Millions of animal species reproduce without consciousness (though which animals are conscious is hard to pin down).

Kurt Vonnegut, Galápagos

https://en.wikipedia.org/wiki/The_Adventures_of_Buckaroo_Banzai_Across_the_8th_Dimension

Ceiling cam is watching you masturbate.

Gabriel Rockhill: Imperialist Propaganda and the Ideology of the Western Left Intelligentsia: From Anticommunism and Identity Politics to Democratic Illusions and Fascism

The CIA has also been deeply involved in the art world. For instance, it promoted U.S. American art, particularly Abstract Expressionism and the New York art scene, over and against Socialist Realism. It funded art exhibits, musical and theatrical performances, international art festivals, and more in a bid to disseminate what was touted as the free art of the West. The Company has worked closely with major art institutions in these endeavors. To take but a single telling example, one of the major CIA officers involved in the cultural cold war, Thomas W. Braden, was the Museum of Modern Art’s (MoMA) executive secretary before joining the Agency. MoMA’s presidents have included Nelson Rockefeller, who became the super-coordinator for clandestine intelligence operations and allowed the Rockefeller Fund to be used as a conduit for CIA money. Among MoMA’s directors, we find René d’Harnoncourt, who had worked for Rockefeller’s wartime intelligence agency for Latin America. John Hay Whitney of the eponymous museum and Julius Fleischmann sat on MoMA’s board of trustees. The former had worked for the CIA’s predecessor organization, the Office of Strategic Services (OSS), and allowed his charity to be used as a conduit for CIA money. The latter served as the president of the CIA’s Farfield Foundation. William S. Paley, the president of CBS and one of the major figures in U.S. psychological warfare programs, including those of the CIA, was on the members’ board of MoMA’s International Program. As this web of relations indicates, the capitalist ruling class works closely with the U.S. national security state in order to tightly control the cultural apparatus.

Many books have been written on the U.S. state’s involvement with the entertainment industry. Matthew Alford and Tom Secker have documented that the Department of Defense has been involved in supporting—with complete and absolute censorship rights—a minimum of 814 movies, with the CIA clocking in at a minimum of 37 and the FBI 22. Regarding TV shows, some of which have been very long running, the Department of Defense totals 1,133, the CIA 22, and the FBI 10. Above and beyond these quantifiable cases, there is, of course, the qualitative relationship between the national security state and Tinseltown. John Rizzo explained as much in 2014: “The CIA has long had a special relationship with the entertainment industry, devoting considerable attention to fostering relationships with Hollywood movers and shakers—studio executives, producers, directors, big-name actors.” Having served as the Deputy Counsel or Acting General Counsel of the CIA for the first nine years of the war on terror, during which time he was intimately involved in overseeing the global rendition, torture, and drone-assassination programs, Rizzo was well placed to understand how the culture industry could provide cover for imperial butchery.

These activities and many more reveal one of the primary features of the U.S. empire: it is a veritable empire of spectacles. One of its principal focal points has been the war for hearts and minds. To this end, it has established an expansive global infrastructure in order to engage in international psychological warfare. The near absolute control it exercises over mainstream media has been clearly visible in the recent drive to garner support for the U.S. proxy war against Russia in Ukraine. The same is true for its virulent 24/7 anti-China propaganda. Nevertheless, thanks to the work of so many valiant activists and the fact that it is working against reality itself, the empire of spectacles is incapable of completely controlling the narrative.

two-time presidential loser says what

You are not on our side. You’re a scratched liberal who has already sided with the fascists.

Every time.

Reporter: [REDACTED]
Reason: DonaldJMusk astroturfing account

That depends on where you are. https://en.wikipedia.org/wiki/Emergency_telephone_number

It was deliberately perverted. The bourgeoisie own the government, the media, and the NGOs; and they know what they’re doing.

• Noam Chomsky - The 5 Filters of the Mass Media Machine
• Propaganda model
• Edward Bernays
• Walter Lippmann
• Council on Foreign Relations
• Powell Memorandum
• The Trilateral Commission’s report, The Crisis of Democracy

Every single time fascism has taken over, it is because the left was too busy infighting.

Every single time fascism has taken over, it is because liberals sided with fascists against socialists.

• Michael Burns (of Wisecrack fame): 📺 Why Liberals Always Side with Fascists
• Hampton Institute: Liberal Democracy: The Bedfellow of Fascism
• Gabriel Rockhill:
  • Fascism: Now You See It, Now You Don’t!
  • Liberalism and Fascism: Partners in Crime

 
Once more let me remind you what fascism is. It need not wear a brown shirt or a green shirt – it may even wear a dress shirt. Fascism begins the moment a ruling class, fearing the people may use their political democracy to gain economic democracy, begins to destroy political democracy in order to retain its power of exploitation and special privilege.
— Tommy Douglas

None of your beef with each other matters if democracy disappears.

What democracy? You have got to be kidding me. Previously:

It’s not wrong to say regulatory capture is a problem, it just doesn’t go far enough. The US government was never not captured by the bourgeoisie, because the US was born of a bourgeois revolution[1]. The wealthy, white, male, land-owning, largely slave-owning Founding Fathers constructed a bourgeois state with “checks and balances” against the “tyranny of the majority”. It was never meant to represent the majority—the working class—and it never has, despite eventually allowing women and non-whites (at least those not disenfranchised by the carceral system) to vote. BBC: [Princeton & Northwestern] Study: US is an oligarchy, not a democracy

The game is rigged. The election cycle’s pomp and circumstance is to divert your energy and attention from the fact that it’s a big club, and you ain’t in it.

You could start by reading a community’s rules before posting to it.

3. Not regarding using or support for Lemmy: context, see the list of support communities and tools for finding communities below

Maybe not impossible? https://en.wikipedia.org/wiki/Glueball#Mass_and_parity

Glueballs are predicted by quantum chromodynamics to be massive, despite the fact that gluons themselves have zero rest mass in the Standard Model.

These masses are on the same order of magnitude as the masses of many experimentally observed mesons and baryons, as well as to the masses of the tau lepton, charm quark, bottom quark, some hydrogen isotopes, and some helium isotopes.

Yes. Ansar Allah is what they call themselves; “the Houthis” is what Western media call them.

glueball

*klingon

Each report goes to:

• The mods of the community
• The admins of the community’s instance
• The admins of the reporter’s instance
• The admins of the reportee’s instance

It is funny how you seem to show up any time Diva gets into it, I wonder why that is?

The reason I’m here is you:

Oh so it is your alt account

Are you high? That is the same account.