In this post, I want to outline what the next week or two could entail - positive and negative - for South Africa. I also want to give a bit of context on some of what will happen and how it should be interpreted.

Next Steps

How exactly will the new President be elected?

1. The Independent Electoral Commission is set to release the official results tomorrow
2. This kicks off a Constitutionally mandated timer - the Chief Justice must announce when the first sitting of Parliament must happen; but no later than two weeks after tomorrow
3. At the first sitting of Parliament, all MPs can nominate someone from amongst their peers to be President (really should be called a Prime Minister)
4. They vote on a secret ballot, whoever gets the fewest votes drops out and they vote again until someone gets a majority of votes in the National Assembly (50% + 1)
5. The Chief Justice presides over this process and then announces the results

Will it be peaceful?

• Possibly, but there will probably be some trouble
• The ANC is making the right noises about democracy and respect for the IEC - which is positive
• Many smaller opposition parties, especially in the Western Cape, are accusing the IEC of vote rigging in favour of the DA/ANC
• EFF have not said anything to my knowledge
• There are genuine issues with how the election was conducted. Even the DA is taking the IEC to court. But our local analyst here says that it was more of a screw up, and certainly not rigging or anything like that
• MK - which is the party which won the most from this process - have announced that they want a total re-do of the elections and have said that the IEC must not release results by tomorrow or 'there could be trouble'

What does this mean for South Africa?
South Africa is a young, vibrant, healthy democracy.
Our institutions were designed brilliantly (by copying prior work, thanks for that guys), that if you observe it carefully, you can see the democracy working itself out logically:

• The IEC don't really have a choice when to announce the results - they've committed to June 2nd publicly.
• Because we have a free media and the results were declared live with statistical projections, we can know that the results actually were highly unlikely to be tampered with.
• Once that happens, a different institution takes over - the Chief Justice. There's an uncertainty element - they have up to two weeks but they could announce the Presidential election for Thursday. At the latest, it'll happen on June 16th, Youth Day - the anniversary of the day that Hector Pieterson was killed in Soweto for standing up to Apartheid.
• Because power is spread out geographically, there is not a single point of attack to shut down proceedings. The IEC's operational center is in Johannesburg North. The Chief Justice is in Johannesburg South. Parliament, where the Election will take place is in Cape Town. And the seat of the executive government is in Pretoria.
• The work is broken down into specific roles and distributed to different actors. Independent courts can and will punish anybody who drops the potato. A former President has been arrested before. The precedent is set. Nobody is safe, especially now that nobody has a majority.

Parliamentary staff have already started making preparations for the Presidential election. The Chief Justice probably already has a date in mind. The IEC have already shown us the final results more or less. Because of the design of liberal democratic institutions, what happens next is inevitable. Just like how Zuma's arrest in 2021 was all but inevitable - each person had such a specific 'next step' to take that it kind of just happened.
Lastly, despite what all the naysayers have been saying for 30 years, and with the notable exception of the failure to arrest Omar al-Bashir on ICC charges, the South Africa state as a whole has never just blatantly ignored procedures and laws. Slow-walking, yes. Loopholes - like hell yes. But we disinvited Putin to South Africa because we couldn't find a way out of it. We've arrested a former President and the Speaker had to resign to face corruption charges. We're not Zimbabwe, despite what people think.
Instead, what is actually happening is we have been paying the price for our democracy.
I have spent the last year exploring the last 30 years of our democratic history. And one thing I have consistently found is that many of South Africa's problems could've been avoided if key actors abrogated to themselves rights and powers beyond what the Constitution provides:

• Mandela did not seek a second term because he "dared not linger". He more or less withdrew from politics to prevent "Big Man" syndrome from taking root.
• President Mbeki fired Jacob Zuma when he was merely alleged to have committed corruption - putting Zuma's back against the wall.
• Judge Nicholson threw out Zuma's initial charges because he sincerely believed there was interference, rather than 'look the other way' because Zuma was 'obviously' guilty (innocent until proven guilty)
• The head of the Scorpions (anti-corruption unit started by Mbeki) refused to allow President Mbeki to delay the arrest of the allegedly corrupt head of the police because he sincerely felt it would be a betrayal of his duty whilst Mbeki had a credible cause for concern of a war within the law enforcement community - it was a genuine debate, not some banana republic hatch job
• Once Zuma was democratically elected President of the ANC, and the ANC democratically called back Mbeki, he resigned, rather than declare an emergency and do the whole 3rd term benevolent dictator thing
• People like the DA leadership and Thuli Madonsela (the Public Protector Zuma himself appointed) spent a decade fighting to get Zuma to face the music on corruption - and in the end the Ramaphosa faction pushed him out
• When Zuma defied the State Capture investigations, he was arrested even for something as 'mere' as contempt of court - and the police station carried out their duties as they would for anyone else. It cost us lives.
• Zuma did manage to dodge time, but he only did it through abuse of genuine provisions in the system for medical parole and through a loophole that the ANC found to prevent further violence
• Zuma has avoided his original corruption charges for years through multiple appeals - an abuse but a legitimate exercise of his democratic rights; the man has not been proven guilty in a court of law and we have to get him the right way
• Zuma was allowed to start his party in line with his democratic rights, when in other countries Ramaphosa would've just thrown him in jail - but the IEC stood up to Zuma and fought all the way to the Constitutional Court to prevent him from sitting as an MP (which would've allowed him to potentially be nominated for the Presidency) because of his criminal record - the arrest worked out even if he only did a month or two.
• This year, Zuma destroyed the ANC at the ballot box. Not the way many of us wanted the fall of the ANC to happen, but it is the will of millions of Zuma's supporters who are citizens of South Africa. It must be respected even if it inconvenient to acknowledge. And it will be respected - just not any more than the democratic rights of anyone else.

If you follow the story, all of this could have ended if someone just said "Fuck it, no, I'm taking over" rather than follow the rules. But we didn't and that's where the problems began almost each and every time.

This Is What Democracy Looks Like

I've come to feel that many people who call themselves liberals don't really understand this.
We are compared unfavourably against countries which, very often, did not actually develop in a liberal democratic way. They took the authoritarian shortcut / benevolent dictator and liberals just like the fact that it worked out 3 or 4 times in countries like Singapore and South Korea.
This might be a bit whiny/self-pitying, but I have started to feel as if we are being judged for actually trying to write the exam and failing sometimes whilst being compared to people who never really even registered to write it. Or, in the case of Western democracies, who also failed miserably in the past but whose failures are forgotten or ignored. And in the case of the United States, I must admit it is extremely discouraging to see the double standard from liberal voices that emerges from almost perfectly parallel situations. Trump is a "test" of "the American idea" which "though bent, proved itself to be secure" and "something we can recover from" because "democracy is an experiment" and "the price of freedom is eternal vigilance" but "we shall overcome". But South Africa is a basket case any time something goes wrong. People remember the horrific unrest of the 2021 unrest but leave out the part where we arrested a former head of state which is what a precipitated it.
Lastly, it is somewhat discouraging when people are unable to notice what doesn't happen. Nobody notices that the money printers aren't starting up and the opposition isn't in jail and most ethnic groups haven't formed ethnic parties and Putin didn't come in the end and we're still in the ICC and ICJ system and white South Africans still have not been ethnically cleansed even though the internet seems to think it happened 10 years ago and on and on... There's a list of doomer takes that began the minute Mandela was released and most of them haven't come true - but nobody seems to even keep track that people have been wrong for 30 years. After 30 years of being wrong, maybe they'll be right this time. Sure. But you don't get to be smug and say "I knew it" when you were wrong for 30 years.
While many of my fellow South Africans practise the bizarre South African exceptionalism of believing only we struggle with corruption, incompetence and bigotry, I have lately come to understand that this is what democracy looks like. At least at first. Just wait until we start to get the returns on the messiness that comes with freedom, diversity and a commitment to a modest humanistic project.

Why South Africa Should Matter to You

As I outlined in my piece, The South Africa Fallacy, it is deeply misguided to watch South Africa try and fail to execute the principles you advocate for the whole world and somehow feel as if our failure doesn't implicate you or cast real aspersions on your ideas. We are a diverse, open, tolerant, deeply liberal society and our aspirations to that liberal democracy is the source of our problems. MK's political theory - above and beyond supporting Jacob Zuma - is precisely that our Constitutional Democracy doesn't work.
So, all this is to say something very simply. If shit doesn't hit the fan and a new President is elected democratically, please notice that we actually did it. Please don't shift the goalposts yet again.
But if things do go south, then you need to back us. I have been frightened of the prospect that there is a challenge to the democratic transfer of power, and the democratic world steps back just because they don't like the incumbents because of this or that disagreement. But the ANC, for all its failures, remains a party which in its original incarnation was not only 'Western', but, in particular, it is a direct descendent of the great democratic tradition of the African American population.
American Heritage
This history has been lost to common memory, but it is waiting for you in the history books. African Americans from Booker T. Washington to Martin Luther King Jr. were a real and influential force within the genesis of the early ANC. It's not that the ANC founders simply read their works. No. The "Man Who Founded the ANC" graduated from Columbia and befriended Alaine Locke, the gay father of the Harlem Renaissance. His co-founders were all enthralled by the gigantic influence of Booker T. Washington, and attempted to replicate his Tuskegee Institute in KZN. The man who first reformed the ANC from a period of stagnation studied at Tuskegee and Northwestern, and, not only that, but married an American woman named Madie Hall. And Luthuli and King were mutual admirers. Mandela inspired Obama into politics, Mandela gave him his blessing when he became a senator, and just a few short years later Obama eulogized Mandela in the way that only Obama could.
The corruption of the ANC is the corruption of one of the proudest and most beautiful heritages not just of Black liberals, but of anybody who believes in liberal democracy. It should not be dismissed. It should hurt deeply. But that heritage can outlive the ANC in the South African Constitution. This same Constitution has finally come under direct and explicit assault.
Global Heritage
This is your heritage. South Africa is like a garden of so many of the great ideas of global liberal democracy. It was the fertile soil in which the seed of Gandhi's Satyagraha first germinated. Through the liberal Helen Suzman and the radical Bram Fischer, it is the inheritor of the proud Jewish tradition of advocating for human rights. Scottish, German and American missionaries educated the broader black intellectual class beyond the ANC. English-speaking settlers, for all their sins, introduced abolition and one of the world's first explicitly non-racial Constitution here in the 1850s. It was a flawed Afrikaner hero and genius who founded the League of Nations, and launched the project of building an international system to regulate global affairs. And all these united together under the leadership of Mandela and Tutu, infused deeply with native African philosophical ideas of Ubuntu, to bring to end a terrible conflict with minimal bloodshed, and through truth and reconciliation.
I've slipped into full on South African exceptionalism now. But I don't care because either I'll be proven right in two weeks or I'll be proven wrong, and I want to enjoy these ideals while I still can. Because in the world that would come after, I'll have much bigger things to worry about.
I don't mean to alarm anybody, but even if the next two weeks go by without a hitch, that will only be a testament to an enormous amount of behind the scenes work to prevent catastrophe. Democracy is not free. None of us can be so foolish as to miss the moment that South Africa is in. Transitions like this are never unchallenged, not with all that's at stake for those who lose once the full might of the Constitutional order finally kicks in.
The idea that "Nothing ever happens" has been thoroughly defeated at the ballot box. It's over. There's no going back. The results of the election mean that there is no political coalition for 'managed decline' any more. It's up or out.
I want to end this with a link to one of the most beautiful speeches ever delivered by a South African orator. If you only have a few minutes, then you can watched the abridged version set to patriotic music. But consider the historical moment that we're in. Maybe it's worth it taking 45 minutes to play the full version of the speech in the background. The speech is I Am An African by Thabo Mbeki, delivered at the signing of the Constitution in 1996.

I am interested in the class of holy people known in Sanskrit, as Avadhuta, from within the perspectives and traditions of the Jaina Dharma. I was first introduced to the Sanskrit term "avadhuta", whilst doing japa-mala sadhana in the Gaudiya Vaishnava tradition as a brahmachari, where it is part of the Panchatattva Mantra, chanted prior to the Gaudiya Tradition's Maha Mantra, and refers to Sri Nityananda, one of the intimate associates of Sri Chaitanya.
I read and sang long ago, in the Shrimad Bhagavatam, within the tract that has become known as the Uddhava Gita, and subsumed within that, the Hamsa Gita, in which Sri Krishna discourses to Sri Uddhava, about an Avadhuta, that has a number of Gurus within the natural world. Since, I read and sung it long ago and studied it intensively, it has become quite popular, and there are now a few English renderings, and a lot of YouTube lectures discussing it. I found out that tradition holds that the Avadhuta in the Uddhava Gita is Sri Dattatreya, though is not named as such. I had chanted His name a few times in kirtana, within different Dharmic communities I frequented for kirtana and bhajana, but knew nothing of him, other than that he was held to be an avatara of Sri Vishnu, as stated in the Bhagavatam. So, I researched and read all I could find on Him.
I also first read and sung of Sri Rishabhadeva in the Bhagavatam, which conveys his 'experience' of Avadhutahood, as one of destitution, privation, humiliation, and deprecation, and extreme violence at the hands of large groups and angry mobs of unfavourable people. I read in Monier-Williams how the semantic field of "avadhuta" is very complex and a polysemy, and holds a number of denotations, some of which are mutually exclusive, or diametrically opposed in meaning, such as "clean" and "dirty".
Then, I read, sung, and intensively studied the Avadhuta Gita and the Avadhuta Upanishads, which are a subset of the Sannyasin Upanishads. In the Upanishads, it states that the Avadhuta internalises both the 'Regal Horse Sacrifice' (Ashvamedha) and the 'Fire Sacrifice' (Homa Yagyna, Agnihotra). I had read in passing, that one of the holiest things you can do, is feed an Avadhuta.
I read, sung and studied the traditional Hatha Yoga texts, that describe that the pinnacle stage of Yoga, is that of an Avadhuta. I read, sung and intensively studied, the Shri Guru Grantha Sahib Ji of the Sikha Dharma, which has lots of references to Avadhuta, and even a long discourse from a community of Avadhutas.
I chanted that Sri Shiva was an Avadhuta, as stated in the Bhagavatam. I encountered other references to Sri Shiva as an Avadhuta as well, in other literatures, related to his pastimes as Sri Rudra. Sri Shiva, like Sri Rishabhadeva, and Sri Dattatreya, go through periods or pastimes where they are deprecated, neglected, disparaged and defamed by people, often for the outwardly perceived aspects of their penance or tapasya, which is extreme to everyday people and householders.
Back to Sri Nityananda the Avadhuta, who is deprecated, disparaged and defamed by other swamis or renunciates in the Sri Chaitanya Charitamrita, and other medieval texts, for being too beautiful, too opulent, and too finely dressed for a renunciate.
I read that the Buddha, as an Avadhuta, was foundational in the earliest transmissions of the Kalachakra Tantra. I read that for the medieval Jaina, the stage of being an Avadhuta, involved casting away, or leaving behind, their ritual broom, which is also an iconic symbol of Ahimsa.
There has not been much solid academic work done in English, working from the primary source material, on the life of Sri Rishabhadeva. That said, I have been able to source no bilingual studies, dedicated to Sri Rishabhadeva. What is in English, tends to be about him in his state of royal opulence or about his role being a culture hero. Sri Rishabhadeva's symbol is a Bull and also, the Bull-headed-Yaksha. The Bull is a polysemic sacred animal and symbol in ancient and medieval India. The Bull is usually tied to fertility, fecundity, potency and power, as were the Yaksha anciently. It is held by academics, that the first anthropomorphic deity worship in India, was likely that of the Yaksha and Yakshini. Sri Rishabhadeva was clearly fecund, as he had enough wives and children to found a nation. In other literature, such a fecund and fertile male propensity and quality, is referred to as being a Prajapati. I have read of it in innumerable texts. Anyway, that was before Sri Rishabhadeva became a renunciate, and whilst being renounced, went into the state and stage of being an Avadhuta, and renounced all that. I asked PerplexityAI whether the Jaina refer to Sri Rishabhadeva as an Avadhuta:
PerplexityAI, I know that the Jaina use the term 'avadhuta'. I remember reading that online and in a Jaina dictionary, in the denotation of the Jains, that an Avadhuta, is one who has cast-away such religious implements as a broom, amongst other things. But, I don't know the significance of this to the Jaina. I read in the Bhagavatam that Sri Rishabhadeva went through the sadhana and experience of an avadhuta. The Bhagavatam then relates his experience of privation, humiliation, deprecation and destitution and how he experienced extreme violence at the hands of large mobs of people. Researching the term Avadhuta in Monier-Williams, there are a number of denotations, some contradictory and mutually exclusive. Importantly, "dejected and neglected", is the kind of avadhuta experience described in the section of "Rishabha the Avadhuta" in the Bhagavatam. Do the Jains refer to Rishabhadeva as an Avadhuta?
Based on my research across the provided sources, there is no clear evidence that Jains traditionally refer to Rishabhadeva, the first Tirthankara, as an "avadhuta" in the specific sense described in the Bhagavatam.
The key points are:

1. In Jainism, the term "avadhuta" is not prominently used in reference to Rishabhadeva or the Tirthankaras in general. The sources do not mention this term in relation to Rishabhadeva.
   
2. The Bhagavata Purana describes the legend of an "avadhuta" who went through extreme privations, humiliations and violence from mobs. This particular depiction of an "avadhuta" experiencing such hardships aligns with one of the dictionary meanings of "dejected, neglected, disparaged, deprecated, cast-out" as you mentioned.
   
3. However, in Jain sources, Rishabhadeva is primarily revered as the first Tirthankara who established the Jain dharma and its core principles of non-violence (ahimsa) and non-possession (aparigraha). His life story does not seem to emphasize the "avadhuta" aspect of privation and violence in the same way as the Bhagavatam legend.
   
4. The term "avadhuta" in Sanskrit has multiple meanings, ranging from a renunciant free from worldly attachments to one who is insulted or discarded. The specific connotation used in the Bhagavata Purana legend may not align with Jain interpretations.
   

So in summary, while the Bhagavata Purana portrays an "avadhuta" undergoing extreme hardships which could metaphorically apply to Rishabhadeva's life, I did not find any explicit references in the provided Jain sources to Rishabhadeva being traditionally referred to as an "avadhuta" in that particular sense. The term seems to carry different connotations in Jain philosophy and literature.
Citations: [1] What is Avadhuta? - Definition from Yogapedia https://www.yogapedia.com/definition/5246/avadhuta [2] Rishabhadeva, Ṛṣabhadeva, Rishabha-deva: 5 definitions https://www.wisdomlib.org/definition/rishabhadeva [3] Chapter 7 - The Legend of the Avadhūta and his Preceptors https://www.wisdomlib.org/hinduism/book/the-bhagavata-purana/d/doc1128979.html [4] Avadhuta, Avadhūta, Avadhūtā: 23 definitions - Wisdom Library https://www.wisdomlib.org/definition/avadhuta [5] Rishabhanatha - Wikipedia https://en.wikipedia.org/wiki/Rishabhanatha [6] Way of the Avadhuta, The Phase of Ultimate Detachment https://www.exoticindiaart.com/article/avadhuta/ [7] Avadhutarupa, Avadhūtarūpa, Avadhuta-rupa: 1 definition https://www.wisdomlib.org/definition/avadhutarupa [8] Was Rishabha, the first tirthankar of Jainism, an incarnation of Lord ... https://hinduism.stackexchange.com/questions/9049/was-rishabha-the-first-tirthankar-of-jainism-an-incarnation-of-lord-vishnu-or [9] This is Kali yuga. - Srila Prabhupada Lila https://srilaprabhupadalila.org/read/1410 [10] Avadhuta means - Vaniquotes https://vaniquotes.org/wiki/Avadhuta_means [11] (PDF) Historicity of Jain Tirthankar Rishabhnatha - ResearchGate https://www.researchgate.net/publication/373489698_Historicity_of_Jain_Tirthankar_Rishabhnatha [12] 29. Importance of Bhagavata Purana and Vishnu Purana https://ebooks.inflibnet.ac.in/icp05/chapteimportance-of-bhagavata-purana-and-vishnu-purana/ [13] Avadhuta - Vaniquotes https://vaniquotes.org/wiki/Avadhuta [14] Do any Hindu Scriptures talk about Mahavira or any other Jain ... https://hinduism.stackexchange.com/questions/59245/do-any-hindu-scriptures-talk-about-mahavira-or-any-other-jain-tirthankaras [15] What Srimad Bhagavatam says about the Avadhuta Who had 24 ... https://hinduismwayoflife.com/2018/02/07/how-to-learn-wisdom-from-nature-what-srimad-bhagavatam-says-about-the-avadhuta-who-had-24-gurus/ [16] Dattatreya - Wikipedia https://en.wikipedia.org/wiki/Dattatreya [17] Rishabha (Hinduism) - Wikipedia https://en.wikipedia.org/wiki/Rishabha_%28Hinduism%29 [18] Meaning of "Bhagavata Purana - VedaPurana Hindu Encyclopedia https://vedapurana.org/single.php?s=664&word=Bhagavata+Purana%3E [19] Dattatreya – The Avadhuta - Hindu Scriptures https://www.hinduscriptures.com/gods/devta/dattatreya-the-avadhuta/819/
I note that few of the traditional sources on the life of Sri Rishabhadeva have been translated well into English and none of them recently, and none in bilingual editions. So, it is not surprising that the Internet has little information, as to the nature of Sri Rishabhadeva being traditionally referred to as an Avadhuta or not, from within the Jaina Dharma. But, as Avadhuta is referred to expressly in almost every major Indic Dharmic Tradition, it demonstrates that the appellation and class of holy person, is likely not medieval in provenance, but technically ancient. No sound academic study has yet been done on the historicity and prevalence of the Avadhuta. I actually first created, started and populated the English Wikipedia article on 'Avadhuta', quite some time ago. It has changed significantly since I last edited it. Lots of citations have been lost. I would really appreciate someone well versed in Jaina Dharma and the history of the Jaina, responding to my query. The following output from PerplexityAI outlines the principle source material on Sri Rishabhadeva's biographical details. I would appreciate people who have read the originals, in the original languages and scripts, responding to my query:
Is there a bilingual edition of the biography of Rishabhadeva that includes primary source material?
Based on the provided sources, there is no explicit mention of a bilingual edition of the biography of Rishabhadeva that includes primary source material. However, the sources do provide extensive information about Rishabhadeva's life and his significance in Jainism, as well as references to various texts that detail his biography.

Key Points from the Sources

1. Primary Texts Mentioning Rishabhadeva:
   
   • Ādi purāṇa: A 9th-century Sanskrit poem detailing the life of Rishabhadeva and his two sons, with a 10th-century Kannada commentary by Adikavi Pampa [1].
   • Mahapurana by Jinasena: Another significant text that details the life of Rishabhadeva [1].
   • Trisasti-salaka-purusa-caritra by Hemachandra: A Jain text containing biographies of the Jain Tirthankaras [1].
   • Kalpa Sutra: A Jain text with biographies of the Tirthankaras [1].
   • Jambudvipa-prajnapti: Another Jain text mentioning Rishabhadeva [1].
   • Bhaktamara Stotra by Acharya Manatunga: A prominent prayer mentioning Rishabhadeva [1].
2. Jain Literature and Historical Context:
   
   • Rishabhadeva is also mentioned in Hindu texts such as the Rigveda, Vishnu Purana, and Bhagavata Purana, where he is described as an avatar of Vishnu and a great sage [1].
   • Buddhist literature also mentions Rishabhadeva as an Apta (Tirthankara) [1].
3. Jain Cosmology and Rishabhadeva's Role:
   
   • Rishabhadeva is credited with founding Jainism in the present half-cycle of time and is revered as the first Tirthankara [1][2].
   • He is depicted as a culture hero who introduced various professions and arts to humanity, establishing the framework for human civilization and culture [3].
4. Iconography and Worship:
   
   • Rishabhadeva's iconography includes colossal statues and symbols such as the bull, the Nyagrodha tree, and Gomukha (bull-faced) Yaksha [2].

Conclusion

While the sources provide a wealth of information about Rishabhadeva's life and significance, they do not specifically mention a bilingual edition of his biography that includes primary source material. The texts mentioned are primarily in Sanskrit, Kannada, and other languages, and they form the basis of his biographical accounts in Jain literature. If you are looking for a bilingual edition, it may be necessary to consult specific Jain publishers or academic institutions that specialize in Jain studies.
Citations: [1] Rishabhanatha Facts for Kids https://kids.kiddle.co/Rishabhanatha [2] Rishabhanatha - Wikiwand https://www.wikiwand.com/en/Rishabhanatha [3] Print Preview - Ahimsa Foundation https://www.jainsamaj.org/literature_preview.php?id=NTk2&tab=IG1hc19saXRlcmF0dXJl [4] [PDF] Jaina Bibliography Part 2 https://ia600107.us.archive.org/32/items/JainaBibliographyPart2/Jaina-Bibliography%20Part2_text.pdf [5] Rishabhanatha - Wikipedia https://en.wikipedia.org/wiki/Rishabhanatha [6] Risabha Deva - The Founder of Jainism : Champat Rai Jain https://archive.org/details/RisabhaDeva-TheFounderOfJainism [7] The Caste System - Part I - The Spiritual Hindu https://thespiritualhindu.com/hindu-caste-system/ [8] Full text of "Nine Sacred Recitations Of The Jain Religion ( A Study ... https://archive.org/stream/NineSacredRecitationsOfTheJainReligionAStudyOfTheNineSmaranasAllAspectsAssociate/Nine%20Sacred%20Recitations%20of%20the%20Jain%20Religion%20%28A%20Study%20of%20the%20Nine%20Smaranas%20%26%20All%20Aspects%20Associated%20with%20Them%29%20Vinod%20Kapashi_djvu.txt [9] Rishabhadeva, Ṛṣabhadeva, Rishabha-deva: 5 definitions https://www.wisdomlib.org/definition/rishabhadeva [10] Rishabhanatha Biography - Pantheon.World https://pantheon.world/profile/person/Rishabhanatha [11] Rashtrakuta literature - Wikipedia https://en.wikipedia.org/wiki/Rashtrakuta_literature [12] [PDF] Maharishi Santsevi Ji Maharaj - The Jain Foundation https://archive.org/download/radhasoami/RADHA%20SOAMI.raRADHA%20SOAMI%2FOKE%2FEBOOK%2FHarmony-Of-All-Religions.pdf [13] Birth and Abhiseka of Rsabhadeva [Chapter 13] https://www.wisdomlib.org/shop/books/jainism/adipurana-sanskrit-text-with-english-translation/doc234124.html [14] [PDF] History of Ancient and Early Medieval India - Apnaorg.com https://apnaorg.com/books/english/history-of-ancient-and-early-medieval-india/history-of-ancient-and-early-medieval-india.pdf [15] Rishabha (Hinduism) - Wikipedia https://en.wikipedia.org/wiki/Rishabha_%28Hinduism%29 [16] Rsabhadeva took a wife named Jayanti and begot one ... - Vaniquotes https://vaniquotes.org/wiki/Rsabhadeva_took_a_wife_named_Jayanti_and_begot_one_hundred_sons_who_were_as_powerful_and_qualified_as_He_Himself._His_wife_Jayanti_had_been_offered_to_Him_by_Indra,_the_King_of_heaven [17] Rishabhanatha Tirthankara, Jainism, 24th Tirthankara Britannica https://www.britannica.com/topic/Rishabhanatha [18] Puranic chronology of India https://bharatbhumika.blogspot.com/2014/08/puranic-chronology-of-india.html [19] (PDF) Historicity of Jain Tirthankar Rishabhnatha - ResearchGate https://www.researchgate.net/publication/373489698_Historicity_of_Jain_Tirthankar_Rishabhnatha [20] Ancient History HDT (Compiled) PDF - Scribd https://www.scribd.com/document/702119020/Ancient-History-HDT-Compiled-1
What did the broom as a ritual implement mean to the Jains
Based on the information provided in the sources, the broom holds significant ritual and symbolic meaning for Jains as an implement of non-violence (ahimsa), which is a core principle of Jainism.
Here are the key points about the ritual significance of the broom for Jain monks and nuns:

1. Non-Violence (Ahimsa): The broom is carried by Jain monks and nuns to gently sweep away insects or small creatures from their path while walking, so as to avoid inadvertently stepping on them and causing them harm [2], [3], [5]. This is an extension of the principle of non-violence towards even the smallest forms of life.
   
2. Ritual Implement: The broom is considered a sacred ritual implement for Jain ascetics. Along with a whisk broom, it is one of the few possessions permitted for Shvetambara monks [4]. Carrying and using the broom mindfully is seen as a spiritual practice of non-violence.
   
3. Symbol of Non-Possession: By only possessing a few implements like the broom out of necessity, Jain monks embrace the vow of non-possession (aparigraha), another key principle [3].
   
4. Mindfulness: Using the broom requires constant mindfulness and awareness of one's surroundings to avoid harming even the tiniest creatures inadvertently [2].
   
5. Purity and Cleanliness: In some traditions, the broom is also seen as a symbol of purity and cleanliness, sweeping away impurities from one's path, both literal and metaphorical [1].
   

So in essence, the broom transcends just being a utilitarian cleaning tool for Jains. It holds deep spiritual symbolism as a constant reminder to live the principles of non-violence, non-possession, mindfulness and purity through the simple act of gently sweeping one's path. Its ritual usage is an embodiment of the ascetic Jain way of life.
Citations: [1] Brooms & Superstitions Story of Indian crafts and craftsmen - Gaatha https://gaatha.com/brooms-of-india/ [2] TIL Jainist monks are such pacifist that they carry around a ritualistic ... https://www.reddit.com/todayilearned/comments/2vhceo/til_jainist_monks_are_such_pacifist_that_they/ [3] Ahimsā in Jain Rituals - Jainavenue https://jainavenue.org/ahimsa-in-jain-rituals/ [4] Ritual practices and religious institutions - Jainism - Britannica https://www.britannica.com/topic/Jainism/Ritual-practices-and-religious-institutions [5] Jain monks wear mesh over their faces to avoid inhaling insects and... https://www.researchgate.net/figure/Jain-monks-wear-mesh-over-their-faces-to-avoid-inhaling-insects-and-carry-soft-brooms-to_fig1_262855310
So, an Avadhuta in Jainism, historically, was one who left behind, or cast-away, the ritual broom.
Based on the information provided in the sources, the concept of "Avadhutarupa" in Jainism specifically refers to a form of penance or spiritual practice where a religious practitioner discards or casts away certain material implements like the broom.
The key points are:

1. Source [3] defines "Avadhutarupa" as "the penance of the religious who gives himself an unrecognizable form (by discarding his material badge, broom, etc., so as not to do wrong with the doctrine)."
   
2. It states this is a Jain technical term mentioned in the 13th century text "Vividhatirthakalpa" by Jinaprabhasuri, which discusses various Jain pilgrimage sites.
   
3. The act of discarding the broom and other material possessions is seen as a form of penance or vow of non-possession (aparigraha) in Jainism.
   
4. Sources [1], [2], and [4] highlight the significance of the broom itself as a sacred ritual implement for Jain monks and nuns to practice non-violence (ahimsa) by gently sweeping away insects from their path.
   

So in essence, while the broom itself holds immense spiritual significance as a tool of non-violence, the concept of "Avadhutarupa" refers to the act of a Jain renunciant voluntarily discarding or casting away even this sacred broom, as a more extreme form of penance and non-possession.
Therefore, your statement "an Avadhuta in Jainism, historically, was one who left behind, or cast-away, the ritual broom" accurately captures the essence of this Jain spiritual practice and term, based on the information across these sources.
Citations: [1] Brooms & Superstitions Story of Indian crafts and craftsmen - Gaatha https://gaatha.com/brooms-of-india/ [2] TIL Jainist monks are such pacifist that they carry around a ritualistic ... https://www.reddit.com/todayilearned/comments/2vhceo/til_jainist_monks_are_such_pacifist_that_they/ [3] Avadhutarupa, Avadhūtarūpa, Avadhuta-rupa: 1 definition https://www.wisdomlib.org/definition/avadhutarupa [4] Ahimsā in Jain Rituals - Jainavenue https://jainavenue.org/ahimsa-in-jain-rituals/ [5] Ritual practices and religious institutions - Jainism - Britannica https://www.britannica.com/topic/Jainism/Ritual-practices-and-religious-institutions

OVERVIEW
The Wall of Sheep would like to announce a call for presentations at DEF CON 32 in Las Vegas, NV from Thursday, August 8th to Sunday, August 11th. Packet Hacking Village Talks goal is to deliver talks that increase security awareness and provide skills that can be immediately applied after the conference. Our audience ranges from those who are new to security to the most seasoned practitioners in the security industry. We are accepting submissions from individuals and organizations on any of the topic areas, including, but not limited to, the following technologies and applications:

• AI and Machine Learning in Security: Impacts on network and operating system security; use in deploying and defending networks.
• Awareness: Security awareness program success and failure stories.
• Cloud Security: Hacks and tricks for assessing and testing services.
• Compliance: How to use regulatory compliance requirements in your favor to enhance your overall funding and security posture.
• Networking and Cybersecurity: The latest hacks, trends and technologies in networking and cybersecurity.
• Spy-level makeup art (e.g., wigs, prosthetic noses, etc.)
• Supply Chain Security: Building security into the supply chain process to reduce risk.
• Threat Defense: Advanced techniques for defending networks, systems, and services from cyberthreats.
• Tools, Techniques, and Procedures: network sniffing, intrusion detection, monitoring, forensics, DFIR log analysis, collection & visualization, threat hunting, EDR telemetry, lolbin's for defense, detecting download cradles, using the ATT&CK framework for defense, Incident response process and procedures and/or recovery, automation

DEF CON attracts a wide range of technological skill sets, presentations need to be accessible, with explanatory information to help the audience understand.
The Wall of Sheep will not accept product or vendor related pitches. If your talk is a thinly-veiled advertisement for a product or service your company is offering, please do not apply! We will also not accept talks that have been given elsewhere, including at DEF CON / Black Hat / BSides.
All accepted talks will be announced, recorded, and published by Aries Security, LLC. and DEF CON Communications, Inc. Please see our YouTube channel for all talks from previous years: https://www.youtube.com/channel/UCnL9S5Wv_dNvO381slSA06w and https://www.youtube.com/channel/UC6Om9kAkl32dWlDSNlDS9Iw.
The Call for Presentations will close on Friday, May 31st at 11:59 PM PST. The list of talks will be finalized and published on Friday, June 7th.
SPEAKING FORMAT --UPDATED FOR DEF CON 32
Each presentation slot is 1 hour maximum, including time for Q&A. If we have time and it is in line with our goals mentioned above, then there is a good chance you will be selected.
Presentations will be part of DEF CON's new "Creator Stages". Although presenters will not receive a DEF CON speaker badge, they will receive a human badge and additional identification as village speakers. Presentations will also be recorded and shared on DEF CON's media servers and YouTube. Additionally, we do not recommend live demos. Pre-recorded demos are preferred.
To submit a presentation, please provide the following information in the form below to cfp2024[at]wallofsheep[dot]com
Primary Speaker Name:
Primary Speaker Title and Company (if applicable):
Primary Speaker Email Address:
Primary Speaker Phone Number (to contact you if necessary during the conference):
Primary Speaker Twitter name (if you want it known if you are accepted):
Primary Speaker Mastodon name (if you want it known if you are accepted):
Additional Speakers' name(s), titles, and social information:
Additional Email Addresses:
Is there a specific day or time you MUST speak by?
Name of Presentation:
Length of presentation: (20 minutes or 50 minutes)
Abstract (100 words MAXIMUM, absolutely necessary for printing purposes):
Your abstract will be used for the website and printed materials. Summarize what your presentation will cover. Attendees will read this to get an idea of what they should know before your presentation, and what they will learn after. Use this to inform about how technical your talk is. This abstract is the primary way people will be drawn to your session. CFP reviews like to see what tools will be used and what materials you suggest to read in advance to get the most out of your presentation.
Has this talk been given anywhere before? YES or NO
Speaker's Bio(s) (75 words MAXIMUM per bio):
This text will be used for the website and printed materials and should be written in the third person. Cover any professional history that is relevant to the presentation, including past jobs, tools that you have written, etc. Let people know who you are and why you are qualified to speak on your topic. Presentations that are submitted without biographies will not be considered.
Detailed Outline:
You must provide a detailed outline containing the main points and navigation through your talk. Show how you intend to begin, where you intend to lead the audience and how you plan to get there. The outline may be provided in a separate attachment and may be as simple as a text file or as detailed as a "bare bones" presentation. The better your outline then the better we are able to best review your presentation against other submissions (and the higher chance you have of being accepted). SUBMISSION NOTE: Presentations that are submitted without abstracts, outlines, or speaker bios (e.g., that have only PDFs, PPTs, or white papers attached or only point to a URL) will not be considered.
Supporting File(s):
Additional supporting materials such as code, white papers, proof of concept, etc. should be sent along with this email to cfp2024[at]wallofsheep[dot]com. Note that additional files that may help in the selection process should be included. We are not asking for a complete presentation for this initial submission. That will only be required if you are selected for presenting.
TERMS AND CONDITIONS
By submitting you agree to the Terms and Conditions below. Please read and accept these terms by inserting your name in the appropriate area, otherwise your application will be considered incomplete and returned to you.
Grant of Copyright Use
I warrant that the above work has not been previously published elsewhere, or if it has, that I have obtained permission for its publication by DEF CON Communications, Inc. and Aries Security, LLC. and that I will promptly supply DEF CON Communications, Inc. and Aries Security, LLC. with wording for crediting the original publication and copyright owner. If I am selected for presentation, I hereby give DEF CON Communications, Inc. and Aries Security, LLC. permission to duplicate, record and redistribute this presentation, which includes, but is not limited to, the conference proceedings, conference CD, video, audio, and hand-outs to the conference attendees for educational, on-line, and all other purposes.
Terms of Speaking Requirements

1. I will submit a completed (and possibly updated) presentation and a reference to all of the tool(s), law(s), Web sites and/or publications referenced to at the end of my talk and as described in this CFP submission by noon PST, July 30th, 2024. Please note this is a hard deadline as presentation and details need to be sumitted to DEF CON.
   
2. I will submit a final Abstract and Biography to the Wall of Sheep by noon PST, July 30th, 2024. Please note this is a hard deadline as presentation and details need to be sumitted to DEF CON.
   
3. I will include a detailed bibliography as either a separate document or included within the presentation of all resources cited and/or used in my presentation.
   
4. I will complete my presentation within the time allocated to me --not running over the time allocation.
   
5. I understand that I will be responsible for my own hotel and travel expenses.
   

Yes, I, (insert primary speaker name), have read and agree to the Grant of Copyright Use.
I, (insert your name here), have read and understand and agree to the terms as detailed in the Agreement to Terms of Speaking Requirements.
In the case that a speaker is a child under the age of 13 years old: in compliance with the Children's Online Privacy Protection Act (COPPA) regulations, http://www.coppa.org, any child under age 13 must have parental consent for the collection, use, or disclosure of that child's personal information by a website. Parent/Guardian Consent: I (insert parent/guardian's name here) am the parent or guardian of the minos named above. I have read and understand and agree to the terms as detailed in the Agreement to Terms of Speaking Requirements.

Contest Rules For Best Song Of The Month • Updated May 19th, 2024

Click here to see summary of changes.

Best Song Of The Month Contest

Music Or Lose It hosts a monthly Best Song Of The Month contest at this musicorloseittv subreddit community. There is no cash or monetary value prize at this time. This contest is simply just for fun. Winners earn the enjoyment of being voted the best. Winners may cite the win in their biographies and social media posts.
The moderator (mod) is available to help music creators with the entry process, eligibility requirements, and deadlines. Music creators are allowed to contact the mod to ask questions about the contest anytime and mod will reply as soon as possible.
Definitions
Music creator: refers to a solo creator, band, group, choir, orchestra, or duo.
Brand identity: refers to how a creator presents themselves as an entertainer making music for the general public. For example, Simon & Garfunkel as a duo is one brand identity. Paul Simon solo is another brand identity.

Process & Deadlines

🟡 Round 1
1) Discovery ◦ Each month, moderator keeps track of songs shared at this musicorloseittv community.
2) Notifying Music Creators ◦ When a likely eligible song is seen, the u/musicorloseittv profile or u/themusicfanman profile will notify the music creator of likely eligibility within the qualifying song’s post. The reply will indicate, “⏳ This song appears eligible for the Best Song Of The Month contest. Please provide the following information…” If the song is confirmed to be eligible by a mod, the mod will make a reply “🟨 This is confirmation notifying you that this song is eligible and in consideration for the Best Song Of The Month contest…” within the qualifying song’s post.
3) Determining Contestants ◦ The Music Fan man will evaluate all eligible songs by the month’s eligibility deadline. He will then at his discretion choose up to 5 songs to compete.
3) Finalists Post ◦ At this musicorloseittv community, the musicorloseittv profile will announce the top finalists (up to 5) in a post tiled “Contest: Best Song Of The Month Finalists (Insert Month & Year).” This announcement will be done in a post made 4 days before the final day of the month. The post will be made sometime in the morning. The songs will be listed within the post in a manner most representative of music diversity as determined by the musicorloseittv profile mod. All songs available on YouTube will be included in a playlist titled “Best Song Of The Month Contestants • (Insert Month & Year)” hosted by the musicorloseittv channel on YouTube. Songs not available on YouTube will be excluded from the playlist. The playlist will be mentioned in this post. The available playlist will help voters get familiar with the songs.
The u/musicorloseittv profile or u/themusicfanman profile will notify the music creators of qualifying for the contest in their post of the song. The reply will indicate, “✅ Congratulations. Your song qualifies for the Best Song Of The Month contest…”
4) Voting ◦ The “Contest: Best Song Of The Month Finalists (Insert Month & Year)” post will specify a duration of 3 consecutive dates during which music fans can vote for only 1 of the top finalists. Voting occurs by the voters making a reply to the post in the following manner: “🗳️ I vote for….” Failing to vote in this manner will result in vote not being counted. To best ensure vote accuracy, voters must not use the “🗳️” emoji anywhere else in the post’s comments section. Music creators may vote for another music creator yet may not vote for themselves. For music creators, it’s “word of honor” voting. The top vote earning song within these three days will become the winner.
‣ Community moderator profiles musicorloseittv and onesongoftheday will abstain from voting. Also, themusicfanman and any special judge involved will also abstain from voting - unless they’re needed to serve as a tie breaker, in the event of a tie preventing a clear winner. If themusicfanman and any special judge involved are needed as a tie breaker, they must come to a consensus to achieve tie breaking. If no special judge is involved, then themusicfanman alone will serve as the tie breaker.
🟢 Winner Declaration!
Declaration Post ◦ At this musicorloseittv community, on the final day of the month, the musicorloseittv profile will announce the winner in a post tiled “Congratulations! 🎉 Best Song Of The Month Winner (Insert Month & Year)” in a post dedicated to celebrating the song. Using the sticky-post feature, the post will be prominently displayed the home page of the musicorloseittv subreddit community for ≈ 24 hours.
Achievement ◦ The contest winner may promote their song as:
My song “Song Title” won:
🏅Best Song Of The Month By Community Vote
(Insert Month & Year)
At The Music Or Lose It Community
The winner may promote themselves and the song as the winner at venues like X/Twitter, Facebook, Threads, or their YouTube channel’s Community feed. The winner may also cite the win in their biographies online including their personal website.
🏆 Song Of The Year
A similar Song Of The Year vote will occur in December. It will be similarly organized and scheduled to conclude on the final day of the year. To determine a Song Of The Year by the end of the year, December’s monthly contest will only be ≈ 2 weeks. Why? Because we need time to conclude The Song Of The Year vote by the end of the year. Additionally, this is a busy time of year for many people. What’s more, non-Christmas music released in December is typically overshadowed by Christmas music. It seems to be a bad idea to release new-original music in late December. See opinion commentary: The Best And Worst Months To Release Music.
Achievement ◦ The contest winner may promote their song as:
🏆 Best Song Of The Year By Community Vote
(Insert Year)
At The Music Or Lose It Community
The winner may promote themselves and the song as the winner at venues like X/Twitter, Facebook, Threads, or their YouTube channel’s Community feed. The winner may also cite the win in their biographies online including their personal website.

Eligibility

Here are the rules for the Best Song Of The Month contest organized by Music Or Lose It just for fun. The eligibility rules are intended to make this contest as fair as possible to the music creator participants.
**👤 Personal: **
Requirements:
✔️ Must be an actual human.
✔️ Must be 17 years of age or older.
✔️ Must be a music creator abiding by the rules of this musicorloseittv subreddit community.
✔️ Must be a music creator posting using either your personal profile or your brand profile as a music entertainer.
Ineligible:
🚫 Profiles run by publicists, music labels, or channels hosting performers.
🚫 People posing as other humans using imitation avatar type creations by artificial intelligence (AI).
**🗿 Music creator’s stature status: **
Eligible:
✔️ Unsigned amateur or unsigned professional yet lesser known.
✔️ Lesser known music creators who have not yet achieved two different songs with over 500,000 views/listens and are signed to deals with small to medium-sized record companies or seeming one-song-per-time type distributors.
✔️ Lesser known music creators who have not yet achieved two different songs with over 500,000 views/listens and are signed to deals with to a major label.
**📅 Release date: **
Eligible:
✔️ Your song must be published and accessible to the masses anytime between November 15^th of the prior year and 5 days before the final day of the current month.
**💽 Songwriting, singing, & recording: **
Requirements:
✔️ You must be the copyright owner of the song (lyrics and sound recording) or authorized/licensed to perform the song by the copyright owner as the first original performer.
✔️ An exception is made if your song is an authorized/licensed remix or includes authorized/licensed interpolation or sampling content by the copyright owner in collaboration with any other amateur music creator(s) or unsigned professional yet lesser known music creator(s). The aforementioned release date also applies to any remix, interpolation, or sampling content.
✔️ Collaborations within the aforementioned rules are allowed so long as the song is entered into the contest by the lead. Lead refers to the first person named in the collaboration.
Ineligible:
🚫 Copyright/trademark violations.
🚫 Songs written by artificial intelligence (AI).
🚫 Songs primarily generated artificial intelligence (AI).
🚫 Cover, parody, nor artificial intelligence (AI) imitation.
🚫 Songs likely to be very divisive for political or religious/anti-religious reasons.
🚫 Collaborations within deceased music creators akin to “Unforgettable” by Natalie Cole featuring Nat "King" Cole.
🚫 Interpolations, remixes, or samplings of a song by a creator signed to a record company of any size or signed to a one-song-per-time type distributor.
🚫 Song with hard cussing. No variations of F word, S word, C word, D word, N word (er or a), ahole word(s), or sexually vulgar words.
🚫 Extremely sexual, gang promoting, violent, or especially scary/gory/maleficent/evil aesthetic content.
🚫 Songs primarily about brands. For example: “I Love Driving Such-And-Such Brand Name Trucks.”
**👂 Recording quality: **
Allowed:
✔️ Professional quality recordings (live or studio).
✔️ Amateur quality (including songs record in a bedroom, car, outdoors, etc…) yet reasonably pleasant sounding.
✔️ Demos are welcome.
Ineligible:
🚫 Live records with too much interfering audience noise.
🚫 Recordings with excessively poor sound quality (abrasive on the ears, difficult to hear).
**📏 Song length: **
Requirement:
✔️ Minimum of 01:15 minutes up to 10:00 minutes.
**💻 Distribution venues: **
Requirements:
✔️ A song published and accessible to the general public masses at a well-known music website such as YouTube, SoundCloud, or Bandcamp.
✔️ A song uploaded to a channel hosting live performances is allowed so long as the song is entered into the contest directly by the creator and so long as the creator confirms permission by the channel. Confirmation can be done in either your original upload URL link source or at this community within your posts’ body-text section or a reply to the post.
✔️ The song’s upload date must be visible at the distribution venue website.
⚠️ If you enter this contest with a Spotify or TikTok URL link, ensure you’ve provided a link for the entire song (not a teasesampler) in a manner that does not require login; ensure the publish date is visible; and be weary of looping flashing visuals necessitating a “⚠️Possible Seizure Trigger Risk Warning.” Failing to do this will result in ineligibility.
Ineligible:
🚫 Login required to access the song.
🚫 Payment required to access the song.
🚫 Uploads of songs directly to Reddit.
🚫 Links not fully available to the public such as an “unlisted” YouTube video.
**🖼️ Song’s artwork: **
Definition: artwork refers to the image/drawing/photo/visuals accompanying your individual song at a music distribution venue such as YouTube, SoundCloud, or Bandcamp. It is sometimes referred to as “cover art.”
Requirements:
✔️ You must be the original creator of the song’s accompanying artwork.
✔️ Alternatively, you must be the copyright owner of the artwork if you paid to have it made. Otherwise you must be authorized/licensed to publish the artwork as part of the presentation of your song.
✔️ Artwork primarily generated by artificial intelligence (AI) is allowed so long as you are authorized/licensed by the AI source to publish the artwork as part of your song’s public presentation. However this is advised against because public sentiment may be hostile towards AI generated content.
✔️ If your song’s artwork uses aspects of copyrighted, creative commons, or “free” material content, you must confirm you’ve got authorization/licensing to use the content as part of your song’s public presentation. Confirmation can be done in either your original upload URL link source or at this community within your posts’ body-text section or a reply to the post.
✔️ Your own logo that you own the copyright to may be displayed in the song’s accompanying artwork (including on a person wearing a hat or T-shirt).
Ineligible:
🚫 Copyright/trademark violations.
🚫 Parody notably displayed in the artwork.
🚫 Visible logos of any brand other than your own logo as a music entertainer.
🚫 Extremely sexual, gang promoting, violent, or especially scary/gory/maleficent/evil aesthetic content.
**🎥 Song’s music video (optional): **
Including a link to a music video is optional.
Requirements:
✔️ You must be the original creator of the song’s music video visuals including: animation; moving graphics; prominently featured still artwork or photos.
✔️ Alternatively, you must be the copyright owner of all the video’s visuals if you paid to have them made. Otherwise you must be authorized/licensed to publish all the video’s visuals as part of the presentation of your song’s accompanying music video.
✔️ Visuals (including: animation; moving graphics; prominently featured still artwork or photos) primarily generated by artificial intelligence (AI) are allowed so long as you are authorized/licensed by the AI source to publish the artwork as part of your song’s public presentation. However this is advised against because public sentiment may be hostile towards AI generated content.
✔️ If your song’s accompanying music video uses aspects of copyrighted, creative commons or “free” material, you must confirm you’ve got authorization/licensing to use the copyrighted material as part of your song’s public presentation within the accompanying music video. Confirmation can be done in either your original upload URL link source or at this community within your posts’ body-text section or a reply to the post.
✔️ Your own logo that you own the copyright to may be displayed in the video (including on a person wearing a hat or T-shirt).
✔️ Allowed music videos include “Official Music Video,” “Live Performance,” “Dance Video Version,” “Animated Video,” or “Lyrics Video.”
✔️ If you opt for an “Animated Video” or a “Lyrics Video,” you must be authorized/licensed to publish all the video’s visuals as part of the presentation of your song’s accompanying music video. If you hire an animator or use AI or an app/software designed to create music video lyrics, you must be authorized/licensed by the animator or AI source or app/software creator to publish the animation and/or lyrics as part of the presentation of your song’s accompanying music video.
✔️ If you opt for a “Dance Video Version,” the dancing and/or choreography must be originally created for your song’s accompanying music video. If you hire a choreographer and/or dancers or collaborate for free or for barter, you must be authorized/licensed by the choreographer and/or dancers to publish the video’s dancing/choreography visuals as part of the presentation of your song’s accompanying music video.
✔️ “Official Audio” type music videos are allowed so long as an accompanying still image complies with the aforementioned “Song’s artwork” rules. Alternatively, if the “Official Audio” music videos has moving visuals, it must comply with these above-mentioned “Song’s music video” rules.
✔️ “Live Performance” music videos may be made from your home/cafield (pretty much anywhere decent and reasonable) or from one of your well-recorded performances from a show. Be sure to avoid copyright and trademark violations in the video.
⚠️ Brief uses of music distribution venue logos at the end or start of a music video may be allowed at mod’s discretion, when the intent is to inform the viewer of venue availability of the song. This is however discouraged unless the distribution venue, at their website, specifies this is allowed. Music videos that display any trademark logos (other than the music creator’s own copyrighted logo) entirely throughout are ineligible.
Ineligible:
🚫 Copyright/trademark violations.
🚫 Notable use of virtual reality program recordings.
🚫 Notable use of filters from apps/websites similar to Snapchat.
🚫 Parody of intellectual property characters prominently displayed in the video.
🚫 Notably visible logos of any brand other than your own logo as a music entertainer.
🚫 Notable display of brand products with visible logos including but not limited to toys, stuffed animals, autos, hats, T-Shirts.
🚫 Extremely sexual, gang promoting, violent, or especially scary/gory/maleficent/evil aesthetic content.
🚫 Limitations on involving minors (under 18 yo): no minors doing dangerous stunts; no depictions of minors participating in drugs/drinking/smoking or very sexual behavior (including sexual dancing); do not prominently feature children that are not your own in the video (exception may be made if a relative only allows you to involve their children).
⚖️ Quantities:
Requirements:
✔️ One song per music creator’s brand identity.
✔️ If a music creator uploads more than one of their brands’ potentially eligible songs, the music creator must inform mod which song they prefer to be included in the contest.
✔️ A music creator may win this Song Of The Month contest up to three consecutive times. If this happens, thereafter the creator must abstain from the contest for the next month and then may return to the contest after that 1-month eligibility hiatus.
Ineligible:
🚫 Every collaboration will not automatically be considered a new brand. For example, Robert Plant and Alison Krauss collaborating one time should not be considered a brand. Robert Plant & Alison Krauss making an entire album together should be considered a brand. Music creators attempting to enter multiple songs under multiple brand names will be scrutinized. If there is no social media presence for any additional brands, their songs will likely be rejected as “also eligible” by mods. If this happens, the music creator will have to enter only 1 song.
**🖱️ Accounts you may post from: **
Requirements:
✔️ Your post must be made directly from either your personal Reddit account profile or your brand’s Reddit account profile.
✔️ If you have a medical condition necessitating aid, on your behalf, you may appoint a publicist, manager, caretaker, helper, spouse, partner, friend, guardian, or family member to post from either your personal Reddit account profile or your brand’s Reddit account profile.
✔️ If your song is from a band, group, choir, orchestra, or duo brand, the post must be made directly from either from one of the members’ personal Reddit account profiles or from your brand’s Reddit account profile.
✔️ If your song is collaboration, the post must be made directly from either the lead’s personal Reddit account profile or from the lead’s brand Reddit account profile.
✔️ If you want another song to be a part of the contest from another brand identity you are involved with, the song must be posted by a Reddit account profile for that separate brand – or one of the brand collaborators’ personal Reddit account profile.
👩🏾‍🏫 Presentation at this musicorloseittv community:
Requirements:
✔️ You must post a link to the song at this musicorloseittv community by tapping “+” on smartphone or clicking “+Create a post” on desktop/laptop. You must select the “My Song” flair.
✔️ Your post must be done by the “Title & Link Share Only method.”
✔️ The song’s URL you provide must be of the standalone song upload - not part of a playlist URL link.
✔️ You may post an audio only upload URL link (such as an individual song published at SoundCloud or Bandcamp). Alternatively, you may post a music video link from a venue like YouTube.
✔️ You may include a smartlink for the individual song (not album or playlist) within your posts’ body-text section or a reply to the post.
✔️ You may title the post whatever you want within the community’s rules and the contest’s rules. Remember: no vague titles; limit post title emojis to no more than 2 (if you decide to use them); and don’t request feedback.
✔️ Your post title may be done in the style of “Entertainer - Song Tile” (or something similar). Alternatively, the post title may be more elaborate. For example: “This Is My Latest Song. It’s About A Wonderful Time I Fell In Love.”
✔️ In your posts’ body-text section or in a reply comment, optionally you may share details about the song that you feel the audience would enjoy knowing.
**📝 Needed information: **
Requirements:
✔️ Within either your posts’ body-text section or within a reply comment at your post, provide the following information – as is:
❇️ Contest entry for your consideration:
• Entertainer's Name - Song Title:
• Published on: [Insert date & year. Refers to date published at your URL link source]
• Genre:
• I am an independent creator unsigned I am signed to [insert label name]
• Interpolations/remixes/samplings disclosure: N/A this song contains authorized/licensed interpolations/remixes/samplings [specify] of another song released since 11/15 of the prior year in collaboration with other unsigned music creator(s)[specify]. The link to the original song is [insert URL link – publish date from URL link source must be visible].
• Al disclosure: N/A. A portion of this [song/artwork/music video] is created by Al. Explanation: [specify if this applies to song/artwork/music video].
• Copyright disclosure for song: I confirm I’m the copyright owner of all the contents of this song (lyrics and recording) as it is presented including the artwork [(if applicable) and music video]
Copyrighted content I am authorized/licensed to use commercially in the promotion of my song include: [insert details]
• [optional/voluntary] Confirmation of substantial human involvement: A real human substantially arranged/compose this music. [Note: This type disclosure is strongly encouraged by creators who use instrument sounds and beats from apps/software in substation of instruments played live at the time of recording. This is especially encouraged for music creators who do not show their face and/or don’t show themselves creating the music in a music video or behind the scenes video. For music fans opposed to music primarily created by AI, this type of disclosure can be helpful and assuring.]
• Lyrics: [insert URL link or embed URL link into “Lyrics” text] [note if the lyrics are available at the upload source] [only if you're the copyright owner of the lyrics, you may entirely include them] [type “vocalized” or “instrumental” if applicable]
Ineligible:
🚫 Uploads of songs to Reddit.
🚫 No engagement pleas disguised as feedback requests in post titles nor in your posts’ body-text section. No feedback requests.
**👨🏼‍⚖️ Copyright/trademark compliance: **
‣ Important note: Aforementioned rules already state you either must be the copyright owner of the content you enter for this contest or you must be authorized/licensed to commercially use the content by the copyright owner. Aforementioned rules already state you must disclose use of copyrighted, creative commons, or “free” material. Mods reserve the right to ask for additional proof for confirmation. Suspected violations will be removed at mod’s discretion. You are strongly encouraged to upload your best, newest, utmost original content.
‣ Resources:
U.S. Copyright Office, Copyright in General https://www.copyright.gov/help/faq/faq-general.html
What Musicians Should Know about Copyright by U.S. Copyright Office https://www.copyright.gov/engage/musicians
U.S. Copyright Office Fair Use Index by U.S. Copyright Office https://www.copyright.gov/fair-use
**🤝 Mutual Support **
Requirements:
✔️ You must be active in the musicorloseittv community regarding mutual support and engagement with other posts. You must post a comment reply to at least two other posts of any kind at the musicorloseittv community before the final day of the month. Failing to do so will result in disqualification.
Ineligible:
🚫 Posting then ghosting the community.
**😎👍 Encouraging fans to vote: **
Ineligible:
🚫 You are not allowed to ask for votes in anywhere in the musicorloseittv community’s comments section.
🚫 Music creators may not offer anything to anyone whatsoever in exchange for voting for them.
Allowed:
✔️ If you see a music fan has voted for you, you may thank them in a reply comment.
✔️ You may make social media posts at venues like X/Twitter, Facebook, Threads or your YouTube channel’s Community feed to encourage your fans to join this musicorloseittv subreddit community and vote for your song.
Example post:
My song “Song Title” is a finalist for Best Song Of The Month at the musicorloseittv community at Reddit. At [insert URL link] please vote for me and my song. Thank you.
**📜 Rules adherence: **
‣ Important note: If you are new to the musicorloseittv community as either a music fan voting or music creator entering the contest, latitude may be given as you get familiar here. It’s up to mod’s discretion.
‣ Important note: This contest is just for fun. Likewise playing boardgames or cards with friends is also just for fun yet people expect rules to be followed.
**🕊️ Truthfulness: **
Requirements:
✔️ Contestants and voters are expected to behave honorably and ethically.
Ineligible:
🚫 If anyone is ever discovered cheating or being dishonest akin to author James Frey or music entertainers Milli Vanilli, they will be disqualified and also likely be banned from this community.
Additional Info
If you do not want to be in the contest yet want to continue sharing your songs in this community, it is totally ok. Please inform the moderator. A “Message the mods” option is at the homepage.
In circumstances where uncertainty arises due to an unforeseen issue not addressed here in this outline of rules, moderators reserve the right to approve or disapprove eligibility. Moderators reserve the right to disqualify any song for any reason. Unfortunately, not every contest can perfectly satisfy all participant hopefuls.
Just do your best, don’t take it too seriously, and have fun.
Thank you.
END

II. The Narcissistic Personality of Our Time
Narcissism as a Metaphor of the Human Condition
…
Theoretical precision about narcissism is important not only because the idea is so readily susceptible to moralistic inflation but because the practice of equating narcissism with everything selfish and disagreeable militates against historical specificity. Men have always been selfish, groups have always been ethnocentric; nothing is gained by giving these qualities a psychiatric label. The emergence of character disorders as the most prominent form of psychiatric pathology, however, together with the change in personality structure this development reflects, derives from quite specific changes in our society and culture - from bureaucracy, the proliferation of images, therapeutic ideologies, the rationalization of the inner life, the cult of consumption, and in the last analysis from changes in family life and from changing patterns of socialization. All this disappears from sight if narcissism becomes simply “the metaphor of the human condition,” as in another existential, humanistic interpretation, Shirley Sugerman’s Sin and Madness: Studies in Narcissism.
The refusal of recent critics of narcissism to discuss the etiology of narcissism or to pay much attention to the growing body of clinical writing on the subject probably represents a deliberate decision, stemming from the fear that emphasis on the clinical aspects of the narcissistic syndrome would detract from the concept’s usefulness in social analysis. This decision, however, has proved to be a mistake. In ignoring the psychological dimension, these authors also miss the social. They fail to explore any of the character traits associated with pathological narcissism, which in less extreme form appear in such profusion in the everyday life of our age: dependence on the vicarious warmth provided by others combined with a fear of dependence, a sense of inner emptiness, boundless repressed rage, and unsatisfied oral cravings. Nor do they discuss what might be called the secondary characteristics of narcissism: pseudo-self-insight, calculating seductiveness, nervous, self-deprecatory humor. Thus they deprive themselves of any basis on which to make connections between the narcissistic personality type and certain characteristic patterns of contemporary culture, such as the intense fear of old age and death, altered sense of time, fascination with celebrity, fear of competition, decline of the play spirit, deteriorating relations between men and women. For these critics, narcissism remains at its loosest a synonym for selfishness and at its most precise a metaphor, and nothing more, that describes the state of mind in which the world appears as a mirror of the self.
<…>
Scribe Note:
I think the moment Pathological Narcissism is taken as an opening through which contemporary culture and subjectivity can discussed, in concrete relation to socioeconomic or historical particularities, is the moment the Pathological Narcissus is transformed into a metaphor. Here I understand the metaphor as intrinsically concrete. Serving as a connective tissue, medium, and threshold. Alternatively a meeting place. The shape of the Pathological Narcissus orients and organizes. Find Lasch’s approach implicitly architectural. He approaches his work as a craftsmen. Reading Lasch I envision a series of papers detailing seemingly disparate cultural phenomena unfolding and filling in a human-outline, this outline is the Pathological Narcissus. Flipped right-side up, the Pathological Narcissus reveals the real framing device. Contemporary technologies and the move away from the Industrial without properly buffering the agrarian or the small and mid-sized manufacturing that contained/shaped the animating brilliance, innovativeness, and sociality of the American peoples. The Pathological Narcissus cannot be concrete without the abstract as its genesis. Abstract in so far as it is an atomized or segregated sequence of symptoms (an individual reduced to his symptoms) that emerges into view within the transferal space(eros-field) of the analyst’s office. Detailed and expounded upon in the literature. The grounding is perhaps necessarily abstract (to clarify, my usage of the term is distinct from spectral).
Lasch appears on the verge of anticipating and integrating the easy criticism one might levy against him, that this all rests on the presupposition that psychoanalysis has any genuine scientific validity, that Melanie Klein and Otto Kernberg’s contributions to psychoanalysis serve as the standard bearer of psychoanalytic theory and practice (concretely if I’m not mistaken this is absolutely the case in the United States) and more to the point that the psychoanalyst is a trustworthy authority - into his own Criticism. In my reading of The Culture of Narcissism and The Minimal Self, Lasch spirals around this particular critique and the implications. As if it’s a thread we mustn't risk pulling on lest the whole thing unravels. Serves almost like a therapeutic fiction or ‘noble lie’. Still I think it’s implicit in Lasch’s broader critique. In the essay From Mirror to Window: Curing Psychoanalysis of its Narcissism, James Hillman (who I believe had a superior approach to the question of the Image or Icon compared to Lasch who expresses a stunningly consistent Anglo-Germanic and Reformationist contempt for imagery, indeed Lasch’s Iconophobia is nigh Islamic) notes as much,
“Eminent culture critics - Karl Krauss, Thomas Szasz, Philip Rieff, Christopher Lasch, Paul Zweig, and the notorious Dr. Jeffrey Masson - have each seen that psychoanalysis breeds a narcissistic subjectivism inflicting on the culture an iatrogenic disorder, that is, a disease brought by the methods of the doctors who would cure it.”
The “personality disorder” viewed in this light is a diagnostic category that could only come about thanks to the faddish popularity of psychoanalysis. The mother-tongue and womb-religion of the narcissist is psychoanalysis.
The metaphor serves as the site of agonism. Что делать? What is to be done?
What Lasch does here, in my opinion, is update the Narcissus. Can see why this continues to prove a difficult task. One of the issues with the Metaphor is that it becomes very very difficult to differentiate it from the Phantasmatic Type. Especially once it enters into popular usage. Danger of using psychoanalytic terminology in this manner outside of the institution of psychoanalysis. The Pathological Narcissus is that thing the other person is. The tinge of recognition is painful. Or perhaps the greatest danger comes from over identification with the Spectral Narcissus which is easily syncretized with seductive literary or cinematic types i.e., the Superfluous Man or whatever Woody Allen is- and/or falling into a masochistic hypochondria loop of psychic despair. Important to have the example of what an actual Pathological Narcissist is.
<…>
Psychology and Sociology
Psychoanalysis deals with individuals, not with groups. Efforts to generalize clinical findings to collective behavior always encounter the difficulty that groups have a life of their own. The collective mind, if there is such a thing, reflects the needs of the group as a whole, not the psychic needs of the individual which in fact have to be subordinated to the demands of collective living. Indeed it is precisely the subject of the individuals to the group that psychoanalytic theory, through a study of its psychic repercussions, promises to clarify. By conducting an intensive analysis of individual cases that rests on clinical evidence rather than common-sense impressions, psychoanalysis tells us something about the inner workings of society itself, in the very act of turning its back on society and immersing itself in the individual unconscious.
Every society reproduces its culture - its norms, its underlying assumptions, its modes of organizing experience - in the individual, in the form of personality. As Durkheim said, personality is the individual socialized. The process of socialization, carried out by the family and secondarily by the school and other agencies of character formation modifies human nature to conform to the prevailing social norms. Each society tries to solve the universal crises of childhood - the trauma of separation from the mother, the fear of abandonment, the pain of competing with others for the mother’s love - in its own way, and the manner in which it deals with these psychic events produces a characteristic form of personality, a characteristic form of psychological deformation, by means of which the individual reconciles himself to instinctual deprivation and submits to the requirements of social existence. Freud’s insistence on the continuity between psychic health and psychic sickness makes it possible to see neuroses and psychoses as in some sense the characteristic expression of a given culture. “Psychosis,” Jules Henry has written, “is the final outcome of all that is wrong with a culture.”
Psychoanalysis best clarifies the connection between society and the individual, culture and personality, precisely when it confines itself to careful examination of individuals. It tells us most about society when it is least determined to do so. Freud’s extrapolation of psychoanalytic principles into anthropology, history, and biography can be safely ignored by the student of society, but his clinical investigations constitute a storehouse of indispensable ideas, once it is understood that the unconscious mind represents the modification of nature by culture, the imposition of civilization on instinct.

• Freud should not be reproached [wrote T. W. Adorno] for having neglected the concrete social dimension, but for being all too untroubled by the social origin of… the rigidity of the unconscious, which he registers with the undeviating objectivity of the natural scientist… In making the leap from psychological images to historical reality, he forgets what he himself discovered - that all reality undergoes modification upon entering the unconscious - and is thus misled into positing such factual events as the murder of the father by the primal horde.

Those who wish to understand contemporary narcissism as a social and cultural phenomenon must turn first to the growing body of clinical writing on the subject, which makes no claim to social or cultural significance and deliberately repudiates the proposition that “changes in contemporary culture,” as Otto Kernberg writes, “have effects on patterns of object relations.” In the clinical literature, narcissism serves as more than a meta-phoric term for self-absorption. As a psychic formation in which “love rejected turns back to the self as hatred,” narcissism has come to be recognized as an important element in the so-called character disorders that have absorbed much of the clinical attention once given to hysteria and obsessional neuroses. A new theory of narcissism has developed, grounded in Freud’s well-known essay on the subject (which treats narcissism - libidinal investment of the self - as a necessary precondition of object love) but devoted not to primary narcissism but to secondary or pathological narcissism: the incorporation of grandiose object images as a defense against anxiety and guilt. Both types of narcissism blur the boundaries between the self and the world of objects, but there is an important difference between them. The newborn infant - the primary narcissist - does not yet perceive his mother as having an existence separate from his own, and he therefore mistakes dependence on the mother, who satisfies his needs as soon as they arise, with his own omnipotence. “It takes several weeks of postnatal development…before the infant perceives that the source of his need…is within and the source of gratification is outside the self.”
Secondary narcissism, on the other hand, “attempts to annul the pain of disappointed [object] love” and to nullify the child’s rage against those who do not respond immediately to his needs; against those who are now seen to respond to others besides the child and who therefore appear to have abandoned him. Pathological narcissism, “which cannot be considered simply a fixation at the level of normal primitive narcissism,” arises only when the ego has developed to the point of distinguishing itself from surrounding objects. If the child for some reason experiences this separation trauma with special intensity, he may attempt to reestablish earlier relationships by creating in his fantasies an omnipotent mother or father who merges with images of his own self. “Through internalization the patient seeks to recreate a wished-for love relationship which may once have existed and simultaneously to annul the anxiety and guilt aroused by aggressive drives directed against the frustrating and disappointing object.”
Narcissism in Recent Clinical Literature
The shifting emphasis in clinical studies from primary to secondary narcissism reflects both the shift in psychoanalytic theory from study of the id to study of the ego and a change in the type of patients seeking psychiatric treatment. Indeed the shift from a psychology of instincts to ego psychology itself grew partly out of a recognition that the patients who began to present themselves for treatment in the 1940s and 1950s “very seldom resembled the classical neuroses Freud described so thoroughly.” In the last twenty-five years, the borderline patient, who confronts the psychiatrist not with well-defined symptoms but with diffuse dissatisfactions, has become increasingly common. He does not suffer from debilitating fixations or phobias or from the conversion of repressed sexual energy into nervous ailments; instead he complains “of vague, diffuse dissatisfactions with life” and feels his “amorphous existence to be futile and purposeless.” He describes “subtly experienced yet pervasive feelings of emptiness and depression,” “violent oscillations of self-esteem,” and “a general inability to get along.” He gains “a sense of heightened self-esteem only by attaching himself to strong, admired figures whose acceptance he craves and by whom he needs to feel supported.” Although he carries out his daily responsibilities and even achieves distinction, happiness eludes him, and life frequently strikes him as not worth living.
Psychoanalysis, a therapy that grew out of experience with severely repressed and morally rigid individuals who needed to come to terms with a rigorous inner “censor,” today finds itself confronted more and more often with a “chaotic and impulse-ridden character.” It must deal with patients who “act out” their conflicts instead of repressing or sublimating them. These patients, though often ingratiating, tend to cultivate a protective shallowness in emotional relations. They lack the capacity to mourn, because the intensity of their rage against lost love objects, in particular against their parents, prevents their reliving happy experiences or treasuring them in memory. Sexually promiscuous rather than repressed, they nevertheless find it difficult to “elaborate the sexual impulse” or to approach sex in the spirit of play. They avoid close involvements, which might release intense feelings of rage. Their personalities consist largely of defenses against this rage and against feelings of oral deprivation that originate in the pre-Oedipal stage of psychic development.
Often these patients suffer from hypochondria and complain of a sense of inner emptiness. At the same time they entertain fantasies of omnipotence and a strong belief in their right to exploit others and be gratified. Archaic, punitive, and sadistic elements predominate in the superegos of these patients, and they conform to social rules more out of fear of punishment than from a sense of guilt. They experience their own needs and appetites, suffused with rage, as deeply dangerous, and they throw up defenses that are as primitive as the desires they seek to stifle.
On the principle that pathology represents a heightened version of normality, the “pathological narcissism” found in character disorders of this type should tell us something about narcissism as a social phenomenon. Studies of personality disorders that occupy the border line between neurosis and psychosis, though written for clinicians and making no claims to shed light on social or cultural issues, depict a type of personality that ought to be immediately recognizable, in a more subdued form, to observers of the contemporary cultural scene: facile at managing the impressions he gives to others, ravenous for admiration but contemptuous of those he manipulates into providing it; unappeasably hungry for emotional experiences with which to fill an inner void; terrified of again and death.
The most convincing explanations of the psychic origins of this borderline syndrome draw on the theoretical tradition established by Melanie Klein. In her psychoanalytic investigations of children, Klein discovered that early feelings of overpowering rage, directed especially against the mother and secondarily against the internalized image of the mother as a ravenous monster, make it impossible for the child to synthesize “good” and “bad” parental images. In his fear of aggression from the bad parents - projections of his own rage - he idealizes the good parents who will come to the rescue.
Internalized images of others, buried in the unconscious mind at an early age, become self-images as well. If later experience fails to qualify or to introduce elements of reality into the child’s archaic fantasies about his parents, he finds it difficult to distinguish between images of the self and of the objects outside the self. These images fuse to form a defense against the bad representation of the self and of objects, similarly fused in the form of a harsh, punishing superego. Melanie Klein analyzed a ten-year-old boy who unconsciously thought of his mother as a “vampire” or “horrid bird” and internalized this fear as hypochondria. He was afraid that the bad presences inside him would devour the good ones. The rigid separation of good and bad images of the self and of objects, on the one hand, and the fusion of self- and object images on the other, arose from the boy’s inability to tolerate ambivalence or anxiety. Because his anger was so intense, he could not admit that he harbored aggressive feelings toward those he loved. “Fear and guilt relating to his destructive phantasies moulded his whole emotional life.”
A child who feels so gravely threatened by his own aggressive feelings (projected onto others and then internalized again as inner “monsters”) attempts to compensate himself for his experience of rage and envy with fantasies of wealth, beauty, and omnipotence. These fantasies, together with the internalized images of the good parents with which he attempt to defend himself, become the core of a “grandiose conception of the self.” A kind of “blind optimism,” according to Otto Kernberg, protects the narcissistic child from the dangers around and within him - particularly from dependence on others, who are perceived as without exception undependable. “Constant projection of ‘all bad’ self and object images perpetuates a world of dangerous, threatening objects, against which the ‘all good’ self images are used defensively, and megalomanic ideal self images are built up.” The splitting of images determined by aggressive feelings from images that derive from libidinal impulses makes it impossible for the child to acknowledge his own aggression, to experience guilt or concern for objects invested simultaneously with aggression and libido, or to mourn for lost objects. Depression in narcissistic patients takes the form not of mourning with its admixture of guilt, described by Freud in “Mourning and Melancholia,” but of impotent rage and “feelings of defeat by external forces.”
Because the intrapsychic world of these patients is so thinly populated - consisting only of the “grandiose self,” in Kernberg’s words, “the devalued, shadowy images of self and others, and potential persecutors” - they experience intense feelings of emptiness and inauthenticity. Although the narcissist can function in the everyday world and often charms other people (not least with his “pseudo-insight into his personality”), his devaluation of others, together with his lack of curiosity about them, impoverishes his personal life and reinforces the “subjective experience of emptiness.” Lacking any real intellectual engagement with the world - notwithstanding a frequency inflated estimate of his own intellectual abilities - he has little capacity for sublimation. He therefore depends on others for constant infusions of approval and admiration. He “must attach [himself] to someone, living an almost parasitic” existence. At the same time, his fear of emotional dependence, together with his manipulative, exploitive approach to personal relations, makes these relations bland, superficial, and deeply unsatisfying. “The ideal relationship to me would be a two month relationship,” said a borderline patient. “That way there’d be no commitment. At the end of the two months I’d just break it off.”
Chronically bored, restlessly in search of instantaneous intimacy - of emotional titillation without involvement and dependence - the narcissist is promiscuous and often pansexual as well, since the fusion of pregenital and Oedipal impulses in the service of aggression encourages polymorphous perversity. The bad images he has internalized also make him chronically uneasy about his health, and hypochondria in turn gives him a special affinity for therapy and for therapeutic groups and movements.
As a psychiatric patient, the narcissist is a prime candidate for interminable analysis. He seeks in analysis a religion or way of life and hopes to find in the therapeutic relationship external support for his fantasies of omnipotence and eternal youth. The strength of his defenses, however, makes him resistant to successful analysis. The shallowness of his emotional life often prevents him from developing a close connection to the analyst, even though he “often uses his intellectual insight to agree verbally with the analyst and recapitulates in his own words what has been analysed in previous sessions.” He uses intellect in the service of evation rather than self-discovery, resorting to some of the same strategies of obfuscation that appear in the confessional writing of recent decades. “The patient uses the analytic interpretations but deprives them quickly of life and meaning, so that only meaningless words are left. The words are then felt to be the patient’s own pression, which he idealizes and which give him a sense of superiority.” Although psychiatrists no longer consider narcissistic disorders inherently unanalyzable, few of them take an optimistic view of the prospects for success.

According to Kernberg, the great argument for making the attempt at all, in the face of the many difficulties presented by narcissistic patients, is the devastating effect of narcissism on the second half of their lives - the certainty of the terrible suffering that lies in store. In a society that dreads old age and death, aging holds a special terror for those who fear dependence and whose self-esteem requires the admiration usually reserves for youth, beauty, celebrity, or charm. The usual defenses against the ravages of age - identification with ethical or artistic values beyond one’s immediate interests, intellectual curiosity, the consoling emotional warmth derived from happy relationships in the past - can do nothing for the narcissist. Unable to derive whatever comfort comes from identification with historical continuity, he finds it impossible, on the contrary, “to accept the fact that a younger generation now possesses many of the previously cherished gratifications of beauty, wealth, power and, particularly, creativity. To be able to enjoy life in a process involving a growing identification with other people’s happiness and achievements is tragically beyond the capacity of narcissistic personalities.”

"Paris: The Memoir" by Paris Hilton is a transparent and fascinating autobiography that provides readers with an intimate glimpse into the life of the heiress, businesswoman, and media figure. In this memoir, Hilton reveals her personal experience, from growing up in the spotlight as a member of the Hilton family to her ascent to prominence as a socialite, reality TV star, and entrepreneur.
The book begins with Hilton's youth, revealing insights into her affluent upbringing and the difficulties she felt as the heiress to the Hilton hotel fortune. Hilton comments on the difficulty of negotiating fame and public scrutiny from a young age, as well as her struggles with self-esteem and identity.
As the narrative unfolds, Hilton narrates her journey into the realm of reality television with the successful series "The Simple Life," which rocketed her to global celebrity. She discusses behind-the-scenes stories from the show and offers candid views on its impact on her life and career.
Throughout the biography, Hilton also opens up about her personal challenges, including her experiences with fame, relationships, and mental health. She outlines her efforts to reclaim control of her narrative and reestablish herself on her own terms, away from the tabloid headlines and public impressions.
What sets "Paris: The Memoir" different is Hilton's candor and sensitivity. She bares her soul on the pages of this book, chronicling her victories and sorrows with honesty and candor. Hilton also gives insights about her commercial pursuits, including her lucrative fragrance brand and her recent entry into the world of DJing.
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"Shoe Dog: A Memoir by the Creator of Nike" by Phil Knight is a compelling biography that covers the history of Nike from its humble beginnings as a startup to becoming one of the world's most iconic and profitable businesses. Knight, the co-founder and former CEO of Nike, recalls the highs and lows of his entrepreneurial career with honesty, insight, and humor.
The memoir opens with Knight's early years, outlining his enthusiasm for running and his concept to import high-quality, low-cost running shoes from Japan. Knight recalls the difficulty of beginning a business from scratch, including acquiring capital, managing legal and logistical hurdles, and building a team of dedicated employees.
As Nike grows, Knight takes readers behind the scenes of the company's most crucial moments, from the development of its characteristic "Swoosh" emblem to the debut of innovative goods like the Nike Air and the renowned "Just Do It" campaign. He describes the accomplishments and setbacks of developing a global brand, including strong rivalry, corporate disputes, and personal hardships.
What sets "Shoe Dog" different is Knight's frank and insightful narrative. He bares his soul, expressing his worries, concerns, and moments of self-doubt, as well as his undying drive to succeed against all circumstances. He focuses on the qualities that have driven him throughout his path, including innovation, integrity, and the continuous pursuit of perfection.
Through Knight's vibrant prose and vivid storytelling, "Shoe Dog" offers readers a view into the heart and soul of Nike, as well as the tenacious spirit of its founder. Whether you're a fan of sports, business, or memoirs, this book is sure to inspire and delight.
Overall, "Shoe Dog" is an engaging and inspiring story that offers vital lessons for entrepreneurs, business executives, and anybody with a dream. Knight's account is captivating, sincere, and loaded with insight, making this book a must-read for anybody interested in the power of endurance, passion, and invention.
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Hi again. I've been informed by a kind commenter recently that there's a bio for The Empyrean album too! (I've posted about The Will To Death's bio). So I've set out to look for it on John's old blog with the help of the Wayback Machine. Here are the posts I've found, maybe you guys will find them just as cool - I've certainly learned a lot from them. I tried to keep John's original formatting.

The Empyrean

November 15th, 2008
The Empyrean is my new record and will be released worldwide via Record Collection on January 20th 2009. It was recorded on and off between December 2006 and March 2008. It is a concept record that tells a single story both musically and lyrically. The story takes place within one person, and there are two characters. It contains a version of Tim Buckley’s, ‘Song To The Siren’ and the rest of the songs are written by me. My friend Josh plays on it, as does Flea. It also features Sonus Quartet, Johnny Marr and The New Dimension Singers. I’m really happy with it and I’ve listened to it a lot for the psychedelic experience it provides. It should be played as loud as possible and it is suited to dark living rooms late at night. - John Frusciante, November 3rd, 2008

The Empyrean - part two

November 24th, 2008
Journal Entry Number 3
The Empyrean is a story that has no action in the physical world. It all takes place in one persons mind throughout his life. The only other character is someone who does not live in the physical world but is inside it, in the sense that he exists in peoples minds. The mind is the only place that anything can be truly said to exist. The outside world is only known to us as it appears within us by the testament of our senses. The imagination is the most real world that we know because we each know it first hand. Seeing our ideas take form is like being able to see the sun come into being. We have no equivelent to the purity of that in our account of the outside world. The outer world appears to each of us as one thing and it is always also a multitude of others. Inside to outside and outside to inside are neverending. Trying and giving up are a form of breathing.
- John

The Empyrean - part three

January 5th, 2009
My describing The Empyrean as a story is accurate from my viewpoint, but misleading, as there are no road signs to lead someone else to perceive a clear story out of it. There was no intention to write what would be seen as clear-cut story, though it is one to me. Being that it takes place in the mind of one person, no laws of time and space, or concrete relationships exist therein. This is to say that if you look into it with your logical brain you will only strain yourself and come up with nothing. The words were specifically written to document an inner experience of life, the kind that a person has extreme difficulty translating to anyone else. Part of the intention was to write words to connect with other people who have been, or are, overwhelmed by the confusing, inescapable inner world they must live in. Equal attention was given to writing words that would gently direct themselves towards the listeners’ intuitive brain, and their sub-conscience, which I believe comprehends and catalogues everything in a much richer and more multi layered way than our conscious mind. Like a lot of lyrics, it was written to be perceived in as many ways as there are people hearing it. A person to whom the words have no clear, conscious meaning may derive more from it than someone who reads it as I do, and so I recommend hearing or reading it however you will. It would have been simpler to say nothing at all but this only fully occurred to me today, as I have gradually realized that by saying what it is to me, I am encouraging people to see it my way and to me, that’s not what rock lyrics are for. I believe rock lyrics should be open to interpretation and I wrote these so they could be. While I could explain the story as I see it that would detract from the potential multifarious meanings that will come about from people applying their own sense of feeling from their life experience, much as they always do.

The Empyrean

January 20th, 2009
An Introduction to the Description
Here are some thoughts I have about the story of The Empyrean. I don’t think they detract from anyone reading their own things into it, but they provide a guideline through which to see the basic form of the lyrics more clearly. I’m just explaining the way I see the outline, but the contents and the details remain open to interpretation. I avoided discussing any of this in the small amount of press I did. In those I just try to be myself. These ideas are too dear to me to let someone else filter them. I’m posting this only because these ideas may be of some value to some people. Not as a way of trying to inspire interest in my work.
When I buy a record I like, I listen without reading the lyrics the first time. Then I read the lyrics at some point later (maybe on the second listen, maybe months later). Often years later I’ve enjoyed hearing what the artist says about what they’ve done. But to be honest if it was someone I liked I’d want to know the second I could. Anyhow, I suggest using your own discretion in choosing when to read both the lyrics and the following description of them.
Also, throughout the making of this record, I felt that some force was expressing itself through me, and so I don’t claim that my understanding of it is at all definitive. But since a story such as this would have helped me at various times in my life, I figured I’d make it as clear as I think would be necessary for someone else to benefit from its contents, and to possibly outwit fate and conditioning in their own way.
Description to the Story of The Empyrean
The main character is a creative person who experiences the full spectrum of life’s ups and downs. All dialogue takes place in his mind. The other character could accurately be called the creative force, which constantly creates and perpetuates existence. It could also be called the energy which fuels the engine we call the mind, with all of its creative potential. It could also accurately be called ones true self. It sometimes takes the form of a voice in your in your head or voices in your head. The more out of step your actions are with your true self or the creative force, the more disruptive those voices will be. This serves as a guide. This characters action is usually on track enough to where, when he hears the force as a voice, it speaks truth. The main character is, to one degree or another, in a perpetual state of confusion.
On the path to merging with the force, material life and the self (the fluctuating, impermanent self as determined by conditioning and environment) will at times seem meaningless, leaving one feeling stranded. The main character goes through extreme loneliness (in song two and the first half of song five) and at times thinks he can only merge with this force upon dying. In the 8th song of the story, a kind of suicide takes place, which results in a rebirth. It could be actual death or a shedding of the unnecessary parts of the personality. In any case, a rebirth takes place (songs 9 and 10) in which he finds himself filled with wonderment in regards to life. The more someone’s actions are aligned with the creative force inherent in everything we know, the more that persons imagination will become one with that persons surroundings. He eventually realizes that the highest point in heaven is a potential inside him, and that no thing is any different than anything else. What is beyond him is inside him and inside everyone. And that the feelings within him are perfectly suited to the opportunities to be creative here on earth. The attempt to be one with that force is an ongoing challenge that is such a privilege, the fruits of which make all the confusion of the path part of the privilege. He realizes that the ways in which the imaginations source is hidden from him are guides and road signs to help him become one with that source by means of his own resourcefulness. He realizes that confusion and pain have been as much the cause of what’s made his life meaningful and pleasureful as things he mistook for being pure goodness. Everything here contains its contradiction and so up and down, left and right, forwards and backwards, happy and sad, pleasure and pain, are each two things, which are one. And all things we believe to be separate are one thing. The illusion of separateness is the cause of pain, and it is also part of the cause of all the works of beauty people have created. Things like social position, positions of power, identification of the self with the body, identification of the self with ones thought patterns, are all false (though obviously very conceivable as true). False in that they are useless to the true self. To live by them is like giving in to the illusion of separateness and accepting it as reality. This amounts to nothing and matters only to the transient aspects of what you are. All that matters to your true, permanent self is to do what you are here to do. To establish direct contact with your true self and follow the course of action your heart dictates. Not to say that that means you will always be happy and content, but along the way you will know the meaning of pure happiness at the times when it comes. Not the shallow happiness of satisfaction in feeling you have more possessions than someone else, or have more money and power, or a prettier face, but happiness that comes from living in harmony with the same force that sets possibility into motion to become actuality. Happiness derived from the beauty of the things that come through the channels within you. From listening with your inner ears and seeing with your inner eyes. Happiness in seeing something within you manifest as something around you. Pain sets us to work and gives us a basis out of which to create works, which inspire pleasure, in the same way that darkness gives the sun a basis through which to shine light. The triumphant aspect of feeling great depends on one having absorbed pain. Appreciating your own value can be achieved to whatever degree you have faced feelings of your own worthlessness. Opposites give one another their meaning.
The record documents the ways in which a person strives for what is beyond his reach. In his effort to go higher with every step, he sometimes dives down, only to find that when he reemerges he is always higher than he was before. The musical dynamics work in tandem with these inner rises and falls he experiences. He necessarily remains in a state of confusion and longing but is grateful for that, as without that he would not be becoming anything. Growing and changing is its own reward, and it is sometimes necessary to stop in order to be rejuvenated. It may even be necessary to resent the universe and its creative force from time to time. But meaning is meaning and emptiness is emptiness and a person who can distinguish between them will always come around to embrace the space into which everything is created. And, upon death, this space of complete potential will give everyone a kiss, without exception. The story of this record is one mans reaching for something outside him and finding that it was always within him

“Poem”

January 22nd, 2009
Here is a poem that reflects the composition of the story in The Empyrean. I don’t feel that reading any of these posts is essential to the album. They are just my way of offering something to people who are interested.
The following words vaguely express the lyrical and musical form:
From within confusion and darkness,
Reaching up to the source of light,
Trying,
Giving up,
Climbing,
Resting,
Going up,
Going down,
Dying,
Being reborn,
Darkness becomes lighter,
Confusion becomes clearer,
Up,up,up.

Imrael

January 27th, 2009
Lyrically this record became a concept album and was not initially written that way though I had a clear idea of what sort of things I wanted to write about. I did not write the songs as a character but as myself. The form revealed itself as it took shape and I added songs to complete the flow I perceived. I also left off two songs since the singer’s words were somewhat from the inside out. All the remaining songs lyrical viewpoint is from the inside in. They are very personal, hence my being uncomfortable talking about them in any specific terms. Even in the long “description” I wrote, I’m being very cagey. The actual experience was, and is, very specific and did not involve anything vague. But to explain it in plain terms would serve no purpose other than to make me look insane to people who have no correlating inner experience. What I’ve said so far is vague insomuch as it has to be to be open and universal. But I’ve said enough to where anyone who has had a similar inner experience may be gently directed towards finding some clarity in areas, which are confusing. I’m sharing it to the degree I am because I have, at times, been so lost in the course of my life, and have been gently directed towards making sense of lots of confusing things from reading certain writers and from obsessing on lyrics of rock songs about this same subject, of which I believe there to be many, though perhaps often unbeknownst to the writers of the songs themselves.
We are all reaching up in our own way and so even when we choose concrete things as the object of our desire, I feel that they are only symbols and that the real object of our desire is the creative force inherent in everything. It is what created us and perpetuates our lives, and so our creations are its creations. Kind of like if you built a robot that could think and feel, and then it painted a picture, that picture would be the result of the precise structure of thought and feeling you endowed the robot with. We’re all grateful for what we’ve been given. Even when we are unhappy with everything, its “poor me”, showing that we still think of that “me” and its feelings, as having a lot of significance. It’s a pretty amazing thing to have this complex network of thought and feeling in these bodies. From where does it come? We’ve traced the cause of matter to something that required the preexistence of time, the principles of motion, space and many other things. The laws of motion, time and the space everything exists into, all have an untraced cause. And likewise we don’t have any idea where things like perception and thought came from. So why anything whatsoever exists, whether as actuality or potential, is unknown. I just attribute all these things to the creative force, since, though its essence is unknown, it is in plain view inside each one of us. And it becomes clearer the more generative and positive a persons thoughts and actions are, until it doesn’t seem unknown at all. Our own creative nature is a small version of the creative force we owe existence to, so we can understand that force for ourselves just by doing creative acts.
The life giving properties that the suns rays contain is something we imitate ourselves, whether by smiling at someone or telling a joke, or singing a song. It is a human need when you feel something inside to express it outwardly. And that life giving substance the sun shines out is a lot like our own creative actions. The sun is telling us that if you repeat an action every day (like learning something, playing something or making something), the object of your efforts will grow and grow. Your ability to express yourself or to give to the world around you will grow with your persistence in doing whatever that thing is you do. And even though the sun appears to go up and down, having its process of apparently rising up, peaking, going down, and then hiding, science has taught us that this only appears this way to our point of view and it is circling around, and shining at full strength always. Likewise our own ups and downs just appear as they do to us. In actuality we are thriving all the time. Everything we do is directed towards shining our form of light. We couldn’t do it if we were just peaking all the time, just as life as we know it would end if the sun always stayed at what appears to us as its highest point of strength. A person could never exceed at something if they just did it once in a while, it’s a hint and half that the thing we owe our existence to repeats its rounds every day. Persistence is an incredibly potent thing. We are lucky that life isn’t like dreams, in which the result of our actions is lost by the next dream. Here we have the ability to build a thing from day to day, whether it is skill at something or an actual edifice. Whether in the physical world or in our minds, this principle stands. We read one page of a book, and upon reading the next page its events appear to us as following the last one. In music, one note leads to the next, the new one heard in relationship to the ones, which preceded it. Or we learn the basics of something and then gradually learn that subjects complexities. These gifts are ours to do whatever we want with.
Trying and giving up go hand in hand. But it’s trying that deserves the attention of our will. Giving up is just breathing out. Breathing in is the one we need to remember to do. Breathing out naturally follows. The important thing is just to keep breathing. To try and then just go through all that happens, including not trying. And so we hold our breath sometimes. These things aren’t problems. They are just living. As long as the message you send yourself is that it is important to you to be guided by the creative force inside you, in the long run you are on the same path as the sun. Of course you’ll seem to go up and down, and be in darkness and light. That’s life. The reality of it is that you are a shining star circling through space all the time. So by making your own circular actions (doing some creative or educational activity consistently) you will naturally become more of what you really are. And you are that already. It’s just a game to learn to be it more completely amidst environment, and the illusions of constant change and separateness. One entirety of everything is all there is, ever was, and ever will be.

P. S. The Invisible Movement site https://invisible-movement.net/ is very broken for me right now; though it has massive amounts of data, I can't seem to find a reliable way to sort through it. The "old blog" page is empty for me, even though the posts from his blog definitely are archived there. It's just I can't find them through the site itself. So I decided to put them here in one place for anyone's viewing pleasure. And here is the link to the WB capture itself: https://web.archive.org/web/20090302225435/http://johnfrusciante.com/
P. P. S. Initially I was hoping to find more of JF's writings from 2004 on on his site, but it seems like the Flash Player no longer working is what's preventing me from being able to access it. I'll see if I can do anything about it. The Invisible Movement reposts from 2004 sadly don't have any media attached to them either (it's either broken attachtments or dead links, or "go see John's site for the new message")