The Ten of Disks

The Lord of Wealth talks not only about material wealth and its appropriate use, but about the inner wealth and resources that we all have. This is a card that teaches us that the harvest we gather in our lives is the end result of all that we have put into living – and more importantly, how we have used the riches at our disposal.

We make our own realities with every thought, every deed, every wish. And when we direct our energies positively we shall arrive – as a perfectly natural consequence – at the Ten of Disks. Of course, if we direct our energies negatively we’ll find ourselves with the Ten of Wands, or the Ten of Swords – neither of which are happy cards!

There is a warning connected to this card though. When we have created sufficient wealth to make ourselves comfortable and contented, if we have a surplus, then we must make that surplus work. We cannot expect energy to flow freely in our lives if we hoard it, and try to hang on to it. This is as pointless as trying to save up the breeze so that it will blow on a stuffy day! There are some things in life you cannot clutch tight in the hand without crushing their value out of them.

If this card comes up in an everyday reading, it re-assures that financial and material matters are proceeding well, and that there is no cause for concern.

If it comes up in a more spiritually based reading, then we need to be applying the underlying principles to our lives – so in this case, we need to be letting our inner wealth show, in order to manifest that into our lives.

(via angelpaths.com and Alan Blackman)

Human Devolution: A Vedic Alternative to Darwin’s Theory

Michael A. Cremo

In their controversial bestseller Forbidden Archeology, Cremo and Thompson documented evidence showing that humans have existed on earth for hundreds of millions of years and catalyzed a global inquiry. Such anomalous evidence, contradicting Darwinian evolution, catalyzed a global inquiry: “If we did not evolve from apes then where did we come from?”

(Goodreads.com)

T he Real News Network Premiered Jul 22, 2022 American society is the most violent of any nation in the industrialized world. Nothing we do, from administrating the world’s largest prison system to militarizing our police, seems to help. Dr. James Gilligan argues that childhood abuse, and the shame it engenders, is the engine that fuels America’s deadliest epidemic. This abuse and shame, he argues, fosters a dangerous numbness that breeds a deep self-loathing and inchoate rage. It is only by understanding the causes of our national epidemic, and addressing those causes, that we will have any hope of stemming the nihilistic violence that grips American society. Dr. Gilligan grounds his writing not only in case studies of the violent patients he works with, but Greek myths and Shakespeare. Dr. James Gilligan is a professor of Clinical Psychiatry at New York University. Formerly, he served as the director of the Center for the Study of Violence at Harvard Medical School and the director of the Bridgewater State Hospital for the criminally insane in Massachusetts. He is the author of Violence: Our Deadly Epidemic and Its Causes, and Holding a Mirror up to Nature: Shame, Guilt, and Violence in Shakespeare, which he co-authored with David A.J. Richards. Watch The Chris Hedges Report live YouTube premiere on The Real News Network every Friday at 12PM ET. Listen to episode podcasts and find bonus content at The Chris Hedges Report Substack. Pre-Production: Kayla Rivara Studio: Adam Coley, Cameron Granadino Post-Production: Cameron Granadino

The Chris Hedges Report: Moby Dick and the soul of American capitalism

Leviticus Appleton Sep 14, 2019 hey guys this is a film about depression and then hope and then sadness

JULY 28, 2022 (dailycal..org)

ANGELA BI/STAFF

BY DOMINIC MARZIALI | STAFF – UPDATED JULY 27, 2022

Grade: 4.0/5.0

Some of the fans who tried to dissect the trailers for “Nope,” writer-director Jordan Peele’s latest film, might have noticed the vinyl cover for Exuma, the Obeah Man in one shot. It was an efficient way on Peele’s part to tell viewers “Nope” would deliver what they’d come to expect from a filmmaker who has occupied himself with the exertion of protest, the exhaustion of trauma. It was a confident signal, tongue-in-cheek. 

“Chances are, you’ve never heard a boast track quite like ‘Exuma, the Obeah Man,’ ” led a Rolling Stone retrospective on the album for its 50th anniversary in 2020. The article included a quote likening Tony McKay’s album to Peele’s films — “movies that deal with sort of the black experience, a collective trauma.” Expect this and more, the trailer taunted cryptically. 

The film Peele delivered is a rigorous, tightly suspenseful, witty, big-screen spectacle. When Exuma’s boasts roll across an Agua Dulce ranch, heralding the film’s climax, it’s long become clear that “Nope” is, in genre, a departure from Peele’s previous two films. Peele and the film’s creatives deliver on the promise set out from trailer one: “Nope” is no less of a zeitgeist-rider, but it’s less polemical than “Get Out” and lighter on the ambiguous metaphors that gummed up “Us.” 

The horrifying is replaced by horror. It’s an imaginative sci-fi that dips in and out of the Western, layering the grit of a family way out west with the extraterrestrial, the impossible — the appearance of a flying saucer that, if it can be captured on film, dangles the financial promise of what one character calls “the Oprah shot.” 

It’s a film about a new kind of West. There are cowboys and aliens, but no shootouts in “Nope.” Those times have passed us by. Rather, Peele interrogates where opportunity can still be found for O.J. (Daniel Kaluuya) and Emerald (Keke Palmer), the brother-sister horse wranglers who also constitute the only Black-owned business supplying horses to film sets. But working for Hollywood isn’t enough to secure a future: Emerald dreams of successes in settings where owning a horse is a barrier. O.J., meanwhile, has had to sell 10 horses some six months after his father, Otis Haywood (Keith David), is killed in a freak accident involving debris raining from the sky. 

Things are not as they seem on the Aqua Dulce ranch, and Jupe (Steven Yeun), the Haywoods’ only neighbor in the valley, has taken note. As a child, he starred in a short-lived sit-com that was shut down after one of its monkey-stars went into a rage and killed everyone on set, save for the young Jupe. “Nope” opens on the set of the sit-com, “applause” signs flashing above a silent sound stage. The monkey soon comes into view and looks at the camera. Are its blood-soaked paws a reminder of Peele’s production company Monkeypaw Productions, the logo for which was on screen just about a minute ago? How meta is this? 

The answer, in Peele’s fashion, is delivered with a healthy covering of the corny — levity to ease his audience into his starker points. Tragedy befalls the patrons who come to Jupe’s Western-themed tourist trap to witness the flying saucer. Emerald half-jokes to producers about being forgotten Hollywood royalty: She asserts her ancestor was the jockey in Eadweard Muybridge’s first moving images. How is it, Peele provokes, that a few generations later, Emerald and her brother are risking life and limb to get a flying saucer on film? When did the commodification and capture of performance become their only way to get rich? 

It’s perhaps a point that the film fails to make in its entirety, spinning through themes as quickly as it does genres. There are tangential considerations of who profits and who suffers, but Peele’s film drives at the potency he instills in a simple word: “nope.” 

Don’t look. But who can resist a peek?

Contact Dominic Marziali at dmarziali@dailycal.org.

The Knight of Wands

The man represented by the Knight of Wands will be a loving and open-hearted person, with a strong sense of morality and a great sense of humour. He will be active, energetic and willing to help. You often find these types of men in the healing professions, or in other areas where they are required to assist, guide and support others.

He’s a man with a deep respect for life and all living things, attuned to Nature and to the creatures of the earth. He has a deep well of compassion which spills over readily to anyone who needs his help, but he also has the restraint to know when too much assistance is a bad thing. Then he will act to enable and empower, rather than to assisting.

He’s a faithful, and dedicated family man, being fully engaged in the domestic situation. His life reflects his high ethical standards, though he is not given to sermonising, nor standing in judgement on others. He could be defined as an idealistic realist – accepting the frailties of the race, whilst doing his best to strengthen it.

His faults spring from his good points – for instance, he dislikes causing pain, and will therefore delay when he needs to act if he thinks it will hurt other people. He will sometimes remain in limiting or painful circumstances because of this. His sense of rightness and duty is intense, and sometimes drives him to make foolish choices and decisions. He will shy away from conflict and unpleasant situations, especially when these arise as a result of his own needs, though he will never walk away from a struggle on behalf of somebody else.

If you are regarding this card as a spiritual change, then see it as an indication that the warrior of right and light is required – you’ll need to stand up for something that matters, and which is unable to defend itself.

(via angelpaths.com and Alan Blackman)