Bloody Shovel 3

We will drown and nobody shall save us


Incidentally, this is China's First Lady, Peng Liyuan. I suggest you lower a bit the volume. The song is intense.


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  • The Chinese people, Chinese language, this Chinese song, and even Chinese cuisine are ugly/shit/horrible.

    What's your point? That the big guys get the star girls? Here's a better song, for a much more glorious country:

      • Funny since that's what the video made me hungry for. Same was when I get hungry for chicken tikka masala whenever I hear Bollywood music. Does the name Pavlov ring a bell?

    • I personally have enjoyed Chinese culture/music/cuisine 4/5 times I've encountered it. Are you looking to get banned to prove your point, or trolling to get recommendations for quality entertainment?

    • And let's not forget the best anthem ever:

    • "What’s your point? That the big guys get the star girls?"

      THAT's a star girl? Spandrell, you've done another hilarious public service, I'd have never known who the First Lady of China was. 'Not too bad', as you'd say, but she's a would-have-been Peking Opera star with Negro hair. Christ, probably can't even speak fluent Mandarin. This is like 'bad Peking ope-lah' done in cleaned-up North Korean style. So that's what we get culturally if China takes over, oh yeah, can't wait. Chinese food can be great, but you have to search it out (or too much of it tastes the same), but just as with English, German, Dutch, you can't depend on it. Only Italian, French, and Spanish (from SPAIN) are totally dependable. I've actually seen Peking Opera by Taiwanese troupes, and thought it was fabulous. Also, saw a Taiwanese dance troupe do tea ceremonies for an hour and a half a few years ago--hate to admit it, but it was amazing. Of course, Russian enthusiast, ballet is French and Russian esp. the latter. Chinese import the big B'way tourist shows, and their ballet company is not exactly taken seriously. Agree 'yellow men' aren't very cool, but they're not even compensating by being 'nice guy', just greedy and clutching. I have heard some Chinese Classical Music, have it at home, that is beautiful, though. The best over that way is South Indian music and dance, though, Bharatya Natyam, etc., fantastic stuff.

      • Being "nice" would be an enormous mistake, honestly. A lot of what's "cool" in men is essentially what's judged as high status by women, so in that sense, its more or less what women decide is attractive. "Nice" would be counterproductive.

    • Is that conductor even Russian? Doesn't look slavic at all to me. One of the singers looks a bit like Gordon Ramsay.

      Interesting contrast to the strikingly Eastern folk in the anthem below.

      No point to make, I'm just heretically, seditiously, Noticing.

      • Well, notice some more. You aren't that 'nice' either, but the smartest. So while we've got some music on, show us your stuff. That Soviet Anthem is rousing, like the Marseillaise. Much better than Anglosphere patriotic songs.

        • Russian Monastery Choir sounds great. Peculiar translation "I am enamoured of you, Russia". Russia is just one of the most musical nations.

        • To my shame the flattery worked. But good job on your strategy, I guess. Empirically effective.

          Unfortunately sperg music isn't popular with normies and vice versa. I don't have anything you'd like.

      • On come on, I bet neither of you has ever seen a full performance. That was a delightful excerpt. Girl was beautiful and sang superbly. Stuff is magnificent, and that movie 'Farewell My Concubine' is very good. Miss Peng is a 'renowned folk singer' and holds a degree in 'ethnic music'. She is also a 'widely acclaimed soprano'. Well, I'm glad to hear it--good pitch and tight smile in her butch outfit, not a trace of nuance anywhere.

        • I have seen "farewell my concubine." As I recall, and key to the plot, the female parts were played by castrati males.

          I suppose they use real females now?

          • Castrati were used in Mozart and other 18th c. opera , too, and are no more. Can China modernize and Westernize its sopranos? I don't think all those female parts were done by castrati and never have been anywhere. They were sometimes used because of more power in the high zones, but I don't think that any of the first (even) great Wagnerian sopranos were castrati, even if they had been, Birgit Nilsson put an end to that nonsense.

            I'm sure the Taiwanese troupe I saw live had no castrati in it. After all, Taiwan has the best of both worlds, it seems. I'd like to go there.

        • The Peking opera isn't what it was ante Cultural Revolution.

          People judge today's without even guessing what it used to be.

          • Probably it's authentic and faithful from these Taiwan troupes, but I think I know what you probably mean: To be like it was, it would need to be in 'La Chine Profonde', in Beijing and Shanghai, but also, with the economic boom, it's probably more of an anachronism in most people's cultural experiences. The other Taiwan thing was a dance troupe and was a new work based on a somewhat decadent prince imagined from a huge Taiwanese painting (will have to look up the name of it), and was far more skilled than most modern choreography I see in the West. In the West, performance of the old classic plays, opera, ballet is still more and more polished in many cases, but it too becomes more and more anachronistic, and little great new work is being made. New York City Ballet was the most innovative (in the late Golden Age of Balanchine), but it isn't anymore; the best is the Paris Opera Ballet, which makes all the others look sloppy, but even they come up with little new great work. That's happened across the board of course, as old forms have just begun to atrophy. You get a great writer like Houellebecq, but he has to stretch what the novel even is in order to occasionally come up with something other than dazzling sections, so that the novel as well is not an important form the way it was even 20 years ago. That's where the 'Trump Aesthetic' comes in, and basically, it doesn't work if it's only about gigantism and big bucks, so much of it is just ugly and bloated. It doesn't really innovate, just razes old things even when they're good, and some call this 'slum clearance'. That's not what it is: It's just vacuous.

            • However, there are some exceptions: The Dance Theater of Cambodia was the most royal, most bejeweled and exquisite and technically great as possible, and that is the other one that was interrupted by barbarians. I suspect the Cultural Revolution had a lasting (bad) effect on almost all the old classical forms if it didn't destroy them entirely. In Russia, the ballet really has remained an unbroken thing unaffected by Communism (even with star defections) and remains mostly so. Someone I know who toured with NYCB in the 70s told me that it was so much a part of the cultural lifeblood of Moscow and then-Leningrad that it was like movies in the U.S. in the teens through the 50s at least. They preserved it, didn't damage it. They probably kept these things for 'prestige', as Orwell would say, but it worked. I imagine Peking Opera is not in China what the Bolshoi is in Russia. The movies in the U.S. are basically flat and degenerate (I don't even mean sinful and immoral) by now. There's a rare exception, that's all.

              • "Sure, it would be good if more of the company’s choreographers were women, and if they were not all white. "

                This was a curious thing to see, or so I thought, the day after I'd written that about how NYCB didn't come up with any good new work to speak of. Red-faced, flabby British NYtimes critic Alastair Macaulay has corrected me this today in another old-fart article, in which he describes a recent month-long festival there with 42 works from the last 30 years, 19 of which were done by 3 choreographers--Wheeldon, Ratmansky, and Peck. I've seen Wheeldon's 'An American in Paris', and thought it worthless. Maybe some Ratmansky on youtube. I guess one of those is one of the 'off-whites' someone was talking about elsewhere, but nevermind that..

                But even though most people here think ballet is 'fag-git' (except for that one that knew fuck-all), it was also certainly so white-oriented even 10 years ago, that people talked about 'white ballets' as a specific kind of look that had to be visually harmonious, or it looked a bit seedy. Black soloists would sometimes be good (Graham had one great female one, but this was modern dance), but with 'Giselle' or 'Swan Lake'--anything with a lot of sylphs--the corps had to be all-white. In this short period of time, and the advent of boring Misty Copeland, things have already changed: gremlin wouldn't have written this 10 years ago, even though he was alreay always writing dirty-old-man things about the men at ABT. And he certainly does not care now either.

                So I guess we can look forward to deciding that 'Swan Lake' itself is racist, since the 'Black Swan' is evil (she's the best part, including the music, though), and the 'White Swan' is ethereal. Few Negresses are ethereal. I'm just pissed about all the Confederate statues being torn down, so that we get demolition of history and 'reverse slum clearance', so that in US and UK they might really mutilate and filthify 'Swan Lake', although that wouldn't happen in Russia, at least; not worried about catering at all times to blacks. And I had never ever thought that 'Swan Lake' was racial. Now I see both Black Swan and White Swan as a vivid 'becoming-nigger'. Black is definitely the New White.

  • I for one am glad that the PLA song & dance troupes survived the latest round of military downsizing, no doubt thanks to the influence of Peng Liyuan.

    They are a living communist anachronism and thank god for that. They remain one of the only fonts of high culture and traditional arts alive in China and a source of quality clean entertainment. With the ever increasing commercialization and feminization of mass culture both in China and the West along with it's attendant penetration by Cathedralist memes that has resulted in a wasteland of depravity, it is good that the PLA is willing to stand athwart history and say no.

    It's amazing how far the the world has fallen when you realize that something like the Red Detachment of Women is more wholesome than 99% of what's shown on television and movies. In addition to it also being geared for an adult audience in contrast to the children's and man-children entertainment coming out of Japan and the stupid teenage girl and their stupider middle aged mothers audience that South Korea courts (excluding the men just there to ogle).

    Who could have guessed that the original intention of creating an organization to provide ideologically sound and revolutionary inspiring culture would instead turn out to be a vessel for reactionary art thanks to it being under the thumb of the Army bureaucracy.

    • Indeed. Long term it hardly gets any more reactionary than an Army bureaucracy, but those are always relative terms.

      You should be happy South Korea shot himself in the foot with THAAD and now Korean cultural exports are suspect.

      • "They are a living communist anachronism and thank god for that. They remain one of the only fonts of high culture and traditional arts alive in China and a source of quality clean entertainment."

        LOL. Yes, it's almost as 'wholesome' as 'The Sound of Music' and Lawrence Welk. I used to like some of the Communist traditional 'art-books' that had Red Guard flying into suburban American homes, and titles like 'Hollywood' and 'Mississippi'. Often it would be a line drawing of a bathroom with sink and toilet. Great art.

        Did 'communist traditional arts' begin in 1948, or whenever that took place? Miss Peng is truly high-culture-oriented. The president before Xi said he wanted to preserve 'our Peking Opera', and 'our Shanghai Opera'. I never had heard of the latter, it's probably the same. I like all those feline sounds.

        • Parisian, are you the same person who comments on Unz under a thousand and one psuedonyms? You have the same barely comprehensible writing style which makes me suspect you are.

          The communists codified and basically "distilled" many traditional song and dance forms into the contemporary versions most Chinese are familiar with today. Jingqu is actually similar, being a late 18th century amalgamation of various opera schools distilled into one form under the auspices of the Qing court. There is no Shanghai opera, but there is a Kunqu form which was started during the Ming and popular in the Jiangnan region which encompasses Shanghai.

            • Is Priss some arty person who trolls? Anyway, I can correct 'you don't find my writing style incomprehensible', but not that we've properly insulted each other, the material was good, yessuh massah duke.

              • Priss Factor is someone who basically blogs in comments. He has very long, basically rambling posts which rather dubious analysis - for example, a basic thesis of his is that all women intuitively have "jungle fever" for black men - but he's pretty entertaining and often comes up with amusing turns of a phrase, the most memorable for me being "Womb Imperialism."

          • You don't find it all comprehensible, you just don't care for it. I don't like yours either, but I was able to get some real information this time. Makes me wonder how it happened that communism didn't affect ballet at all in Russia. It didn't 'distill' it, it was left alone and flourished as an unbroken tradition, and continues to thrive. But the two great companies are not quite as polished at the moment as Paris Opera Ballet (but nobody else is either.) I saw the Kirov in 2008. I see what you mean, though, although I don't hear this kind of 'Chinese ethnic' music regularly, of course. I'm just not interested in that mechanical sound.

            So I looked up 'Jingqu' and couldn't find it, will take your word for it, that was quite interesting. However, this stimulated me to look up 'Shanghai Opera', because I knew the former president had said both, and you can educate yourself: I'm going to read the whole article, as it's very interesting. When googling, I thought I was just going to get a 'Shanghai Opera House' or 'Shanghai Theater' where Peking Opera was done, so this is quite a find. You don't hear of it coming to the U.S. cities, as far as I know, and Peking Opera very rarely. But after seeing the Taiwanese troupe, I found a few (a very few) dvds of Peking Opera (I think 'Beijing Opera' sounds terrible, and won't say it informal settings such as this.)

            Huju (simplified Chinese: 沪剧; traditional Chinese: 滬劇; pinyin: Hùjù), or Shanghai opera, is composed of a variety of Chinese operas from Shanghai. They are typically sung in Shanghainese.Huju is particularly popular in Baihe, the oldest town in the Qingpu District of Shanghai. There are eight to ten huju ensembles in the Baihe, and many local residents hire these ensembles to perform for weddings and funerals.

            Well, I guess I owe you that (I sincerely consider it quite considerable, as well as your esteemed paragraph about the 'distillings'), despite your thoughtful tackiness. NO, I am NOT some troll ANYWHERE. I think Spandrell knows who I am (but don't know if he does), and puts up with me if I'm discreet enough. I'm a highly accomplished pianist/musician, if you must know. I used to write at Nick Land's ancient blogs pre-Dark Enlightenment, but don't communicate with him anymore. I don't write here that often, but occasionally have, because Spandrell is a good writer, knows a lot, and has a lot of humour. I think I have made a stray comment at one or two of the other blogs, maybe Dampier once (and THERE somebody was going on about ballet who knew absolute SHIT, so I was compelled, although I think I conversed briefly with Dampier 3-4 years ago--the retard didn't apologize either), and maybe once at Mark Citadel. That's all I can think of. I read the 'Jim's Blog', but have never commented there, and won't. It's too rabid, but he comes up with some interesting things.

            Apologies for the length, but you more or less asked for it, and your paragraph was indeed interesting, because that sort of thing is not something we hear much about.

            I do like Unz, if that's Steve Sailer's blog, but have not read it that often, and not for about 6-8 months.


              So, it's JINGJU, not JINGQU, as you spelled it, and that is Peking Opera. Interesting that you see these distillations/amalgamations from the 18th c. as similar to the Communist distillation of these traditional songs. I can see what you mean superficially, but doesn't Communism change things in a profound way? No, I do see what you mean, this 'army-bureaucracy/ reactionary sound--my first exposure to exactly this. I found my first impression of it was that it was definitely 'clean', but to that point of sterilization that I find repellent. But I do apologize for being disrespectful to your First Lady Peng Yiulang, and I hadn't known about this kind of thing; I needn't be snobbish about folksong just because I'm no longer interested in Western folksong and am probably not going to have time or interest in Asian folksong. There does not (unless you tell me) seem to be a 'translation' of jingju itself by the Communists, surely, rather, it was repressed during the Cultural Revolution (but I don't know, and have to research this). The Dance Theater of Cambodia survived the Khmer Rouge, but they cannot possibly have functioned during that period. There doesn't seem to be anything comparable in Russian Communism to the Cultural Revolution, so that there were constant dancers, musicians, Shostakovitch, Richter, Balanchine who kept creating without undue political pressure. I'll have to read up on the history of jingju and what happened to it during the years. I judged the song purely on the sound, and could tell she had a real voice, but didn't really sound 'professional', if that makes any sense. But that may just be to Western ears. Anyway, I listen to a lot of jazz, and that's sure to seem to you unclean and unwholesome. I hadn't felt that way about Peking Opera either, though. I like Nazi military music too. I guess I think she sounds too Communist, but sort of sweet, like Loretta Lynn, maybe. Sort of 'country'.

              I will now cease and desist on these long posts; it's just that it was incredibly interesting.

              • Parisian -- since you used to be interested in "Western folksong" -- do you like the Stones' Mick Taylor period? I suspect that every single song on Exile on Main Street has some old-timey gospel-song source, almost one-to-one, but I'm not sure whether the sources are English 19th century low-church hymns, Carter Family / Stanley Brothers type stuff (I'm most familiar with this and haven't identified direct correspondences), or Negro. I thought you might know ... if so, please inform.

                • "Primarily recorded in a rented villa in Nellcôte, France as well as Los Angeles' Sunset Sound Recorders, the album draws on 1950s rock and roll, blues, 1930s-40s swing, country, soul and gospel styles."

                  Take a look at the whole wiki under the title of the album, I don't think it specified. And I hate to admit that I never followed the Stones closely.

                  I appreciate your bringing this up, and have placed a CD on hold at NYPL, thankfully they still have a few left. I'll let you know if I have any ideas after I've read it. This is a stupid gap in my musical adventuring, although I have picked up, in my dilettantism, much black Gospel and know some of the Carters' things, but not the Stanleys, for example. Concentrating on the Classical Arts is all-consuming, so I may or may not be able to identify direct correspondences either. But there may be more material we can find.

                  • The album's on Youtube, of course; you just have to click "skip" on the ads when they come up. Sticky Fingers is the album right before it, from the same period -- "Moonlight Mile" and "Sway", two of my favorite Stones songs, are on this one. The possibility of one-to-one sources occurred to me because the songs are just so perfect as instances of whatever it is they're instances of but I can't figure out what it is that they're instances of, exactly, except "Mick Taylor period Rolling Stones", as though that's a distinct sub-stream of the American folk tradition.

                  • Garr--I knew some of it would be on YouTube, and will use it if I have to. It's just the quality is always so bad still. Also, I meant 'listened' to it, of course, not 'read' the CD. Although it's vaguely possible there will be notes inside, that's more often in classical CDs that those survive. Looking forward to it.

  • I heard a rumour that she sang to the troops that saw action in Beijing in 1989. True?

    Spandrell, I was reading George Friedman's Next 100 Years the other day and he thinks that China is going to weaken. He seems to think that an economic downturn will create a split between the coastal cities and the centre. Either China goes leftist and taxes and punishes these cities - in which case foreign investment etc will leave - or the cities will gain power and will pursue their own economic self-interest. He seems to bank on the former; then, he thinks that Japan will start buying up China and engage in "neo-colonialism". As the century goes on, he thinks that America will get into a war with Japan and Turkey (who form an alliance). The Japanese will go to war because they need resources and because they rely on the shipping lanes - which America controls - they will attempt to knock out America's "battlestars" in space. Pretty far out, though it does sound more sensible when you read it. Still, it seems very unlikely.

    • Yeah, the suggestion that Russia is going to vanish into mini-states...dubious.

    • Japan will start buying up China? Japan? You gotta be kidding me. China has buying up Japanese real estate like crazy for years now. Japan is completely over as a geopolitical force.

      Erdogan was just licking Chinese ass last weekend.

      These deep state Jews are just clueless.

      • I hope this doesn't double-post; my computer was freezing up the first time:

        Maybe Japan hasn't even begun as a geopolitical force -- WW2 might have been the equivalent of Germanic stirrings in the first century. There's always a new people that comes along and changes everything. Chinese are old, Muslims are old. Japanese are new. Birthrates can change. Japanese are imaginative.

        (Maybe Japan just seems new to me because I don't know anything about it. I've heard of Tale of Genji and like those temple-guardian-demon-sumurai carvings; in other words, I know that Japan has a history as a civilization. It just seems fresh and new, somehow -- maybe because of all those anime-characters?)

          • Please explain this. I've never understood the commonly-heard assertion that "no society has ever had a birthrate below X and survived." How can we possibly know that this is true? We have no idea what birthrates were like among Celts in 500 BC or Germans in 100 AD or Mongols in 800 AD were, do we? Do we know for a fact that birthrates in all of the societies that are here today were never, at any point, as low in the past as they are now?

            Jim says that all you need for a quick increase in birth-rates is male "ownership" of women. Okay, how does this happen if the women object to being owned? That's a problem, yes -- when a woman says, "Ow, you jerk, cut it out -- I told you to stop, now stop!" most of us are overwhelmingly inclined to stop, and this probably includes Junkers and Sumurais. So women would have to want to be owned. Would have to want to pretend to be owned, I mean.

            • You really have no clue, do you? How on earth could a barbarian tribe survive without children, when they had war raids every single spring?

              We have plenty of documentation also. No society on earth before 1900 had sub-replacement fertility. Not a single one.

              And please, get out of your country, travel a bit. Most people outside the West aren't at all inclined to stop when a woman tells them to.

              • No society on earth before 1900 had sub-replacement fertility.

                Well, besides the Shakers, Cathars and other such cults. At any rate the societies that don't replace themselves tend to disappear from history, funny thing.

              • No, I have no clue. Uh, suppose a barbarian tribe gets very big. Then maybe its birthrate might drop below replacement for a while. Also, the Celts and Germans weren't necessarily raiding every single spring. The Celts were semi-civilized and the Germans did small-scale agriculture. I didn't have to use strictly barbarian examples. Do we know for sure that China's birthrate was never below replacement before?

                You think that when a Japanese husband of the future's starting to pull his wife home by the hair and she starts yelling "Ow, cut it out, you jerk!" he won't cut it out? I think he will.

                The whole idea of physically dominating one's wife in a non-playful way, keeping her obedient by force, makes no sense. She can kill you with a iron skillet while you're watching TV, stab you to death while you sleep. Women have to want to play the subordinate role; you can't make them play it.

                Wartime rapes of an enemy-nation's female population are a different matter; that's not what we're talking about.

                I can't afford to get out of my country; I pay too much child-support on my adjunct-wages for that. Anyway, traveling's something that women want to do in order to brag about it on social media. I'm male and don't know how to use social media.

                • When a tribe gets too big, it splits and one group goes somewhere else where it kills the original inhabitants and takes their land.

                  At the rate that Japanese husbands are obeying their women there won't be many Japanese left in the future. Population is already in free fall.

                  Look, the thing with violence is that you don't need to use it. You just need the threat of it. If people know they'd get busted for disobedience they will start to make up reasons for why they should obey anyway. That's the relation between you and the police. That's how it works between parents and children.

                  I'm sorry for your divorce but you don't seem to have learned a lot. Let me recommend traveling I'm not on social media and it has done me well. It opens up your mind.

                  • I'm not sure what you think I haven't "learned." You say "you just need the threat" of violence. First, no one in Ovid's Metamorphoses, where there are lots of married couples, ever "threatens" his wife with violence (Zeus threatens Hera with violence in the Iliad, but clearly they're just having fun) -- I'm using this example because I anticipate that you'll reject Dickens and even Dostoevsky as representatives of decadent liberal societies -- nor is there some kind of implicit threat of it drifting through the atmosphere. Second, and this is my point, the threat of violence doesn't even make any sense, because your wife has many opportunities every day to kill you, even if you're three times as strong as she is. (I guess the State could punish women for assaulting their husbands but not vice-versa, though.)

                    Where, in your mind-opening travels, have you discovered evidence of a pervasive disciplinary threatfulness? Not in China, surely. My brother lives in Hong Kong; he's never noticed such a thing. And there are working-class Chinese all around me here where I live; they fill the subway cars. No threatful domination observable. In fact, the Muslim women don't appear to feel threatened either. They walk around doing woman-stuff, the same way other women do. They have big picnics in Sunset Park, 6 women with 20 kids, and leave their garbage all over the grass.

                    • The threat doesn't need to be explicit. It just needs to be legal. And to occur in one's social circle every now and then,so women know that it can happen. That's all it takes. Women will want to submit when they understand they have no other choice. They'll come up with the rationalizations by themselves. It'll be cool and fun automatically.

                      In Hong Kong indeed its the women who beat the men. Go to Jiangxi though, or to the northeast, and you'll find men who don't take shit.

                  • My point is that women have to want to submit. A woman won't submit in any given relationship unless it's the society-wide thing to do; it's cool to submit. So the problem is how to make women in general submit, not how to make individual women in individual relationships submit. My suggestion is that submission has to seem cool and fun to them. (If you hit your women, she'll hit you back. Then you can hit her harder, but now she'll hit you harder too. The only way to stop the escalation is to hit her so hard that you've hurt her, but the vast majority of human males don't want to do this to the women they live with. [Anyway, by doing so you put yourself at risk, because she can kill you while you sleep.] So you can't make your woman submit by threatening to hit her. Now, you might say: What about children? Threatening to hit children, or hitting a child once, works. Yes, but that's because they already want to submit. And the threat to hit a woman won't make her submit unless she already wants to submit. And she won't want to submit unless it's the cool thing to do, society-wide.)

                • >I can’t afford to get out of my country; I pay too much child-support on my adjunct-wages for that.

                  You can't afford to drive to the nearest port?

                  • Hi Cavalier. I follow your comments on Jim -- always interesting. I take it you're suggesting a way to encounter "diversity" (assume you're not suggesting that I stow away on a container-ship). I live in a Mexican neighborhood (Sunset Park) in Brooklyn. Two avenues up, the Chinese neighborhood begins. A mile to the south, the Muslim neighborhood begins, and the Muslim population actually stretches through my neighborhood all the way north to Atlantic, where the big radical mosque that you may have heard about is. Also a lot of Puerto Ricans and Dominicans in my neighborhood, and some Poles. The Orth-Jewish kingdom of Boro Park is on the other side of the Chinese Park. SWPLs in Park Slope, to the north. Sicilians still mixed in with the Muslims to the south. I pass through a Negro outdoor mall on my way to "teach" (also pass through Little Mecca.) I "teach" a mix of Negros, PR/Dominicans, Muslims, Chinese, and Sicilians.

                  • No, I mean drive to the nearest port — and leave.

                    Or just disappear off the map for a little while, grow a mustache, pick up cigar smoking, get some tattoos and a leather jacket and a very loud motorcycle, and then come back and re-woo your woman, getting the child support anvil out from over your head. (It's an act until it isn't.)

                    Or something else, something I haven't thought of. Creativity is the key.


                    Hope and Change is for wimps, losers, and pussies. Grab your balls and seize the day.

                  • Thanks for the suggestion, Cavalier, but I love my son -- take him to school every day, and he explains Team Fortress 2 to me -- so I'm not leaving, although I do sometimes dream of following B's example. (Don't you think B's awesome? Jim and B are awesome towering eternal adversaries and best friends, like Thor and Loki.)

                  • Your woman treats your son as a bargaining chip and as a testicular-evolutionary sjambok, because he is.

                  • He's a person, Cav. I read the Kipling poem -- fatherly advice? Heh heh. Since you like reading old things -- ever looked at Orlando Furioso? It's very weird -- sort of a Marvel Comics superhero soap-opera. (First published around 1530.)

                  • Not really fatherly advice, to be honest. More like "if you can keep your wits about you" advice.

                    Yes, your son is a person, but not just any old person — he's a great big chunk of you. He represents your vitality and immortality. Welcome to humanity, a particular strain of bipedal vibrating molecules living in a thin layer of other, similar vibrating molecules on a round rock hurtling through the infinite blackness of space. Maybe have more than one?

                    I'll definitely check out Orlando Furioso.

  • Semi-OT: I just happened upon an interesting artifact of 21st-century history that accidentally fell into 1924; Sun Yat-sen's speech on Pan-Asianism.

    Perhaps the more interesting part is the linked translation is from a collection of Sun's speeches, China and Japan: Natural Friends, Unnatural Enemies, edited by Wang Jingwei personally, and published in English by his government in 1941.

    Who is the intended 1941 English-speaking audience for this essentially fully-formed* SJWism?** And do Sun's 1924 proposals*** offer any insight into modern-day Chinese foreign policy or voting habits?

    *With minor editing, it could be run on Vox tomorrow.

    **In a Western (i.e. the intended audience of this English translation) if not a Chinese context.

    ***All the brown people of the world, especially the hyper-saintly [martyrly?] Muslims, should work together to destroy white civilization, so that China will be restored to the status of superpower to whom all other countries, in order to acknowledge the superior civilization, and never by the use of the white man's invention, violence, pay tribute.

    • You do know that Wang Jingwei was a Japanese puppet in 1941, right? That's the Japanese army talking.

      And also Sun Yat-sen was a Japanese-funded agitator for most of his early career. The Japanese intelligence was running him, kept comfortable in Japan and paying all his expenses. He even got to impregnate the daughter of his host and don't acknowledge the child.

      What was he doing in 1924 in Japan? He had been named president of the Republic of China in 1912. But he tried to stage a coup against the actual ruler, the general Yuan Shikai, so he ended up in exile in Japan again.

      So this is Sun Yatsen pivoting ever further left in frustration for his failure to achieve power in the 1910s. He went to Japan, asking for support, but the political climate had changed; Japan was anglophile in the 1920s, so eventually he courted Soviet support, and he set up a small government in Guangzhou shortly after. The Kuomintang was pro-Soviet until his death, when Chiang Kai-shek purged all the communists in a night of long knives.

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