Natural Born Mystic™. Ascension Discourse on Love Pt V. The Misogyny. As Usual. Again ll. Amera Ziganii Rao

Family (Artwork) 

Natural Born Mystic™. Ascension Discourse on Love Pt V. The Misogyny. As Usual. Again ll. Amera Ziganii Rao 

AMERA ZIGANII RAO ALCHEMY & LIBERATION & HUMANITY™

THE EVOLUTION OF HUMAN RIGHTS: APPLIED CONSCIOUSNESS™, LOLITA FEMINISM™, METAPHYSICAL PHILOSOPHY & SACRED SEXUALISM™. POST TRIBE SOCIAL REFORM™. POWER IS THE NEW LOVE. FREEDOM + HOPELESSNESS + SEX. NIHILISM FOR A SUCCESSFUL LIFE™ THE LOST KNOWLEDGE™ THE WIZARDRY OF BEING™ POLITICAL SPIRITUALITY™ TRUE NEW LOVE. BEYOND THE REVOLUTION™

The Profound of Profound Love. Amera Ziganii Rao 

And so, in the compassionate heart of Ascension all over again, the heart now grieves. As the sacred negotiation for love begins with the new profound partner of partners, the patterns reveal that now, one can finally grieve and change that relationship with the one who couldn’t make it and the one who was not meant for this love questor after all. 

I grew up with him. The first major great love of my life, after indeed, many profound like loves along the way. It seems that those of us from The Warrior Class, Werewolf or Nymph, male or female, female or male, we do not just have connections and relationships. We love. 

The grief is immense, while the hurt and tenderness and bliss of the new life and the incredible new love, has begun and is beginning so large, as we move so much faster through all the different alchemies of existence about love of any kind, than ever before. Every day is like a life. 

My new sacred, intended, is doing the same, and with children too. These agonies that we have to go through, in Second Existence™ and even in First Existence™ are still deeply poignant, rather than suicidal, not least because the new connection carries each other in the genuine friendship of becoming solid love in the middle of magic we are almost, extraordinarily, used to. It’s not tragic either because the old connection is rock solid forever. And totally, worked through.  

And I look at spiritual intelligence and who one loves and doesn’t love and indeed, how it is when one is blessed with not just one unspeakably great love in a lifetime, but two. And I see nothing different anywhere, despite all the wounds we carry as human beings on a necessarily fucked up earth, and I see nothing but the deep respect and wonder for the vast love we have experienced and the vast love we (and we) are now experiencing and the vast friendship of the one past now and the vast real friendship in relationship of the one that is here. I only attract extraordinary spiritual intelligence. 

And I feel, so frankly, over loved. Which just goes to show that manifested reality is of course the aim, the divine led and incredible aim, but people like us, my ‘men’ and I – the sacred purity of the so called lothario of any kind – are deeply in the love from the first second we meet. We don’t just do love. We love. And that takes a whole new perspective on hurt and indeed, bliss. 

And I see how none of it could have happened or could be happening now, the psycho analysis of relationship, the tearing the shadow apart and spitting it out to force it into healing, the ‘horse whispering’ in other words, in these over certain, true, two years past, words, and I know that none of this could have happened without the deep love within the love, that he and I shared. 

People like me and him and now, him HIM, love. Huge, passionate, soul of the psyche, primal, heart into the existence of being, love. We do not actually have any idea how different we are from the norm. And that there are so many of us. I am so grateful to say.

And I for one am stunned today to even know that this is my reality. I have only ever attracted Love Warriors from The Warrior Class. And today I salute you. All of you. 

Thank you. Whatever the awfulness of misogyny and The Tribe rules and the bourgeois attitudes of polite society that hijack us into it forever, unless we find the courage backed up by re-education re-programming the mind and encouragement, to break out of it, as my new twin of twins, superstar is determined to do, in all its psyche and psychological and anthropological and historical and emotional truths, the other beautiful truth is this; I have loved all of you and always will. Despite everything you are still my best friends. 

That is what the deepest sadness and irony of life is, that finally makes it so beautiful. While the women of Werewolf hurt me so much, even though I can see a new compassion finally coming for them too, in this new dawn of hiccoughs but so much power, power of love, and power of universal Warrior Class  love, while the women have truly hurt me the most, the men were there from the beginning as my true best friends. 

Even more than my own archetype, even though the reasons for that remain sad. We don’t seek each other out enough from the beginning of our lives and we are not meant to spend that much time together anyway. We are here to interact with The Warrior Class for sure. But the other archetype to us. All of us, it seems, so much. 

The men have carried me all the way through 30 years. Whatever we have been, that soul friendship gene we have all shared, is what I honour today. The esoteric truth of ‘keeping someone in your heart’. Pure, psychic love from time, forever. We have all been, then, miraculously, somehow, together. 

And within that, again, is a seditious behaviour that I have again, been unconsciously standing up for, with so much strength and weakness at the same time. Just by who I am. Other women, primarily of that Werewolf archetype, almost set out to systematically destroy with some sort of special radar, when one of my male friends suddenly comes into town. Every single time, I have met a new man. Of course their agenda is unique to them and a whole story in itself. But the other is that I like something that they find both fascinating and futile. Love. 

And me? I was off from the beginning, out the door like a bat out of hell. I didn’t like the women. I like love. And I like sex and I like men and I like hunting with men. I like life. 

In other words, those of us who have been tearing our hair out throughout life, either Werewolf or Nymph, those of us who agonise over what we consider, failed or unrequited or sad love, we do not realise for one second, how bloody good at this whole artform we truly are. We don’t realise because we lose so much and because it hurts so much. We don’t know we are True Love Artists™

And this is where it comes down to the generic that goes past the struggles and re-education of a whole world, so that it can finally – even individually - see that women are more than pussy, nurses or all day companions, or chastity belt wearers locked up at home. To see that women use their minds like you. The generic that goes past all that is this. The generic that we are all being asked to leave home. 

He was my first ‘marriage’. My first real, half tribe, half free, marriage. Of course, I and he both thought it would be forever. True love of this advancement does think that and we were meant to think that. Until right up to the moment, when we knew it was not to be. 

My new superstar is finding the same thing right now and of course, with the added dimension of children, it really is leaving home viscerally, all over again, even though, despite the heartbreak, the children will want to be seen again. The ex partners, we either find it impossible to do, or it is inappropriate or it is not possible. It is also emotionally challenging and not all can carry that through. 

Indeed, my parents divorced thousands of years ago, but still find it actually, impossible, even to be in the same room as each other. That kind of hurt does eventually go. I stand in the extraordinary position for the first time in my life, where my past man and I are grieving in purity, if you like. No rages, angers, hurts or accusations. Just the peace of grief together. And the peace that we went as far as we were meant to go. 

And the same goes with my man who is now working on that leaving The Tribe Ascension of changing the spiritual matter of one’s very DNA by entering soul and leaving behind the mortal husk of ego for the last time. I look at just these two men and I see the demand for purity that I had before I even began this work. I had to ascend into soul first, to have the certainty to go to war in the first place. They are worth too much. And so is my life, that had to make sure it could survive it. The battle for love. 

Which is very difficult news for my archetype to take. The Sacred Whore High Priestesses™ and Priests in the making. The partner has to be found to ascend in the first place, but our chronic need in ego and the dehumanisation literals that go with it and the self destructive contempt and bewilderment that is now so understandable, cannot be the system one works with successfully. And we don’t. We all do our best for sure, but having entered soul, with my man that is now departing, still, effectively, in ego, seeing that he was unsuccessful – and feeling the immense sadness for him – but seeing that he was also successful in his able and also correct way – different lives rather than different states of existence, if you like, to put it lightly – I can see in this first place, because I entered the true state of what is pure love. 

Doesn’t mean you don’t make mistakes. But you don’t. You channel from intuition and anyone that knows me knows that I wouldn’t have been able to do any of the writing or analysis or philosophy I have done, without the certainty of soul. I was beyond timid in ego. I was broken by the age of 10. 

Which means there is a lot of knowledge to work on and generate. 

Today, it was the men I wanted to thank and especially the last one. The kind of love that was so hugely powerful enough, for us both to carry what I and he believe is one of the most important analyses of love that has ever come into existence, and that has certainly cleared our pain and our karmic pain and our emotional pain of all that is the relationship shadow – a piece of work that is now helping my new magical man to clear, in speed, in comparison, his own pain and of course anyone else who is looking within – he, my last (also sacred connection) man, to keep it clear, deserves to be acknowledged for what he is. Profound, sacred, magical, true love. We just weren’t meant to make it. 

There are very few people therefore who can truly leave The Tribe. And as I begin to recover from the shock of all that is misogyny and indeed, the complete lack of friendship that men therefore have for women, because they all actually emotionally hate us and have been programmed to do just that, I honour us all anyway. We are all beautiful and so passionate and so profound and so beautiful and so BEAUTIFUL. Yeay for the Werewolves and Nymphs. We may struggle incessantly, but we do love like no one else on earth. 

We are all beautiful, and none of us are valued on the polite version of earth. Even the so called ‘Beloved Sons’. The Warrior Class has a different experience. And feels every single bit of it. This human rights and love work is most definitely for you too. 

We all gave each other ‘peace in a lifetime of war’ (Wolfgang Peterson’s Troy) whether it was five minutes through to six years. Or indeed, 20+ years. Or, the final, infinity of being and love, that my new glorious man and I are working on. 

Love dependency is no mindless stupid game. For any of us, Werewolf or Nymph. It is the sickness we have carried or do carry, because sacred hunters are clearly, above all else, sacred lovers too. We don’t just love. We LOVE. We yearn and we fight to return to our natural state. 

And that deserves the benevolence of our lovely hearts for ourselves. All of us. 

You love me. I most certainly love you. And always will. 

Amera Ziganii Rao © 2013

The Un-Spiritual, Morally Bankrupt, Polite Society Female Genocide Male Soldier Slave World™. Amera Ziganii Rao 

The Un-Spiritual, Morally Bankrupt, Polite Society Female Genocide Male Soldier Slave World™. Normal, polite, everyday, everywhere society. In other words, all that is The Matrix. The false world. The world of ego. Soul lies within that beast of boredom and cruelty. You are one who is gifted to find it. You also have me. 

My Werewolf Neo, you will soon be joining me. It is inevitable. You desire one thing above me and above everything else. The truth. You know the truth is the only thing that can set you free. The truth, you are finding, despite yourself, is all that is me. And that is why it is you. You already see me. You already, ARE me. The rest is decency. Acknowledge the source. Acknowledge THE SOURCE. The truth most certainly WILL set you free. And then you can be all that you truly want to be. The misogyny freeing mind. Actually, loving me. Loving the woman, that you already cannot NOT see. You do that, because you don’t realise, my courageous and humane man, you already ARE free. 

My work is clearly for the Achilles class of men. You are good men, but you have been taught to forget the women. You serve Darth Vader, despite yourselves. But the truth is the only thing that can set anyone free. And the truth, is me. But, truly, it is only you that can truly see. And you will. Achilles has to represent against Agamemnon. Agamemnon is Darth Vader. The true slave masters of you all. But that, you will, truly have to, for yourself see. 

Achilles’ love, Briseis, waits. She believes. It’s happened before. Post misogynistic men do exist. Emotional intelligence can only lead you to the truth. And the world in its 12000 year runs of existence, has existed before. Before the age of Soldier Slave Female Genocide Slavery™. 

Grief is the price we pay for love. Grief is leaving The Tribe that kills me. Love is me. The truth most certainly, will set you and indeed, me, free. 

Amera Ziganii Rao © 2013

‘I pitch with a grenade. Swing away if you’re feeling brave.’ Rihanna 

The Super Sacred Brother Father Warrior Protector Friend Lover™.

The truth will set you free. 

Amera Ziganii Rao © 2013

Soldier Slave Female Genocide Slavery™. Amera Ziganii Rao 

In other words, don't be selfish. Same thing. 

Amera Ziganii Rao © 2013

Soldier Slave Female Genocide Slavery™. Amera Ziganii Rao 

‘Don’t be selfish. Same thing’. For real. And I can grow into legendary objectivity at last too, as I had to with racism and all the other human rights obstacles from hell, in the same self alchemical mastery way. Every single thing you do, every single day, tells you, with institutional pressurised, conformity demanding, reinforcement, to be one thing. Selfish about me. It’s true. That I can absolutely see. 

That would take a great man indeed to change that battalion of ego reinforcement. I’d say, that will be finally you. 

But yes, you’ve got your work cut out. The whole world tells you to hate me. 

But I say just one thing. Don’t be selfish about the women anymore. We are no longer willing to take it. 

That is feminism. That is equality. That is human rights. That is love. That is INCLUSIVE love. You are the one who has been bred to be selfish. About me. You are the one who can unbreed you to be selfish about any of the me’s. That is alchemy. That is existentialism. That is the sacrifice you will have to make for love. 

Take your time. An absolutely tough one, I am at peace, to see. 

Misogyny is now, just another human rights violation to me. My own healing is therefore done. Yours will be too. 

Amera Ziganii Rao © 2013

Men are bred, to hate women. The global obstacle therefore, to any love. Men are deliberately bred, to hate women. Men can un-breed to love again. The mind is a very simple, accessible computer. Men are deliberately bred to hate the beings they most love. That is their pain. They want to love and be selfish too. I see. 

Amera Ziganii Rao © 2013

Warrior (Artwork) 

The Ego Run Up To Soul. Amera Ziganii Rao 

Men are bred, to hate women, because men (and the women like men, for some reason) are bred, to be SELFISH about women. That is the silent killer. Men are bred, to hate women, because men are bred, to be SELFISH about women. That explains everything. 

And me, don’t worry, I’m cool. Racism had the same simple key. Now, I am free. And you may be, one day too. And I will be waiting for you. You are programmed to be selfish, only about me. That, my dear, will be your threshold into soul. 

Male selfishness towards female is therefore the essence of your ego. The projection of your generic ego terror that we all carry in the same state. Selfishness is your projection from that terror. Get rid of the selfishness and the terror will have to be seen. Face the terror and all that is in it, and from where and how and when, and it will either kill you or you will defeat it forever. And then you will be free. 

That is the path to Ascension. Using every single emotional warrior skill there is. But only if you want it. And for that, selfishness will have to be re-programmed or finally accepted. Whichever, we will see. No one can love anyone if they are selfish and you are programmed, to be institutionally, socially, psychologically, anthropologically, physically, economically and historically and – I’ll stop but I could go on – selfish about only me. 

When Darcy returns to Elizabeth Bennet, in Jane Austen’s Pride and Prejudice, that is what he tells her straight. That he’s been a selfish being all his life. That he was given power, but not told how to use it. Jane Austen is obviously politer than me. But it is the very same same same story. That’s why you had to be a king. 

Because it is only a man who is comfortable in himself, who can find that certainty of life again. To work from the heart and soul as well as the loins and mind. You had to have attained to that degree. To even want to see. Men are bred to be selfish only about women. To love a woman, you will have to change your whole self. 

Get on with it. Don’t you worry. I am watching. Quite peacefully, and with no clothes on. 

Amera Ziganii Rao © 2013

The Ego Run Up To Soul ll. Amera Ziganii Rao 

And let me, happily put it perspective for you. You are bred to be selfish about women. Girls are bred, deliberately bred in exactly the same way, globally, universally and with extraordinary pressure and coercion from birth, to WORSHIP men. That is how powerful my mind is. I overturned 44 years of that. Ego is the psychosis of what we are taught. Of course, yours had to be that. We become ego by being told what to do. We become what we didn’t even think. 

You are taught to hate me by being selfish. I am taught to adore you by worshipping you. That is ego. I think I have more than proved myself out of it. I had actually forgotten what the female essence of ego is. What CAUSES the terror and confusion and uncertainty in the ego mind to begin with. EVERYONE TELLS ME EVERY SINGLE DAY, TO WORSHIP YOU. And I will not, because it castrates the very essence of my soul.  With disastrous abuse of power consequences. I have done my research! 

Everything in society, in every moment, conversation, way of life, and the endless show of power and cruelty from people like you. That is how powerful my mind and spirit is. I got it ALL out of me. I don’t worship you. I love you true. You will not selfish me anymore. You will love me true too. 

That is Ascension. Returning to yourself, out of ego. 

Amera Ziganii Rao © 2013

The Ego Run Up To Soul lll. Amera Ziganii Rao 

Absolutely. That is the whole beautiful, thank fuck there is some healing to it, point. The sex. I can be who I want with my clothes off, because I have mastered that exact same ego of terror and dehumanising a man out of worship and being terrified and therefore not being able to surrender to trust and share myself, and I am talking of it in the emotional context. In ego, I conflict with that so cannot enjoy what it truly can mean, sexually. You, in selfishness are therefore in a kind of impotence of rage, within male rage, because you are being told by women, to be happily selfish in bed, but not out with your clothes on. Because it is wrong. And so right. 

Alchemy is the mastery out of the bitter lemons we are given in life. I had love dependency of the literal kind. That dependency, is being taught to worship so it becomes an unconscious emotional trigger of self hate, terror and severe confusion as an addiction to love. Exactly. Whatever it is, worship meant ego and love meant soul. For you, selfish means ego, misogyny of all kinds is ego and love, means soul. 

And the reason you know this is what you already know. You are not a misogynist. You like powerful women. You encourage and empower powerful women. You look after powerful women as your friends. The psychosis is only reserved for your most ‘beloved’. Because she is the one you NEED. 

Need + conditioning (either to worship or to be selfish beyond selfish) = the rage and drive of ego. Need + getting rid of that debilitating belief (debilitating to YOU) = FEARLESSNESS = soul. Because you return to none other than you. Before ego. 

No one is born a racist. No one is born a misogynist. No one is born a love dependent. These are sicknesses of the mind. To accept that however is to accept the big ‘worst’. That the whole world has betrayed you and taught you wrong and that they are that off the wall insane, stupid, evil and cruel. 

Yep. That’s a tough one. It’s called enlightenment. Ascension is entering soul. Soul is The Universal Mind. And therefore, it is true, there is nowhere any longer to hide. 

That is the state of unconditional love in yourself, for yourself, with yourself, as yourself. Getting out of the way. Letting your soul speak for once and just relaxing into it and allowing it to tell you your thoughts. 

The threshold is political. The healing is your human right. 

Amera Ziganii Rao © 2013

The Ego Run Up To Soul lV. Amera Ziganii Rao 

Men are bred, to hate women. The global obstacle therefore, to any love. Men are deliberately bred, to hate women. Men can un-breed to love again. The mind is a very simple, accessible computer. Men are deliberately bred to hate the beings they most love. That is their pain. They want to love and be selfish too. I see. 

Amera Ziganii Rao © 2013

Why is this so. Men start off with women. The mother role is kind and caring. Then they model themselves on their father's. Cold and self centered. Something got lost in transition along the way. I watch my son turn more and more each day as he gets older and goes through puberty. Parmak Zara 

Thank you Parmak. You have given the answer. The work is to accept it and live in the death of that feeling, such is our unique position of being Auschwitz inmates or survivors on this planet, with men. I feel exactly the same as you and yet I love too. 

This is the conundrum that is easing off with the understanding. Our healing of genuine trauma. Misogyny is like racism. It is taught. And learnt. That is now, our only hope. To become educators for the ones who will listen and to say a strong goodbye to those who don't. That is what it is to be woman. Freedom fighters against our very own. 

My advice to you (and me) is this. Carry on, learn how to fight it out of him and also tolerate misogyny as if you were living with a racist. That is how tested our divine energy of love is. We earn it. Thank you.

Amera Ziganii Rao © 2013

Muscle count and workout count still counts you know. As ego prepares to change, love who you are first, and then you will love with freedom. Self love is love first. The real self love, not the one they told you to do. 

Amera Ziganii Rao © 2013

Being selfish about a woman is not love, not what male is. Being selfish is your deliberate male programming. You are not like that. 

Amera Ziganii Rao © 2013

The Ego Run Up To Soul V. Amera Ziganii Rao 

As ego prepares finally to shed its false persona, the person everyone else programmed you to be, stop and remember who you are. Your masculinity is not being threatened. In fact, you know that that is being empowered like never before. I only ever empower male masculinity. As you empower my femininity. You just don’t know what it is. As you were not meant to. 

Not only is ‘Narcissus’ forbidden from looking within, he’s also not looking at anyone else. Spiritual intelligence has led you to a place of humanity in your, the like of which I rarely have seen. But there is a block and that is your ego and above and beyond, the ROMANTIC and FAMILY ego. You have cleansed all the others, there are so many. Ego is a multi headed being in us and I see now how you have also been culling ego layer by layer on your way to me and how with the simple revelation of the fact that all evil is taught, we have begun. 

But not yet, for you. Celebrate your muscle workouts like you do these emotional workouts. Remember who you are and love yourself the more as you examine your darkness the more. 

Masculinity is not selfishness about women. That is the least masculine thing about any man. Compassion of the mastery of passion and the compassion of mastery over the hate in oneself, the need in oneself, the abandoned child in oneself and the sheer worshipper that your archetype is in ego too; these are the masculine mastery sexy things about you. 

To be a wizard over sex, love and romance and family and all personal relationships. The ones that mean everything to you. That is your feminine as masculine. That is your feminine. Honour your own feminine and you will honour me. Honour your own feminine and you will never be jealous of me. The ‘womb envy’ that feminism talks of, I never understood it like I did my own past ‘penis envy’ that I had in restrained buckets. 

But it is an envy of the ability to generate love. That is the womb of the womb envy. Your anthropological honouring and loving of the Nymph has only been twisted and tortured into its corruption. As was my daughter compliancy and joy of being Nymph to Werewolf. It was all twisted and angry and afraid. So is yours. 

The proactive selfishness that men are programmed with in relation to women and that both genders of your archetype are programmed with, in relation to anyone you feel close to. That you need. Ego is NEEDINESS. Soul is need. You are allowed to need. You are not allowed to project that need into destruction. Ego projects need into destruction. Both the self destruction of suicidal thoughts, however validly these things all come up as, these rages, and of course the homicidal destruction we have for the other. 

I used to annihilate men. That was the female reactive ego. The male is proactive. The hate comes from you. 

We know now, however that the hate is programmed into you. This is the new path of discovery. How to get it out of you, for good. 

I look at your material care and how I have battled to earn my own real money for years. How it was always meant to be like this and how scared that makes me feel. I look at how this was supposed to be the central issue. Would you love me for who I am, or would you really love me for who I am? And treat me as the father lovely partner, you so desperately want to be? That you tell me you yearn to be? Would you give me a big office in your big house, just for me? Would you be the first person to ever anticipate my needs, or would I have to negotiate with you, as I had to with my father by giving a pitch in his study, for a fiver? Would you lavish care and attention or try silently to attack me? Would we even be allowed to be? 

We are cleansing the ego of Darth Vader in you. You are still attached to that ego. That is why it is still in you and that is allowed. You are in ego. In the hijacking of an outside belief system that is not your own, ego. 

We are saving you. From yourself. So you can do what you really want. So you can love in freedom and bliss, and know that your mastery skill over your over passion (as with me) is as stunning as your other masteries. And that you CAN actually let your final fantasy – me – truly, come and go. 

That is all you need to focus on. You will attain it and you will attain the state of true love in yourself and you will do it by facing the truth that you are not a selfish man about women and you do not any longer want to tolerate the teachings of the whole world, even though you know it will change everything. They will shut you out. 

And then you will remember what I did. That no one has the right to tell me what to do. 

I am infinite and I am true. 

And so my beautiful man, my wise and intelligent and advanced man of courage and grace, are you. 

You cannot love in ego. You can only love in soul. Selfishness about me is your ego. Letting me come and go as  way of being is your soul. Taking is ego. Giving is soul. Stealing resources is ego. Sharing them with honour and love, is soul. 

Letting rage out of control is ego. Raging in control is soul. 

Ego is fear. Soul is courage. Suffocating  and disempowering and destructive love is ego. Giving freedom and helping to give freedom is soul. 

I’ve never had a father who could love, but who loved me so. You’ve never had a sister or a daughter. We are allowed, even in the context of this life, to need each other so. Tame the ‘passion’ with compassion. Tame the real passion with nothing. Tame the ‘passion’ with taming the hatred and then you will never have to even think about interfering with the real thing. Your hate will have left the building and I will know finally, that you can be first and last, my best FRIEND. 

Bluebeard to Love Genius. You are carded. Ego to Soul. 

No one has the right to tell you what to do. You are infinite and true. Ego is a lie. Soul is true. You are allowed to love women the way you truly want. You are allowed to tell them all to fuck off. That is the courage you are generating now. And that ego will remain, until you do. 

Amera Ziganii Rao © 2013

Ego Run Up To Soul Vl. Amera Ziganii Rao 

"That no one has the right to tell me what to do."...of course, unless I like to be told what to do. Which, at certain, numerous times of the day, while wearing too little on me, I most certainly do. As long as you really need to tell me what to do. Then, I do very much yearn to be told what to do. Too much in fact, to tell you, in ego. 

Persuasion of the ego. It works. And it's true. 

My little, ego persuading present to you. 

Selfishness is not love. Being a dominant in bed is. That is the political and primal difference. And outside bed too. 

You want to be a kind and loved patriarch. I now re-believe that can be true. That, and my life was never going to be anything other than healing this fundamental earth wound of ours and I am glad, to do and share what we do. 

People are so lost and I know why and the rest is our privilege of active healing your soul, research. Frankly, it is as big as finding the complete cure for the human race. I've got a handle on the research for my ego. Yours is almost done. 

Another little ego persuading present to you. Selfishness is not love. The primal of masculine drive is. One is political and the other personal. One is allowed. The other is not. One is the truth. The other is not. 

Amera Ziganii Rao © 2013

To achieve something you've never achieved before, you must become someone you've never been before. ~ Brian Tracy

If I treated you the way you treated me, you would hate me. Real Talk 

Life is very simple really. You reap what you sow. Lorane Gordon 

Our actions are like ships which we may watch set out to sea, and not know when or with what cargo they will return to port. Iris Murdoch

There is no way to happiness, happiness is the way. Gautama Buddha

I must admit, I personally measure success in terms of the contributions an individual makes to their fellow human beings. Margaret Mead

Sometimes the right things are labeled as wrong and the wrong things are labeled as right. Never simply just accept anything for what it is. The Golden Mirror 

To think creatively, we must be able to look afresh at what we normally take for granted. ~ George Kneller

Act enthusiastic and you will be enthusiastic. Dale Carnegie

In a World fits comfortably in that still newish genre of film and television about the quirkiness of "real" relationships. Women are just as likely as men to have no-strings-attached sex and a "man up" attitude about life, and everyone experiences awkwardness, longing, and disappointment. Some of this movie's riffs on social inelegance and discomfort fall flat and feel tired, like some casual "retard" jokes in the very beginning. Still, the larger ruminations on extended adolescence, the way adult children relate to childish parents and, most of all, how grown women relate to their fathers, are often sincere and complex. The relationship the main character, Carol Solomon, has with her father, Sam Soto, feels authentic even when played for laughs. In addition to daddy's girls or reactionary rebels, their relationship seems to say, daughters can be rivals and social peers. 

Atlantic Review 

Once Were Warriors 

Once Were Warriors is a 1994 film based on New Zealand author Alan Duff's bestselling 1990 first novel. The film tells the story of an urban Māori family the Hekes and their problems with poverty, alcoholism and domestic violence, mostly brought on by family patriarch Jake. It was directed by Lee Tamahori and stars Rena Owen and Temuera Morrison.

Beth left her small town and despite the disapproval of her parents, married Jake "the Muss" Heke. After eighteen years they live in an unkempt State House and have six children. Their interpretations of life and being Māori are tested. Their eldest daughter, Grace, keeps a journal in which she chronicles events as well as stories which she tells her younger siblings.

Jake is fired from his job and is satisfied with the unemployment benefit, spending most days getting drunk at the local pub with his friends, singing songs and savagely beating any patron whom he considers to have stepped out of line. He often invites crowds of friends back from the bar to his home for drunken parties. His wife "gets lippy" at one of his parties and he brutally attacks her in front of their friends. Beth turns to drink when things go wrong, with angry outbursts and occasional violence on a much smaller scale. Her children fend for themselves, resignedly cleaning the blood-streaked house after her beating.

Nig, the Heke’s eldest son, moves out to join a gang whose rituals include facial tattoos (in Māori culture called Tā moko). This usually shows the heritage of the person; in Nig’s case, he shows only the heritage of his mother, with the Moko located on only one side of his face. He is subjected to an inititation beating by the gang members, but then embraced as a new brother and later sports the gang’s tattoos. Nig cares about his siblings, but despises his father. He is angered when his mother is beaten, but deals with it by walking away.

The second son, Mark "Boogie" Heke has a history of minor criminal offences and is taken from his family and placed in a foster home as a ward of the state due to the situation with his parents. Despite his initial anger, Boogie finds a new niche for himself, as the foster home’s manager Mr. Bennett helps him embrace his Māori heritage. Jake does not care that Boogie is taken away; he comments that it will do him some good, to toughen him up a bit. Beth is heartbroken, and scrapes money together to visit him. Jake pays for the rental car from gambling winnings, but deserts the family to go to the pub and they never make the journey.

Grace, the Heke’s 13-year-old daughter, loves writing stories. Her best friend is a homeless boy named Toot who lives in a wrecked car. She despises the future she believes is inevitable and is constantly reminded of getting married and playing the role of the wife, which she believes is catering to one’s husband’s demands and taking beatings. She dreams of leaving and being independent and single.

Grace is raped in her bed by her father’s friend "Uncle Bully" who tells her that it is her fault for "turning him on" by wearing her "skimpy little nighty". She becomes depressed. She tries to go to her friend Toot for support, smoking her first dope. Toot kisses her, but she reacts violently and storms out, believing him to be "just like the rest of them". After wandering through the city streets, Grace comes home to an angry Jake with his friends. Bully asks for a goodnight kiss in front of everyone, to test his power over her. 

Grace refuses and her father tears her journal in two and nearly beats her up. She runs out to the backyard crying. Beth returns home from searching for her and goes outside looking for Grace, only to find that she has hanged herself from a tree branch.

Jake stays in the pub with his mates while the rest of the family take Grace's body to a traditional Māori funeral ceremony. 

Beth stands up to him properly for the first time as he refuses to let her be taken to the marae; he has always felt second rate for not being in touch with his heritage, in his words, "a black bastard". The film cuts back and forth between the mourning, Jake in the pub bottling it up and the family on the marae. Boogie impresses Beth with his Māori singing at the funeral and Toot says his goodbyes, telling her the gentle kiss was all he meant by it. Boogie reassures Toot that Grace loved him and Beth invites Toot to live with them.

Reading Grace’s diary later that day, Beth finds out about the rape and confronts Bully in the pub. 

Jake at first threatens Beth, but Nig steps between them, protecting his mother. He hands him Grace’s diary and Jake reacts by severely beating Bully and stabbing him with a glass bottle in the crotch. Beth blames Jake just as much as Bully for bringing home his violent friends. 

She leaves and states her intentions to leave with their children and return to her Māori village and traditions, defiantly telling Jake that her Māori heritage gives her the strength to resist his control over her. 

Jake hopelessly sits on a curb outside the pub as the family leaves, with sirens wailing in the background.

Wikipedia

Monster's Ball 

Monster's Ball is a 2001 American romantic drama film directed by German-Swiss director Marc Forster and written by Milo Addica and Will Rokos. The film stars Billy Bob Thornton as a widowed prison-guard, Halle Berry as a woman whose husband is on death row, and Heath Ledger as Thornton's son. Berry won the Academy Award for Best Actress for her performance.

Hank Grotowski (Billy Bob Thornton), a widower, and his son, Sonny (Heath Ledger), are corrections officers in the Jackson, Georgia state prison. They reside nearby with Hank's ailing father, Buck (Peter Boyle), a racist whose wife committed suicide. Hank is nearly as angry and hateful as his father, and even dislikes his own son.

As Hank and Sonny assist in the execution of convicted murderer Lawrence Musgrove (Sean Combs), the proceedings prove too intense for Sonny, who collapses and then begins to vomit as he is leading Lawrence to the electric chair. Hank beats up Sonny in the jail's bathroom afterwards for being so "soft". 

Some time later, Hank drags Sonny out of bed and tells him to get out of the house. Unable to cope with the estrangement, Sonny grabs a gun. The confrontation ends in their living room with Hank at gunpoint, lying on the carpet, and Sonny in Buck's customary chair. Sonny asks his father if he hates him. After his father calmly confirms that he does and always has, Sonny responds, "Well, I always loved you," and then shoots himself in the heart. Hank subsequently buries Sonny in the back garden, quits his job at the prison, burns his uniform in the backyard, and locks the door of Sonny's room.

During the years of Lawrence's imprisonment, his wife, Leticia (Halle Berry), has been struggling while raising their son, Tyrell (Coronji Calhoun), who has inherited his father's artistic talent. She goads the boy to the point of abuse over his obesity. 

Along with her domestic problems, Leticia struggles financially, leading to the loss of the family car and, worse, an eviction notice on her house. In desperate need of money, Leticia takes a job at a diner frequented by Hank. One rainy night, Leticia and Tyrell are walking down a soaked highway when Tyrell is struck by a car. 

Hank happens to be driving along and sees Leticia and Tyrell. After some hesitation, he picks Leticia and Tyrell up, and takes them to a hospital, but Tyrell dies upon arrival. At the suggestion of the authorities at the hospital, he drives her home. 

A few days later, Hank gives Leticia a ride home from the diner. They begin talking in the car about their common losses, and she invites him in. They drown their grief with alcohol and have sex, and soon begin a relationship. 

Hank finds out that Leticia is Lawrence's widow, but he does not tell her that he participated in her husband's execution.

Leticia stops by Hank's home with a present for him, but finds that he is out. She meets Buck, who insults her and implies that Hank is only involved with her because he wants to have sex with a black woman. This incident proves to be the last straw for Hank and he decides to send his father to a nursing home. 

Leticia is evicted from her home for non-payment of rent and Hank invites her to move in with him. She later discovers Hank's involvement in her husband's death while he is gone, but is there waiting for him when he returns from town with ice cream. 

The film ends with them eating ice cream together on the back porch.

Wikipedia

Dark Angel 

Dark Angel is an American biopunk/cyberpunk science fiction television series created by James Cameron and Charles H. Eglee and starring Jessica Alba. The show premiered in the United States on the Fox network on October 3, 2000, and was canceled after two seasons. The series chronicles the life of Max Guevara (X5-452), a genetically-enhanced super-soldier who escapes from a covert government biotech/military facility as a child. 

In a post-apocalyptic Seattle, she tries to lead some semblance of a normal life, while eluding capture by government agents and searching for her genetically-enhanced brothers and sisters scattered in the aftermath of their escape.

The program is set in Seattle, Washington, and was filmed in Vancouver, British Columbia, at Lions Gate Studios.

In 2009, a genetically enhanced, 9-year-old female super-soldier who calls herself Max Guevara (Jessica Alba), escapes along with eleven others like herself from a secret government institution, codenamed Manticore, where they were born, raised and trained to be soldiers and assassins. On June 1, 2009, months after Max's escape, terrorists detonate an electromagnetic pulse weapon in the atmosphere over the U.S., which destroys the vast majority of computer and communication systems, throwing the country into utter chaos.

The first season begins ten years later in 2019, as it follows the life of the now 19-year-old Max as she struggles to search for her Manticore brothers and sisters. In a United States which is now barely more than a Third World nation, she tries to live her life, evade capture, and learn to trust and love. She becomes involved with Logan Cale (Michael Weatherly), an underground cyber-journalist with the alias Eyes Only, who recruits her to help fight corruption in the post-Pulse world, while at the same time she makes a living as a bicycle messenger at a courier company named Jam Pony along with her friends Original Cindy (Valarie Rae Miller), Herbal Thought (Alimi Ballard), and Sketchy (Richard Gunn). Other X-5s are periodically introduced, most significantly Zack (William Gregory Lee), the unit leader. The Manticore hunt for the escaped X-5s is led by Colonel Donald Lydecker (John Savage), who is ousted at the end of the season by the even more ruthless Elizabeth Renfro (Nana Visitor).

In the second season of the show, the tone changes as Max and Logan bring down Manticore and free all the transgenics within. Two others become main characters: Alec (Jensen Ackles), a fellow X-5 who joins Jam Pony, and Joshua (Kevin Durand), a transgenic with canine DNA. Max later learns that Joshua was the first transgenic created by Manticore's founder Sandeman. It becomes apparent that Manticore produced many different animal mixes as well as other experiments with unique abilities. A major theme in the second season is the discovery of an even more deadly enemy than Lydecker or Renfro, namely a millennia-old breeding cult similar in structure to the Illuminati. 

This has resulted in humans even more formidable than the Manticore-produced transgenics, and even some with strong telekinetic powers. Ames White (Martin Cummins), a government agent introduced early in the second season trying to eliminate the loose transgenics, is revealed to be a member of the cult. When a strange message written in Max's genetic code makes an appearance on her skin, it is revealed that Sandeman is a renegade from the breeding cult and Ames White is his son, who is still loyal to the cult and hates his father's transgenic creations with a passion. The second season ends before Sandeman's plan for Max can be revealed.

Planned Storylines 

In the DVD commentary for the series finale episode "Freak Nation", executive producer and co-creator Charles H. Eglee detailed what was planned for season 3. It was to bring together the storylines of season 1 (Manticore) and season 2 (ancient blood cult) and reveal the mythology of Dark Angel. 

As detailed by Charles H. Eglee:

Many thousands of years ago, a comet passed closely through the atmosphere of the earth, and deposited viral material that killed 97% of the human race. Some people survived that had a genetic predisposition, some kind of antibody or immunity. 

The great pyramids in Egypt were actually genetic repositories, preserving the DNA of the survivors. This cult was an ancient blood cult that passed on this genetic immunity to selective members to keep this antibody against the return of the comet (which was set to happen in Season 3) so that they'd survive for being genetically select. Everybody else on the planet would perish and the members of the cult would be there to rebuild civilization, and thus inherit the earth.

Sandeman, Max's creator, out of the Manticore X-5 mythology, was a man who jumped from this cult to implement this immunity genetic technology into the rest of human society to save all of humanity. He believed that everybody deserved the cure. The other cult members deemed Sandeman a heretic and a threat, undermining their goals of rebuilding humanity in their own image.

Max was going to be the savior of the human race. Sandeman finally found out how to give this genetic immunity to everyone through Max. There were multiple ideas of how to spread Max's immunity to humanity, including: an air burst that would spread the antibody and dispersed through the human race and save everyone from the comet or, the immunity would be attached to the viruses associated with the common cold and thus spread through the common cold (he detailed how a scene would show original Cindy sneezing as part of the beginning of the immunity spread).

Series writer Moira Dekker also spoke on the DVD commentary that Logan's transfusion that allowed him to use his legs once again at the end of season 2 would begin to fail during season 3.

Background to series

Director James Cameron had planned to make a film of the comic book character Spider-Man. Unable to do so, Cameron moved to television and created the story of Max, a new superheroine. Dark Angel was influenced by cyberpunk, current superhero genres, and third-wave feminism.

Broadcast history

The first season of the show premiered on Fox on Tuesday, October 3, 2000. The show aired on Tuesday nights after That '70s Show and Titus during the 2000–2001 television season.

The following season, however, Fox moved Dark Angel to Friday nights preceding the network's new series Pasadena in order to try to reverse their string of bad luck with the Friday night death slot curse and to give the network's new series 24 a better time period during the week. 

Their efforts to improve Friday nights were unsuccessful though as Pasadena failed to find an audience and was canceled before the end of its first season on the night, while Dark Angel saw its second season audience drop by nearly 4 million viewers and was subsequently canceled. 

The final episode of the series aired on May 3, 2002 as a special 90-minute episode (which also marked James Cameron's dramatic TV directing debut).

Though canceled due to sagging ratings in its second season, Dark Angel has been syndicated on the Sci-Fi Channel in the United States and E4 in the United Kingdom; the series has also been shown in the UK on Syfy and the Horror Channel. In 2003, both seasons of the show were released on DVD.

Wikipedia

Warrior lV (Artwork) 

Third Wave Feminism

Third-wave feminism is a term identified with several diverse strains of feminist activity and study, whose exact boundaries in the historiography of feminism are a subject of debate, but are often marked as beginning in the early 1990s and continuing to the present. The movement arose as a response to the perceived failures of and backlash against initiatives and movements created by Second-wave feminism during the 1960s to 1980s, and the realization that women are of "many colors, ethnicities, nationalities, religions and cultural backgrounds".

Third-wave feminism seeks to challenge or avoid what it deems the second wave's essentialist definitions of femininity, which often assumed a universal female identity and over-emphasized the experiences of upper-middle-class white women. The shift from second wave feminism came about with many of the legal and institutional rights that were given to women. 

In addition to these institutional gains, third-wave feminists believed there needed to be further changes in stereotypes of women and in the media portrayals of women as well as in the language that has been used to define women. Therefore, third-wave ideology focuses on a more post-structuralist interpretation of gender and sexuality.

In "Deconstructing Equality-versus-Difference: Or, the Uses of Poststructuralist Theory for Feminism," Joan W. Scott describes how language has been used as a way to understand the world, however, "post-structuralists insist that words and texts have no fixed or intrinsic meanings, that there is no transparent or self-evident relationship between them and either ideas or things, no basic or ultimate correspondence between language and the world"

Thus, while language has been used to create binaries (such as male/female), post-structuralists see these binaries as artificial constructs created to maintain the power of dominant groups.

Third-wave theory usually incorporates elements of queer theory; anti-racism and women-of-color consciousness; womanism; girl power; post-colonial theory; postmodernism; transnationalism; cyberfeminism; ecofeminism; individualist feminism; new feminist theory, transgender politics, and a rejection of the gender binary.

Also considered part of the third wave is sex-positivity, a celebration of sexuality as a positive aspect of life, with broader definitions of what sex means and what oppression and empowerment may imply in the context of sex. For example, many third-wave feminists have reconsidered the opposition to pornography and sex work of the second wave, and challenge existing beliefs that participants in pornography and sex work are always being exploited.

Third-wave feminists such as Elle Green often focus on "micro-politics", and challenge the second wave's paradigm as to what is, or is not, good for women.

Proponents of third-wave feminism claim that it allows women to define feminism for themselves by incorporating their own identities into the belief system of what feminism is and what it can become through one's own perspective. In the introduction to the idea of third-wave feminism in Manifesta, authors Jennifer Baumgardner and Amy Richards suggest that feminism can change with every generation and individual:

The fact that feminism is no longer limited to arenas where we expect to see it—NOW, Ms., women's studies, and redsuited congresswomen—perhaps means that young women today have really reaped what feminism has sown. Raised after Title IX and William Wants a Doll, young women emerged from college or high school or two years of marriage or their first job and began challenging some of the received wisdom of the past ten or twenty years of feminism. We're not doing feminism the same way that the seventies feminists did it; being liberated doesn't mean copying what came before but finding one's own way-- a way that is genuine to one's own generation.

Some third-wave feminists prefer not to call themselves feminists, as the word feminist can be misinterpreted as insensitive to the fluid notion of gender and the potential oppressions inherent in all gender roles, or perhaps misconstrued as exclusive or elitist by critics.

Others have kept and redefined the term to include these ideas. Third-wave feminism seeks to challenge any universal definition of femininity.

In the introduction of To Be Real: Telling the Truth and Changing the Face of Feminism, the Third Wave Foundation founder and leader Rebecca Walker writes:

Whether the young women who refuse the feminist label realize it or not, on some level they recognize that an ideal woman born of prevalent notions of how empowered women look, act, or think is simply another impossible contrivance of perfect womanhood, another scripted role to perform in the name of biology and virtue.

Challenges 

Third-wave feminism deals with issues that seem to limit or oppress women, as well as other marginalized identities. Consciousness-raising activism, which is “the collective critical reconstitution of the meaning of women’s social experience, as women live through it"

In their book Manifesta: Young Women, Feminism and the Future, Jennifer Baumgardner and Amy Richards write:

Consciousness among women is what caused this [change], and consciousness, one's ability to open their mind to the fact that male domination does affect the women of our generation, is what we need... The presence of feminism in our lives is taken for granted. For our generation, feminism is like fluoride. We scarcely notice we have it—it's simply in the water.

Feminist scholars such as Shira Tarrant object to the "wave construct" because it ignores important progress between the so-called waves. Furthermore, if feminism is a global movement, the fact that the "first-, second-, and third waves time periods correspond most closely to American feminist developments" raises serious problems about how feminism recognizes the history of political issues around the world.

Arguably, the biggest challenge to the efforts of third-wave feminism is the decline in popular support for the relevance and importance of feminism in what some claim is the "post-feminist" era. Manon Tremblay refers to this phenomenon as the "antifeminist undercurrent" of the West. Here, a concern for what Amy Friedman calls third-wave feminism's "radical fanaticism" is expressed.

Essentially, the claim is that gender equality has already been achieved via the first two waves, and that further attempts to push for women's rights are either irrelevant and unnecessary, or are excessively pushing the pendulum towards advantaging women over men and exaggerating the state of women in modern western society. Indeed, we see this very issue manifesting itself in the heated debates over whether or not affirmative action initiatives really are creating societal gender equality, or are actually disadvantaging/punishing white, middle-class, males for a biological history that they have merely inherited.

In response to such sentiments, we can trace many previously self-proclaimed feminists crossing the floor to becoming self-proclaimed post-feminists, claiming that the strands of feminism extant today are out of sync with the reality of the success story of women's gains.

The popular media has played a large role in propounding this image of crazy, radical, lunatic feminists. Donna LaFromboise is known for accusing third-wave feminism of having "perpetuated the myth of female martyrdom, stated that feminists have deliberately maintained such fictions to ensure its survival, and differentiated between "a feminism that informs one's opinions and a feminism that dictates how one should think"".

The target of such attacks are the rather notoriously extremist feminists such as Catherine MacKinnon, Ann Landers, Ms, Marilyn French etc., thus it can be argued that such a critique isn't actually hitting the mark with regards to third-wave feminism as a whole, but is merely overgeneralizing based on a limited sample.

History 

Third-wave feminism began in the early 1990s, arising as a response to perceived failures of the second wave and to address the backlash against initiatives and movements created by the second wave. 

However, the fundamental rights and programs gained by feminist activists of the second wave - including the creation of domestic-abuse shelters for women and children and the acknowledgment of abuse and rape of women on a public level, access to contraception and other reproductive services (including the legalization of abortion), the creation and enforcement of sexual-harassment policies for women in the workplace, child-care services, equal or greater educational and extracurricular funding for young women, women's studies programs, and much more—have also served as a foundation and a tool for third-wave feminists. Feminist leaders rooted in the second wave like Gloria Anzaldúa, bell hooks, Kerry Ann Kane, Cherríe Moraga, Audre Lorde, Maxine Hong Kingston, and many other feminists of color, sought to negotiate a space within feminist thought for consideration of subjects related to race.

In 1981, Cherríe Moraga and Gloria E. Anzaldúa published the anthology This Bridge Called My Back, which, along with All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave: Black Women's Studies (1982), critiqued second-wave feminism, which focused primarily on the problems and political positions of white women.

The roots of the third wave began, however, in the mid-1980s. Feminist leaders rooted in the second wave called for a new subjectivity in feminist voice. They sought to negotiate prominent space within feminist thought for consideration of race-related subjectivities. This focus on the intersection between race and gender remained prominent through the Hill-Thomas hearings, but was perceived[by whom?] to shift with the Freedom Ride 1992, the first project of the Walker-led Third Wave Direct Action Corporation. This drive to register voters in poor minority communities was surrounded with rhetoric that focused on rallying young women.

In the early 1990s, the Riot grrrl movement began in Olympia, Washington and Washington, D.C.. It sought to give women the power to control their voices and artistic expressions. Its links to social and political issues are where the beginnings of the third-wave feminism can be seen. The music and zine writings produced are strong examples of "cultural politics in action, with strong women giving voice to important social issues though an empowered, female oriented community, many people link the emergence of the third-wave feminism to this time".

The movement encouraged and made "adolescent girls' standpoints central", allowing them to express themselves fully. It was grounded in the DIY philosophy of punk values, riot grrrls took an anti-corporate stance of self-sufficiency and self-reliance.

Riot grrrl's emphasis on universal female identity and separatism often appears more closely allied with second-wave feminism than with the third wave. Riot grrrl bands often address issues such as rape, domestic abuse, sexuality, and female empowerment. Some bands associated with the movement are: Bikini Kill, Hole, Bratmobile, Excuse 17, Babes In Toyland, Jack Off Jill, Free Kitten, Heavens to Betsy, Huggy Bear, L7, Fifth Column and Team Dresch. In addition to a music scene, riot grrrl is also a subculture: zines, the DIY ethic, art, political action, and activism are part of the movement. Riot grrrls hold meetings, start chapters, and support and organize women in music.

The term Riot Grrrl uses a "growling" double or triple r, placing it in the word girl as an appropriation of the perceived derogatory use of the term.

In 1991, Anita Hill accused Clarence Thomas, a man nominated to the United States Supreme Court, of sexual harassment. Thomas denied the accusations and, after extensive debate, the United States Senate voted 52–48 in favor of Thomas.

In response to this case, Rebecca Walker published an article entitled "Becoming the Third Wave" in which she stated, "I am not a post-feminism feminist. I am the third-wave."

In 1992, the "Year of the Woman" saw four women enter the United States Senate to join the two already there. The following year another woman (Kay Bailey Hutchison) won a special election, bringing the number to seven. The 1990s also saw the first female United States Attorney General and Secretary of State, as well as the second woman on the Supreme Court, and the first US First Lady (Hillary Rodham Clinton) to have an independent political, legal, corporate executive, activist, and public service career. However, the Equal Rights Amendment, which is supported by second- and third-wave feminists, remains a work in progress.

Third-wave feminists have recently utilized the internet and modern technology to enhance their movement, which have allowed for information and organization to reach a larger audience.

The increasing ease of publishing on the Internet meant that e-zines (electronic magazines) and blogs became ubiquitous. Many serious independent writers, not to mention organizations, found that the Internet offered a forum for the exchange of information and the publication of essays and videos that made their point to a potentially huge audience. The Internet radically democratized the content of the feminist movement with respect to participants, aesthetics, and issues. 

Gender violence has become a central issue for third-wave feminists. Organizations such as V-Day, have formed with the goal of ending gender violence, and artistic expressions such as The Vagina Monologues have generated awareness and action around issues relating to women's sexuality. Third-wave feminists want to transform the traditional notions of sexuality and embrace “an exploration of women’s feelings about sexuality that included vagina-centred topics as diverse as orgasm, birth, and rape.

One of feminism's primary concerns is reproductive rights, such as access to contraception and abortion. According to Baumgardner and Richards, "It is not feminism's goal to control any woman's fertility, only to free each woman to control her own". South Dakota's 2006 attempt to ban abortion in all cases, except when necessary to protect the mother's life, and the US Supreme Court's recent vote to uphold the partial birth abortion ban are viewed by many feminists as restrictions on women's civil and reproductive rights. Restrictions on the 1973 Supreme Court decision in Roe v. Wade, which legalized abortion in the United States, are becoming more common in states around the country; such restrictions include mandatory waiting periods, parental-consent laws, and spousal-consent laws.

English-speakers continue to use words such as spinster, bitch, whore, and cunt to refer to women in derogatory ways. Inga Muscio writes, "I posit that we're free to seize a word that was kidnapped and co-opted in a pain-filled, distant, past, with a ransom that cost our grandmothers' freedom, children, traditions, pride, and land." Third-wave feminists prefer to change the connotation of a sexist word rather than censor it from speech.

Part of taking back the word bitch was fueled by the 1994 single, "All Women Are Bitches" by the all-woman band Fifth Column, and, later, by the 1999 book Bitch: In Praise of Difficult Women by Elizabeth Wurtzel. In the successful declaration of the word bitch, Wurtzel introduces her philosophy: "I intend to scream, shout, race the engine, call when I feel like it, throw tantrums in Bloomingdale's if I feel like it and confess intimate details about my life to complete strangers. I intend to do what I want to do and be whom I want to be and answer only to myself: that is, quite simply, the bitch philosophy.

Since 2011, the utility of the reclamation strategy has been a hot topic among third-wave feminists with the advent of SlutWalks. The first SlutWalk took place in Toronto on April 3, 2011 in response to Toronto police officer Michael Sanguinetti's statement that "women should avoid dressing like sluts in order not to be victimized."

Additional SlutWalks sprung up rapidly in cities all over the world, with marchers reclaiming the word "slut" to make the point that if victimized women are sluts, then all women must be, since anyone can be victimized regardless of what they are wearing.

SlutWalks have occurred in major cities all over the world, including New York City, Berlin, Seattle, West Hollywood, and London. Third-wave feminist bloggers have both praised and criticized the Slutwalks, with the reclamation of the word "slut" being questioned for its possible exclusion of some cultural groups.

Third-wave feminism's central issues are that of race, social class, and sexuality. However, there are also concerns of workplace issues such as the glass ceiling, sexual harassment, unfair maternity leave policies, motherhood—support for single mothers by means of welfare and child care and respect for working mothers and mothers who decide to leave their careers to raise their children full-time.

Third-wave feminism is often associated with the emergence of, so-called, ‘lipstick’ or ‘girly’ feminisms and the rise of ‘raunch culture’. This is because these new feminisms advocated for “expressions of femininity and female sexuality as a challenge to objectification”.

Accordingly, this included the dismissal of any restriction, whether deemed patriarchal or feminist, to define or control how women or girls can dress, act, or generally express themselves.

These emerging positions stood in stark contrast with the anti-pornography strains of feminism prevalent in the 1980s. These new feminisms posit that the ability to make autonomous choices about self-expression can be an empowering act of resistance, not simply internalized oppression. However, such views have been critiqued because of the subjective nature of empowerment and autonomy. Scholars are unsure if empowerment is best measured as an “internal feeling of power and agency” or an external “measure of power and control”.

Moreover, they critique an over-investment in “a model of free will and choice” in the marketplace of identities and ideas. Regardless, the ‘girly’ feminisms attempted to be open to all different selves while maintaining a dialogue about the meaning of identity and femininity in the contemporary world.

These view-points shouldn’t be limited by the label ‘girly’ feminism or regarded as simply advocating for ‘raunch culture’. Rather, these feminisms seek to be inclusive of the many diverse relationships and roles women fulfill. Gender scholars Linda Duits and Liesbet van Zoonen highlight this inclusiveness by looking at the politicization of women’s clothing choices and how the “controversial sartorial choices of girls” and women are constituted in public discourse as “a locus of necessary regulation”.

Thus, the ‘hijab’ and the ‘belly shirt’, as dress choices, are both identified as requiring regulation but for different reasons. The two clothing items of women that have caused a great deal of controversy initially appear to be opposing forms of self-expression. However, through the lens of ‘girly’ feminisms, they can both be viewed as symbolic of “political agency and resistance to objectification”.

The ‘hijab’ can be seen as an act of resistance against western ambivalence towards Islamic identity, while the ‘belly shirt’ can be viewed as an act of resistance towards patriarchal society’s narrow views of female sexuality: Both are regarded as valid forms of self-expression.

Layli Miller-Muro founded the Tahirih Justice Center in 1997 following a well-publicized asylum case in which she was involved as a student attorney dealing with female genital mutilation.

Miller-Muro later co-wrote a book with the client she had aided and used her portion of the proceeds for the initial funding of Tahirih. As of 2012, the organization had assisted more than 13,000 women and children fleeing from a wide variety of abuses.

The organization played a significant role in the passage of the International Marriage Broker Regulation Act (IMBRA), which was signed by President Bush in early 2006 and incorporated into the Violence Against Women Act (VAWA). IMBRA gives foreign women important information about prospective American husbands (for a summary, see also Mail-order bride, Legal issues).

Wikipedia

The Lion and The Unicorn (Artwork) 

A Streetcar Named Desire 

A Streetcar Named Desire is a 1947 play written by American playwright Tennessee Williams for which he received the Pulitzer Prize for Drama in 1948. The play opened on Broadway on December 3, 1947, and closed on December 17, 1949, in the Ethel Barrymore Theatre. The Broadway production was directed by Elia Kazan and starred Marlon Brando, Jessica Tandy, Kim Hunter, and Karl Malden. The London production opened in 1949 with Bonar Colleano, Vivien Leigh, and Renee Asherson and was directed by Laurence Olivier.

A Streetcar Named Desire is (also) a 1951 American film adaptation of the 1947, Pulitzer Prize winning stage play by Tennessee Williams. Williams collaborated with Oscar Saul on the screenplay and Elia Kazan who directed the stage production went on to direct the film. Marlon Brando, Kim Hunter, and Karl Malden, all members of the original Broadway cast, reprised their roles for the film. Vivien Leigh, who had appeared in the London theatre production, was brought in for the film version in lieu of Jessica Tandy, who had created the part of Blanche DuBois on Broadway.

A Streetcar Named Desire holds the distinction of garnering Academy Award wins for actors in three out of the four acting categories. Oscars were won by Vivien Leigh, Best Actress, Karl Malden, Best Supporting Actor, and Kim Hunter, Best Supporting Actress. Marlon Brando was nominated for his performance as Stanley Kowalski, and although lauded for his powerful portrayal, did not win the Oscar for Best Actor.

The film is also noteworthy for being the first film to honor actors in both the Best Supporting Actor and Best Supporting Actress category. In 1997 it was labeled by the American Film Institute as one of the greatest American movies of all time and was subsequently selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant" in 1999.

Blanche DuBois is a fading but still attractive Southern belle, whose manners and pretension of virtue thinly mask her alcoholism and delusions of grandeur. She clings to the illusions of beauty, and her meager possessions, both to shield herself from reality and to attract new suitors. 

Blanche leaves her hometown of Auriol, Mississippi to visit her sister, Stella Kowalski, in the French Quarter of New Orleans. She is told "to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at — Elysian Fields!" The steamy, urban ambiance is a shock to Blanche's nerves.

Stella is thrilled to see Blanche but dismayed at how her husband Stanley will react when he learns that her family's plantation, Belle Reve, was lost due to the "epic fornications" of her ancestors, according to Blanche. Blanche says she has taken a leave from her job as an English teacher because of her nerves, but in reality she was fired for having an affair with a 17-year-old male student. An early marriage left emotional scars after the suicide of her husband, Allan Grey, and now she plans to stay with Stella and Stanley in their cramped apartment indefinitely.

Blanche comments freely on her perceptions of Stanley, and his relationship with Stella. He is a force of nature: primal, rough-hewn, brutish and sensual, who dominates Stella in every way, including physical and emotional abuse. 

When they fight she runs upstairs to the neighbors but she always comes back. Stella's attraction to him overwhelms her breeding and sensitivity, and is compounded by the knowledge that she is now pregnant. Blanche's prolonged presence in their home upsets their routine, and Stella's concern for her sister's well-being emboldens Blanche to hold court in the Kowalski apartment, infuriating Stanley.

One of Stanley's buddies, Harold "Mitch" Mitchell, is smitten with Blanche and indulges her, accepting her stories at face value. But Stanley sets out to discover the truth behind her embellished tales, and cruelly confronts her after he learns what happened back in Auriol. He ridicules her marriage, her string of affairs with young men and students, and her conduct in the loss of the plantation.

Their final confrontation – a rape – results in Blanche's nervous breakdown. Stanley has her committed to a mental institution, and as the doctor takes Blanche away Mitch tries to assault Stanley. But Mitch is restrained by their other friends, and begins to weep. As the other men look on, Stanley claims he "never once touched her".

Devastated by her sister's fate, Stella rejects Stanley and pushes him away. She runs out to see Blanche off, but is too late, as the car has already gone. Stanley calls out for Stella, and as he cries her name once more ("Stella! Hey, Stella!"), she vows that she is never going back to Stanley, and runs upstairs again, with their baby, to seek refuge with her neighbors.

Wikipedia

Cat on a Hot Tin Roof 

Cat on a Hot Tin Roof is a play by Tennessee Williams. One of Williams's best-known works and his personal favorite, the play won the Pulitzer Prize for Drama in 1955. Set in the "plantation home in the Mississippi Delta" of Big Daddy Pollitt, a wealthy cotton tycoon, the play examines the relationships among members of Big Daddy's family, primarily between his son Brick and Maggie the "Cat", Brick's wife.

Cat on a Hot Tin Roof features several recurring motifs, such as social mores, greed, superficiality, mendacity, decay, sexual desire, repression, and death. Dialogue throughout is often rendered phonetically to represent accents of the Southern United States. The original production starred Barbara BelGeddes, Burl Ives, and Ben Gazzara . 

The play was adapted as a motion picture of the same name in 1958, starring Elizabeth Taylor and Paul Newman as Maggie and Brick, respectively. Williams made substantial excisions and alterations to the play for a revival in 1974. This has been the version used for most subsequent revivals, which have been numerous.

Cat on a Hot Tin Roof is a 1958 American drama film directed by Richard Brooks. It is based on the Pulitzer Prize-winning play of the same name by Tennessee Williams adapted by Richard Brooks and James Poe. One of the top-ten box office hits of 1958, the film stars Elizabeth Taylor, Paul Newman and Burl Ives.

Late one night, a drunken Brick Pollitt (Paul Newman) is out trying to recapture his glory days of high school sports by leaping hurdles on a track field, dreaming about his moments as a youthful athlete. Unexpectedly, he falls, leaving him dependent on a crutch. Brick, along with his wife, Maggie "the Cat" (Elizabeth Taylor), are seen the next day visiting his family in Mississippi, waiting to celebrate Big Daddy's (Burl Ives) 65th birthday.

Depressed, Brick decides to spend his days inside drinking while resisting the affections of his wife, who taunts him about the inheritance of Big Daddy's wealth. Numerous allusions are made as to their tempestuous marriage – the most haunting of these are speculations as to why Maggie does not yet have children, while Brick's brother Gooper (Jack Carson) and his wife Mae (Madeleine Sherwood) have a whole clan, many of which run around the "plantation" (as Big Daddy's estate is called) unsupervised and singing obnoxiously.

Big Daddy and Big Mama (Judith Anderson) arrive home from the hospital and are greeted by Gooper and his wife, along with Maggie. Despite the efforts of Mae, Gooper and their kids to draw his attention to them, Big Daddy has eyes only for Maggie. The news is that Big Daddy is not dying from cancer. However, the doctor later meets privately with Brick and Gooper and divulges that it is a deception, but the family wants him to remain happy. Maggie begs Brick to put care into getting his father’s wealth, but Brick stubbornly refuses. When Big Daddy is fed up with his alcoholic son’s behavior, he demands to know why he is so stubborn. Brick angrily refuses to answer.

Big Daddy forces the issue, dragging Maggie into the conversation and the revealing moment ensues when Maggie tells what happened the night Brick's friend Skipper committed suicide. Maggie reveals she was jealous of Skipper because he had more of Brick's time. She claimed she wanted to ruin their relationship "by any means necessary". She intended to seduce Skipper and put the lie to his relationship with her husband. She got scared and ran away without going through with it. Brick claimed to blame Maggie for Skipper's death, but it is revealed that he actually blames himself for not helping Skipper when he called Brick in a hysterical state.

Big Daddy learns that he will die from cancer and that this birthday will be his last. Shaken, he retreats to the basement. Meanwhile, Gooper, his wife, Maggie, and Brick argue over Big Daddy's will.

Finally, Brick descends into the basement, a labyrinth of antiques and family possessions hidden away. Once he finds his father, Brick and Big Daddy confront each other before a large cut-out of Brick in his glory days as an athlete. The rest of the family begins to crumble under pressure, with Big Mama stepping up as a strong figure. 

Maggie says that she'd like to give Big Daddy her birthday present: the announcement of her being pregnant. After Mae calls Maggie a liar, Big Daddy and Brick defend her lie, even though they know it to be untrue. Even Gooper finds himself admitting "That girl's got life in her, alright." In the end, she and Brick reconcile, and the film ends with the two kissing with the implication that they will make love.

Wikipedia

For woman, love is a supreme effort to survive by accepting the dependence to which she is condemned. The Second Sex. Simone de Beauvoir 

Be stronger, but also remain weak and powerless. Believe more in reason, but don’t deny my heart. Diary of Philosophy Student. Simone de Beauvoir

If a fraternity can be created by words, then writing is well worthwhile. Prime of Life. Simone de Beauvoir 

It is in the midst of the world that we think the world through. "Literature and Metaphysics". Simone de Beauvoir 

But how I love to live, despite everything. War Diary. Simone de Beauvoir 

What does it matter that they judge as weakness or illogicality what comes from a greater complexity? Diary of a Phil Student. Simone de Beauvoir 

A life in common would have to favour and not stand in the way of my rudimentary aim, which was to conquer the world. --Memoirs of a DD. Simone de Beauvoir

Misogyny of Men Update l. Amera Ziganii Rao  

The Sacred Whore High Priestess Society™. When we were giants. All of us. When you did more than rape me. 

Soldier Slave Female Genocide Slavery™ In other words, don't be selfish. Same thing. 

Men make money to buy women. It is, apparently, called marriage. It is 'the way of the world'. Fuck that. Live and love. Love. 

You believe in a system of female genocide. That is not love. That is just pathetic and selfish. 

If you do not succeed in finding the most powerful woman in the neighbourhood and physically locking her up, you have failed as a man. 

Putting me in a straight jacket made me mad. 'My' love dependency came from 'you'. 

A man is therefore, finally, only one thing; a killer, disguised as a lover. The antagonist element from hell. And we are condemned to have to relate, no matter what. Killers, disguised as lovers = men. 

We copy, parrot fashion, our parents. That is what we do. He’s obviously an arsehole then. Just like mine, you, being the perfect proof. Ego to Soul. Take responsibility for who you are and what you were taught. And you were taught to kill women. That’s what they teach you. So kill women. Just don’t pretend you want to do anything else. In any case, we no longer believe you. 

‘Hell is other people’ (Jean Paul Sartre) and I am forced to deal with killers, disguised as lovers. I have been watching and fighting the same stupid fight for 48 years. I am bored. Imprisoned and at Her service, but bored rigid. Of you. 

Amera Ziganii Rao © 2013

Ms. Magazine. Can men be feminists? Absolutely.

But recent media maneuvers and blogosphere blow-ups have put this confident answer to the test. For those outside the feminist bubble, here is the nutshell version:

One self-identified feminist man with a history of confused intent and mental illness hijacked an extraordinary amount of attention. That a community college instructor with training in Scottish history was ever assigned to teach courses in gender studies, pornography, or feminism violates the standards of academia and professional expertise. That popular Internet sites such as Jezebel and xoJane published his work is no surprise. There’s nothing like discussions about facials and anal sex (he wrote about both) to garner copious page views. But that’s enough about him.

The conflict he hath wrought, however, has created a feminist tempest in a digital teapot.

As someone who writes and teaches university courses about men and feminism, the divisiveness and sheer exhaustion that emerged from this mess is both personally and politically painful to witness. Instead of burning out on conflict, however, there are plenty of opportunities to redirect attention to constructive solutions and positive perspectives on men’s role working for gender justice.

As I write in my book Men and Feminism, feminists are committed to addressing problems that happen every day. Some of these are issues that take place behind the privacy of closed doors; others are matters that confront us in the public arena. These problems include things like domestic violence, rape and sexual assault, racism, homophobia, unequal pay, job segregation, sexual objectification, restrictions on reproductive choices, and unattainable standards of gender, beauty, and behavior.

The examples of men doing this work are many and growing. Men for Women’s Choice supports reproductive rights. Voice Male Magazine and Masculinity U encourage rethinking stereotypes about masculinity and feminism. There is the awesome collection of men speaking out against street harassment. Award-winning filmmaker Byron Hurt’s documentary about hip hop continues to inform. Tom Keith’s recent video The Bro Code investigates the toxic mix of men and sexist media. Filming is underway for Jennifer Siebel Newsom’s new film on masculinity, The Mask You Live In. Every day, it seems, more men are getting on board with creating constructive solutions and positive change.

On an individual level, feminism makes room for each of us to explore who we are, separate from gender constraints. Too often, the social rules and regulations for men and women are restrictive. They don’t really describe us well. Feminism questions rigid binary categories of masculinity and femininity, looks at the political consequences of assumptions about gender and helps us search for better models and greater freedom.

Guys have lots of opportunities to get involved with everyday practices such as engaged parenting, pay equity and consensual sex. Changing diapers might not seem like a political act, but it definitely has political meaning. There’s certainly nothing wrong with doing domestic, caring work. In fact, feminism is about the right to freely choose our life activities. But if women are doing the majority of the housework and caring for the babies, it means they’re doing these unpaid jobs in addition to other paid work or it means they’re not doing something else (like earning money, writing the great novel, etc.).

While working on my recently published second edition of Men Speak Out: Views on Gender, Sex, and Power, I talked with men across the country who are concerned about masculinity, identity, sexuality, violence and equity.

In this anthology, writer and ex-convict A. Razor takes us inside the Marin County Jail as he waits for transfer to San Quentin Prison. Facing a possible life sentence for a third-strike felony, Razor joins a therapy group focused on ending male violence against women. Razor struggles to face his personal accountability as an abuser while he figures out how to make a radical change to stop his part in the cycle of abuse.

Athlete (and now educator) Nathan Einschlag recounts his life-changing and heartbreaking experience playing college basketball at a school filled with privileged—and in many ways protected—young students. Growing up in the immigrant neighborhood of Jackson Heights in Queens, New York, Einschlag saw things that the guys on his team “only read about in magazines, or saw on TV.” In college, he is surrounded by teammates who think that heavy drinking and sexual conquest prove their ability to be a guy and play the game. Einschlag bravely faces a difficult choice: to play college basketball and go along with the expected standards of masculine behavior, or stay true to himself and possibly leave the team behind. In doing so—and in writing about it publicly—he lets other guys coming up know that they are not alone in facing ethical decisions, and that being a “real man” can mean both rejecting sexism and bench pressing 225.

I realize that some people still take issue based on the misunderstanding that feminism is about women waging war against men. But before we go down that route, here’s the thing: Gender-based inequality works to the advantage of men as a group and works to the disadvantage of women as a group. That doesn’t mean all men have advantage or that none of the women do. These things are complicated, but I trust that we are a generally smart bunch. And to that end, together, we can create a much, much better world for everyone.

As the recent online examples of one man have demonstrated, we all have ways in which our personal lives don’t always sync up perfectly with our politics and our ideals. As humans we are often inconsistent and sometimes downright flawed. 

I invite all of us to join in a delightfully imperfect feminist movement that keeps its eyes on the prize while valuing the process. This process can be as messy and as well-intentioned as human beings ourselves. This invitation is for each of us, whether woman or man, transgender or genderqueer. It is crucial that we start talking with each other across various communities about masculinity and femininity, about gender politics, and about sexuality, race and class. The fact is, we have a lot of work to do. See you in the classrooms, in the boardrooms and on the streets.

Author’s update:

This article is an early draft that did not include Hugo Schwyzer’s name only because I was so disgusted with the attention one narcissist garnered, that I didn’t want to further contribute to that problem. I made a mistake. A more complete version of this piece (published on AlterNet) specifically named Hugo and links to further information about him.

This article is intended to recognize the constructive work many men are doing to promote social justice. I wrote this piece prior to Hugo Schwyzer’s well-publicized Twitter breakdown on August 12, but long after his abuse was publicly known. In my effort to highlight the positive, I failed to specifically identify the serious damage Hugo Schwyzer has caused. I apologize. Hugo Schwyzer’s actions go beyond “confused intent.” He conned many people, including me. 

Schwyzer has cut large swaths of documented damage to women of color, women’s and gender studies, feminism, his former students, and also to abuse survivors—many of whom have been significantly triggered by his admissions. Silence feeds abuse, whether the abuse impacts individuals or communities. I am correcting my silence. I also continue to honor those addressing complicated issues of gender, race, class, violence prevention, justice, and peace.

This article draws from Shira Tarrant’s books Men and Feminism and Men Speak Out: Views on Gender, Sex, and Power. 

Shira Tarrant

Elmer Gantry 

Elmer Gantry is a 1960 drama film about a con man and a female evangelist selling religion to small town America. Adapted by director Richard Brooks, the film is based on the 1927 novel of the same name by Sinclair Lewis and stars Burt Lancaster and Jean Simmons.

Lancaster won an Academy Award for his performance, as did co-star Shirley Jones.

The movie presents fewer than 100 pages of the novel, deleting many characters and fundamentally changing the character and actions of female evangelist Sharon Falconer, played by Simmons. 

The story's use of a female evangelist bears a resemblance to true-life Sister Aimee Semple McPherson.

Elmer Gantry (Burt Lancaster) is a hard-drinking, fast-talking traveling salesman with a charismatic personality. He is drawn to the road show of Sister Sharon Falconer (Jean Simmons) and is immediately attracted to the saintly revivalist.

Gantry soon cons his way into Sister Sharon's good graces and joins the troupe as a fiery preacher. Gantry and Falconer develop what her manager calls a "good cop/bad cop" routine, with Elmer telling the audience members that they will burn in Hell for their sins and Sharon promising salvation if they repent.

The group makes its way out of exclusively provincial venues and into Zenith, Winnemac, a larger city. Falconer eventually admits to Gantry that her real name is Katie Jones and that her origins are humbler than she publicly admits. Falconer also becomes Gantry's lover and loses her virginity to him.

Gantry's on-stage antics draw the attention of a big-city reporter, the skeptical Jim Lefferts (Arthur Kennedy). Lefferts is shown to be torn between his disgust for religious hucksterism and his genuine admiration for Gantry's charm and cunning. The two men begin a public feud which increases the notoriety of both.

The success of the Falconer-Gantry team comes to the attention of Lulu Baines (Shirley Jones), a former girlfriend of Elmer's who fell into disrepute and became a prostitute when her affair with Gantry ruined her standing in her minister father's eyes.

Gantry, acting as a moralist, unwittingly invades the brothel where Lulu works. With police and media in tow, he sends the prostitutes out of town. Lulu proceeds to frame Gantry out of revenge for this and out of jealousy for his relationship with Falconer.

Lulu blackmails him. Falconer is asked to bring $25,000 in exchange for the negatives of incriminating pictures. Falconer brings the money, but Lulu refuses to accept; it is unclear why she has had a change of heart.

Lulu had at first offered Lefferts the exclusive story of Gantry's sexual indiscretion, but he refused, shrugging the pictures off as merely proof that Gantry is as human as anyone else. Later, when an angry mob threatens Gantry at the tent revival following the publication of the incriminating photos in another newspaper, Lefferts fights in Gantry's defense.

Lulu joins the congregation at this tent revival and is a witness to Gantry's humiliation. As she watches the mob curse Gantry and smear him with eggs and other produce, she is emotionally shaken and flees the scene.

Lulu returns to the brothel, which is now in a dilapidated state from Gantry's publicity stunt. Her pimp, who with the photographer had helped frame Gantry, is there to collect the $25,000. Lulu tells him she did not take Falconer's money, whereupon he beats her. Gantry comes to Lulu's rescue. He disposes of the pimp and apologizes to Lulu, who then publicly confesses to having framed Gantry.

Elmer returns to Sharon on the night her new tabernacle opens. He wants them to live like a more normal couple. Sharon is unable to give up her soul-saving ventures, though, and insists that she and Elmer were brought together by God to do His work. Sharon then tragically dies in a fire at the tabernacle, unable or unwilling to see past her own religious zeal when the place is engulfed in flames.

Deeply saddened by Sharon's death and having reached something of a moral awakening, Elmer decides to stop evangelizing, quoting from the Bible: "When I was a child, I understood as a child and spake as a child. When I became a man, I put away childish things."

The film won Academy Awards for Best Actor (Burt Lancaster), Best Supporting Actress (Shirley Jones) and Best Screenplay Based on Material from Another Medium (Richard Brooks). It was also nominated for Best Music, Scoring of a Dramatic or Comedy Picture and Best Picture. 

Wikipedia

Charles Dickens 

Charles John Huffam Dickens ( 7 February 1812 – 9 June 1870) was an English writer and social critic. He created some of the world's most memorable fictional characters and is generally regarded as the greatest novelist of the Victorian period.[1] During his life, his works enjoyed unprecedented fame, and by the twentieth century his literary genius was broadly acknowledged by critics and scholars. His novels and short stories continue to be widely popular.

Born in Portsmouth, England, Dickens left school to work in a factory after his father was thrown into debtors' prison. Although he had little formal education, his early impoverishment drove him to succeed. Over his career he edited a weekly journal for 20 years, wrote 15 novels, 5 novellas and hundreds of short stories and non-fiction articles, lectured and performed extensively, was an indefatigable letter writer, and campaigned vigorously for children's rights, education, and other social reforms.

Dickens sprang to fame with the 1836 serial publication of The Pickwick Papers. Within a few years he had become an international literary celebrity, famous for his humour, satire, and keen observation of character and society. His novels, most published in monthly or weekly instalments, pioneered the serial publication of narrative fiction, which became the dominant Victorian mode for novel publication.

The instalment format allowed Dickens to evaluate his audience's reaction, and he often modified his plot and character development based on such feedback. For example, when his wife's chiropodist expressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities, Dickens went on to improve the character with positive lineaments.

Fagin in Oliver Twist apparently mirrors the famous fence Ikey Solomon; His caricature of Leigh Hunt in the figure of Mr Skimpole in Bleak House was likewise toned down on advice from some of his friends, as they read episodes. In the same novel, both Lawrence Boythorne and Mooney the beadle are drawn from real life – Boythorne from Walter Savage Landor and Mooney from 'Looney', a beadle at Salisbury Square. His plots were carefully constructed, and Dickens often wove in elements from topical events into his narratives. Masses of the illiterate poor chipped in ha'pennies to have each new monthly episode read to them, opening up and inspiring a new class of readers.

Dickens was regarded as the literary colossus of his age. His 1843 novella, A Christmas Carol, is one of the most influential works ever written, and it remains popular and continues to inspire adaptations in every artistic genre. 

His creative genius has been praised by fellow writers—from Leo Tolstoy to G. K. Chesterton and George Orwell—for its realism, comedy, prose style, unique characterisations, and social criticism. On the other hand Oscar Wilde, Henry James and Virginia Woolf complained of a lack of psychological depth, loose writing, and a vein of saccharine sentimentalism.

Wikipedia

Misogyny of Men Update ll. Amera Ziganii Rao 

So sad. And I want to be with you because I want to BE with you. What a waste of time. They did their work well. You are of course, just like the rest. Nothing will happen without you changing your whole self. There are no half measures or you will never be free. See you next year. And that is of course, if you ever care. Correction. If you ever CAN care. I have absolutely no idea. 

Amera Ziganii Rao © 2013

You believe in a system of female genocide. That is not love. That is just pathetic and selfish. 

Amera Ziganii Rao © 2013

A man is therefore, finally, only one thing; a killer, disguised as a lover. The antagonist element from hell. And we are condemned to have to relate, no matter what. Killers, disguised as lovers = men. 

Amera Ziganii Rao © 2013

We copy, parrot fashion, our parents. That is what we do. He’s obviously an arsehole then. Just like mine, you, being the perfect proof. You. Ego to Soul. Take responsibility for who you are and what you were taught. And you were taught to kill women. That’s what they teach you. So kill women. Just don’t pretend you want to do anything else. In any case, we no longer believe you. 

Amera Ziganii Rao © 2013

‘Hell is other people’ and I am forced to deal with killers, disguised as lovers. I have been watching and fighting the same stupid fight for 48 years. I am bored. Imprisoned and at Her service, but bored rigid. Of you. 

Amera Ziganii Rao © 2013

No. I’m no longer interested in anyone. I’ll do my job and deliver you, if it is even possible. But I do it, to be set free. I do not do it, to be with you. That life of futile pain is over. I am just doing my job now. I do it only because I have to. 

Amera Ziganii Rao © 2013

No. I do not believe misogyny can heal. I didn't when we began. She does. I don't. I am just doing my job. I just want to be free. 

Amera Ziganii Rao © 2013

There’s nothing I hate more than a hypocrite and a self righteous, self deluding misogynist. Oh, I’ve just described the whole ‘world of men’. We most certainly do not choose who we love. Or indeed, WHAT. Robyn Island with no parole. Men are still in charge. We live in hell. 

Amera Ziganii Rao © 2013

Which translates as this: Keep away from men and you will be alright. Even as an imprisoned shaman freedom fighter against men. I still can keep away from you. I do not do this for me. Because I no longer want you. I just want to win my freedom. And that means educating you. Whatever. Better that than to believe in a ridiculous notion. That you can love. I just want to be free. 

Amera Ziganii Rao © 2013

And I don't care how long I am incarcerated before I am set free, because I will never give up. This ridiculous and pointless task from hell, has to be over one day. And I dream of it and I dream of it, without you or any of you. I only now, see your ugliness. And this time I cannot forget. 

Amera Ziganii Rao © 2013

I cannot heal a misogynist. No one can. You have a wealth of material. Read it. And do with it what you can. I am no longer interested. 

Amera Ziganii Rao © 2013

The Piano 

The Piano is a 1993 New Zealand romantic drama film about a mute pianist and her daughter, set during the mid-19th century in a rainy, muddy frontier backwater on the west coast of New Zealand. The film was written and directed by Jane Campion, and stars Holly Hunter, Harvey Keitel, Sam Neill, and Anna Paquin. It features a score for the piano by Michael Nyman which became a best-selling soundtrack album. Hunter played her own piano pieces for the film, and also served as sign language teacher for Paquin, earning three screen credits. The film is an international co-production by Australian producer Jan Chapman with the French company Ciby 2000.

The Piano was a commercial and critical success, grossing more than $40 million, against its $7 million budget. Holly Hunter and Anna Paquin both received high praise for their respective roles as Ada McGrath and Flora McGrath. At the 66th Academy Awards, The Piano won three awards: Best Leading Actress for Hunter, Best Supporting Actress for Paquin, and Best Original Screenplay for Campion. Paquin, who at the time was 11 years old, is the second youngest Oscar winner ever in a competitive category, after Tatum O'Neal, who also won Supporting Actress in 1974 for Paper Moon, at 10.

The Piano tells the story of a mute Scotswoman, Ada McGrath, whose father sells her into marriage to a New Zealand frontiersman, Alistair Stewart. She is shipped off along with her young daughter Flora. The voice that the audience hears is not her speaking voice, but her mind's voice. Ada has not spoken a word since she was six years old, expressing herself instead through her piano playing and through sign language for which her daughter has served as the interpreter. Ada cares little for the mundane world, occupying herself for hours every day with the piano. It is never made explicitly clear why she ceased to speak. Flora, it is later learned, is the product of a relationship with a teacher whom Ada believed she could control with her mind, making him love her, but who "became frightened and stopped listening," and thus left her.

Ada, Flora, and their belongings, including the piano, are deposited on a New Zealand beach by the ship's crew against her angry objections. As there is no one there to meet them, they spend the night alone, sheltering under a tiny tent made of a hoop skirt frame. 

The following day, Alistair arrives with a Māori crew and his friend Baines, a fellow forester and a retired sailor, who has adopted many of the Māori customs, including tattooing his face and socializing with the Māori instead of his own race (save Alistair). There are insufficient men to carry everything and Alistair abandons the piano, again eliciting objections from Ada.

Alistair proves to be a shy and diffident man, who is jokingly called "old dry balls" by his Māori cohorts. He tells Ada that there is no room in his small house for the piano. Ada, in turn, makes no effort to befriend him and continues to try to be reunited with her piano. 

Unable to communicate with Alistair, she goes, with Flora, to Baines and asks to be taken to the piano. He agrees, and the three spend the day as she plays tunes on the beach. While he socially aligns himself with the Māori, Baines has steadfastly refused any sexual activity with Māori women. But he clearly finds Ada attractive due to her passion for music. Baines eventually retrieves the instrument and suggests that Alistair trade it—and lessons from Ada—for some land that Alistair wants. Alistair consents, oblivious to the budding attraction between Ada and Baines. She is surprised to find that he has had the piano put into perfect tune after its rough journey. 

Because he is sexually aroused by Ada's playing, he asks to simply listen rather than learn to play himself, and then offers to let her buy the piano back, one key at a time, by letting him do "things he likes" while she plays. While Ada and Alistair have had no sexual, or even mildly affectionate, interaction even though they are married, she reluctantly agrees to Baines' offer, as she is attracted to him. However, after several days, Baines chooses to return the piano to Ada, saying to her that he feels that their arrangement "is making you a whore, and me, wretched", and that what he really wants is for her to actually care for him, which he doesn't think she can do.

Despite Ada having the piano back, she ultimately finds herself missing Baines watching her as she plays, and thus, having realized her own feelings for him, she returns to him one afternoon, where they submit to their desire for one another. Alistair, having begun to suspect something going on between them, hears them making love as he walks by Baines' house, and then watches them through a crack in the wall. Outraged, he follows her the next day and confronts her in the forest, where he attempts to force himself on her, despite her resistance. He then boards up his home with Ada inside so she won't be able to visit Baines while Alistair is working on his timberland. After this, Ada avoids Baines and feigns affection with Alistair, though her caresses only serve to frustrate him more because when he makes a move to touch her in return, she pulls away. Eventually resolving to trust her, he removes the barriers from the house, and believes Ada will be true to her word that she won't see Baines.

Soon after, Ada sends her daughter with a package for Baines, containing a single piano key with an inscribed love declaration that says "Dear George you have my heart Ada McGrath". Flora has begun to accept Alistair as her "papa" and is angered by her mother's infidelity. 

She brings the piano key instead to Alistair. After reading the love note burnt onto the piano key, Alistair furiously returns home and cuts off Ada's index finger with an axe to deprive her of the ability to play her piano, while Flora watches on in horror. He then sends Flora to Baines with the severed finger wrapped in cloth, with the message that if Baines ever attempts to see Ada again, he will chop off more fingers.

However, later that night, while touching Ada in her sleep, Alistair hears what he believes to be Ada's voice inside of his head, asking him to let Baines take her away. Deeply shaken, he goes to Baines' house and confesses this to him. Ultimately, he decides to send Ada and Flora away with Baines and dissolve their marriage once Ada has recovered from her injuries. They depart from the same beach on which she first landed in New Zealand. While being rowed to the ship with her baggage and the piano tied onto a Maori longboat, Ada insists that Baines throw the piano overboard. As it sinks, she deliberately tangles her foot in the rope trailing after it. She is pulled overboard but, deep underwater, changes her mind and kicks free and is pulled to safety.

In an epilogue, Ada describes her new life with Baines and Flora in Nelson, where she has started to give piano lessons in their new home, and her severed finger has been replaced with a silver finger made by Baines. Ada says that she imagines her piano in its grave in the sea, and herself suspended above it, which "lulls me to sleep." Ada has also started to take speech lessons in order to learn how to speak again. The film closes with the Thomas Hood quotation, from his poem "Silence," which also opened the film: "There is a silence where hath been no sound. There is a silence where no sound may be in the cold grave under the deep deep sea."

Wikipedia

The Purchase of a High Priestess. Amera Ziganii Rao 

This time it was not buying a wife, this time it was buying a High Priestess. He had read all my work, so I thought I was finally, safe. This time though, it was buying a High Priestess as a wife, as opposed to a woman as a wife. Still the buying, always the buying and never the love. The World of Men. 

Courage is something we do not understand enough. Courage above all, is the ability, to see the full, horrendous, hopeless and immovable truth. Men buy women. Women love men. There is no correlation. The truth is unfortunately found. 

Rich or poor, men pursue women for slavery. Apparently, they do not understand anything else. Rich or poor, women pursue men to love. There is no correlation. There is nothing in the business of love. There is only life in business. And spreading the sad word. There is no correlation. The Reptilian Agenda of divide and rule is impenetrable and the most successful propaganda integration in 8000 years. Our agony has no place to go. Feminism has not even begun as a method of re-integration and re-education. We haven’t even been able to see the truth yet. 

The Reptilian Agenda feeds on our natural resources to love, like the Viper of Earth it is. Our Achilles heel is our hell. The desire and yearning to give. To share and to connect. Our romantic partners mean more to us than anything else and within that is the arena for exploitation and abuse, because there is no place for romantic love on this Reptilian Agenda earth. There is no place other than in one’s heart and fortunately, my heart is full. I don’t need to explore it anymore on earth. And there is nothing to explore anyway. The truth is done. 

The message of my work is irreversible. I tried, but it can only be one message. Keep the love only in your heart, and work for a living. Never depend on another human being, despite everything we have been taught and everything we have focused on in our turn to be part of a team. Dependency or high skill, the results can only be the same. The truth is done. 

There is no love. Men buy women and women love men. There is no correlation. There is only belligerent vocational work. And if you are lucky like me, your work is your art and your art is your work. There doesn’t need to be anything else. 

A great love is enough to remember. And in one’s psyche it is better anyway, because the reality of that was just as bad as it could be. It is ONLY the love that can secretly be. Forget anything about anything else. 

I’m telling me, not you. First, the courage to experience and see the truth is THE journey. Everyone gets to do that for themselves. This awful revelation is the boon. The truth can only be seen when the courage is gargantuan and the experience has left you raped forever. 

Men (and the women like them) buy women (or the men like them) or High Priestesses. Women love. There is no correlation in a dirty whoremonger, psychotically selfish, fiscally raping, power abusing, power overbalanced world. Whether it is mothers or husbands. 

The only correlation is to go out and build the power. And forget about them, tragically, generically, and completely. 

My life has finally begun. My failures are not mine. MY failures, are theirs. No man wants to love. I didn't know. Now I do. 

Amera Ziganii Rao © 2013

Friendship. The Grief. The Relief. Amera Ziganii Rao  

It’s the friendship that I grieve the most out of the failed life that is the truth of true love. The men I worked alongside, the men I will work alongside, the men I have tried to love, the men I have loved. The kind of men I will always be drawn to. I liked them the most. I have the most in common with them and they have mentally stimulated me the most. They are my fellow Warrior Class souls.

But there is no friendship and the grief is over that now. 

They don’t even see me, they don’t even care to see me and they never were even interested in seeing me. The daughter pulling on her father’s arm to be heard as a serious being, instead of dismissed as poodle froth, who shouldn’t be heard. That is what I searched my whole life for. The healing of that. And it’s over. I have to accept that they just don’t like me. And never will like women like me. They just don’t want the women around, unless they are naked.

And they were the people I related to the most. For friendship. I follow the soul. 

There is no friendship and it’s not because it is personal in any way. Men do not give friendship to any women. Let alone the one they want the most. I did not actually know that. Now, I most certainly, do. 

It’s the sadness of that that is the stone of the grave, now. It was the friendship I loved more than anything and that is the one thing I never got. Despite the profundity of both empathy and the love I have indeed, shared so much, the friendship that I relied on so heavily, the one that did see me through the worst years of hell, as I examined the dirty soul of the world. That I will never forget. 

But it was never real. It was only ‘friendship’ that could never be regarded as family. At least I had it. 

Now, that has gone too. And gone for good. It was the friendship with men I loved the most. It seems I never really had it. The world is just not built that way. Brothers cannot love sisters. Fathers cannot love daughters and men cannot love women. And sons do not love mothers. No one can love women. It's not allowed. 

There is no shame therefore in saying how lonely we are. There is however unavoidable truth. The sadness of the heart. And the recognition that I am on my own in life now. Fulfilling my own needs for sure. So what? That journey to self empowerment is long done. 

But it was the friendship of love I wanted. To make it all worthwhile. Cruelty cannot do friendship. Men are cruel. And more than anyone, cruel, the most, to women like me. The Reptile Agenda has done its job well. There is no friendship between men and women and never can be. And I give it up for good. 

Grief is a relief, when the knowledge is here that I will never pursue it again. I am to them, poodle froth and always will be. I will take my mind and heart and soul, and use it where it is truly respected and leave the vanity of men to them. I most certainly never wanted that. It turns out they bore me stupid too. 

It was never love, without the friendship. Maybe now, you know why women truly, hate you. You give nothing. You don't even give the friendship we give to you. You give nothing. And you don't even care. 

Enjoy each other. I am no longer trying to be a part of the inner circle of my equals, despite my earnest attempts at inclusion. Turns out you all bore me too. I don't really want to be a poodle anymore. And your conversations are too mediocre for me to even want them now. 90 percent mediocrity to 10 percent of anything new and 100 whole percent vanity of you. 

No. I am definitely no longer interested in any of you. Grief can at least be relief. You do not deserve my mind. I do. 

Amera Ziganii Rao © 2013

The Female Wisdom Society (Artwork) 

Coco Before Chanel 

Coco Before Chanel (original title Coco avant Chanel) is a 2009 French film about the early life of famed French fashion designer Coco Chanel. French actor Audrey Tautou stars as Chanel. Coco avant Chanel was directed and co-written by actor turned director Anne Fontaine.

The film was first released in April 2009 in France. As of 21 December that year, it had grossed $43,832,376 worldwide. The production budget was $23 million.

Instead of releasing Coco Before Chanel in the United States itself, Warner Bros. Pictures let Sony Pictures Classics handle the release there. The film grossed $6 million in the United States.

Coco Before Chanel was nominated for four BAFTA Awards, three European Film Awards, six César Awards and the Academy Award for Best Costume Design.

Several years after leaving the orphanage where her father abandoned her, a young Gabrielle Chanel finds herself working in a provincial bar. She is both a seamstress for the performers and a singer, earning the nickname 'Coco' from the song she sings nightly with her sister. A liaison with the charismatic Baron Balsan (Belgian actor Benoît Poelvoorde) gives her an entry into French high society, and a chance to develop her gift for designing increasingly popular hats.

Coco falls in love with English businessman Arthur Capel (American Alessandro Nivola, who learnt French especially for the film), unaware that he is betrothed to a woman in England. Capel believes in Coco's talent making hats and her refusal to follow the whims of fashion; as he says to Coco, "There's no one else like you". As Coco's business flourishes and life is going well, Capel dies in a car accident; she is devastated. However, Coco still has the business that Capel helped her start as a reminder of their love.

Coco Chanel 

Gabrielle "Coco" Bonheur Chanel (19 August 1883 – 10 January 1971) was a French fashion designer and founder of the Chanel brand. She was the only fashion designer to appear on Time magazine's list of the 100 most influential people of the 20th century. Along with Paul Poiret, Chanel was credited with liberating women from the constraints of the "corseted silhouette" and popularizing the acceptance of a sportive, casual chic as the feminine standard in the post-World War I era. 

A prolific fashion creator, Chanel's influence extended beyond couture clothing. Her design aesthetic was realized in jewelry, handbags, and fragrance. Her signature scent, Chanel No. 5, has become an iconic product.

Chanel was known for her lifelong determination, ambition and energy which she applied to her professional and social life. 

She achieved both success as a businesswoman and social prominence thanks to the connections she made through her work. 

These included many artists and craftspeople to whom she became a patron. However, Chanel's highly competitive, opportunistic personality led her to make questionable life choices which have generated controversy around her reputation, particularly her behaviour during the German occupation of France in World War II.

.....It was at Moulins that Chanel met the young French ex-cavalry officer and the wealthy textile heir Étienne Balsan. At the age twenty-three, Chanel became Balsan's mistress, supplanting the courtesan Émilienne d'Alençon as his new favorite.

For the next three years, she lived with him in his chateau Royallieu near Compiègne, an area known for its wooded equestrian paths and the hunting life. It was a life style of self-indulgence, Balsan's wealth and leisure allowing the cultivation of a social set who reveled in partying and the gratification of human appetites with all the implied accompanying decadence. Balsan lavished Chanel with the beauties of "the rich life"—diamonds, dresses, and pearls. Biographer Justine Picardie, in her 2010 study Coco Chanel: The Legend and the Life (Harper Collins), suggests that the fashion designer's nephew, André Palasse, supposedly the only child of her sister Julia-Berthe who had committed suicide, was actually Chanel's child by Balsan.

In 1908 Chanel began an affair with one of Balsan's friends, Captain Arthur Edward 'Boy' Capel. In later years, Chanel reminisced of this time in her life: "two gentlemen were outbidding for my hot little body." Capel, a wealthy member of the English upper class, installed Chanel in an apartment in Paris. and financed Chanel's first shops. It is said that Capel's own sartorial style influenced the conception of the Chanel look. The bottle design for Chanel No. 5 had two probable origins, both attributable to the sophisticated design sensibilities of Capel. It is believed Chanel adapted the rectangular, beveled lines of the Charvet toiletry bottles he carried in his leather traveling case or it was the design of the whiskey decanter Capel used and Chanel so admired that she wished to reproduce it in "exquisite, expensive, delicate glass".

The couple spent time together at fashionable resorts such as Deauville, but he was never faithful to Chanel. The affair lasted nine years, but even after Capel married an English aristocrat, Lady Diana Wyndham in 1918, he did not completely break off with Chanel. His death in a car accident, in late 1919, was the single most devastating event in Chanel's life. She commissioned the placement of a roadside memorial at the site of the accident, which she visited in later years to lay flowers in remembrance.

Twenty-five years after the event, Chanel then residing in Switzerland, confided to her friend Paul Morand: "His death was a terrible blow to me. In losing Capel, I lost everything. What followed was not a life of happiness, I have to say." 

Chanel began designing hats while living with Balsan, initially as a diversion that evolved into a commercial enterprise. She became a licensed milliner (hat maker) in 1910 and opened a boutique at 21 rue Cambon, Paris named Chanel Modes. As this location already housed an established clothing business, Chanel sold only her millinery creations at this address. Chanel's millinery career bloomed once theatre actress Gabrielle Dorziat modelled her hats in the F Noziere's play Bel Ami in 1912. Subsequently, Dorziat modelled her hats again in Les Modes.

Wikipedia

And God Created Woman ll Pt lll (ll). A Self Portrait 

A PROFILE: AMERA ZIGANII RAO 

FEMINIST. METAPHYSICAL PHILOSOPHER. WRITER. MENTALIST. ARTIST 

AMERA ZIGANII RAO ALCHEMY & LIBERATION & HUMANITY™

The Sacred Whore High Priestess Society™

The Super Sacred Brother Lover™ 

The Return To The Source. Ascension.

The Sacred Whore High Priestess Society™. When we were giants. All of us. When you did more than rape me. 

Amera Ziganii Rao © 2013

Neo Feminist™, Post Tribe Social Reformer™ and Sacred Sexualist™. Human Rights Healer. Metaphysical Philosopher, Writer, Spiritual Intelligence Teacher, Hierophant (Interpreter of The Universe) and Mentalist Self Actualiser. 

I can help you grow power, from nothing. 

Alchemy & Liberation & Humanity™. 

Amera Ziganii Rao © 2013

The Sacred Whore High Priestess Hierophant™ and Sacred Pimp Warrior Protector, Brother Lover™ Society. The kings and queens of old. Angels and Sorcerers together in each of themselves and in the other. The Wizard life. Forever. Living and loving from The Source. Sourcery, Carlos Castaneda first said. I'll say it again. Sourcerers together. Living a life worth living. At last. 

Amera Ziganii Rao © 2013

Witches are healers. Witches are the Love Healers and SOURCErers of The Lost World, when we were the giant warriors. We were good and so were were you. 'The World of Men'. The Tribe of Misogyny and Bourgeois™. 

Gives us all a bad name. And poisons all hearts. 

Amera Ziganii Rao © 2013

Feminist Lolita Intellectuals™. You lucky man. A place at the table, a place at the Executive Table. That's all. The rest is easy. 

Amera Ziganii Rao © 2013

THE EVOLUTION OF HUMAN RIGHTS: APPLIED CONSCIOUSNESS™, NEO FEMINISM™, METAPHYSICAL PHILOSOPHY & SACRED SEXUALISM™. POST TRIBE SOCIAL REFORM™. POWER IS THE NEW LOVE. FREEDOM + HOPELESSNESS + SEX. NIHILISM FOR A SUCCESSFUL LIFE™ THE LOST KNOWLEDGE™ THE WIZARDRY OF BEING™ POLITICAL SPIRITUALITY™ TRUE NEW LOVE. BEYOND THE REVOLUTION™

SOCIAL REFORM. THE FIGHT FOR FREEDOM AND LOVE. SHAMANISM. PHILOSOPHY. TRUE (UNIVERSAL) LOVE. NEO FEMINISM™. ANTI MISOGYNY. THE ARTIST'S WAY. WIZARDRY. TRUE INTELLECTUALISM™. WISDOM. GONZO SPIRITUALITY. NIHILISM. SEX. SOUL. GOD, THE MOTHER, THE UNIVERSE™. SPIRITUAL EXISTENTIALISM™. THE VOID OF CREATION™. ALCHEMY & LIBERATION & HUMANITY™. HELL. SUFFERING. GROWTH. ASCENSION. LOVE. LIFE. DEATH. WARLORDS OF LIGHT™ TRUE LOVE & TRUE SEX. THE POST TRIBE SOCIETY™

The Company. 

Writer, Speaker and Enlightener, Amera Ziganii Rao, is now putting together a comprehensive and unique programme of Alchemy & Liberation & Humanity™. A programme of learning that is specifically about one particular kind of woman. And one particular kind of man. The Sacred Whore High Priestess™ and the Sacred Whore High Priest™, and the true society that they come from and the one they, in particular, she can and has to return to and that anyone can join her and him in. This is about Paradise on Earth.

This is about The Sacred Whore High Priestess™ and the Sacred Whore High Priest™, and the Alchemy and Liberation and Humanity that is for all as a result of their healing and in particular, hers. This is about the kind of woman who is at the bottom of the pile in a Patriarchal Toilet Tribe from Hell Society™, the norm, the conventional world and the world of the Tribe. This is about the kind of man who is next in line from the bottom. The sensitive man and the female chattel. The High Priestess and High Priest of a profane society, that has long forgotten who they are.

This is about being at the bottom of the pile, for the forgotten and strangled shamans, and for her, the story of escape. Abused by her family, her friends, her men, her whole society, by the very nature of who she is and who they are and what has happened on this Earth. It is about women of love, of Spirit and of sex. It is about men of love, of Spirit and of sex. It is about the Cinderellas of this world. It is about the The Sacred Whore High Priestess™. Who she is and how, loving her is the secret to Paradise on Earth and how we have been living a lie for 8000+ years. A lie of male (non High Priest) religion with a male ‘God’ and with Patriarchs and Patriarchal types and Matriarchs and Matriarchal types ruling over us and making our lives hell, all in the name of family, the tribe and the way things are and should remain. Hate, fascism and profanity. A sick society that vilifies, more than anyone else, the The Sacred Whore High Priestess™, just because it was told to. A sick society that calls her Eve. A sick society that has forgotten who we all are, let alone the The Sacred Whore High Priestess™ and the Sacred Whore High Priest™. This is about us remembering and knowing who WE are.

This is a programme of healing for the The Sacred Whore High Priestess™, and the Sacred Whore High Priest™, to take them and particularly, her, from monstrous levels of low self esteem and lack of self knowledge, back to herself and it is a programme for all those who truly want to love her, and indeed, him. This is a programme for the greatest carers on Earth, who are vilified, destroyed, ridiculed, ignored, abused, used, misused and hated for being everything that those who would steal from us are not. This is a programme to turn Cinderellas into The Sacred Whore High Priestesses and for anyone who wants to love her or live by the values of the The Sacred Whore High Priestess Society™. And this is a programme to turn sensitive men into Sacred Whore High Priests™ and for anyone who wants to love him and live by the values of the The Sacred Whore High Priestess™ and High Priest Society. Love, humanity, Spirit and sex. This is a programme to reverse 8000+ years of witch burning, women hating and healer ridicule. This is about the The Sacred Whore High Priestess™ and all those who would love her and live by her values.

This is about the chance for Paradise on Earth. This is a programme for the most beautiful, kind hearted, wounded women and men on this planet. A programme of how to implement a system of how to beat life, how to survive life and how to resurrect from the grief that is a true life. Alchemy and Liberation and Humanity of the lower mind into the higher mind, the soul and the inner heart and therefore one's true, confident, ‘happy’, successful, creative, sexual, sensual, individual, intelligent, emotionally healed, capable of loving and being loved self. How to turn grief into creation and survive and thrive, despite all the shit, all the pain and all the hurt. How to live in a world of madness, hollowness and cruelty and how to be a winner. How to stand up for oneself and to take back the power that has been stolen from anyone with heart, Spirit and sex. The art and science of Alchemy.

This is a programme, based on my scholarly and non scholarly work over 15 years (so far), if not for my whole life, and my extensive and intense, visceral experiences of self transformation from resignation, cynicism and despair to a state of relative bliss, and above all, the right to be. The programme and the courses and my speaking and indeed my forthcoming book, will cover the method of change. The psychological, sociological, spiritual, cultural, political, emotional and physical and even anthropological methods of change. Why we are here. Who the Sacred Whore High Priestess™ is and why she is here. And who the Sacred Whore High Priest™ is. Why we are here. Who we are and what we are and why we are. The beauty and glory of the truth. The meaning of life, no less. This will be on offer in the future.

My first book of consciousness, my first book of the spiritual politics of humanity, of authentic power and of self love and strength. A comprehensive series of online courses, live events and audio and visual material. Books, live events, CDs and DVDs. And one on one personal empowerment consultations. The Amera Ziganii Rao Method of Change™. The right to be and the way to have the right to be. And indeed, how to maintain the will to live without love. How to BE unconditional, self sufficient, self caring, self love. The right to be and the will to be and the unparalleled success that comes with that. The Lost Knowledge™. HOW to live. And how to heal others, the profane and the sick and the soulless. The others. My Business and that of any Sacred Whore High Priestess™ and Sacred Whore High Priest™, is Human Rights, The Right to a Sexual Society, Self Actualisation and Freedom.

My Business is To Overthrow Fascism, in the Home and in the Country. My business is also mastering destiny. Overthrowing the ultimate 'fascism'. Our journey on Earth and The Return To The Source. Our healing, our ascension and our redemption. Fate. The daily crucifixions of a true life, the challenges and the fury of being healers and people of love on a planet like Earth.

Submitting to the journey to liberate and evolve oneself, through following one's heart, however much heartbreak and devastation it leads to on the long long long journey to freedom and then the longer journey to happiness. 'Long Road to Freedom', as Nelson Mandela says. My business is always taking risks, never giving up and making the endless sacrifices it takes to become whole. Enlightenment, Nirvana and then Parinirvana and beyond. My business is pain. My business is bliss.

My business is seeing the truly glory of Spirit on Earth. The Sacred Whore High Priestess Society™ and all that it is. Spirit, humanity, sex and love again at last. And the end of our legacy as either servants or witches or unpaid carers or indeed, ignored mistresses, other women, other men even, and the weirdos that are at the bottom of society. This is our world and it is time to take it back and I can show you how. And that makes my life, truly, worth living. 

I want you to feel the way I do. Alive, with the right to be and the belligerence to exist in this profane and male ‘God’ led world of male supremacy, female supremacy, domestic, casual fascism, tribe rules from hell, with beautiful and kind, love intelligence laden, female and male Cinderella warriors at the bottom, caring for everyone else and getting nothing but hatred, ridicule and isolation for it. The meek are already inheriting the Earth and I can show you how.

Amera Ziganii Rao © 2012 

I am THE High Priestess Monarch of the ancient past and I forgive you for becoming enslaved and taken over by the machines of the alien reptile force that invaded and took over Earth 8000 years ago. They taught you to hate me and my kind and you believed them. They told you I and my kind were dictators and that you were slaves, when all we had done was love you, honour you as companions and above all, we had let you just live. 

We were the holy communers, the ones who gave birth to human beings, the leaders of society, the creators of society, the vehicles of Divinity on Earth and the channels of wisdom. The ones who looked after everything and the ones who built everything and ran everything, because we could. And because we loved it. We are and were the force of creation. And you loved us and you lived. 

But they told you that you ‘deserved’ power too and that we were the ones standing in your way. And you believed them. The oldest ‘divide and rule’ strategy of hate in history and it worked. They used it and you bought it, hook, line and sinker. You had to give up sex, love, magic and your own spiritual gifts and you burnt, destroyed and violated me for 8000 years. 

The world calls that male supremacy. And indeed, family supremacy, Matriarchal supremacy and supremacy of the material world and all who believe in it. Men and women like you. When all that you are are slaves to a reptile force to generate hate energy for them to live and thrive and vampire the human race. The puppets of a hate force, that chose to destroy women and men like me, for hate to grow, so they could live. You bought it and it worked. The greatest fraud in the history of the world. 

I am THE High Priestess Monarch of the ancient past and I forgive you for becoming enslaved and taken over by the machines of the alien reptile force that invaded and took over Earth 8000 years ago. They taught you to hate me and my kind and you believed them. They taught you that my mind was evil. My mind, my sex, my body and my ways of life. 

The humanity, the glory of sexuality and the glory of creation and creativity and the glory of Divinity in each and every one of us. Our souls. They taught you that human beings are separate from Divinity, that sex was wrong and that women who have minds of their own are uppity slaves. They vilified us but much much worse than that, they destroyed your relationship with all that is unseen, all that we honour and love. 

They taught you to hate what is really God. By teaching you to hate us, you hated all that is good in yourselves. They taught you to hate the light. They taught you to kill us. The daughters of The Universe. The High Priestesses of God. The Spiritual Mothers. The Sacred Whore High Priestess Avatars of The Universe™. The Sacred Army of Love on Earth. 

The Shamans, the Mystics and the Communers. The Hierophants. 

They called me Eve and blamed me for the downfall of the human race and created the awesome profanity that is religion. Of men, by men and from men. Of reptiles, by reptiles and from reptiles. Christianity, Islam and Judaism and every other philosophy around the world was poisoned. There are no female spiritual leaders left. It is all profanity. They chose you to represent them because they wanted to divide us and they did. They told you to hate me. And you believed them. Now I am back and I forgive you. 

I forgive you because I can. Because I came here to save your soul. And because I finally know who I am. I am THE High Priestess Monarch of the ancient past. I came here to return your soul to The Source. God, The Mother, The Universe. To return you to what is really God. Because I love you. And because She loves you and your kind, whatever you have done. 

Whatever you have done to me and whatever you have done to Her. And most of all, whatever you have done to yourself. We forgive you. This is your redemption. Your freedom and your ascension. We are here to save your soul. 

Amera Ziganii Rao © 2012 

You bought the Sacred Whore like a piece of meat and you called that a wife. Your trophy wives. Your dancing girls. Your chattel and serving girls. Your piece of beauty. You bought us like you would cattle. Then you called it wives. Now you call it prostitution. The High Priestesses of the real God. You bought us to buy God, The Mother, The Universe and you caged us, separated us from our Divine gifts and skills in the Temple and drove us mad and then lost interest in us, because we had no gifts left, no excitement, no hunter in ourselves and no hope or joy left. Then you just called us mad and discarded us. You called us evil and you call love obedience, even though it had already killed us. You moved into our Temples and you played with the divination tools and thought you communed. The destruction of Atlantis was your gift. 

You stole us from God, The Mother, The Universe and you tried to usurp us. You vilified us, enslaved us and you still envy us today. You call it intuition. You might want to think about this when you hate us out of your jealousy. The mystic gene means physical tortuous pain and taking on the empathy of the human race. All their pains, evils and dark thoughts. We see and feel everything. We make crucial sacrifices to be near Spirit and the unseen and we go without for years. To be shaman is not glamour. I make it glamour. To be shaman is a specific Samurai existence, ascetic and harsh. We commune to be guides. And you take that and you shame yourselves because you just want the meat. You didn’t just want the meat. You wanted our beauty of spirit, our personalities and our love and kindness. And you destroyed them, because you caged us and called us wife. 

Amera Ziganii Rao © 2012 

The High Priestess Sacred Whores, the High Priests and the true protectors. Those who do not have the gift like either the High Priests or especially like the highest of all, the High Priestess Sacred Whores but who honour, protect and facilitate them to the world. Who honour the Shaman Sacred Whores of this world most of all, and who know who they are and who they are not. Who know the difference, who do not envy and who protect and love the representatives of Spirit, GOD, THE MOTHER, THE UNIVERSE, on Earth. Who honour their wisdom and who honour the latent Shaman in themselves too and who honour the communing ability of the High Priestess Sacred Whores. The non violators. Our only friends. The New Society exists. It is called Enlightenment. It is called Love. It is The Holy Grail.

Amera Ziganii Rao © 2012 

The master race. It's all a lie. You are brought up to be a despot king and it is only your sister who ever tells you that you have become a pratt. The master race is all a lie. There are no kings in an equal world. Your father was misinformed. What he brought you up to be was a killer. Pure and simple. A misogynist. A modern misogynist. A polite killer.

Amera Ziganii Rao © 2011

I enter the magical hours of pure feeling, pure thought, pure imagination and I think and I write and I 'mysticise' the Universe. I escape at will, the truth of my humanless, Samurai solitude, and I pursue the truth of love in myself and in everyone else. I am philosopher. I am shaman. I am alone. I frontier the Soul to be spirit on Earth.

Amera Ziganii Rao © 2011

Amera Ziganii Rao is a former hard news journalist who is now turning professional with her art forms and indeed, her healing forms, after a long journey of inner searching, self teaching and exploring many layers and areas of both craft and wisdom. She is now working on her first book of philosophy and esoteric thought, and social, cultural and spiritual commentary. She is also showing her first photography collections. And last but most definitely not least, she is building a business to share her Sacred Whore High Priestess Society consciousness and empowering explorations to reach as many people as possible across the world. She is in her forties and lives in London.

Amera Ziganii Rao © 2011

In the meantime, please enjoy this website. I have included many of the subjects I am covering, areas of experience and insight that I will be exploring to the fullest in my book, the courses and all the other work that is to come as a dramatist, novelist and essayist. I also of course, include many of the wise people on this planet, who have come long before me; authors, screen dramatists, playwrights, film makers, artists, and other enlighteners and grand carriers of the wisdom I have found the most helpful on my journey, to find peace and become enlightened. The seemingly impossible journey, in the face of oneself and one’s circumstances. People who have contributed massively to my healing on this mad journey called life, in this insane existence called The Universe. People who have helped to make me as good a carrier of wisdom as I in turn, can be. Thank you.

Amera Ziganii Rao © 2011

Copyright and intellectual property rights are serious issues. And legally protected. Please do not reproduce my work anywhere without due credit and obviously, never for financial gain. 'Big Sister' is watching you! Other than that, please continue to enjoy my original work and the work of (credited) others, for free, while I work on using my material in further professional formats. Thank you for your interest and support.

Amera Ziganii Rao © 2012

Thank you to outside sources for photography and artwork. Darkroomed by Amera Ziganii Rao