the world do they do that? I don’t care. It just looks great, sounds great. I’m caught up in the mastery of the technical wizardry. This show is great!

The schizos are involved in some sort of sketch. One woman (perhaps the same one) is not satisfied with her performance and keeps wanting to start it over.  They try to explain to her that it is a live show and that she should just go through with it. The audience is amused by this. I realize that is just a show that has been on before. It is a re-run. Its all just so much bullshit. But high-quality bullshit.

I wake up. But I don’t really wake up, I’m still dreaming, having woke up from a dream within a dream. My sense of “reality” is undermined as it teeters on the edge, the blink between joy and madness. For some reason, I’m ecstatic in my disillusionment. What the hell does it matter? Christ, I might as well be happy. And I am, I’m joyous; content in my confusion. Am I mad? The thought doesn’t even occur to me as I’m swept away in spirited rapture.

The phone rings and it is a friend of mine, Mike. I talk to him some and I realize that I’m excited and talking very weird and I start to sense that he’s going  to start feeling that I’m mentally ill and start talking down to me or patronizing me. This particular friend works with autistic children and tends to condescend to me at times, like I’m one of his clients.

He asks me if I went to this Vietnamese place to get the roach spray and I tell him yes, I did, but they didn’t have it. I anticipate that he thinks this is too easy, that I’m lying about it. He says something and I say; “Mike, are you accusing me of lying to you?” My heart trembles and hitches with frustration and fearful indignation in its heaving rib cage as I anticipate the imminent professional rebuke.

“Well,” he insists, “are you?”

Demanding voice echoes in my ears. A maddening drone.

“Are you? Are you? Are you?”

I am paralyzed in my fear. My back is pressed hard against an unyielding wall. A million angry beehives explode between my temples drowning everything out except his pounding query. I close my blind eyes tight against the undeniable assault as it screams in my scrambled brain.

My eyes snap open in wide terror, glistening like moist eggshells. My mouth stretches into an exaggerated pain-rictus howling a silent scream.

White out.

Black out.

The wall behind me is a soap bubble. I slide through it effortlessly and tumble unoriented, wildly, spinning out of control through a sunblasted expanse of spinning thick-blue atmosphere and silver-white clouds of hairswept coolness. The uncatchable sun orbits me insanely as my head and feet exchange places over and over. I can’t tell if I’m falling up or down.

“Are you? Are you? Are you?”

I spread my arms wide and the rushing wind catches me with a silent hand, deep in my chest, pulling me back and up, swinging me in wild looping arcs.

“Yes… yes… yes… yes… I’m lying to you, Mike. I’m lying to you. I’m lying to you, Mike. I’m lying to you. I’m lying! I’m lying!”

Untamed laughter explodes from my forehead like furiously convulsing feral spirit. My laughter screams. It tears at me gloriously, ripping me apart. My laughter becomes the sky I’m falling in. It sustains me. Pulls me in whatever direction I choose. It echoes endlessly. I twist and dance like a flame.

I awake tangled in damp sheets. I awake laughing, my face slick with tears. I awake fist stabbed into the clumsy pillow.

I awake.

(from OVO 12 SCIENCE November 1991)

Trevor Blake: Protest the Cuts Rally

15 July 2010 » In art, krankheit, portland, trevorblake

Disability rally, Portland Oregon USA 15 July 2010.  More photographs.

From Protest the Cuts:

[Oregon Governor Kulongowski] passed these budget proposals with only 5 days for review, no modifications, and no opportunity for public response. The following cuts to human services started immediately on July 1:

* Elimination of meals programs for low-income seniors and people with disabilities (ie. Meals on Wheels)
* Elimination of in-home personal care services for low-income seniors and people with disabilities on Medicaid (i.e. help with bathing, eating, dressing, using the restroom, etc.)
* Reduce in-home services in the Medicaid system by 75% (i.e. meal preparation, chores, etc)
* Complete elimination of Oregon Project Independence
* Further cuts to community and county providers who are administering the state’s programs to serve these individuals.

Disability Rights advocates question whether the Governor’s decision stands in violation to the 11 year old Olmstead vs. State of Georgia Supreme Court ruling that affirmed the rights of individuals with disabilities to live in the least restrictive environment. Furthermore, the ‘integration mandate’ of the Americans with Disabilities Act requires public agencies to provide services “in the most integrated setting appropriate to the needs of qualified individuals with disabilities.”

The Governor’s decision almost certainly stands to adversely affect the lives of seniors, and adults with developmental and physical disabilities, resulting in potential declines in basic quality of life for all concerned. The elimination of Project Independence and further cuts to home health care and DHS services will also cause in thousands of caregivers and state employees to lose their jobs.

Lastly, the long-term effects of the loss of vital human services could result in greater expense to the state as sources estimate it costs about $2,000 a day to house a person in an assisted living facility as opposed to $200 per week to provide an in-home caregiver.

Please join us at 12 o’clock noon on Thursday July 15, 2010 for the first rally to protest these cuts. Meet us at Pioneer Square in downtown Portland.

Denny Walsh and Sam Stanton: Judge Backs Redding Atheist Who Balked at Religious Anti-Drug Program

23 April 2010 » In aa, krankheit, prohibition, theocracy

Barry A. Hazle Jr. served a year in prison on a drug charge. After he got out, his parole agent sent him back for being an atheist. Now, the 41-year-old Redding computer technician has won a ruling from a Sacramento federal judge against the state and stands to collect damages for having his constitutional rights violated. Even before U.S. District Judge Garland E. Burrell Jr. decided in his favor last week, California corrections officials had issued a new policy protecting the rights of atheist parolees. “This has been a long and painful process for me,” Hazle said in a statement through his attorney this week. “The judge’s ruling can’t give me back my lost freedom, but it begins to restore my faith in our judicial system.”

Hazle’s fight with the state over religion began Feb. 27, 2007, when he was paroled from the California Rehabilitation Center, Norco, where he did a year for drug possession. As a condition of his release, Hazle was ordered to attend a 90-day, inpatient drug treatment program. He agreed to the program but even before his release told prison officials he wanted to be sent to a “treatment facility that did not contain religious components,” federal court papers state. Instead, he was assigned to the Empire Recovery Center in Redding, a 12-step program pioneered by Alcoholics Anonymous and featuring a strong religious overtone, utilizing references to God and “a higher power.”

When Hazle asked to be moved to a program that was not faith-based, he was told – wrongly, as it turned out – there was none in Northern California. His parole agent, Mitch Crofoot, instructed him that “he should continue to participate in the Empire program or he would be returned to prison,” court papers state. Hazle kept attending but also persisted in objecting to the arrangement, presenting Crofoot with a written appeal on April 3, 2007. Three days later, according to court papers, Empire workers told the parole agent that Hazle had “been disruptive, though in a congenial way.” That same day Crofoot called Hazle out of an Empire treatment class, arrested him on a parole violation for not participating in the very program he was attending, and booked him into the Shasta County jail. Soon thereafter Hazle was returned to prison, where he spent more than three months.

Article continues. It is good that Mr. Hazle has a restored faith in our judicial system.  Articles like this only serve to lessen my faith.  Prohibition has cost the USA more in money and lives than it could have ever saved.  Alcoholics Anonymous is a fine program for those who volunteer for it in the same way that a religious group or a sports team or a community college class or getting out for a walk now and then can be helpful for someone seeking change in their life.  But the State has no business compelling anyone to join AA.  AA does not have consistent evidence that they are any more helpful than other treatments or no treatment at all, and so the State should seek groups that have a better record of positive outcomes.  AA is a religious group, and so the State should not refer people to it.  Mr. Hazle might consider moving to San Francisco, where an appeals court found State-mandated attendance at AA unconstitutional.  Why does the State send people to AA? Because as a volunteer organization, it is free.  So is getting out for a walk now and then, and you don’t have to offer prayers to a serene invisible monster that lives in the sky to get some good out of it.  State-mandated AA is a form of theater that has the appearance of helping people but is actually a fake solution to a fake problem – the fake problem of prohibition.

Chuck Ross: Shoring Up Health Care Disparities for International Women

14 November 2009 » In krankheit, socialism

I have a proposal for Western women – the American variety in particular. Given that you have a “wealth of life” relative to men in your societies and to women in less-developed countries, perhaps you should redistribute some of that longevity. Cut a couple years off of your lives so that a woman in Sierra Leone or Bhutan can live a few more. The World Health Organization (WHO) recently released a study showing that women around the world are in need of health care. Numerous articles and blog posts have been written decrying the shameful state of women’s health. This is a problem because women tend to live longer than men in regular conditions; a reversal of that trend is cause for action. Granted, many female deaths are the result of male aggression towards women; steps should be made to prevent these atrocities. Regardless, the WHO and feminists seek to shore up medical care differences despite seemingly gynocentric health coverage. My recommendation seeks to minimize the gap strictly between health care opportunities in developed and under-developed countries. [...]

Assuming those underdeveloped nations have increasing marginal returns to health care expenditures vis a vis Western society (an extra dollar spent on health care for women of underdeveloped nations creates more “health” and adds more benefit than an extra dollar spent on healthier Western women), wouldn’t it make sense – from an egalitarian and utilitarian viewpoint – to redistribute health care overseas? I mean, its only right. So I say unto you, Western women, stop hoarding all of the breast exams, PAP smears, disease treatments, birth control devices, and tampons. After all, you only came by those luxuries by luck or by birth. Let’s start a drive. Next year, instead of getting your annual breast exam, donate the money to the Red Cross or some other international health organization with the designation that it pay for a breast exam for a less fortunate woman in another country. Encourage American doctors’ offices to send their sonogram machines to remote parts of Africa telling its patients that, despite the danger created for their child, African mothers and children will have better access to health care.

Article continues.

The Deal with Disability

04 September 2009 » In blog, krankheit, video

This blog will be videos of people treating me bizarrely. My video camera is mounted to my wheelchair (very discreetly) and I basically just press record whenever I go out and then edit the good stuff for you!

The Deal with Disability

Depression's Evolutionary Roots: Scientific American

31 August 2009 » In krankheit

depression seems more like the vertebrate eye—an intricate, highly organized piece of machinery that performs a specific function.

Depression’s Evolutionary Roots: Scientific American

OVO 3 (November 1987)

02 August 2009 » In anarchism, art, books, communication, krankheit, ovo, surrealism, trevorblake, zine

November 1987. Twenty-four pages, 4.25 inches by 3.6 inches. Black and white photocopy inside envelope with stencil and hand made stamp exterior, stencil art on page torn from first edition of Queer by W. S. Burroughs. Copy art, BBS, surrealism, Neoism, Lunalogue by Cunnichant Night Owl.

[Front Cover] Scratched photocopy.
[02] Statement.
[03] Introduction.
[04][05][06][07][08][09][10] Art Poetique by Andre Breton and Jean Schuster.  One of my favorite surrealist poems.  “I have seen neither majesty in a king nor ministry in a priest. I have attracted attention to the mockery of the sceptre, the slime of the sandal. I have attacked things broadside.”  That notion has certainly held true, decades later.
[11] More About OVO.
[12] Collage.
[13] Cut-up text from Queer by William S. Burroughs.
[14][15][16][17] Operation Negation by Karen Elliot. I received this text and ‘Give Up Art, Save the Starving’ by Karen Elliot (published in OVO 14 SUFFERING) at different times and in different states.  Karen Elliot was a name shared by many people around the world.  Years later the particular Karen Elliot who wrote those two essays revealed herself to me. The Art Strike was described by Stewart Home the next year in chapter 16 his recommended book The Assault on Culture.
[18] Collage.
[19][20][21] Lunalogue by Cunnichant Night Owl.  I first heard of what would be known as AIDS in 1981, when Judith Hooper wrote an article in OMNI magazine about a mysterious ‘decreased resistance’ to disease among gay men. In 1987, when OVO 3 was published, I did not know anyone like the people described in this story. I published it because I could tell Cunnichant Night Owl was describing something important. She disappeared from my mailbox soon after. Who she was, how she found me, why she wrote me and what happened to her are all mysteries.
[22] text by Andre Breton.
[23] Back cover.

OVO is a collection of new works in the public domain edited and published by Trevor Blake since 1987.

Overcoming Bias : Meds To Cut

31 July 2009 » In krankheit, science

45% of medical treatments “unknown effectiveness” according to British Medical Journal?

Overcoming Bias : Meds To Cut

Rosenhan experiment – Wikipedia, the free encyclopedia

27 July 2009 » In krankheit

The non-existent impostor experiment

Rosenhan experiment – Wikipedia, the free encyclopedia

On Being Sane In Insane Places

27 July 2009 » In krankheit

THE NORMAL ARE NOT DETECTABLY SANE Despite their public “show” of sanity, the pseudopatients were never detected.

On Being Sane In Insane Places

Speechless: Dilbert Creator's Struggle to Regain His Voice

21 July 2009 » In krankheit

spasmodic dysphonia

Speechless: Dilbert Creator’s Struggle to Regain His Voice

The curious incident of the straight-A student with Asperger's syndrome | Life and style | The Guardian

04 July 2009 » In krankheit

“I don’t think I’ve got a disability. I like being me.”

The curious incident of the straight-A student with Asperger’s syndrome | Life and style | The Guardian

Assistive Technology and the DX1

20 June 2009 » In krankheit, wishlist

Persons with disabilities, educators and medical professionals are adopting the Ergodex technology to help with a variety of disabilities that affect computer use.

Assistive Technology and the DX1