Disqus - Latest Comments for kammyd

Re: Holler If Ya Hear Me / "A colorful introduction to a complex individual reality that is often misunderstood" » onlineJournal | The Liberator Magazine

kammyd — Fri, 18 Jul 2014 09:06:40 -0000

Many thanks to storyteller --> @OpiyoOkeyo.

Re: Changes. For the better. » onlineJournal | The Liberator Magazine

kammyd — Sat, 12 Jul 2014 18:00:39 -0000

I've been using Crystal Essence Chamomile & Green Tea mineral roll-on deodorant (no aluminum chlorohydrate or parabens, it says) and so far it's holding up in this summer heat and humidity!

Re: onlineJournal | The Liberator Magazine

kammyd — Tue, 28 May 2013 09:34:18 -0000

"I miss me." ... I read that Miles, at one time, said, "sometimes you have to play a long time to be able to play like yourself." I've also seen it written out, "Man, sometimes it takes a long time to sound like yourself." Wish I knew which one exactly. Sounds like he'd say the latter, style-wise. But the gist is the same. I think of this poem when I think of that quote and vice versa.

Re: The greatest love song ever.

kammyd — Fri, 17 May 2013 18:14:26 -0000

Warms my heart to see Mama Beauty's words and thoughts here in the comments. Made me smile.

Re: onlineJournal | The Liberator Magazine

kammyd — Mon, 13 Aug 2012 11:41:16 -0000

^^^ Amen, Amen and Amen.

The good Black Yoda once said, "to a writer, it's all epilogue."

When you reveal, there are always things that inadvertently get left unsaid. It's difficult to provide all of the shading ... at least I find it difficult to put words to many of my thoughts, senses and emotions. I find words oftentimes to be inadequate. So there's so much value in the ensuing afterthoughts and ricochets ... the post-script ... the interpretations ... you know?

I read that Elie Wiesel has said that, "Most people think that shadows follow, precede or surround beings or objects. The truth is that they also surround words, ideas, desires, impulses, and memories."

I'd like to think the same thing of anchors ... my mind tends to dwell on the shadows, the unseen, the kinds of things you need faith for, as you mention. And also like you said, these foundations and anchors and reinforcements often dwell below the surface. That was next on my train of thought -- We're >*< here.

That you were able to essentially "hold me down" and anchor this notion with your thoughts and provide even more breadth and context, speaks volumes to the potential of this space and dynamic. In a real way.

///Foundations, anchors, they give life freedom. A well built foundation, just
like a true anchor, will never betray all that has risen out of it.
///

Agreed!

Word to everything you said. Word to Mum, too. I can imagine that having those words to hold you down both in times of chaos and calm has rooted you in ways seen and unseen.

Re: Baldwin / "The American Dream is at the expense of the American Negro" » onlineJournal | The Liberator Magazine

kammyd — Tue, 12 Jun 2012 17:57:35 -0000

Melissa, what are your thoughts on his statements from 15:35-17:43?

Re: Thoughts on constantly achieving this mind-body practice / "More than being proud to be seen in novelty" » The Liberator Magazine | Blog

kammyd — Fri, 05 Aug 2011 11:05:02 -0000

Truly appreciate your thoughts on this.

////If, however, we choose for our processes of literacy to never end, to always tell our stories
humbly, then all of our texts and works (written words, spoken words,
photos, videos, songs, performances) aren't just pictures of individual
moments, but also snapshots of a collective eternity full of texts and
works (stories) that guide us. ////

This makes so much sense and when I look at it this way, the limitations
of moments and the mechanisms to frame the moments that I once
perceived are only limitations when we dwell in the realm of ego and
novelty. They aren't limitations at all in the macro, continuous,
timeless sense -- there's truly a "bigger picture" to consider. Again --
noted and SO appreciated.

Re: Allan Bloom's The Closing of the American Mind: On race, black power, black studies and affirmative action / "It really meant that blacks would be recognizably second-class citizens" » The Liberato...

kammyd — Thu, 12 May 2011 17:56:16 -0000

Great points, achali. This
post has connections to "The Power of Nightmare/Rise of the Politics of
Fear" post for me as well. I read that Bloom was a student of Leo
Strauss (although apparently in this text he only mentioned Strauss once, and in passing
-- almost like “killing the father”? But via omission, I suppose). But
the same kinds of neoconservative ideas are still present. From the
little I have read about Strauss and observed in the doc, he was
insistent on this philosophy of esotericism; the “philosopher’s” charge
to "hide the truth;" and these notions that the public has to be
deceived and taught so-called “essential truths” vs. so-called “real
truths” (still looking into the former -- but in this context I would
think it to be mainly moralism). So what we have in addition to
instances of short memories, are memories that have been conditioned to
remember something that never was, or to remember revisionist versions.
It seems to be a tactic that falls into the “Politics of Fear”
formula. If "hiding the truth" is the guiding doctrine, this text fits
right into it: identify and "reveal" a perceived pathology (moral,
intellectual crisis), deceive (and distort) and drum up sustained cultural
and possibly political reactions to it based on the prediction of an impending social "unraveling" or "deterioration."

I,
too, am curious about the popular value. The book came out in '87, so it
must have fallen in line with other ideological rationalizations for
the neoconservative policies from Reagan to Bush Sr. and onward.

Re: "They do what they want ... make the music that they want to listen to and simply just don’t care." / OFWGKTA: Odd Future Wolf Gang Kill Them All » The Liberator Magazine | Blog

kammyd — Thu, 05 May 2011 13:55:58 -0000

Oh man, seeing Mos Def wilin' out like that was the best! The elders getting energy from the young'uns, it seems ...

Re: "Deeper connections with everything we engage with" / A conversation with jazz prodigy Esperanza Spalding » The Liberator Magazine | Blog

kammyd — Fri, 15 Apr 2011 07:33:03 -0000

I guess I lean toward reconciliation, because in conjunction with defining, I’m also interested in exploring practical function. When I contemplate the possibilities of reconciliation I do so considering the notion that instinct and intuition are at their optimal capacities because they are interdependent and interplaying with each other; and that it takes a deliberate, unifying strategy of mind to work toward this.

Thus, while it is possible and healthy to specify the definitions (form) and concepts of each, it is a challenge, when it’s manifested in a stabilized individual and with each at their highest capacities, to separate and isolate the function of one from another, (instinct, intuition, the intellect, etc.) which, to me, speaks to their subjectivity.

And so it’s here, for me, where it goes beyond the actual space and practice of art, or writing, teaching, or whatever medium you choose as a conduit for transmission, because this concept serves as a site of transmission for these ideas of interconnectedness and stabilization – a creative, spiritual, intellectual, instinctual and intuitive homeostasis, of sorts.

Re: "Deeper connections with everything we engage with" / A conversation with jazz prodigy Esperanza Spalding » The Liberator Magazine | Blog

kammyd — Wed, 13 Apr 2011 20:10:01 -0000

Word. You have me thinking about the possible subjectivity of instinct here ...
I’d like to think that instinct, like intuition, is mutable, capable of being altered – sharpened or dulled over time. There are instincts that are not always obvious or expressed; instincts that require exposure to certain stimuli in order to manifest or activate. And then you have the degrees of that exposure to stimuli – sustained or infrequent – and the qualities of the stimuli (discipline, deep contemplation, repetition, study etc.), that can determine how an instinct manifests.

Given this, I'm led to consider the possibility that a well-honed instinct, or the process of trying to hone instinct (through the practicing of intuition maybe?), could, too, at some point, require and be concerned with trust in self, others and process; or more specifically, be susceptible to the results of a sustained, deliberate process of trusting in self, others and process.

I wonder what does (can) it look like when your intuition gets to the point where it accesses and requires trust in self, others, process AND a well-honed instinct? And what can a reconciliation of the two, intuition and instinct, look like (if the space in their proximity is determined to be significant) … Playing from a place of transmission? It's wild to me because the process of instinct- and intuition- honing is not much unlike the process of sober inspiration-cultivating ...

Re: "Deeper connections with everything we engage with" / A conversation with jazz prodigy Esperanza Spalding » The Liberator Magazine | Blog

kammyd — Wed, 13 Apr 2011 12:15:48 -0000

Her answer to that first question posted here just rocks my whole world.

Re: "The nauseating stench that oozes from the wound" / In Defense of Chris Brown » onlineJournal | The Liberator Magazine

kammyd — Tue, 12 Apr 2011 09:03:11 -0000

@Nyaugenya, the interconnectedness of your family with these matters reminds me very much of my own. It was mainly my cousins who would find themselves as the primary subject of the ‘family meeting.’ I recall specifically making note of how my family went about cultivating the nurturing conditions and space for anyone who stumbled and tried to get back up, and it made such an impression on how I dealt with literally everyone. It didn't always eliminate whatever the issue was (or perceived to be), nor was there the expectation that it would be eliminated, but it mitigated it, no doubt. There were never any drastic solutions or overhauls proposed or implemented, just small shifts and nudges; pivots and tweaks; and never any love lost. And the love in action and in measured doses was a hedge against the temptation to isolate oneself or retreat.

One thing that they were/are good at was calling things what they were and what they were not in their respective moments in the interest of clarity, and not confusing context with causation (i.e. acknowledging the universal lessons + doing the work to find out the particulars amidst the universals). I have since learned about the degrees that fall between 'what is' and 'what isn't', and how sometimes there isn’t a clear dichotomy. So, I appreciate the reminder here in your post to define things and people clearly and define our relationships to these things and people as they are – because it seems that the clarity in that definition is where our points of reference or instructions are found on how to specifically interact with something that we perceive to be dysfunctional, or functional for that matter (I've seen a limited instruction on dealing with the latter as well). Add to that the humility necessary in order to BE defined in relation to others, because therein lies your governing instructions as well. Implicit in that definition, I think, is the realization of your limited capacity in that role, or definition. It seems like that having a sense of your limitations, coupled with a commitment to engage despite knowing that you are not and cannot be the catch-all for someone in good times nor in bad is a major part to navigating these tensions.

Re: Healing, Magic and Master Gardeners / George Washington Carver and Osayin » The Liberator Magazine | Blog

kammyd — Thu, 10 Mar 2011 11:24:57 -0000

Nice. Thanks for contemplating this connection. More please.

Re: Live From Planet Earth recap / Video and images from the James Brown vs. Isley Brothers "Messin' Around in the Middle" Brooklyn house party » The Liberator Magazine | Blog

kammyd — Tue, 01 Feb 2011 12:37:42 -0000

WOW! Awesome pics. The energy looked crazy. I love it!!!

Re: The Myth of Black Hollywood » onlineJournal | The Liberator Magazine

kammyd — Mon, 31 Jan 2011 10:37:19 -0000

I pulled the excerpts from these links :
http://www.killerofsheep.co... (lots of good stuff here)
http://www.filmreference.co...

Just came up on this Guardian piece --
http://www.guardian.co.uk/f...

"Larry Clark, who today says Passing Through "wasn't made for release, it was made for the revolution..."
----------------------
Re: an L.A. Rebellion doc, I agree. Apparently the UCLA Film & Television Archive is currently preparing a major film exhibition/retrospective scheduled for 2011, on the LA Rebellion.

Here's some info on that:

///Indeed, the L.A. Rebellion filmmakers identified themselves as the first sustained and geographically specific effort in the United States by a group of black film artists working with a common purpose to forge a cinema practice that would be responsive to the lives and concerns of African American communities and the African diaspora. The most prominent of the group are Charles Burnett, Larry Clark, Julie Dash, Haile Gerima, Ben Caldwell, Billy Woodberry, Alile Sharon Larkin, Jacqueline Frazier, Barbara McCullough, Zeinabu Irene Davis, and Carroll Parrott Blue.

Surprisingly, neither UCLA Film & Television Archive nor the film school had ever attempted to stay in touch with or collect the films of this group of filmmakers, nor had there been any sustained attempt at historisizing the “movement.” Only a few isolated film titles had entered into the Archive.

In 2009, we decided to change that and begin a truly holistic research and preservation project, by bringing the “L.A. Rebellion” home. It is the first time the Archive is not waiting passively for films and television to “walk in the door”, but rather is going out and saving a specific group of films we believe are important. We have assembled a team of scholars, filmmakers and professionals to research existing film and paper collections in libraries and archives; conduct and capture oral histories with participating filmmakers; collect film elements for conservation, restoration and exhibition; collect paper documents from filmmakers for the special collections library; publish a book which will contextualize the L.A. Rebellion and frame it in relation to its time period and parallel developments in film and the arts; strike many new prints for a massive retrospective exhibition in Fall 2011. We have received initial funding from the Getty Foundation, since the “L. A. Rebellion” film exhibition will be screened in the context of the Los Angeles wide art exhibition, “Pacific Standard Time.”///

(Source: http://www.ithaca.edu/fleff...

Re: The Myth of Black Hollywood » onlineJournal | The Liberator Magazine

kammyd — Mon, 31 Jan 2011 06:44:00 -0000

More, from the Liberator archives "Haile Gerima, Slowly But Surely:

"Gerima transferred to UCLA in 1970 and began studying film production in the socially charged cauldron that was then the university's film school. He worked alongside such students as Julie Dash, Larry Clark and Charles Burnett, all of whom have built careers as independent filmmakers. The atmosphere at UCLA emphasized student-teacher collaboration and fierce debate.

"We were certainly trying to find out what represented black narrative, how to tell our stories. We talked about that and debated that almost every day," recalls Burnett, whose 1977 film, "Killers of Sheep," remains an underground classic.

"We came up during the civil rights movement, so that's what we were about. That was part of our consciousness -- film and social change," Burnett adds. He is currently working on a documentary about Barack Obama's mother, Stanley Ann Dunham.

All of Gerima's films explore African or African American narratives, and many, he says, were inspired by dreams or visions. Gerima made a film about incarcerated civil rights activist Angela Davis after she appeared in one of his dreams, handcuffed, asking, "What are you going to do about it, Mr. Black Man?" And after he hallucinated in a Jamaican field at 4 a.m. and saw eyes watching him from the leaves of the sugar cane, Gerima added scenes to "Sankofa" in which field slaves stare silently from between leaves."

-------------------
Your comments on Rob's Black Creative Class and Outkast posts have me thinking about the different ways to maintain the connection between the classes and keep the creative middle class politicized. One of them being -- in addition to the real, day-to-day kinship building that's necessary politically -- encouraging the manifestation or channeling (or spillover) of these relationships, realities and narratives into the creation of art as these filmmakers/creatives seemed to do in a nonexploitive way -- at the very least to provide balance to the products of some popular culture that tend to create, sans the investment and connection both politically and artistically. I'm talking about willingly serving as 2-way cultural conduits and blurring the lines (as opposed to the colonizing dynamic). And like Burnett mentioned and Gerima in this quote, combining a camaraderie of radical thought/consciousness, environment and action. Man. I'm interested in more of the real context (strategies, failures) here as well.

Re: The Myth of Black Hollywood » onlineJournal | The Liberator Magazine

kammyd — Mon, 31 Jan 2011 03:02:54 -0000

Many, many parallels with recent posts. Here's some background for everyone on the UCLA filmmakers:

"Clyde Taylor of New York University coined the phrase, "The L.A. Rebellion" as a term to refer to the group of young black politically-minded artists trading ideas and labor at the UCLA Film School in the 70's. Though Charles Burnett has insisted in several interviews that he and his fellow filmmakers did not in fact consider themselves part of a "rebellion" or "movement" as such, and that it was merely a radical time in American history, he describes the atmosphere at UCLA as one of camaraderie in radical thought. He called UCLA an "anti-Hollywood" environment with a "kind of anarchistic flavor to it" in which one "had to come up with something relevant or extremely well done, original."

Other directors at UCLA at this time were Julie Dash (Daughters of the Dust, 1991), Haile Gerima (Sankofa, 1993), Billy Woodbury (Bless Their Little Hearts, 1984), and Larry Clark (Passing Through, 1977). Burnett himself was the cinematographer for Gerima's Bush Mama (1979), worked crew and camera and edited Dash's Illusions (1982) and wrote the script and shot Woodbury's Bless Their Little Hearts. Another notable figure is UCLA professor Elyseo Taylor, who started the school's Ethno-Communications department, a program focused on the study and production of films by people of color.

Many of the films that were being made at the time by this peer group have been compared by film critics and scholars to Italian neorealist films of the 40's, the Third World cinema of the 60's and 70's, and the Iranian New Wave of the 90's. A major thematic thread that runs through many of the films is a critical response to White Hollywood and Blaxploitation. "We needed the spectrum," says Burnett, "the full range of the black experience."

More on the "L.A. Rebellion":
On Burnett: "Selected into the National Film Registry by the Library of Congress and recognized internationally, [Killer of Sheep], completed in 1973 as his MFA thesis for UCLA but not released until 1977, uses poetic imagery to detail the day-to-day struggle of the working poor who, despite their efforts and dreams, are caught by a social structure that benefits from their oppression."

On Gerima: "Haile Gerima, also a professor at Howard University, remains one of the most politically committed African American filmmakers. His films do not just depict oppression, they theorize historical and global conditions, interrogating not only what, but why. His works genuinely function as "counter cinema," linking the storytelling function in film with African cultural and aesthetic traditions to advance consciousness and politicize audiences."

Re: The Power and Purpose of the Introspectives of Winter » The Liberator Magazine | Blog

kammyd — Fri, 28 Jan 2011 02:06:01 -0000

So many timeless reminders and reflections in this post. Thanks for it.

Re: Recession Proofing / Part Deux » The Liberator Magazine | Blog

kammyd — Thu, 27 Jan 2011 13:46:11 -0000

oooo, good one.
Definitely a money saver. Thanks for sharing. Yes, please keep me posted on how you work it out, specifically. An older friend of mine did something similar with the members in her crew that were roundabout the same size -- they emailed each other pictures of five things they were planning on exchanging just to give an idea ahead of time, and made a weekend night gathering out of it. No money spent, but new clothes to quell any shopping urges, they say.

Re: The Myth of Black Hollywood » onlineJournal | The Liberator Magazine

kammyd — Tue, 25 Jan 2011 01:39:34 -0000

///Correct me if I'm wrong, but you both (kammyd and black yoda) seemingly believe it is the duty of black filmmakers to appease the black community first and place their own self-interest second. To me, that is unfair. Why should anyone be beholden artistically? That's the definition of disintegrity.///

I think that knowledge of ourselves and the functioning with this knowledge within a collective, community context is the antidote to all things disordered. At its best, it produces somewhat of a hedge against exploitation; precisely because of the recognition that in a given system, we are beholden to others. And it also allows you to be intentional about your individual health, or what you might call self-interest, because the health of a collective is only as good as the health of its individual members. So, I guess I’m saying it doesn’t have to be either or, self-interest vs. community interest, or rather, one doesn’t trump another in my opinion. It actually must be both, simultaneously. A thoroughly anti-exploitive stance, or the deliberate pursuit of one, (both a resistance of exploitation, and being mindful of not being the exploiter or perpetuating exploitation directly or indirectly elsewhere) happens to comprise a lionshare of my definition of success. The other part would be finding the formula for sustainability in matters of the mind, spirit, creativity, health etc. Speaking of health, a commenter in an unrelated post (can’t remember which one at the moment) brought up the tendency to isolate – especially when dealing with disease, vs. looking at the subjectivity and inter-connectivity of systems. So, when you ask why should anyone be beholden artistically … I ask who, anywhere, is truly functioning independently? And if you do find it, how does their isolation increase their susceptibility to manipulation and exploitation? A side note (related): when the news broke that they were going to edit out the Nigger references from Huck Finn, and the discrepancies in those Virginia (?) history books regarding the AA role in the Civil War, it reminded me of the interconnectedness of art and life; how much literature and art, in an almost subversive way, would have to step up and play a role in historicizing things – as literature sometimes serves as an artistic rendering of history. I’ll accept the real possibility that you’d probably say “no novelists/artists shouldn’t have to do such a thing” here though.

///Further, to claim that conditions (I assume you mean for blacks in America) are ostensibly the same as they were 20 years ago is asinine. You're wildly trivializing the social, medical and technological advancements of the last two decades (and yes, the latter two are relevant).///

For the purposes of Black Yoda's post I was only thinking about the film industry. I wouldn’t call it trivializing as much as I would call it contextualizing, de-romanticizing. Understand that I’m very firm on the socio-politio-intellectual-technological capacity of African people (not just here in the US) throughout time, such that I’m not sated with mention of the so-called advances of the last two decades. I also know, historically, the perils of the seduction of symbols of progress throughout time and have been taught to seek out and critique these symbols, if only to know what time it is. And that’s where my "pre-occupation with symbols is shortsighted" comment comes in (per my own definition of success). What I meant is that I perceive a dependence on symbols or symbolic equivalents as unsustainable in the long term. Short term they may work and do the job (give hope, allow one to have faith, show representations of “success” and “progress”, escapism), but I’m not certain about long term. I perceive the things you and Jara alluded to, to be symbols of success in the greater context. But I’ll engage it to the extent that it informs my understanding of what social changes or stagnancy they are indicative of and why.

///You are correct in that there are different definitions of success, but the insinuation that they aren't somehow because they aren't part of a counterculture is quite the reach, your esoteric definition of "shortsighted" notwithstanding.///

I agree. It would certainly be a huge reach had I said or insinuated that because they aren’t part of a counterculture then they aren’t successful. Daniel, to be honest, way, way back in the day, shoot, I probably would’ve said something like that. Good friends and study over the years have gotten me out of those extreme zones, thankfully. So I come to you saying that while I can recognize the thinking behind that, that’s not what I was saying today. I will say that there are certain elements of counter culture that resonate with my definition of success. There are some in mainstream culture too that we could draw from. This is why I was calling for a definition and, too, challenging your reading of Cube going from ignorant to successful, and challenging you to consider another perspective (without thinking it based on hate and envy, etc). And I say all of this with full acknowledgment that we may fundamentally disagree, like you said, and that’s fine. I hope this gives you some more insight into where I enter this convo.

Re: The Myth of Black Hollywood » onlineJournal | The Liberator Magazine

kammyd — Mon, 24 Jan 2011 15:13:19 -0000

Disagreement is cool. This, however: "This was an unbelievably uninsightful piece of drivel that couldn't shake it's underlying impetus for publication: hate and envy" pushed a bit beyond disagreement. Though not offensive, I do wonder about the utility of it when simply offering your counter points would have sufficed. I consider the author's response to Jara up-thread pretty even-handed and explicative of the points you eventually brought up. As he said, it's not about Cube. It's not about Flav. But it does beg a few questions: What does it mean when a symbol of a then subversive, counter-culture willingly becomes the face of the current culture -- WHILE the conditions have remained, more or less, the same? You say it means that he's now successful, comparatively speaking, now that he has "multiple shows in syndication, not to mention his film work as an actor/producer." Would you be willing to consider another, more radical, reading of that trajectory? And perhaps the bigger question in all of this is what, then, is the definition of success? To me, Black Yoda's most poignant point was the one he posed to Tyler Perry: “Could you please make better movies and television shows and risk going back to the streets?” Knowing that that's the question that independent filmmakers artists face everyday, I would like to interrogate that some more. And perhaps it doesn't have to be that binary ... perhaps there is merit in one immersing themselves in the dominant culture and taking a reform approach -- but if it's just to literally put forth “positive” images of “present” fatherhood and be "successful" then I have to ask ... is that it? For me, it just seems a bit shortsighted to be preoccupied with simulacra of success.

Re: Alvin Ailey and "Blood Memories" » The Liberator Magazine | Blog

kammyd — Fri, 31 Dec 2010 13:25:14 -0000

"Revelations" is such an awesome sight to see. I go to the performance every year, but, really, it's to see them do the Revelations joint. Thanks for posting!

Re: Kahlil Joseph / "The Model" [short film] » The Liberator Magazine | Blog

kammyd — Wed, 29 Dec 2010 14:17:54 -0000

Great thoughts here.

/// I wonder if in addition to or as tactical companion of humility and health ego, he's already dreamed his dream and now is simply "acting" the steps out, therefore no longer dreaming but now simply living out [the steps in] his brain. ///

////I wonder, if already dreaming your dreams, being "already home", already "having a dream" (like MLK having already seen the mountaintop) frees you or makes you less vulnerable to that "dream manipulation" (materialism, etc) and then, if living out your brain is the path of the "faithful, disciplined warrior" who has seen the mountaintop already, can JayElec decoy the decoy and gain greater access to "the whole" without a real pre-compromise?////

I can definitely see that being the case, especially when I consider the additional ways to manipulate the psyche beyond changing a dream ... that in addition to changing the dream (or instead of, rather), the dream manipulators/gatekeepers may simply plant another equally if not more rapidly metastasizing one. Or, another peril -- lacking lucidity -- getting you to a place where you're unable to distinguish between dream or reality (Pause: note how JE closes and opens his eyes intermittently throughout the video -- audience there, audience gone ...)

One thing I've found that I like is that Jung characterizes the compromise between the individual and whole as involving a necessarily dynamic interplay. I'm with you on JE decoying the decoy. I guess, given his demonstrated mental acumen, I'm left wondering if he is actually living out the steps in his brain as he says he is ... or if it is possible that JE *saying* that he lives out of his brain and doesn't dream about ish is, in actuality, his decoy. Thus, leaving the dynamic exchanges of the conscious/subconscious in tact, as Jung would have it.

Re: Kahlil Joseph / "The Model" [short film] » The Liberator Magazine | Blog

kammyd — Tue, 28 Dec 2010 00:28:31 -0000

ooo...

///Man I’m living out my brain, I don’t dream about sh*t///

You talking about that?