Sex lie #1
Men aren’t looking for liberation, they’re looking to get laid.
Not many people of either sex are actually looking for liberation, at least not until they get to the end of a very weary road of dissatisfaction. That usually takes a decade or two.
Liberation, per se, is not the sort of thing people count as tops on their to-do list, right up there with finding a certain kind of job or partner or new home. Maybe that indicates our lack of concern for our personal growth, but it’s certainly not limited to men.
Men are expected to be horny; they are acknowledged as “natural” for wanting to have sex, but that desire is tainted with weakness, as if their fantasies are an Achilles’ heel that will betray them when they need their strength the most. The “little head” of the penis will lead the “big head” above the shoulders, and won’t we all laugh when we see the results! We grant men sexual feeling as if it were unavoidable, but we make fun of them for what we believe will be their inevitable undoing.
I say, let’s give this wish to get laid a decent shake. What is this desire, after all? The wish to feel sexual ecstasy with another person, to feel yourself completely inside another person’s body, to feel your own body open and single-minded and wanting? That’s a pretty intense experience to yearn for. It deserves respect.
But it’s not always like that, you might be thinking. Some people are totally distant when they’re having sex; it’s just an ego trip, a notch on their belt. And that’s true—there are some cold SOBs out there, whipping it out and walking away. What’s so poignant about their condition is that even their stunted efforts are a search for a connection—for that fleeting moment when the ego disappears and they feel something bigger and more complete than either of their “heads.”
If men can’t express that longing to their lovers, openly and without trepidation, it’s not because their sexual desire is in the way; it’s that little rat cage in their mind that shames them and shuts them up. Yet every time they get laid, there’s that opening again, the chance to be intimate.
A man who wants to get laid is a man who wants to stay in the human race. Let’s treat that as a positive sign and look more carefully at the nature of his sexual connections.
Often the first erotic bridge that men and women cross is the discovery that someone else wants them—and that always seems like a miracle when they’re convinced that they will be forever alone and unloved in the world.
Then when you do get laid, and then it happens again and again and again, the confidence you acquire leads you to some new questions about the value of sex, about a lover’s companionship in your life, about your own sense of adventure and mystery in your erotic body.
At that point, we’re experiencing sexual liberation, whether it’s given that name or not. Some men will start to question all the things a male is “supposed” to do or feel in the threering circus of sexual relationships—and no doubt they will find much of it unnecessary and regressive. They don’t want to sacrifice their emotions and expressiveness on the altar of compulsory masculinity. These men are on the first platform of sexual revolution: they’re not buying the late model of The Omnipotent Man, all polished and ready to go. Refusing to buy into all the blue-label baloney is a sexual revolution right there. I’m happy to meet such a man; he has hope that there’s something better out there—and he’s right.
— Susie Bright, Full Exposure - Opening Up to Sexual Creativity and Erotic Expression , Page 75
And with all the noises and sounds and colors that i discovered,
everything seems to be answered.
Everything shines in beauty.
And one open question gushes out of a blank gray trite.
Heroine and martyr bowed out. Tortured, tipped over.
I have to come to terms with the desperate ones,
on the bridge to nevermore, we disappear,
one by one.
Helden der Stille
Wer ist nur auf diese Absurde Idee gekommen,
es würde sich verbrauchen,
es wäre begrenzt,
geh sorgsam damit um,
eines Tages ist nichts mehr davon da.
Als ob man mit 90 nichts mehr Empfinden würde.
Und der Umstand des Aufhören,
der Veränderung,
ob es sich je beruhigen wird.
Kann mich nicht ablenken.
Es ist in mir,
es ist im Nacht Bus von Sao Paulo nach Rio,
schlaflos an hunderten Hotels vorbei.
Es ist hier, in dieser Besetzung,
in diesem Muster aus flicken, in diesem Raum,
nur gestaltet, verändert, nach dem wenigen, nach dem minimalem, dem Wichtigen.
Es ist die Konsequenz,
es ist alles nur die Konsequenz der Unaufhörlichkeit.
Es bleibt in mir.
Egal in welcher Form, in welcher Größe, in welchen Umfang und mit welchen Ausgang.
Egal wie das hier und jetzt ist,
wie die Geschichte gelaufen ist.
Es bleibt.
Und lass es hunderte sein.
Und was ich hier nicht ertragen kann,
ist der Ausgang,
diese Unmöglichkeit.
Als ob ich aufhören würde zu Empfinden.
Als ob es euch nicht mehr Betreffen würde.
Und du, du Unbekanntes.
Setzt dich neben mich und lausch der Stille.
Ein Jahr ohne ein Wort. Ohne ein gesprochenes Wort.
Ohne einen Menschen der Verstehen würde.
Ich kann euer Schweigen nicht mehr ertragen.
Das Schweigen was ich ständig ernte.
Ich kann mein Schweigen nicht mehr Ertragen.
Mein Schweigen über mich.
Die Helden der Stille in ständiger Inkonsequenz.
Und ich überlege das Schweigen zu brechen.
Überlege ob ich die schmerzen Ertrage.
Den Ausgang etwas ändern, zumindest Wissen das es verstanden wird.
Zumindest irgendwie die Unmöglichkeit etwas besser begreifen?
Zumindest wissen wie es Euch geht,
zumindest Wissen das Ihr liebt.
Mein Schweigen ist nur die Gewissheit das bisher niemand ähnlich Empfunden hat.
Niemand hat an sich geglaubt,
meist glaubten sie nur den anderen.
Wir sitzen in dem lieben Café und ich schweige.
Und ich hätte Stunden erzählen können,
am Ende hättet Ihr vielleicht Verstanden,
hättet euch um eine Lösung bemüht.
Vielleicht hätte ich auch Geheimnissen gelauscht,
die ich schon ewig gespürt habe.
Aber könnt Ihr meine Angst verstehen,
wieder nur Schweigen zu ernten?
Ich erkläre, und man schweigt,
ich frage, und man schweigt,
ich bitte um Antwort, und man schweigt,
ich schweige, und man hört nicht mal zu.
— occam Feb 2010
different drummer
All That Heaven Allows (1955), Henry David Thoreau, Walden, Conclusion, 1854
So now [clears throat] so they took [clears throat] Virginia and Maryland; they took Washington D.C. and put it in the midst of Virginia and Maryland for a spiritual purpose they put the pentagon — they still there — and then Virginia means “land of the virgin.” Like California means “land of the caliph.” Louisiana: “land of Louis.” Georgia: “land of George.” So that “ia” on there means “land.” So when they say Virginia, that’s “virgin.” Now when they say Maryland, that’s the “land of Mary,” so then Washington D.C. is in the midst of Virgin Mary. Now, they put it there, and then you got the pentagon, and penta is Christ’s number, so you got Christ in the midst of Virgin Mary, still unborn.
Es geht hier im Kern um Systeme, die menschliche Kommunikation industrialisieren, extrahieren und ausbeuten. Es geht um das Geschenk der freien Meinungsäußerung für alle und jeden. Und es geht darum, wie die Inhalte dieser Meinungsäußerungen in Systemen perfektioniert werden, die menschliches Verhalten aufzeichnen, auswerten und für industrielle Zwecke verwerten.
- MOJO: Computer World still seems your most prescient album, conceptually. But what could you have known about computers in the late ‘70s?
- Ralf Hütter: When the album was finished we didn’t even have computers. When we went an tour we got our first computer, an Atari. The Mac didn’t even exist then. So it was vision and the way we conceived the music. There was already a lot of synchronisation, analogue sequencing and automation in our music. Not as much as today, but we were thinking ahead of the actual record, which was an analogue recording. We were very interested back then in the creative energy of computers, the idea of everybody being able to make music.
Source: kraftwerk.technopop.com.br
It’s a fearful heart that builds a wall and it is a fearless heart that can live without it. And coming into contact with someone with a fearless heart, disarms you. You lay down your arms in the presence of a fearless heart, a wall-less heart.
And it is a very solitary decision to have a fearless heart. It’s the real freedom.
The Limits of Control belongs to a genre specific to the last decade. There are numerous other examples: Southland Tales, demonlover, The Intruder, Mulholland Dr., New Rose Hotel. We could almost call them “anti-thrillers,” not because they present an opposition to the thriller, but because they start with the basic idea of the film thriller and build it using none of the original parts.
Interview with Merv Bloch, Producer of THE TELEPHONE BOOK
Olaf Moller: Production of The Telephone Book took some two years. In which ways did the social/cultural climate change in that time? I remember seeing posters for The Telephone Book alongside ones for The Last Movie and The Last Picture Show – both works emphasize the end of something. In fact, some think that a certain, say: BBS’ish type of US-art cinema ended with The Last Movie.
Merv Bloch: During the mid-sixties, films such as Bonnie and Clyde, The Graduate, Easy Rider, Joe, Five Easy Pieces, Midnight Cowboy and M*A*S*H* all helped to form the counterculture in American society. It was the young, anti-Vietnam audiences that became the new film generation and turned risky, modestly made movies into huge hits. By 1971, when The Last Picture Show, THE TELEPHONE BOOK and The Last Movie were released, there wasn’t the same intensity associated with movies. Young audiences were still going to films but they weren’t that zealous about them; they weren’t talking about the films with the same impassioned spirit as they did only a year or so before. I think The Last Movie did represent an end to a golden age of seminal, socially radical films. Dennis Hopper stopped directing movies for a while and BBS Productions was never a high profile company again, although Bert Schneider and Bob Rafelson did continue to make excellent films throughout the seventies.
Source: thetelephonebook-themovie.com
rules
I like to watch movies from different times and different cultures. In comparison, the movies show elements of human behavior that are influenced by the rules around them. The intersection that remains, shows the pure human.
tetheredto
The saddest story to tell will never have an ending. Neither will the story most filled with joy. They are often different stories. But they are sometimes not. To me, that truth is the greatest and most unforgivable irony of creation.
Source: Flickr / tetheredto
