CLINTON/BUSH/OBAMA was pre-WEIMAR GERMANY----TRUMP is simply MOVING FORWARD to far-right, authoritarian, militaristic, extreme wealth extreme poverty global corporate FASCISM. We spoke of a few population groups that always suffer earliest in this march to death, destruction, brutality, and chaos----this week we will discuss how WOMEN and by extension children are taken to be 5% to the 1% players killing 99% of women and children----and how public policy designed to help women, children, families are distorted, corrupted, and dismantled MOVING FORWARD towards far-right corporate 'SOCIALISM' ----AKA ---FASCISM.
MATA HARI was that symbol of woman throughout thousands of years of history controlled by OLD WORLD KINGS. Women are either SAINTS or they are PROSTITUTES. MOTHER MARY the saint------MARY MAGDALENE the prostitute.
Of course that is not what early religious texts and 99% of early religious beliefs said almost universally----that INTERPRETATION in religious texts comes from EDITING BY OLD WORLD KINGS.
'Gender roles in Islam are simultaneously coloured by two Qur'anic precepts:
(i) spiritual equality between women and men; and
(ii) the idea that women are meant to exemplify femininity, and men masculinity.
Spiritual equality between women and men is detailed in Sūrat al-Aḥzāb (33:35)'
Our Christian Bible has EVE created from ADAM from a bone of his RIB symbolizing that same EQUALITY in standing. The difference placed on men and women has always been MALES as providers and protectors ----FEMALES as nurture and nature.
"When Eve was created—when her body was made by God—Adam exclaimed, “Bone of my bones, and flesh of my flesh; she shall be called Woman, because she was taken out of man” (Moses 3:23)'.
Let's get real 99% 0f men----women throughout history have male writers creating myth surrounding women always making our 99% of women appear evil, the source of all that is bad on EARTH while men are of course driving all that is bad.
Wednesday, June 3, 2009
I love the story of Adam and Eve because within it there are SO many eternal truths about the role and purpose of women and interactions between the men and women. Yet, it saddens me that this beautiful story has also been the justification for so much of history's oppression and discrimination against women. One part of the story that some people have traditionally used to justify giving women a subservient and oppressive role in society is that fact that God made Eve from Adam's rib ( Gen. 2:22; Moses 3:22; Abr. 5:16)-- saying that this shows that God intended for Eve to be lower than than Adam.
Creation of Eve by Michelangelo Buonarroti.
I have to admit that I've often been confused by this part of the story as well. It has been hard for me to understand why Eve was created from Adam's rib. Why didn't God just create her out of the dust like He did Adam? Was it because she wasn't as important as Adam? Why was she made second and not first? Was it because God intended for woman to be subservient and lower than man? No, I don't think so and neither does Elder Nelson of the Quorum of the Twelve Apostles who said:
"When Eve was created—when her body was made by God—Adam exclaimed, “Bone of my bones, and flesh of my flesh; she shall be called Woman, because she was taken out of man” (Moses 3:23).
From the rib of Adam, Eve was formed (see Gen. 2:22; Moses 3:22; Abr. 5:16). Interesting to me is the fact that animals fashioned by our Creator, such as dogs and cats, have thirteen pairs of ribs, but the human being has one less with only twelve. I presume another bone could have been used, but the rib, coming as it does from the side, seems to denote partnership. The rib signifies neither dominion nor subservience, but a lateral relationship as partners, to work and to live, side by side."
- Russell M. Nelson, “Lessons from Eve,” Ensign, Nov 1987, 86
Eve was taken from Adam's rib because she was his equal and God intended for her to stand beside him-- not below him, not behind him and not above him. Adam and Eve were literally to be "of one flesh" and to be unified in all things. It is true that God did not give them the same responsibilities, but he did make them equal partners with talents, gifts and abilities to help each other fulfill those individual responsibilities. This symbolism of Eve being taken from Adam's rib is beautiful and bears testimony of the beautiful truth that God intended from the VERY beginning for men and women to be equal partners, working side by side in all things and supporting each other in the divine work that God has for them to do. How different the world would be (how different most marriages and relationships would be) if each man and each woman understood and believed this sacred truth !
We discuss women's public policy often so we don't want to repeat the history of US CONSTITUTIONAL EQUAL PROTECTION, EQUAL RIGHTS, VOTER RIGHTS over these few centuries for all 99% of WE THE PEOPLE as for all 99% of US WOMEN.
What we want to do this week is remind our 99% of US young adults and our 99% of new immigrant citizens WHY 99% of women in Europe and US fought for these rights ---and how global banking 1% and their 5% pols and players black, white, and brown CORRUPTED AND LIED to use those rights against our 99% of women.
Historically, women could not own property-----we were unable to enter workforce to support ourselves----if we did not marry we were forced into NUNNERIES---or those women not wanting to be institutionalized were forced into being VAMPS, CAMPS, AND A BIT OF A TRAMP----PROSTITUTION FOR MONEY.
THESE STANDARDS FOR WOMEN TODAY STILL EXIST IN THIRD WORLD DARK AGES NATIONS-----IT WAS OUR WESTERN VALUES AND SYSTEM OF DEMOCRATIC MORALS AND ETHICS OPENING FOR WESTERN WOMEN WHAT REMAINED CLOSED FOR OUR ARABIC, ASIAN WOMEN.
Today in US we are right back to where women were several centuries ago----but today we have global banking 1% ending the AGE OF ENLIGHTENMENT---trying to bring Europe and US back to DARK AGES----global banking 5% pols and players PRETENDING to be fighting for 99% of women---with goals of KILLING 99% of women.
What Are Women's Rights?
Rights Included Under the Umbrella of "Women's Rights"?
by Jone Johnson Lewis
Updated March 15, 2018
Which rights are included under "women's rights" has varied through time and across cultures. Even today, there is some disagreement about what constitutes women's rights. Does a woman have a right to control family size? To equality of treatment in the workplace? To equality of access to military assignments?
Usually, "women's rights" refers to whether women have equality with the rights of men where women and men's capacities are the same. Sometimes, "women's rights" includes protection of women where women are subject to special circumstances (such as maternity leave for child-bearing) or more susceptible to mistreatment (trafficking, rape).
In more recent times, we can look at specific documents to see what was considered "women's rights" at those points in history. Although the concept of "rights" is itself a product of the Enlightenment era, we can look at various societies in the ancient, classical and medieval worlds, to see how women's actual rights, even if not defined by that term or concept, differed from culture to culture.
United Nations Convention on Rights of Women - 1981
The 1981 Convention on the Elimination of All Forms of Discrimination Against Women, signed by many United Nations member states (notably not Iran, Somalia, the Vatican City, the United States, and a few others), defines discrimination in a way that implies that women's rights are in "political, economic, social, cultural, civil" and other spheres.
Any distinction, exclusion or restriction made on the basis of sex which has the effect or purpose of impairing or nullifying the recognition, enjoyment or exercise by women, irrespective of their marital status, on a basis of equality of men and women, of human rights and fundamental freedoms in the political, economic, social, cultural, civil or any other field.
The Declaration specifically addresses:
- eliminating prejudice in public education
- full political rights to vote and to run for and to serve in public office
- rights to change nationality equal to men's rights
- marriage and divorce rights to be equal to men's, and elimination of child marriage
- equality in criminal punishment
- traffic in women, including exploiting prostitutes
- employment rights, including non-discrimination in access to jobs, equal pay, and paid maternity leave
Statement of Purpose - 1966
The 1966 Statement of Purpose created by the formation of the National Organization for Women (NOW) summarizes key women's rights issues of that time. Women's rights addressed in that document were based on the idea of equality as an opportunity for women to "develop their fullest human potentials" and to put women into the "mainstream of American political, economic and social life."
Women's rights issues identified included those in these areas:
- employment and economics
- family, including marriage and divorce laws and home responsibilities
- political participation
- images of women in culture and social practice
- opposition to "protectiveness" in work, school, church and so on, as limiting women's rights
- racial justice because of the "double discrimination" experienced by women of color
Marriage Protest - 1855
In their 1855 marriage ceremony, women's rights advocates Lucy Stone and Henry Blackwell specifically refused to give assent to laws which interfered in rights of married women in particular, including:
- control over the wife's very person and her very legal existence as a person
- custody of children
- inheritance and ownership of real estate
- the right to her own wages
- equal rights to inherit a survivor's portion upon the death of one of the spouses
- choice of a place of residence
- ability to make contracts including wills and the ability to sue in court in her own name
- choosing her own name
Seneca Falls Women's Rights Convention - 1848
In 1848, the first known women's rights convention in the world declared "We hold these truths to be self-evident: that all men and women are created equal...." and in closing, "we insist that they have immediate admission to all the rights and privileges which belong to them as citizens of the United States."
Areas of rights that were addressed in the "Declaration of Sentiments" were:
- whether women had a voice in making laws that they were subject to, including whether women could vote
- whether married women had any legal existence
- whether women had property rights, including the right to income she herself earned
- whether women could freely choose to end a marriage
- whether women had custody rights over children after a divorce or separation
- whether women had access to many professions, including theology, medicine, and law
- whether women had access to higher education
- whether women had a voice in the Church, including whether women could be ministers or in other ways publicly participate
- whether moral codes (about sexual choices) were the same for women as for men
In arguing to include the right to vote in that Declaration -- the one issue that was most uncertain to be included in the document -- Elizabeth Cady Stanton urged the right to vote as a path to gain "Equality of Rights."
18th Century Calls for Women's Rights
In the century or so before that declaration, a few had written about women's rights. Abigail Adams asked her husband in a letter to "Remember the Ladies," specifically mentioning disparities in women's and men's education.
Hannah Moore, Mary Wollstonecraft, and Judith Sargent Murray focused especially on women's right to an adequate education. Just the fact of their writing implied an advocacy for women's voices having an impact on social, religious, moral and political decisions. Mary Wollstonecraft called in her 1791-92 "A Vindication of the Rights of Woman" for recognition of both women and men as creatures of emotion and reason, and for such women's rights as:
- the right to be educated (and a duty to educate her own children)
- equal partnership between man and woman in marriage
- control over family size
In this document, she called for such women's rights as:
- free speech, including to reveal the father of her children
- equality of children born out of marriage to those who were born within marriage, which implied an equal right of women to sexual relationships outside of marriage
Ancient, Classical and Medieval World
In the ancient, classical and medieval world, women's rights differed somewhat from culture to culture. Some of these differences were:
- whether women were considered full citizens or were considered the equivalent of slaves or minors under the authority of husbands or fathers
- whether women could move around freely or were confined largely to the home
- whether women could freely choose or refuse marriage partners, or end a marriage
- whether women had custody of children, especially after a divorce or in a dispute with the children's father
- whether women could dress as they liked
- whether women could own property or run businesses and control their own wages, income and wealth
- which trades, occupations or professions were closed to women or more difficult for women than men to enter
- whether women could be educated at all, or to the same level as men were
- whether and how women had a voice in the public sphere, including voting or otherwise influencing the government and helping select those governing
- whether women could represent themselves or others in legal proceedings, such as lawsuits and court actions
- whether women could inherit the right to titles and rulership
So, What Is Included in "Women's Rights"?
Generally, then, claims about women's rights can be classified into several general categories, with some specific rights applying to several categories:
Economic rights, including:
- right to own and dispose of property
- right to inherit property in her own name and control it; right to designate who will inherit her property
- right to her own wages and income
- equality of survivor's rights upon the death of a spouse (e.g. how much property one inherits, whether one has a right to continuation of a spouse's pension benefits)
- access to jobs, trades, professions
- equality of treatment within jobs, trades, and professions, including promotions
- equal pay for equal work, equal pay for work of equal value (comparable worth)
- access to credit in her own name
- equal participation in labor unions
- right to job protection when taking maternity leave
Civil rights, including:
- legal and contract rights
- equality of citizenship (treated as a full adult, equal to males, rather than as a minor, a slave, or a legal non-entity)
- general equality of rights under the law
- ability to sue in court, to represent one's self
- be a witness in court
- serve on juries
- serve as an attorney
- marriage, divorce and parenthood rights
- married women's legal existence separate from her husband
- marriage rights, including consent to marriage and equal rights and responsibilities within marriage
- keeping her own name after marriage
- equality of rights in determining where to live
- divorce rights, including equal ability to initiate divorce and rights to child custody and property division on the same basis as men
- right to equal guardianship of children during marriage
- right to child custody after divorce or widowhood
- basic civil freedoms
- free speech
- freedom of religion
- freedom to change nationality
- control over her own person
- education - both basic and higher education
- equal access to both basic and higher education
- equal access to educational programs, including sports
- professions open to women, including law, medicine, teaching, theology
- roles in religious institutions, including voice, participation, serving as clergy
- treatment within the military: roles, promotion, treatment
- moral codes: absence of the "double standard"
- choices regarding roles and responsibilities within the home
- choices regarding roles and responsibilities regarding children
- sexual choices, including sex outside of marriage
- choice regarding family size and reproduction, and methods of controlling: contraceptives, abortion
- safety from sexual mistreatment, including rape, traffic in women, and exploitation of prostitutes
- choice of dress
Political rights, including
- participation in the political sphere, including having a voice and influence
- running for and serving in political offices
- inheriting titles and rulership in her own name
Here is where our US and European women's movement went from being a 99% WE THE WOMEN movement to being global banking 1% OLD WORLD KINGS AND QUEENS corrupting that women's movement. We discuss often that POLITICAL CORRECTNESS is a far-right wing global banking 1% stance installed by BILL CLINTON and NEO-LIBERALS. It has always been the opposite of REAL LEFT SOCIAL PROGRESSIVE women's rights. Bill Clinton introduced POLITICAL CORRECTNESS just to implode our women's rights movement ----making people hate these equal rights and opportunity by making policies swing that PENDULUM all the way to an extreme. Suddenly, it was BREAKING THAT GLASS CEILING that became so important-------corporate feminism designed to fashion women to behave just like men. Corporate feminism started as US corporations----of course expanded immediately to GLOBAL CORPORATIONS. There are no women less free ---with less liberty than global 1% and their 2% of WOMEN. REAL left social progressives do not measure rights and justice by how much MONEY a person has----we measure by QUALITY OF LIFE.
We stated that RADICAL FEMINIST religious leaders graduating from global hedge fund IVY LEAGUE divinity schools were NOT LEFT FEMINISTS-----they are those 5% ALT RIGHT ALT LEFT women civil unrest civil war players. RADICAL FEMINISM in US has always been FAR-RIGHT WING. We read in SEVENTH FUNCTION OF LANGUAGE where those RADICAL FEMINISTS called 'left' were almost always AGAINST NATURE. Our 99% of WE THE WOMEN being tied to children, family, community are 100% NATURALISTS. Being AGAINST NATURE is tied to being PANDORA-----unleashing all the ILLS OF SOCIETY.
Were nuns simply trying to open for women a pathway to being religious leaders RADICAL? Women have been trying to take captured by KINGS corrupted early religion back to when women were equal in religion for thousands of years. So, it was the POPE tying that label RADICAL FEMINISM onto 99% of CATHOLIC women seeking simple civil rights.
Vatican ends crackdown on US nuns accused of radical feminism
- Catholic church accepts final report ending takeover of US nuns’ organisation
- Group accused of undermining church teaching with ‘radical feminist themes’
Associated Press in Vatican City
Thu 16 Apr 2015 09.56 EDT Last modified on Tue 18 Jul 2017 18.11 EDT
Pope Francis, right, talks with a delegation of the Leadership Conference of Women Religious during an audience in the pontiff’s studio at the Vatican on Thursday. Photograph: L'Osservatore Romano/AP
The Vatican has announced the unexpected conclusion of its crackdown of the main umbrella group of US nuns, ending a controversial takeover of a liberal group and signalling a major shift in tone and treatment of US sisters under the social justice-minded Pope Francis.
The Vatican said it had accepted a final report on its overhaul of the Leadership Conference of Women Religious and declared that the “implementation of the mandate has been accomplished”.
In a final joint report, the congregation and the LCWR said the group’s statutes had been revised to show its focus on Christ and being faithful to church teaching. It said an advisory committee would be created to ensure manuscripts submitted for inclusion in LCWR publications are doctrinally sound. It said speakers at LCWR events must use the “ecclesial language of faith” in their remarks and said there was a revised process for selecting award winners.
When the Vatican’s Congregation for the Doctrine of the Faith took over the LCWR in 2012, it accused the group of taking positions that undermined Catholic teaching on the priesthood and homosexuality while promoting “certain radical feminist themes incompatible with the Catholic faith”.
It envisioned a five-year doctrinal overhaul, fuelled by concerns among US conservatives that the group, which represents 80% of the 57,000 Roman Catholic nuns in the US, had strayed from church teaching by not focusing enough on issues like abortion.
The takeover, combined with a separate Vatican investigation into the quality of life of US nuns, had deeply wounded the US sisters who oversee the lion’s share of the Catholic church’s social programmes, running schools, hospitals, homeless shelters and soup kitchens. The crackdown resulted in an outpouring of popular support for their work and fuelled allegations that the church’s treatment of women was heavy-handed and misogynistic.
In December, the Vatican’s quality of life investigation ended with sweeping praise for the sisters for their selfless work caring for the poor. Thursday’s conclusion of the doctrinal assessment signalled a similar positive conclusion.
So, is this a WIN for 99% of Catholic women seeking to hold higher positions in Catholic Church? Is POPE FRANCIS----that global banking 1% OLD WORLD KINGS AND QUEEN'S freemason JESUIT really trying to HELP empower women? OF COURSE NOT FOR GOODNESS SAKE ----this pope it working as hard as he can to END RELIGION----there will be no ROMAN CATHOLIC CHURCH for these 99% of catholic women to lead.
THIS IS ALL LYING AND HIDING BROUGHT TO US BY GLOBAL BANKING 1% MEDIA AND 5% RELIGIOUS PLAYERS.
Vatican ends crackdown on US nuns accused of radical feminism
- Catholic church accepts final report ending takeover of US nuns’ organisation
- Group accused of undermining church teaching with ‘radical feminist themes’
PSYCHOLOGY TODAY is one of those national journals that used to be LEFT SOCIAL PROGRESSIVE but was taken far-right global banking Clinton neo-liberal these few decades. So, they sell PROPAGANDA ------not real information. Here we see the women's movement now being labelled as EVIL----UNNECESSARY----ILLOGICAL -----all far-right neo-liberal policy terms just because global 1% and their 2% of WOMEN have captured our REAL women's movement and are driving policies tied totally to ECONOMICS and having no ties to children, family, community.
WHEN POLICIES ARE TIED TO ECONOMICS---MAKING THE RICH RICHER----THEY BECOME FAR-RIGHT -----LEFT POLICIES ALWAYS SEEK TO PROTECT FAMILY WITH ABILITY TO EARN ENOUGH MONEY TO CREATE STABLE COMMUNITIES AND FAMILIES.
Below we see who is being allowed to write for our US PSYCHOLOGY TODAY----and this is why an article creating images of women as evil and illogical is embraced.
The Scientific Fundamentalist'
US women's rights and feminism NEVER promoted the idea of women are men----RADICAL FEMINISM being far-right global banking 1% creates that policy stance. We saw this in SEVEN FUNCTIONS OF LANGUAGE stating RADICAL FEMINISTS with beliefs that women were men were LEFT----when they never were. Who wrote this article and the novel SEVEN FUNCTIONS? Men wanting to end these several centuries of 99% WE THE WOMEN'S RIGHTS.
Why Modern Feminism Is Illogical, Unnecessary, and Evil
Feminism is the radical notion that women are men
Posted Aug 02, 2009
Although it is not Susan Pinker’s intention in writing it, reading her excellent book The Sexual Paradox: Troubled Boys, Gifted Girls and the Real Difference Between the Sexes cannot help but further reinforce my view that modern feminism in the 21st century is simultaneously illogical, unnecessary, and evil.
First, modern feminism is illogical because, as Pinker points out, it is based on the vanilla assumption that, but for lifelong gender socialization and pernicious patriarchy, men and women are on the whole identical. An insurmountable body of evidence by now conclusively demonstrates that the vanilla assumption is false; men and women are inherently, fundamentally, and irreconcilably different. Any political movement based on such a spectacularly incorrect assumption about human nature – that men and women are and should be identical – is doomed to failure.
Further, modern feminism is unnecessary, because its entire raison d’être is the unquestioned assumption that women are and have historically always been worse off than men. The fact that men and women are fundamentally different and want different things makes it difficult to compare their welfare directly, to assess which sex is better off; for example, the fact that women make less money than men cannot by itself be evidence that women are worse off than men, any more than the fact that men own fewer pairs of shoes than women cannot be evidence that men are worse off than women. However, in the only two biologically meaningful measures of welfare – longevity and reproductive success – women are and have always been slightly better off than men. In every human society, women live longer than men, and more women attain some reproductive success; many more men end their lives as total reproductive losers, having left no genetic offspring.
It is also not true that women are the “weaker sex.” Pinker documents the fact that boys are much more fragile, both physically and psychologically, than girls and hence require greater medical and psychiatric care. Men succumb to a larger number of diseases in much greater numbers than women do throughout their lives. The greater susceptibility of boys and men to diseases explains why more boys die in childhood and fail to reach sexual maturity and why men’s average life expectancy is shorter than women’s. This, incidentally, is the reason why slightly more boys than girls are born – 105 boys to 100 girls – so that there will be roughly 100 boys to 100 girls when they reach puberty.Another fallacy on which modern feminism is based is that men have more power than women. Among mammals, the female always has more power than the male, and humans are no exception. It is true that, in all human societies, men largely control all the money, politics, and prestige. They do, because they have to, in order to impress women. Women don’t control these resources, because they don’t have to. What do women control? Men. As I mention in an earlier post, any reasonably attractive young woman exercises as much power over men as the male ruler of the world does over women.
Finally, modern feminism is evil because it ultimately makes women (and men) unhappy. In a forthcoming article in the American Economic Journal: Economic Policy, Betsey Stevenson and Justin Wolfers of the Wharton School of Business at the University of Pennsylvania show that American women over the last 35 years have steadily become less and less happy, as they have made more and more money relative to men. Women used to be a lot happier than men despite the fact that they made much less money than men. The sex gap in happiness (in women’s favor) has declined in the past 35 years as the sex gap in pay (in men’s favor) narrowed. Now women make as much as, sometimes even more than, men do. As a result, today women are just as unhappy, or even more unhappy than, men are. As I explain in a previous post, money does not make women happy.
The feminist insistence that women behave like men and make as much money as men do may not be the sole reason for women’s rising levels of dissatisfaction with life; a greater incidence of divorce and single motherhood may also contribute to it. At any event, the culpability of modern feminism in making women steadily unhappy, because it is based on false assumptions about male and female human nature, is difficult to deny. Men’s happiness has not declined in the last 35 years, because there has not been masculinism; nobody has insisted on the radical notion that men are women, although, as Christina Hoff Sommers documents, this may be happening in our current war against boys. For anyone who is looking for an effective antidote to modern feminism, I highly recommend Danielle Crittenden’s 1999 book What Our Mothers Didn't Tell Us: Why Happiness Eludes the Modern Women.
Here is far-right wing raging Clinton neo-liberal HUFFINGTON POST telling us straight feminists hate lesbians when REAL LEFT SOCIAL PROGRESSIVE activists were EQUAL RIGHTS for LBGT. This is how global banking 1% corrupt original social progressive policies taking what were GOOD FOR WOMEN, CHILDREN, FAMILIES----and create the OPPOSITE by corrupting policy stances. Straight feminists never hated lesbians----we do not support RADICAL FEMINISM because it is GLOBAL BANKING 1% FAR-RIGHT WING in its goals.
Who are radical women? Not behavior REAL left social progressives think are radical. We do not think nuns wanting to be allowed to be religious leaders are RADICAL. We do not think lesbians wanting to STRAP ON are radical ---sexual identities are personal. We do not think women wanting to earn wages and salaries equal to men are TRYING TO BE MEN.
So, all these public policy terms are being CORRUPTED by global banking just to undermine what was a GOOD, AND REAL social progressive movement for women. It started these few decades of CLINTON/BUSH/OBAMA.
So, who is BROWNWORTH? She is a global banking 5% media player working to corrupt our real left social progressive women's movement by writing propaganda like this. Here we see PULITZER PRIZE WINNER---she worked for BALTIMORE SUN for goodness sake-----the SUN would not hire someone not far-right wing global banking neo-liberal/neo-conservative.
Victoria A. Brownworth
Pulitzer Prize-nominated journalist and the first out lesbian to have a column in a daily newspaper
Victoria A. Brownworth is a Pulitzer Prize-nominated journalist. The first out lesbian to have a column in a daily newspaper, she has won the Society of Professional Journalism Award, the NLGJA Award, Lambda Literary Award and many others. Her work has appeared in The New York Times, The Philadelphia Inquirer, The Baltimore Sun and The Nation, among other national publications.
This is part of these few decades of CLINTON/BUSH/OBAMA far-right wing ----dismantling all gains for our 99% of WE THE PEOPLE----this attacking 99% of US women.
So, what is the difference between far-right wing global banking 1% RADICAL FEMINISM----that CLINTON NASTY LADY CORPORATE FEMINISM----and our original REAL left social progressive women's rights movement? One empowered women ----this current corrupted movement seeks to ELIMINATE all those gains---led by global banking 1% and their 2% of women---who could care less about 99% of US and global women.
08/02/2013 09:35 pm ET Updated Dec 06, 2017
Why Do Straight Feminists Hate Lesbians?
By Victoria A. Brownworth
“Lavender menace.” That’s what National Organization for Women (NOW) president Betty Friedan called the “threat” from lesbians to the newly formed second-wave feminist movement in 1969. Friedan, bolstered by other straight feminist leaders, believed that butch lesbians would damage the image of radical feminism with their “mannish” looks and “man-hating” behavior.
FRIEDMAN WAS ALWAYS THAT GLOBAL BANKING 1% NATIONAL MEDIA 5% PLAYER STAR of women's movement----she was always a Clinton neo-liberal 5% NASTY LADY------
Fast-forward 44 years and the man-hating lesbian trope is back with a vengeance. Straight, liberal feminists can’t distance themselves far enough from lesbians and their issues. As they moderate their own feminism to accommodate men and embrace a mainstreamed, it’s-OK-guys-we-love-you feminism-lite, they also argue against a true, essentialist feminism that is for and about women.
Lest that make me sound like that scary, man-hating ogre I’ve never actually met in real life but which straight feminists and men have been talking about since before Friedan’s panic attack over lavender menacing, let me explain: Feminism is a movement to empower women and equalize them in society. All women, everywhere.
Conversely, lesbophobia is a movement to silence lesbians everywhere, to double-dose lesbians with sexism and homophobia and dare us to challenge that erasure of who and what we are. This lesbophobia doesn’t just come from men. It comes from the very women who should be our most stalwart supporters, undermining lesbians in their quest for equity.
Straight, liberal feminists have been so invested in rebranding straight, liberal feminism to fit a binary political system (Democrats good for women; Republicans bad for women) and binary sexuality roles (we love men; lesbians hate men) that they’ve completely lost sight of what the goal of feminism is supposed to be: to wrest the world from the death grip of patriarchy and divide the spoils equally among everyone, regardless of gender.
Straight, liberal feminism has also become mired in single-issue politics to the exclusion of all else — especially lesbians. Abortion rights seems to be the only issue that straight, liberal feminists can own and support, yet feminism is about keeping women from being erased from the planet through femicide, sex-selective abortion and killings of lesbians.
OH, REALLY????? ABORTION WAS LEFT SOCIAL PROGRESSIVE FEMINISM'S ONLY GOAL?
Malala Yousafzai, the Pakistani teen whom Taliban gunmen shot in the head in October 2012 in an assassination attempt to keep her from advocating for girls’ education, spoke at the United Nations last month on her 16th birthday. Malala seems to know much more about feminism and what its goals once were/should be than do the majority of straight, white, middle-class feminists blogging around the Internet in 2013. At the same time that Malala was speaking with urgency about a need for radical feminist reforms worldwide to save the lives of girls like herself, Amanda Marcotte was writing at Slate that there is no need for radical feminism, and what the heck was that anyways, huh, and lesbians who espoused it should just get over themselves.
Straight, liberal UK feminist Caroline Criado-Perez created a furor a few weeks ago when she freaked out over getting rape threats and death threats on Twitter. Such threats, horrific as they are, were only news because Criado-Perez is a well-known, straight, liberal feminist espousing centrist feminist views. BBC and Radio 5 were quick to get her and several other well-known straight, liberal feminists on air to discuss this “new” trend.
CENTRIST FEMINISTS WERE FAR-RIGHT WING GLOBAL BANKING NEO-LIBERAL CORPORATE WEALTH AND POWER ---NOT LEFT SOCIAL PROGRESSIVE WOMEN RIGHTS.
It’s not new for lesbians. Lesbians have been receiving these threats on Twitter on a daily basis, with no repercussions against the perpetrators by Twitter and no hue and cry from our feminist sisters. We have been left to pray that online threats don’t translate into real-life ones, as they have for me and other lesbians.
The night of the verdict in the George Zimmerman trial, I received rape threats (“get raped you dirty feminist cunt”) and death threats (“maybe you should have died like Trayvon”) on Twitter as I tweeted for several hours about the racism of the verdict and my belief that justice was not served.
No one seemed especially surprised by the threats I received. Twitter did not suspend any of the men who tweeted at me, including the author of the above threat. The BBC did not ring me up, nor did Radio 5. Yet even more tellingly, not one straight, liberal feminist said a word. The very women who are up in arms over the terrible treatment of Criado-Perez have consistently shrugged off these same threats when they are made to lesbians. Why?
The culture of lesbian erasure that has flourished in the past few years has become deeply and disturbingly entrenched in straight, liberal feminism. Lesbians have become politically anathema. We’re expected to support the abortion-rights movement, but there’s no reciprocity: No one tossing around the term “reproductive rights” thinks it applies to making alternative insemination accessible for all lesbians.
Lesbian-rights issues abound, but I have yet to see a straight, liberal feminist address those issues as if they were her own. When I wrote about anti-lesbian “corrective rape” for The Advocate, the response from straight, liberal feminists was resounding: crickets.
Employment discrimination is a fundamental issue for lesbians. Where is the straight feminist outrage over lesbians being fired for being gay, or over lesbians who don’t pass as straight being unable to access employment?
THERE NEVER HAS BEEN OUTRAGE FROM LEFT SOCIAL PROGRESSIVE WOMEN ON EQUAL OPPORTUNITY AND ACCESS FOR OUR 99% GBLT CITIZENS
Where is the discourse over lesbians being denied visitation with their children? Where is the concern over lesbians being barred from seeing their partners in hospitals or nursing homes? What about the lesbian cancer epidemic or the inability of lesbians to access non-homophobic health care? How about lesbians and poverty? And lesbians who have been raped, as I wrote about here last month? What about us?
There are myriad global threats to lesbians: “corrective rape” in South Africa, lesbians murdered for being gay in Jamaica, “honor killings” of lesbians throughout the Middle East, lesbians sex-trafficked throughout the Eastern bloc, lesbians forcibly married in India and Pakistan.
If straight, liberal feminists don’t want to challenge substantive economic and social issues and global issues, perhaps they could address the misrepresentation of lesbians in popular culture.
WE HAVE BEEN FIGHTING AND EDUCATING AGAINST IMAGES OF ALL WOMEN IN POPULAR CULTURE
Comedian/actor Russell Brand said last month that all lesbians want to “jump the fence.” Perhaps he took his ex-wife Katy Perry’s “I Kissed a Girl” song too literally. Yet this is the meme about lesbians throughout popular culture: “Lesbian” and “bisexual” are conflated, and men are inserted into the lesbian romantic equation. A film like 2010’s The Kids Are All Right had Julianne Moore’s lesbian character engaged in nonstop heterosexual sex throughout the entire film. In the current Netflix hit Orange Is the New Black, the protagonist is a “former lesbian.” When lesbians appear at all on TV, they have a cookie-cutter similarity: pretty, “bicurious” women who end up together, or single lesbians whose best friends are straight women. On the flip side, we have late-night comedians referencing unattractive, mannish lesbians in flannel shirts.
In addition to these hardcore life-and-death issues and popular media erasures, in our daily lives lesbians face continual threats. Femme-looking lesbians like me are constantly told that they “don’t look like a lesbian,” or that they should get a “real” man. Butch lesbians are told that they should stop trying to be men. Lesbian couples are harassed. Young lesbians are told that they are just going through a phase and haven’t met the right man. Lesbians are targets, for discrimination, for sexual harassment, for violence. Lesbians have less money and less privilege than straight women have. We have less access to everything than our straight sisters have — except to violence.
Lesbians were at the forefront of first- and second-wave feminism. Lesbians have consistently been the standard bearers for feminism when it has made straight, liberal feminists squirmy and uncomfortable around their men. Lesbians never owned the phrase “I’m a feminist, but....”
Lesbians are at risk. If straight feminists can rally for each other, why can’t they do the same for lesbians? Straight feminists need to ask themselves why 44 years after Betty Friedan declared war on the “lavender menace,” that’s the one tenet of second-wave feminism that straight feminists seem determined to defend
Why is BLACK PANTHER more progressive than our REAL left social progressive feminism? Because it is the OPPOSITE of goals of real feminism---it seeks to take women to being WARRIORS ----that is far-right wing, global banking 1% authoritarian -------KILLING 99% OF WOMEN, CHILDREN, FAMILIES, COMMUNITY----and we discussed BLACK PANTHER being a HOLLYWOOD FAD movie tied to OLD WORLD KINGS AND QUEENS KNIGHTS OF MALTA---CIA.
We discussed in detail why BLACK PANTHER corrupted the original goals of last century's Black Panther movement for US 99% of black citizens----here it is doing the same for our original women's rights movement and we are seeing those 5% to the 1% black players selling the same idea that REAL left social progressive women feminists are BAD----while Hillary NASTY LADIES----being those WARRIOR WOMEN ----are not identified as BAD.
Here we see the writer---AISHA HARRIS having worked for all those far-right wing global 1% media outlets-----raging far-right wing global banking-----selling this FAD in far-right Clinton neo-liberal media outlet SLATE.
We discussed in detail why BLACK PANTHER corrupted the original goals of last century's Black Panther movement for US 99% of black citizens----here it is doing the same for our original women's rights movement and we are seeing those 5% to the 1% black players selling the same idea that REAL left social progressive women feminists are BAD----while Hillary NASTY LADIES----being those WARRIOR WOMEN ----are not identified as BAD.
Aisha is a culture writer and editor for Slate and the host of its podcast centered around representation in film and TV, Represent. Since the show began in July 2016, guests have included Barry Jenkins, Rita Moreno, Larry Wilmore, Marlee Matlin, Alan Yang and many other vets and newcomers in the Hollywood industry. Elsewhere, she's contributed to the New York Times online, The Dissolve, Marie Claire Italy, and has been seen and heard her as a guest on NPR, BBC, CBC, MSNBC, NBC, CNN, WNYC, and PBS.
So, those 5% freemason/Greek women killing 99% of WE THE WOMEN just as the men-----not caring that several centuries of women's rights movement are to be eliminated ----for their children and grandchildren or family members.
Black Panther Is the Most Feminist Superhero Movie Yet
Yes, including Wonder Woman.
By Aisha Harris
Feb 23, 20188:00 AM
One of Black Panther’s many highlights is a Bond-like casino faceoff that turns into an Afrofuturistic car chase through the streets of South Korea. King T’Challa, undercover spy Nakia, and Okoye, the head of her team of bodyguards, the Dora Milaje, set out on a mission to intercept the smuggler Ulysses Klaue’s sale of stolen vibranium and either kill him there or bring him to Wakanda to face the consequences. In spite of their lack of superpowers, Nakia and Okoye more than hold their own, using their adept fighting skills (not to mention resourcefulness with a wig and a high heel) to fend off Klaue’s men. When they follow him into the streets, they get a helpful assist from T’Challa’s sister, Shuri, who drives a high-powered car remotely from her Wakandan tech lab. Ultimately, they fail to bring Klaue to justice—T’Challa allows CIA agent Everett Ross (Martin Freeman) to take him into custody—but the staging of the showdown, with all four working together as a cohesive unit, subtly illuminates how groundbreaking the movie is within the Marvel universe. Black Panther confidently performs the tricky balancing act of writing fully realized women characters into a traditionally male-centered narrative by wholeheartedly believing that they are integral to the storytelling.
In its skeletal form, the movie’s central conflict emerges from the fraught relationships between two pairs of male adversaries, the late King T’Chaka and his brother N’Jobu in 1992, and their sons T’Challa and Erik in the present day. There’s much to mine from the depiction of fathers and sons (the opening montage is N’Jobu telling his young son the story of their ancestors), and there are no fewer than three one-on-one battles between T’Challa and a male opponent. But in Black Panther, women are just as crucial to the world of Wakanda and how it’s governed as the men. It’s Okoye, Shuri, and Nakia who have the ear of T’Challa more often than anyone else in the movie: Nakia attempts to nudge him away from his father’s isolationist stance so that they can provide aid to other African countries. Okoye is his confidante, and she shares with him a strong sense of duty to the job and an easy rapport, as evidenced during their banter with one another in their native tongue in front of Everett at the police station. Shuri is his Q, consistently testing the limits of technological advancement and designing for him the ultimate suit and footwear for combat while serving up affectionate ribbings the way siblings do.
Moving as it was to see so many little girls dressing up as Wonder Woman, the fact that Black Panther has a wider variety of Wakandan women is a crucial step toward truly progressive feminism on screen. Even on the periphery, there’s no discernible gender-based hierarchy among the tribal elders, who take turns voicing their opinions respectfully, if forcefully. Little in the script suggests that women are considered incapable of doing what the men can do merely because they aren’t men: Shuri’s undercutting joke about her corset at T’Challa’s crowning ceremony seems a sly nod to her possible ascension to the throne; the other tribe members’ laughter could be read as a reaction to the idea that the king’s own sister would challenge him, rather than simply because she’s a woman. When T’Challa is presumed dead, Nakia turns to the Jabari Tribe only after she tries and fails to team up with Okoye against Killmonger--even with the powerful heart-shaped herb she’s managed to save from the new king’s orders of destruction, a spy without an army is a setup for failure, she understandably reasons.
There are three fully realized women here, none of them exactly alike, and the film provides ample evidence of mutual respect between them and their countrymen. The casino and car-chase sequence devotes equal time to Black Panther’s daring stunts as it does to Okoye’s masterful spear tricks. Later, during the Wakandan civil war, it repeats this feat on an even larger scale—although the bloated set piece falls into the trap of stuffing too much muddled action into the third act of a Marvel movie, at least this time it’s in the service of watching many skilled and powerful women join together in battle. And there’s still enough time for each of them to demonstrate their individuality in the midst of it all: When Okoye insists that she has no reservations about killing her husband if he continues to support Killmonger now that T’Challa is shown to be alive, the moment is a brutal testament to her will and perfectly in keeping with her stance throughout the rest of the film.
This attention to detail, the clarity in personalities in the main characters and beyond, is what truly sets Black Panther apart from other comic book movies, including Wonder Woman.
The latter, for all its forward strides, still suffers from a singular exceptionalism--once Diana Prince leaves her Amazonian homeland, she becomes the film’s sole example of female fortitude. Sure, it’s nice to see a woman leading and outsmarting the men for a change, but the film still forces an uncomfortably hurried romantic subplot with one of her allies into the mix and has characters commenting upon her physical appearance every step of the way.
One could argue that these differences make sense given Wonder Woman’s World War I backdrop and Black Panther’s Afrofuturistic setting—also, everyone in Wakanda is stunningly beautiful, so there’s no need to go on about it all the time—but even in the present day, Diana remains Justice League’s sole female superhero. As moving as it was to see so many little girls and women dressing up as Wonder Woman last year, the fact that Black Panther has a wider variety of Wakandan women to identify with—are you insanely smart and tech savvy like Shuri, or a do-gooder with maternal instincts like Nakia?--is a crucial step toward truly progressive feminism on screen. The movie may be called Black Panther, but it’s clear that the female characters’ individual relationships to T’Challa move far beyond sidekick or love interest. Wakanda would be sorely at a loss without them.
Black Panther’s road to success, both creatively and financially, relied on a lot of obvious factors and strategies: the usual Marvel marketing machine, a capable director, a strong cast, and a story that could satisfy both the fans and the audience members who couldn’t tell you what vibranium was but knew this was not an event to be missed. Yet even with performers as talented as Lupita Nyong’o, Danai Gurira, and scene-stealer Letitia Wright, it was difficult to anticipate that this comic book movie might dare to become arguably the most feminist example of its kind to date. Women have played third or fourth fiddle (or just plain damsel in distress) in these movies much more often than not, and with very rare exception have black women played any significant part in the stories at all. Just as Wakanda is a utopian symbol for black people in its depiction of a nation relatively untouched by colonialism, so does it now represent an ideal world in which men and women coexist respectfully, on an equal playing field.
So, those 5% freemason/Greek women killing 99% of WE THE WOMEN just as the men-----not caring that several centuries of women's rights movement are to be eliminated ----for their children and grandchildren or family members.
What we see is another 5% to the 1% player population group being captured by far-right wing---that will KILL all those 5% LBGT women's rights REAL left social progressives fought all last century to gain---all tied to ONE WORLD ONE GOVERNANCE for only the global 1% pretending our 99% of GBLT are empowered by MOVING FORWARD ONE WORLD ----
OUR GBLT AND STRAIGHT 5% WOMEN NEED TO WAKE UP----THERE HAS NEVER BEEN A TIME IN HISTORY THAT GAY AND LESBIAN CITIZENS HAD POWER NOT MATTER HOW MUCH TODAY'S GLOBAL BANKING TRY TO MAKE ANCIENT GREECE SOUND LIKE A PARADISE FOR GREEK GAY EMPOWERMENT. IT IS A CORRUPTION OF GREEK CULTURE TIED TO BACCHANAL.
Bacchanalia - Wikipedia
en.wikipedia.org/wiki/Bacchanalia The Bacchanalia were Roman festivals of Bacchus, based on various ecstatic elements of the Greek Dionysia.They seem to have been popular, and well-organised, throughout the central and southern Italian peninsula.
Provided to YouTube by CD
Baby Bacchanalia · The Steve Spiegl Big Band Perspectives ℗ 1982 Sorcerer Records Released on:…
The societal structures of extreme wealth extreme poverty always lead to hedonism----which enslaves 99% of WE THE PEOPLE of differing sexual groups to deviant behavior for only the benefit of global 1%. The societal structures of extreme wealth extreme poverty always lead to hedonism----which enslaves 99% of WE THE PEOPLE of differing sexual groups to deviant behavior for only the benefit of global 1%...for our LBT women ----that value is lowest on totem pole.
Before we discuss public policy we must understand all that GREEK tied to LYING AND HIDING -----sadly, those global 1% OLD WORLD KINGS AND QUEENS have not EVOLVED for 4000 years.
So, we talk often of OPIUM WARS by global banking 1% used to weaken our 99% of WE THE PEOPLE---that is what these few decades of US CITIES AS FAILED STATES have been. The Greek tragi-comedia of BACCHUS VS PENTHUS is a top global banking political strategy----sending in BACCHUS to fill society with hedonism---sex, drugs, and rock and roll today was as described below in ancient Greece.
WE NOTICE BACCHUS WAS RIDING A BLACK PANTHER IN STARTING THE WAR AGAINST PENTHUS---WHO WAS TRYING TO MAINTAIN A CIVIL SOCIETY.
THE BRITISH INVASION in 1960s was that BACCHUS corrupting of our US society taking a REAL left social progressive women's rights policy tied to family, children, community, and women able to earn a living/have property rights----to one of debauchery---free sex-----lots of drugs-----ever-increasing sexual deviation. We are NOT PRUDES----left social progressives always supported people's rights to imbibing and sexual privacy----what MOVED FORWARD during ROBBER BARON few decades was deliberate BACCHUS VS PENTHUS.
Dionysus riding panther, Greek mosaic from Pella C4th B.C., Pella Archaeological Museum
DIONYSOS (Dionysus) was the Olympian god of wine, vegetation, pleasure, festivity, madness and wild frenzy. He was depicted as either an older, bearded god or an effeminate, long-haired youth. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term. <<More>>
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves. <<More>>
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe. <<More>>
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb. <<More>>
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes. <<More>>
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins. <<More>>
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos. <<More>>
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods. <<More>>
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone. <<More>>
Many other myths are detailed over the following pages.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
Below are some examples of his attributes as depicted in ancient Greek art:-
1. Pine-cone staff (thyrsos); 2. Thyrsos-staff head; 3. Grapevines; 4. Drinking-cup; 5. Wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Below are examples of the god's animals as depicted in ancient Greek art and photos of his sacred plants:-
1. Panther; 2. Grapevine; 3. Ivy; 4. Bindweed; 5. Pine tree.
While global banking 5% to the 1% media and organizations pretended this was all LEFT BEHAVIOR---FREEDOM AND LIBERTY FOR 99% WOMEN-----it was always far-right wing global banking 1% OLD WORLD KINGS AND QUEENS weakening all the gains of women for several centuries===all while pretending to be helping our 99% of women gain more freedom.
Baby boomers like us lived and enjoyed this period---we loved rock and roll, dancing, parties---most of our 99% of left social progressive did support a woman's right to choose to have sex before marriage-----the right to imbibe having been a right of passage for thousands of years for men----we supported the rights of women to have that same experience as young adults. We did not support the GREEK CULTURE of binge drinking, drugs to the extreme.
This is where in the US our REAL left social progressive women's movement tied to women helping to support family having jobs, earning wages enough to allow independence, building stable economies and safety nets to assure families and communities were healthy------went to RADICAL FEMINISM tied to free sex, drugs, nudity, and anti-NATURE.
SEX, DRUGS, AND MUSIC tied to BACCHUS VS PENTHUS is far-right wing global banking OLD WORLD KINGS AND QUEENS----the opposite of REAL left social progressive goals for women's rights.
We have often discussed how today's MILEY CYRUS TWERKING is the extreme of what started in 1960s debasing our REAL 99% left social progressive women's movement taking women back to being SAINTS OR PROSTITUTES.
'Miley Cyrus's twerking routine was cultural appropriation at its worst
Cyrus's act was less a homage to hip-hop and more a minstrel show. For cultural cross-pollination, give me the Notting Hill carnival any day'
Rock ‘n’ roll, drugs and sex (in that order)
By Tom Casciato
January 4, 2011
On November 3, 1964, the mayor of Cleveland, Ralph S. Locher, banned the Beatles and what The New York Times called “similar singing groups” from performing at the city’s venerable Public Hall. The mayor’s reasoning: “Such groups do not add to the community’s culture or entertainment.” The ban would go into effect that night, immediately following the appearance of what the Times referred to as “another group of shaggy-haired English singers” — the Rolling Stones.
There’s an easy irony to be had pointing out that Cleveland is now home to the Rock and Roll Hall of Fame, which presumably would treat a 1964-era lock of that hair as a holy relic.
But a more telling irony is found in another Times piece from the era, this one about how musicologists were “astonished” by the popularity of the Beatles and their shaggy ilk. (Back then, it seems, there was very little written about the Stones that didn’t mention the Beatles, too.) In a 1965 piece entitled “Beatles Stump Music Experts Looking for Key to Beatlemania,” The Times noted that “The Stones, as they are called, have a rough, wild style in which everyone seems to go his own way.”
Global banking 1% freemason STARS are always made international STARS----best sellers in music, books, art, and stage.
Wrong. What the Stones had was a rough, wild style in which just the opposite occurred – which brings me to “Life,” Keith Richards’ pleasingly anecdotal, breezily amoral memoir that well proves that point, containing generous helpings of Richards’ own brand of musicology to go along with the requisite tales of debauchery and criminality.
In fact, “Life” throws bad behavior’s holy trinity into reverse — proffering rock ‘n’ roll, drugs and sex, in that order. As such, Richards’ recollections have become essential not only for those readers interested in the salacious (who, despite the odd blowjob reference, will be disappointed to learn how often our Keef prefers to just “cuddle”) and the druggy (who will finally discover whether or not he really did have every drop of blood in his body replaced) but also for people who care about the Stones mostly for their records. In fact, what makes “Life” so compelling is that Keith Richards’ love for the music is as pure as the pharmaceutical cocaine he so adores.
There are nuggets galore. One of my favorites: Richards reveals how he managed to create the legendary sound of a song that to this day epitomizes tough-ass rock, “Street Fighting Man,” without using a single electric guitar, save the bass. If that sounds preposterous, put in your earbuds and check it out — those are all acoustic guitars, recorded onto an old Phillips cassette recorder and played back through a speaker into a microphone and laid back to tape to create a rocking, distorted sound, but one quite unlike any an electric guitar would make.
There’s also a mini guitar-playing seminar, in which Keith tells how he discovered (via Ry Cooder) the ringing drone that came with tuning his guitar into an open G chord, leading him to explore the neck of the guitar as if finding a whole new instrument, and discovering the signature voicings of some of the Stones’ best-known riffs — the defining guitar parts of “Honky Tonk Women,” “Brown Sugar” and “Start Me Up” among them — and eventually taking the lowest string off his guitar altogether, allowing him to easily finger five-string jangly barre chords that have baffled his would-be imitators ever since. He takes a gleeful poke at the millions of bar bands he’s seen trying to play Stones songs in standard guitar tuning: “It just won’t work, pal.”
But by far the most satisfying bits are those that describe Richards’ love of the innovative styles of his idols — Jimmy Reed, Scottie Moore, John Lee Hooker, Chuck Berry, et al. — and how he and his mates incorporated them into what became the Stones’ signature sound.
Put those earbuds back in and take a listening tour:
He admires how Jimmy Reed and his band were able to transform the repetition, even monotony, of songs like “Baby What You Want Me To Do” and “Take Out Some Insurance” into “this sort of hypnotic, trancelike thing” that greatly influenced the Stones.
He revels in how Elvis Presley’s “Mystery Train” — featuring Moore on lead guitar — is one of the greatest rock ‘n roll tracks ever despite its having no drums. It proves, he says, that a suggestion of rhythm is sometimes all that’s necessary: or in his words, “It’s got nothing to do with rock. It’s to do with roll.”
And he adores John Lee Hooker’s willful disregard of the ordinary time-keeping that causes ordinary blues players to change chords on the beat within a 12-bar structure. (If you really want to hear a performance to baffle the musicologists, try to count along to Hooker and his band romping through this live version of “One Bourbon, One Scotch, One Beer.” You will hurt your head.)
Keith Richards in London, 1964. Photo: Terry O'Neill
But what he clearly loves most is what he calls “the magic art of guitar weaving,” loosely defined as “what you can do playing guitar with another guy.” But “weaving” isn’t just two guitars playing at once; it’s two guitars in utter sympathy with each other, one countering the other harmonically and rhythmically, creating an appealing architecture that blurs the traditional lines between “lead” and “rhythm” guitar.
His “weaving” heroes include Muddy Waters with his brilliant backup guitarist Jimmy Rogers, The Aces’ Louis Myers with his brother David, and Chuck Berry with himself. (While acknowledging Berry’s studio brilliance, Richards charges that Berry overdubbed “because he was too cheap to hire another guy most of the time.”)
But, of course, if you made a list of the greatest guitar weavers of them all, you’d have to include Keith Richards and whoever he happened to be playing with at the time. Give a fresh listen to the break on 1965’s “The Last Time,” with Brian Jones playing the main riff and Keith layering his part on top. Then there’s Keith — without apologies to Chuck Berry — overdubbing those multiple acoustic guitars on “Street Fighting Man.”
Perhaps the epitome of guitar weaving can be found on 1978’s “Beast of Burden” from Some Girls. The song was a big hit and you’ve heard it a million times. But do yourself a favor and give it a new, close listen where you ignore everything but how Richards and guitarist Ron Wood play off each other. (Keith’s is the first guitar you hear, Wood’s the second, and there are definitely some overdubs as well.) They create the audio illusion (if there can be said to be such a thing) of “everyone going his own way,” but what’s really happening is that the players are finding their way together. The rhythm is the lead, the lead the rhythm, the playing gently slinky, impeccably timed. As such – you’d likely find no disagreement in Cleveland – the community’s culture and entertainment are served.
One may notice today the use of the word AGAVE coming into US marketing is growing numbers of products-----AGAVE being that 5% HILLARY NASTY LADY as pied piper to the 99% of good women creating ECSTATIC FRENZY----you know, MILEY CYRUS.
Since our 5% to the 1% freemason/Greek players do ANYTHING global banking tells them ----our 5% of US women have been going out being that BACCHUS AGAVE.
'As a the play begins, Dionysus has driven the women of Thebes, including his aunts Agave, Autonoe and Ino, into an ecstatic frenzy, sending them dancing and hunting on Mount Cithaeron'.
We knew at the time of MATA HARI's DANCE OF SEVEN VEILS-----we knew at the time of BRITISH INVASION sex, drugs, and rock and roll------that all this was tied to BACCHUS VS PENTHUS with today's PENTHUS being our US civil society---breaking down civil society to sack and loot and bring to a colonial status.
So, what our 99% of WE THE WOMEN in Europe, US, and Canada fought for several hundred years with last century having strong gains ----is being killed as with all of AGE OF ENLIGHTENMENT----our US 99% of men are losers as well. It is those 5% freemason/Greek women players living only for today that do not care....they think they are winning when they are soon to be great big LOSERS.
We showed TAYLOR SWIFT as that global banking 1% freemason STAR sitting on a SAINT PETER'S SCOTTISH RITE TEMPLE throne as the MIRROR of this BACCHUS Greek ritual. When our FAKE CHRISTIAN RELIGIOUS RIGHT pretend all these few decades of CLINTON/BUSH/OBAMA radical feminism is our REAL left social progressive policies gone wrong-----they are LYING AND HIDING that these policies are far-right wing extreme wealth extreme poverty.
ANCIENT GREECE - EURIPIDES -
(Tragedy, Greek, c. 410 BCE, 1,392 lines)
Introduction | Synopsis | Analysis | Resources
“The Bacchae”, also known as “The Bacchantes” (Gr: “Bakchai”), is a late tragedy by the ancient Greek playwright Euripides, and it is considered one of his best works and one of the greatest of all Greek tragedies. It was probably written as early as around 410 BCE, but it only premiered posthumously at the City Dionysia festival of 405 BCE, where it won first prize. The story is based on the myth of King Pentheus of Thebes and his mother Agave, who are punished by the god Dionysus (also known as Bacchus) for refusing to worship him.
The play begins with a prologue by the young god Dionysus, who explains the complicated circumstances of his birth. His human mother, Semele, became pregnant by Zeus, king of the gods. Zeus’ wife, Hera, angry at her husband’s betrayal, convinced Semele to look at Zeus in his true form, for which Zeus appeared to her as a lightning bolt, killing her instantly. At the moment of her death, however, Zeus saved the unborn Dionysus, hiding it from Hera by sewing the foetus up in his own thigh until it was ready to be born.
Semele’s family, though, particularly her sister Agave, had never believed her story about a divine child, convinced that Semele had died as a result of her blasphemous lies about the identity of the baby's father, and the young god Dionysus has therefore always been spurned in his own home. Meanwhile, Dionysus has travelled throughout Asia gathering a cult of female worshippers (the Bacchae, or Bacchantes, of the title, who are the Chorus of the play), and has returned to his birthplace, Thebes, to take revenge on the ruling house of Cadmus for their refusal to worship him, and to vindicate his mother, Semele.
Asa the play begins, Dionysus has driven the women of Thebes, including his aunts Agave, Autonoe and Ino, into an ecstatic frenzy, sending them dancing and hunting on Mount Cithaeron. (These possessed women are collectively known as the Maenads, as opposed to the Bacchae, who are Dionysus’ voluntary followers from Asia). The old men of the city, like Semele’s father Cadmus and the old blind seer Tiresias, although not themselves under the same spell as the Theban women, have nevertheless become enthusiastic devotees of the Bacchic rituals.
The idealistic young King Pentheus (Agave’s son and Dionysus’ cousin, who has recently taken over the throne from his grandfather, Cadmus) scolds them harshly and effectively bans Dionysian worship, ordering his soldiers to arrest anyone else found engaging in the rites. He sees the women’s divinely-caused insanity merely as drunken cavorting and an illicit attempt to escape the mores and legal codes regulating Theban society.
Dionysus himself then enters, having deliberately allowed himself to be arrested in his disguise as the long-haired Lydian leader of the Dionysian priests (“the Stranger”), and he is questioned by the skeptical Pentheus. It is clear from his questions, however, that Pentheus himself is also deeply interested in the Dionysiac rites, and when the stranger refuses to reveal the rites fully to him, the frustrated Pentheus has him (Dionysus) locked up. Being a god, however, Dionysus is quickly able to break free, and promptly razes Pentheus’ palace to the ground in a giant earthquake and fire.
A herdsman brings sensational reports from Mount Cithaeron that the Maenads are behaving especially strangely and performing incredible feats and miracles, and that the guards are unable to harm them with their weapons, while the women appear able to defeat them with only sticks. Pentheus is now even more eager to see the ecstatic women, and Dionysus (wishing to humiliate and punish him) convinces the king to dress as a female Maenad to avoid detection and go to the rites himself.
Another messenger then reports how the god took his vengeance a step further than just humiliation, helping Pentheus up to the top of a tree for a better view of the Maenads but then alerting the women to the snooper in their midst. Driven wild by this intrusion, the women tore the trapped Pentheus down and ripped his body apart, piece by piece.
Pentheus' mother, Agave, still possessed by the Dionysian ecstacy, arrives back at the palace carrying the head of her son, believing it to be the head of a mountain lion which she had killed with her bare hands, ripping its his head off, and she proudly displays her son's severed head as a hunting trophy to her horrified father, Cadmus. But, as Dionysus' possession begins to wear off, Agave slowly realizes with horror what she has done. Cadmus remarks that the god has punished the family rightly but excessively.
Dionysus finally appears in his true form, and sends Agave and her sisters into exile, the family now all but destroyed. Still not satisfied, though, Dionysus chastises the family one more time for their impiety and, in a final act of revenge, turns Cadmus and his wife Harmonia into snakes. By the end, even the Bacchantes of the Chorus pity the victims of Dionysus’ over-harsh revenge, and look on Agave and Cadmus with compassion. The old, blind prophet Tiresias is the only one not to suffer, for his efforts in persuading Pentheus to worship Dionysus.
“The Bacchae” was probably written around 410 BCE, but it only premiered posthumously as part of a tetralogy that also included his “Iphigenia at Aulis” at the City Dionysia festival of 405 BCE. The play was brought back to Athens by Euripides' son or nephew, Euripides the Younger, who was also a playwright, and it was probably directed by him. It won first prize at the contest, ironically a prize that had eluded Euripides all his life. Indeed, no play seems to have been more popular in the ancient theatre, or to have been more frequently quoted and imitated.
During his lifetime, Euripides saw the incursion of strong Asian and Near Eastern influences into cult practices and beliefs, and the god Dionysus himself (still incompletely integrated into Greek religious and social life at that time) mutated during this period, taking on new forms and absorbing new powers. The character of Dionysus himself, in the prologue to the play, highlights the perceived invasion of Greece by Asian religions.
The play attempts to answer the question of whether there can be a space for the irrational within a well-structured and ordered space, either interior or exterior, and it depicts a struggle to the death between the forces of control (restraint) and freedom (release). Dionysus’ implicit message in the play is that, not only is there space within society for the irrational, such a space MUST be allowed for that society to exist and thrive, or it will tear itself apart. It demonstrates the necessity of self-control, moderation and wisdom in avoiding the two extremes: both the tyranny of excessive order, and the murderous frenzy of collective passion.
Unusually for a Greek drama, the protagonist, Dionysus, is himself a god, and a god who is by his very nature contradictory: he is both the divine god and the mortal Stranger, both a foreigner and a Greek, both inside and outside of the play’s action. He is at once intensely masculine (symbolized by a giant phallus), and yet effeminate, delicate and given to decorative clothing; he allows women to question the supremacy of men, but then punishes them by sending them mad; he is worshipped in the wild countryside, but is central to an important and organized cult in the heart of the city; he is the god of “letting go” and festivity, but his powers can drive humans to let go of their sanity, their judgment and even their very humanity. He blurs the division between comedy and tragedy, and even at the end of the play, Dionysus remains something of a mystery, a complex and difficult figure whose nature is difficult to pin down and describe, unknown and unknowable.
The play is sprinkled throughout with duality (oppositions, doubles and pairings), and opposite forces are major themes of the play: skepticism versus piety, reason versus irrationality, Greek versus foreign, male versus female/androgynous, civilization versus savagery/nature. However, the play is extremely complex, and it is part of Euripides’ intention in the play to show how these binaries are inadequate. For instance, it would be a gross over-simplication to try and attribute the two sides of these forces to the two main characters, Dionysus and Pentheus.
Similarly, all the main characters command a different form of wisdom, but each with its own set of limitations. King Pentheus, for example, is portrayed as young and idealistic, the guardian of a purely rational civic and social order. The order that Pentheus represents, however, is not just the legal order, but what he sees as the proper order of all of life, including the supposedly proper control of women, and he sees Dionysus (and women roaming around freely in the mountains) as a direct threat to this vision. He is also shown to be vain, obstinate, suspicious, arrogant and, ultimately, hypocritical. The prudent old counsellor, Cadmus, advises caution and submission, believing that it is perhaps better to pretend to believe and to practice a “useful falsehood” even if Dionysus is not a real god.
The play exemplifies Greek xenophobia and chauvinism, and Pentheus repeatedly insults the disguised Dionysus as “some Asian foreigner”, “too womanish to be a proper man”, bringing his “filthy foreign practices” to Thebes. These foreign practices are seen as especially threatening as they stand to corrupt all the women folk and to encourage the women to revolt against male authority and break the bonds tying them to their narrowly defined domestic sphere within a patriarchal society. Euripides had an enduring fascination with woman and their social position, and pointed out in this play (and in several others) how implicit and entrenched the oppression of women was in Greek civilization.
It has been suggested that Euripides wished, in his old age, to reconcile himself to his countrymen, and to atone for his previous attacks on their religious beliefs. However, it is likely that the play was written after his final departure from Athens, and it is anyway doubtful whether the religious jibes of his previous works had given much offence to the majority of his countrymen. It also seems unlikely that he would have wished his depiction of the fervid enthusiasm of the Bacchantes to be regarded as his own last words on the subject, and even in this play he does not shrink from exposing the imperfections of the legend and alluding to the frailties and vices of the legendary deities.
In addition to his other roles, Dionysus is also the god of the theatre, and the dramatic competitions at which Euripides’ plays were performed (the City Dionysia of Athens) were theatrical festivals in his honour. To some extent, the character of Dionysus himself effectively stage-directs the play, and emulates the author, costume designer, choreographer and artistic director of the play. Masks and disguises, with all their symbolism, are essential elements in the play.
“The Bacchae” deals with the different relationships of theatre to various aspects of society, including its relationship to art itself. Dionysus offers his worshippers the freedom to be someone other than themselves and, in doing so, the chance to achieve a religious ecstasy through theatre itself. Although Pentheus begins as an external spectator and onlooker, viewing the Bacchic rites with a removed and disapproving gaze, he jumps at the chance offered by Dionysus to move from the margins to centre stage of the drama. Euripides cleverly draws the audience's attention to the artifice of the play and to its conventions and techniques, while at the same time asserting the seductive power of that very artifice, both over the characters in the play and over the audience itself.
Here we have all of those global banking 1% and their 2% of women-----cashing in on all that corruption of our real US 99% of women's movement----making it all about making global corporate profits off 99% of women selling VANITY-------
We know that both REAGAN/THATCHER were never CONSERVATIVE----they were always global banking 1% neo-liberals working for OLD WORLD KINGS AND QUEENS. LAISSEZ-FAIRE is the opposite of conservative. This list of conservative women leaders is as FAKE as the lists of progressive women leaders. Remember, CLINTON corrupted REAL left social progressive policies taking them to being far-right wing ECONOMIC PROGRESSIVE policies---making the global 1% rich----richer.
So, our 99% of new immigrant women coming from Asian, Arabic nations and religions which are conservative need to understand that REAL LEFT SOCIAL PROGRESSIVE FEMINISM is about women and family---women and community---women as wage earners helping to keep families together. The difference for our 99% of women coming from conservative nations and religions is that European/US women's rights also empowered women in rights to own property, rights of protection under law, rights to work out of the house to live independently if they wanted.
'Clare Boothe Luce
Clare Boothe Luce
Ann (Clare) Boothe, the second of two children, was born in New York City on 10th April, 1903. Her father, William Franklin Boothe, a violinist, had a succession of jobs in orchestras, and had been married before. Her mother, Anna Clara Schneider, was a singer and dancer. She was disowned by her parents when she got married. As Roman Catholics, they considered their daughter as "living in sin"'.
Remember, HUMAN EVENTS is a ONE WORLD ONE GOVERNANCE UNITED NATIONS far-right wing neo-liberal NGO -----it lies and hides REAL INFORMATION regarding US history in human rights.
Top 10 Most Influential Conservative Women in America
Human Events | Sunday Nov 27, 2011 3:01 AMconservative women have had on our society.
At the Clare Boothe Luce Policy Institute, we promote mentors and women leaders from all walks of life who are committed to the constitutional principles of individual freedom, economic liberty, limited government, personal responsibility, and traditional values, and we wanted to honor some of the great women who have been champions of these ideals.
We have teamed up with some of our favorite conservative men at HUMAN EVENTS to bring you the Most Influential Conservative Women in America, highlighting the lives and achievements of the top ladies of the Conservative movement. Click on each name to read the profile. Glenn Beck writes about Michele Bachmann; Rep. Steve King on the great Phyllis Schlafly; Film director Steve Bannon on Sarah Palin; Jason Mattera on Michelle Malkin, and a whole lot more.
The women on this list have made a tremendous impact for the better on this great country—and even abroad—and we are thrilled with the opportunity to give them the attention they deserve.
Clare Boothe Luce Policy Institute
Nominee for Vice President in 2008, Governor of Alaska, leader of Tea Party Movement in America, a widely admired professional, wife, mother and woman of faith.
THE TEA PARTY OF COURSE IS A FAKE RIGHT WING CONSERVATIVE GROUP FINANCED BY RAGING FAR-RIGHT WING LAISSEZ-FAIRE LIBERTARIAN KOCH BROTHERS. YES, ALL OF THE ABOVE REPUBLICAN WOMEN WERE 5% ALT RIGHT ALT LEFT GLOBAL BANKING 1% OLD WORLD KINGS AND QUEENS PLAYERS.
2—Congresswoman Michele Bachmann
Three term congresswoman from Minnesota, wife, mother of 5, foster mother of 23, national leader for taxpayers besieged by overwhelming government intrusion into their lives.
Led the charge against radical feminism in the 1970’s by mobilizing millions of women to defeat the Equal Rights Amendment. She is the founder and president of Eagle Forum, author of more than 20 books, attorney, syndicated columnist, campus lecturer and debater, married 45 years, and mother of four sons and two daughters.
Author of seven New York Times best-selling books, a television and radio commentator, attorney, nationally syndicated columnist, and the most popular campus speaker in the country.
New York Times best-selling author of titles including Culture of Corruption, Invasion, In Defense of Internment, and Unhinged. Malkin runs the most popular conservative blog in America averaging 6 million page views per month, has been married for 18 years, is a popular campus speaker, and mother of two.
United States Treasurer under President Reagan beginning in 1981. At the age of 32, she was the youngest person to hold that position since it was established in 1775. Bay currently serves as president of The American Cause, an educational foundation dedicated to advancing traditional conservative issues.
President and publisher of Regnery Publishing, which has published over 50 best- selling books during her tenure. Her decision to print John O’Neill’s, Unfit for Command: Swift Boat Veterans Speak Out Against John Kerry changed the course of history in 2004. She is a wife and proud mother of three daughters.
President of the American Conservative Union Foundation which funds the annual Conservative Political Action Conference in Washington, DC. With more than 30 years of experience in law, politics and public policy, Ms. Mitchell advises corporations, nonprofit and issue organizations, candidates, campaigns, and individuals on state and federal campaign finance law, election law, and compliance issues related to lobbying, ethics and financial disclosure.
Founded Clare Boothe Luce Policy Institute, the foremost organization devoted to mentoring young women for strong conservative leadership, served 12 years for President Ronald Reagan and George H. W. Bush, president of Virginia State Board of Education for Governor Allen, attorney, married 31 years, and mother of three sons.
A former single welfare mother living in Los Angeles who reformed her life and became the president and founder of the Coalition on Urban Renewal and Education (CURE). Wrote two books, Pimps, Whores and Welfare Brats and Uncle Sam’s Plantation, powerful campus speaker, television and radio personality, and mother of two daughters. In 2010, Star ran for the Republican Congressional seat in California’s 37th District and was unanimously elected. Though she did not win, she increased Republican votes in the district.
(Honorary) 11—Margaret Thatcher
Conservative and first female Prime Minister of the United Kingdom. Worked alongside President Reagan to defeat communism and promote the values of freedom and limited government. Though not an American, Lady Thatcher’s conservative leadership in the United Kingdom has been an inspiration to the U.S. Conservative Movement and to many all over the world.
Our global banking 1% freemason STAR for this week's discussion of the REAL left social progressive women's movement and rights----vs the corruption by global banking 5% HILLARY CLINTON NE0-LIBERAL AND BUSH NEO-CON LADIES-----is METAMORPHOSES-----OVID----haven't we discussed that symbol throughout this attack on our US national sovereignty FLIPPING THE EARTH'S AXIS was metamorphoses---Mata Hari's DANCE OF VEILS was a metamorphoses------
Please think today about how REAL left social progressive women's movement and policies not matter 99% left wing Democrat or right wing Republican was policy having REAL MORAL, ETHICAL, AGE OF ENLIGHTENMENT, I AM MAN------and KNOW that all that sex, drugs, rock and roll came from global banking 1% far-right wing extreme wealth extreme poverty----killing our 99% of women, children, families, communities.
PETHUS tries to maintain civil society by forbidding Bacchus
'Ovid returns to the story of Cadmus’s family. Pentheus tries to persuade his family and others not to worship Bacchus. No one is convinced, but Pentheus stands firm'.
Europa’s father, Agenor, threatens Cadmus with exile if he does not find Europa. Cadmus tries and fails. He can’t go home, so he prays to Apollo about where he should live. Apollo says he a pristine heifer will lead him to a place where he will establish a city. Apollo’s prophecy is born out. However, Cadmus’s men encounter an enormous serpent, which kills them. Cadmus slays the serpent and, at Minerva’s request, buries its teeth in the ground. Immediately, a group of belligerent men emerge from the land and begin to kill each other. The five remaining men agree to live in peace, and Thebes is established.
Cadmus’s household is plagued. While hunting, his grandson, Actaeon, stumbles upon Diana bathing in her sacred grove. Diana is so offended that she transforms Actaeon into a deer, and Actaeon’s own hunting dogs kill him. Semele, Cadmus’s daughter, is pregnant with Jupiter’s child. Juno, filled with rage at yet another dalliance of Jupiter’s, disguises herself as an old woman and convinces Semele to ask Jupiter to make love to her with all his power as a god, just as he makes love to Juno. Semele gets Jupiter to promise her an unspecified gift. When she makes her request, Jupiter cannot go back on his word. He makes love to her with all his power. She cannot withstand it, and she dies. Jupiter brings their son, Bacchus, to full term in his thigh.
The scene changes. Jupiter and Juno banter about which gender enjoys sex more. Jupiter says women do, and Juno says men do. They decide to ask Tiresias, who reportedly has experienced life as both a man and woman. Tiresias agrees with Jupiter. In her anger, Juno strikes Tiresias blind. Jupiter compensates Tiresias by giving him supernatural foresight. Ovid records Tiresias’s first prediction: that Narcissus will live a long life as long as he does not know himself. These cryptic words were born out when Narcissus, who had rejected all would-be lovers, fell in love with his own reflection.
Ovid returns to the story of Cadmus’s family. Pentheus tries to persuade his family and others not to worship Bacchus. No one is convinced, but Pentheus stands firm. Not even Acoetes, a convert to the worship of Bacchus, can change his mind. Pentheus threatens to make Acoetes into an example by killing him. Pentheus sets out for Mount Cithaeron to spy on the rites of Bacchus. When he arrives, his own aunt and mother mistake him for an animal and hunt him. His aunt, Autonoe, rips off his arms, and his mother tears off his head and lets out a shout of victory.
This book begins auspiciously, with the founding of Thebes. However, divine revenge soon takes center stage. The gods punish nearly every major character for a crime, regardless of whether the crime was committed wittingly or unwittingly. Diana punishes Actaeon for accidentally stumbling upon her when she is naked. Juno punishes Semele for her love affair with Jupiter. She also punishes Tiresias with blindness for agreeing with Jupiter. And Bacchus punishes Pentheus for failing to worship him. By focusing on the theme of revenge, Ovid invites comparisons with Virgil’s Aeneid, which portrays Aeneas’s quest to establish a city, and Juno’s resulting wrath. Ovid outdoes Virgil, whose sole villain was Juno. In Ovid’s account, three divine figures damn the household of Cadmus and the founding of Thebes: Diana, Juno, and Bacchus.
Each act of revenge is accompanied by an ironic twist at the expense of the victim. Actaeon, a hunter, becomes the hunted. The reversal is completed when Actaeon’s own dogs tear him apart. Semele is killed by sex, the very act that drew her and Jupiter together. She is slain by her lover’s overwhelming prowess, and she requests her own manner of death. Tiresias extensive knowledge causes his blindness. Narcissus, who has rejected all suitors, is rejected by himself. He becomes both the object and the subject of spurned love. Pentheus’s death is ironic for three reasons. First, his threat to kill Acoetes is turned against him when he himself is killed for impiety. Second, Bacchus’s worshipers mistake Pentheus for an animal—ironic, considering that Pentheus is not an animal or even a transformed animal, as are many of the characters in the poem. Finally, despite his refusal to worship Bacchus, Pentheus becomes a central figure in a worship rite, as he is sacrificed at the hands of his mother and aunt.