What is the Event ? - November 2010 & the 7th Galactic Underworld !

We are being told of a coming event, that will most likely change our world for ever. What will it be Aliens , Nukes, Financial collapse, Martial law...or all of the above ?...or like everything else are we just being frightened into giving up our energy to the fear vampires that try to control us ?

Jesse Ventura exposes secret FEMA camps ?



Glenn Beck lays out his 15 day financial apocalypse


Market Manipulated to prevent Deflation(lower prices)
I'm no economist but why would lower prices be a bad thing for the average working man



The Simpsons and the 11/6 - 9/11 sync





Or will it be a nuclear apocalypse ?


Was the Carnival Cruise hit by a missle?




An engine fire aboard the 952-foot cruise liner knocked the power out Monday, less than a day into its seven-day trip to the Mexican Riviera. Carnival said a crankcase split on one of the ship’s six diesel engines, causing the fire.

“It felt like an earthquake and sounded like a jackhammer,” said Amber Haslerud, 27, of Chula Vista.
The Magic Cruise ?

...and another missle over NYC

Anarchy (Violent Protests) in the UK

Is this just a case of Wag the Dog


Obama is in Asia outsourcing US manufacturing

Humanity’s climb of the cosmic pyramid continues. The actual Ninth wave will not begin until March 9, 2011 although we are already beginning to feel its approach. Before the final climb to the ninth wave and the ninth level of consciousness can begin we will however need to complete the foundation of the eighth level so that we have something to stand on. The eighth level of consciousness of the cosmic pyramid is what has been carried by the wave movement of the Galactic Underworld that began January 5th 1999 and, as all we nine waves will be completed on October 28, 2011.

As the thirttenth energy, or seventh day, of the Galactic Underworld starts on November 3, 2010 we may say that the particular Yin/Yang-polarity that this has been projecting onto the Earth is locked into position and will not be replaced by any further night in this Underworld.

Just looked upon at face value it would then seem as what we are to align with and celebrate on the weekend of November 6-7 (which follows upon the shift) is a world where the feminine, the intuitive mind and the eastern hemisphere comes to dominate since they would all be linked to this enlightenment of the right brain half. Yet, as we can see from the figure this is not exactly the case since the world was for about 5100 years dominated by the consciousness of the sixth wave where the light fell on the left brain half and so as a result favored the rational mind, male dominance and the West and this is sort part of the platform that we are all already standing on. Hence as the seventh day of the galactic Underworld is activated we will actually finally come to a point when it is time to celebrate the end to male, western and rational dominance and we will be able to create a balance between the different aspects of the human mind associated with the left and right brain halves.

It is from this fundament that we will soon begin our process into the unity consciousness that will be carried by the ninth wave that will be activated on March 9, 2011.

Carl Johan Calleman
Seattle 11 Imix, October 14, 2010
Dr Johan Calleman's Mayan Calendar

...and now FOXNEWS is revealing WTC Building 7 may have been a controlled demolition !!!



What to do what to do ?...Germany leads the way


The Don't Touch My Junk Guy !









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Backward Glances: Contemporary Chinese Cultures and the Female Homoerotic Imaginary

By Fran Martin
Duke University Press

The study of female homoeroticism in Chinese media is a small yet evolving academic discipline. It is, therefore, of great importance that Backward Glances was written. Exploring popular media produced during the twentieth and twenty-first centuries in the People’s Republic of China, Hong Kong, and Taiwan, author Fran Martin addresses the ways in which same-sex love between women is commonly depicted, and the ways in which those depictions simultaneously reinforce and challenge the conventional discourse on homosexuality in China.

On the surface, many of the novels, television dramas, and films Martin analyzes do not appear to be particularly transgressive. A common theme among the media she explores is memory; stories of same-sex desire between women are often presented as a fleeting childhood fantasy, something that perpetually exists in the past and can never be fully realized by adults in the present. This memorial mode is also tied to what Martin calls the “going-in" story. Unlike “coming-out” narratives, which depict homosexual identity as the final stage of an individual’s struggle with sexual identity, “going-in” stories start with same-sex desire and end with heterosexual marriage. None of these tropes disturb the status quo of Chinese society, where homosexuality remains incredibly stigmatized.

But Martin contends that there is more to these texts than immediately meet the eye. The protagonists of these stories tend to be overly feminine schoolgirls who fall in love with other feminine girls or tomboys. When that love is not ultimately realized, the lead femme becomes sad and nostalgic, leading to her remembering and recounting the story of her love over and over again. The stories are written so that the audience will identify with the lead femme character; as a result, homoerotic attraction is represented as a natural, universal feminine quality. It is depicted as tragic, if inevitable, when such love is not actualized, and the audience is meant to share in that sadness. Although few of the texts discussed disrupt Chinese societal order by depicting a fulfilled, long-term romantic relationship between women, the depictions of love between women as idyllic, universal, and tragic when prevented from closure suggest an innate acceptance of homosexuality as something natural and expected in young women, if also socially taboo.

What is particularly interesting is the contrast between the complex and, at times, subversive images of love between women in Chinese popular culture and the lack of acceptance of actual lesbianism in Chinese society. Martin frequently mentions this discrepancy, though she rarely explores it as it might relate to pro- or anti-LGBTQ legislation in China. Her primary focus is on the media itself, rather than the ultimate significance of the media in a real-life political context. I most appreciated Backward Glances when it touched upon the audience responses to the texts. Should a follow-up be written, Martin may want to explore the interactions between the viewers and the texts in greater detail, as a way of exploring the impact homoerotic media has (or could have) on Chinese politics and queer acceptance in China.

Though academic in style, Backward Glances is quite approachable. Written as a scholarly text, it can also be of interest to and easily enjoyed by anyone interested in the topics of queer representation, media, and Chinese culture. The book covers a wide range of material, but never feels overwhelming or dense. It may not remain the definitive text on the subject, but until one exists, Backward Glances is a well-written, critical exploration of a newly emerging field of study.

Review by Carrie Polansky

Cross-posted at Gender Across Borders

A Thread of Sky

By Deanna Fei
Penguin Press

Six Chinese American female characters form the main narrative perspectives of Deanna Fei’s ambitious first novel, A Thread of Sky. There is family matriarch Lin Yulan, once a revolutionary for the nationalist party in China, and her daughters Irene and Susan. Irene is a bereaved widow looking to herself reconnect with her three daughters: Nora, a finance and marketing success; Kay, the one most connected to her Chinese ethnic roots; and Sophie, the youngest who struggles with an eating disorder and was just accepted to Stanford University. Irene’s grand plan to unite the family is to plan a trip to China, a venture in which only women will be invited.

Lin Yulan’s revolutionary past is one that sets the tone for the generations that follow, as she raises both Irene and Susan to be independent women who strive for careers of their own. When Irene’s career as a scientist begins to find a renaissance after the birth of her first two children, she discovers she is pregnant again. Irene’s mother wants her to abort the child, but Irene does not, and yet, despite Irene’s own commitment to raising a family, the values instilled in her by her mother regarding the importance of self-sustainment are also ones she hands down to her daughters.

There are many complications on the trip, and all revolve around romance and relationships (perhaps with the exception of Sophie). Nora’s crumbling relationship with her Caucasian WASP-y husband leaves her in an escapist mindset when she assents to go on the tour. Having arranged a meeting with her grandfather while she was in China previously, Kay possesses her own agenda about the impending trip. (Lin Yulan and her husband, Kay’s grandfather, parted on bad terms when she left for the United States, making Kay’s overtures both risky and somewhat sentimental.) Sophie would rather stay at home preparing for her freshman year and developing a relationship with her African American boyfriend, Brandon. She also finds herself dealing with an eating disorder that arises not long after her father dies. Susan, a poet, although seemingly happily married to Winston, still finds herself thinking about an ill-conceived affair with a former creative writing student named Ernesto.

At one point early on in the novel, The Joy Luck Club is referenced. It is an apt moment that recalls the self-consciousness of many Asian American writers publishing today. In that novel, Jing-mei returns to China, sets foot on what is believed to be a kind of homeland, and finds some sort of resolution within the last handful of pages. This kind of return journey is not the one that Fei has planned. Indeed, the tour of China is just the beginning of a narrative about the complications of intergenerational relationships between these Chinese American women. Fei lets her characters find footing by exposing their flaws and judiciously characterizing their various goals and motivations. The novel finds its surest stride within character construction.

There is, of course, one other major “character,” which is the way Fei configures China. The Chinese American women struggle to find clear and transparent attachments to nation and place. China is not a landscape that yields easily to them, but Fei is clear to mark these women off differently than other tourists and mobile elites. Indeed, there is a large discourse related to China’s modernization that is being interrogated any time the six women find themselves in bazaars or markets, where global capitalism is ambivalently represented.

There is a delicate balancing act in the characters' desire to root out problematic inequities arising from China’s modernization while simultaneously discovering that such problematics are difficult and thorny to address. The most compelling parts of the novel are rooted here, especially when Kay attempts to constitute a mode of transnational feminism that is thwarted at almost every turn by the way upward mobility becomes one of the ways by which China’s future is brokered. It is clear that Fei’s novel does not broker to presenting China as an exotic, unchanging landscape that can be claimed by the credit card. Rather, it is complex and shifting, a place that is constantly being razed and rebuilt, preserved in some locations, but disintegrating in others.

A Thread of Sky does not conclude with easy answers and, instead, leaves many open questions. In this suspended state of expectance, the novel resolutely moves outside of sentimentalism and resides in a domestic drama that unfolds unceasingly and with admirable restraint. In this regard, A Thread of Sky manages to offer a visually stunning tableau of China’s evolution in the twenty-first century without shifting into the superficiality of a travelogue, letting the reader’s sense of an already complex geography change as her characters do too.

Review by Stephen Hong Sohn

Cross-posted at Asian American Literature Fans

SNL Skewers Obama's Economic Policies

Not big on the politics here at MIENFOKS(try NEW WORLD RHINOS for that) but this is the funniest SNL skit of the OBAMA era ! The DOG DAY AFTERNOON reference had me ROFLMAO-ing

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Obama's Slumdogs ?