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If you go to one demonstration and then go home, that's something, but the people in power can live with that. What they can't live with is sustained pressure that keeps building, organizations that keep doing things, and people that keep learning lessons from the last time and doing it better the next time.
That the poor are invisible is one of the most important things about them. They are not simply neglected and forgotten as in the old rhetoric of reform; what is much worse, they are not seen.
They couldn't before because public would be sensitive. Now with checkpoints everywhere, NSA spying, cavity searches, homeless people beaten down to death by cops getting away with it, DOJ declining to investigate bank scandals, IRS, Benghazi, Fast and Furious, they do not need logos with pink teddy bears and stills of a happy family holding hands with smiling children on the beach. The majority of public IS already got used to this tyranny. Coming forward with less PR is a next, obvious and logical step. After that: huge military boot on your face!
I was on stage and I looked out, and I knew they weren't ready. We were doing 'Piece of My Heart.' You know you can do a lot of different things: you know sometimes they get up spontaneously. Out in the Midwest they don't. They aren't supposed to stand up and they know it. It's hard to get 'em up. But I remember I was singing 'Piece of My Heart,' you know that 'Come on, well, come on' line -- well, you know the guitar solo that leads into that part? I came in early, and I walked all the way to the front of the stage and shouted [in a hoarse whisper], 'Come on, come on!' and just fucking stamping my foot, and saying, 'I'm not going to sing anymore unless you do something,' you know, and they're going, 'Whoo-ooo-ooo, yes ma'am! Yes ma'am, yes ma'am!' A riot. Groovy. All they want is a little kick in the ass. You know, sometimes I jump off the stage and grab somebody and say, 'Let's dance.' When they reach a certain level, you know, they want to be lifted, but they're scared. Then all you gotta do is give the old kick in the ass, a big fucking kick in the ass, man. Then the promoters get goony, turn the lights on, pull the power, but by then it's all over [crackles]. I dig it! I dig it so much, man!
Those who build a back door into their life will one day use it as main entrance.
Q: Why do the police always travel in threes?

A: One to do the reading, one to do the writing, and the other keeps an eye on the two intellectuals.
Since the end of human action, as distinct from the end products of fabrication, can never be reliably predicted, the means used to achieve political goals are more often than not of greater relevance to the future world than the intended goals.
If you assume that there is no hope, you guarantee that there will be no hope. If you assume that there is an instinct for freedom, that there are opportunities to change things, then there is a possibility that you can contribute to making a better world.
With reasonable men, I reason; with humane men, I plead; but with tyrants I give no quarter.
Oh, I've been following the bass line since James Brown invented it. I was a great disco queen.
But we know:
Even hate against that which is low
disfigures the face.
Even anger over injustice
makes the voice coarse. Oh, we
who wanted to prepare the soil for friendliness
were unable to be friendly ourselves.
Success is not validation of an idea and we should be ashamed to think so.

Cigarettes are one of the most successful consumer products on earth. Inhaling a lungful of carcinogenic smoke several hundred times a day is undoubtedly a stupid idea. Tobacco has made a small number of people incomprehensibly rich, to the great detriment of humanity.

Personally, I think nearly all of these 'social' startups are bad news. Not as bad news as a lung cancer epidemic, but bad news nonetheless. I think they feed a culture of passivity and attention deficit. I think they fragment human interaction into the smallest possible dopamine-inducing units. I think they're essentially Skinner boxes in disguise - apps that dress up an intermittent schedule of reward as meaningful activity.

The startup culture talks the talk about "changing the world", but in truth most of us couldn't care less so long as we get our next funding round. For every Watsi, we have a hundred bullshit companies with bullshit products, providing yet another means of idle distraction for indolent westerners. We can hardly distinguish between what is worthwhile and what is popular or profitable.
It’s im­por­tant for us to crit­i­cize tech­nol­o­gy com­pa­nies. And it’s not hard, be­cause they’re full of shit.
You're not a "girl electronic producer". You're a producer. That's it. And you're not a girl, you're a woman. A human. An adult.

Some women seem to infantilize themselves, doing the "listen to me I sound like a 6 year old" blinky eyed baby doll thing, perhaps in order to unsconsciously not appear "serious" or "threatening" to men or others. Fuck that. You are serious and you are a threat. Now join the fray, where you will be praised and you will be trashed. Get out there and produce some great shit.
If there's a book you really want to read but it hasn't been written yet, then you must write it.
Progress materializes despite and in contradistinction to the herd-like human spirit – not because of it.
If the teacher, if anyone, is to be an example of a whole person to others, he must first strive to be a whole person. Without the courage to confront one's inner as well as one's outer worlds, such wholeness is impossible to achieve. Instrumental reason alone cannot lead to it.
The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. From the desperate city you go into the desperate country, and have to console yourself with the bravery of minks and muskrats. A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things.
The trick isn't that you have no freedom, the trick is that you think that is freedom. All your fighting is for... consumer products.
I should like to preface my remarks on the New Objectivity with the proposition that to supply a production apparatus without trying, within the limits of the possible, to change it, is a highly disputable activity even when the material supplied appears to be of a revolutionary nature. For we are confronted with the fact - of which there has been no shortage of proof in Germany over the last decade - that the bourgeois apparatus of production and publication is capable of assimiliating, indeed of propagating, an astonishing amount of revolutionary themes without ever seriously putting into question its own continued existence or of that of the class which owns it. In any case this remains true so long as it is supplied by hacks, albeit revolutionary hacks. And I define a hack as a man who refuses as a matter of principle to improve the production apparatus and so prise it away from the ruling class for the benefit of Socialism. I further maintain that an appreciable part of so-called left-wing literature had no other social function than that of continually extracting new effects or sensations from this situation for the public's entertainment. Which brings me to the New Objectivity. It launched the fashion for reportage. Let us ask ourselves whose interests were advanced by this technique.

For greater clarity let me concentrate on photographic reportage. Whatever applies to it is transferable to the literary form. Both owe their extraordinary development to publication techniques - radio and the illustrated press. Let us think back to Dadaism. The revolutionary strength of Dadaism lay in testing art for its authenticity. You made still-lifes out of tickets, spools of cotton, cigarette stubs, and mixed them with pictorial elements. You put a frame around the whole thing. And in this way you said to the public: look, your picture frame destroys time; the smallest authentic fragment of everyday life says more than painting. Just as a murderer's bloody fingerprint on a page says more than the words printed on it. Much of this revolutionary attitude passed into photomontage. You need only think of the works of John Heartfield, whose technique made the book jacket into a political instrument. But now let us follow the subsequent development of photography. What do we see? It has become more and more subtle, more and more modern, and the result is that it is now incapable of photographing a tenement or a rubbish heap without transfiguring it. Not to mention a river dam or an electric cable factory: in front of these, photography can now only say, 'How beautiful.' The World is Beautiful - that is the title of the well-known picture book by Renger-Patzsch in which we see New Objectivity photography at its peak. It has succeeded in turning abject poverty itself, by handling it in a modish, technically perfect way, into an object of enjoyment. For it is an economic function of photography to supply the masses, by modish processing, with matter which previously eluded mass consumption.
lecture at the Institute for the Study of Fascism in Paris, 27th April 1934