Poem: "The Wolf of the Galleries"
Jun. 7th, 2020 04:47 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
ysabetwordsmithThis poem is spillover from the June 2, 2020 Poetry Fishbowl. It was inspired and sponsored by janetmiles. It also fills the "Opposites" square in my 6-1-20 card for the Cottoncandy Bingo fest. This poem belongs to the Arts and Crafts America series.
WARNING: This poem contains intense and controversial content that may disturb some readers. Highlight to read the warnings, some of which are spoilers and possibly also triggers. It features alternate history of World War II, Adolf Hitler as an artist, and generally in a positive light, his friends from several victim categories of the Holocaust, the use of persuasion and charisma to influence the art world, macabre art, World War I, war art, Heinrich Luitpold Himmler in charge of WWII, artists upsetting applecarts, and other mayhem. People sensitive to the issues of WWII should think twice about this one. The background is heinous, but the tone is generally positive. If these are touchy topics for you, please consider your tastes and headspace before deciding whether it is something you want to read.
"The Wolf of the Galleries"
[1907-1947]
When Adolf Hitler got accepted
to the Academy of Fine Arts Vienna,
he was thrilled but stunned.
He had hoped, of course, but
he'd never really expected.
He was good but not great,
and he knew it. He dreamed
of becoming better, if only
he could get a chance.
"I'm the luckiest man alive,"
he told himself. "I won't forget it."
So Adolf practiced his studies
with diligence and determination.
He took the drawing classes
both in charcoal and in ink.
He took the painting classes
both in watercolor and in oil.
He even tried art pastels,
the oil and the chalk, but he
had to admit that was hopeless.
He found precision impossible.
"Well, at least I tried," he said.
"It was still a learning experience."
The drawing, though, he got
rather good at that, especially
outlining in ink and coloring in
with watercolor afterwards.
He enjoyed oil painting,
doing better landscapes
than portraits, and best of all
the colorful abstract works.
Adolf made friends in
his art classes, and it
frustrated him that people
overlooked most of them.
There was the boy who kissed
other boys -- well, who cared?
It was art school, after all.
Hans painted flowers,
lilies bursting from vases,
passionflowers surrounded
by tiny threaded extensions,
fuzzy curled cockscombs
and upthrust fire pokers.
At first nobody paid
any attention, but Adolf
dragged them over and said,
"His paintings are beautiful,
the shapes of the flowers,
and such colors! You'd see
that, if you'd only look."
He made them look,
and then they saw.
There was Daiena,
a Sinti girl who did things
with the chalk pastels that
Adolf had never dreamed,
sunrise over the Rhine and
sunset on the windows of Berlin
and the Black Forest in winter
all done in deep green and white.
"You should come look," Adolf said,
hauling their teacher by the hand.
"Look how the edges of the world
go all soft in her pictures."
The teacher looked, and saw.
Adolf determined to try his hand
at portraiture again, and did better
at it in charcoal than in chalk or oil.
The Jewish boy Samuel was incredible,
though. He drew a series in which
the central portrait was surrounded by
a cuckoo clock of images showing
each of the different emotions.
Adolph despaired of the art teacher,
instead fetching a philosophy professor.
"Look at this," he told her, pushing her
at the pictures. "See how Samuel
catches the light and shadow
to weave them into feelings."
The philosophy professor asked
if Samuel could draw them bigger,
large enough to use in her lectures.
They absconded with a vast piece of
background paper from the studio
dedicated to photography, and
Samuel created a mural of
nearly life-size expressions.
It was in a class on illustration
where Adolf learned more about
working with watercolor and ink.
He made friends with an intellectual
who was into scientific illustration, and
while Kurt was drawing delicate machines,
Adolf discovered a fascination with
the intricacies of human bones.
Hans looked at the stack of skulls
and said, "It needs some flowers."
So Adolf filled in a foreground of
daisies blooming in the grass,
two flowers filling the eyes
of the skull on the top.
Then he went over to visit
the architects and engineers
to make them come see
what Kurt had drawn.
"Look at the little watch!"
he said, "All the gears perfect,
you almost expect to hear ticking."
They got in a fight over Kurt.
Muffling a laugh, Adolf
dragged his friend out of
the fray and off to a pub,
buying Kurt a beer by way
of apology for the fracas.
So it was and so it went,
Adolf making people look at
the marvels his friends were
creating, and his friends hanging
Adolf's cityscapes and abstracts
and flower-festooned macabres
in their tiny student apartments.
Before long, they started doing
shows, first together and then
separately, Hans and Daiena
and Samuel and Kurt.
Adolf never quite got
good enough for a show
of his own, but it didn't matter:
his friends, now famous, always
insisted on including a few of
his pictures for good luck.
The gallery owners learned
that he had an incomparable eye
for the undiscovered, and they
turned him loose in the streets
with a budget and orders
to bring back the best that
nobody knew about yet.
Adolf brought in a colored girl
and a Russian peasant and
a former Italian mobster, all
with different styles and charm.
The owners loved him. They
called him the Wolf of the Galleries
and paid him handsomely for his help.
He made postcards, some of his own work
and others showcasing artists he'd found,
which soon became collectibles.
It was too good to last, though.
War broke out, and in 1914,
Adolf joined the army.
He carried paper and
canvas to the front, where
he drew and painted what he
saw around him -- farmhouses,
military encampments, and so on.
He became quite fascinated with
the geometry of trenches and
shell craters, and developed
a particular love of ruins which
he drew with his technical pens.
After the war, Adolf went around to
the gallery owners and asked them
to start collecting war art from
as many artists as they could.
"It's cheap now, but people will
want it later," he insisted. "Besides,
for some of these artists, it's all we
have left of them. So many of
them died out on the front."
The owners were dubious,
but they gave it a try, and they
discovered that some soldiers
wanted to buy the art as a way
of showing friends and family
what they had gone through.
"You were right," the owners said
to Adolf. "War art is selling."
"This is nothing," Adolf said.
"Wait ten or twenty years."
By that time, however,
a whole new storm was
brewing on the horizon.
When Herr Himmler started
going on and on about how
the Jews and the homosexuals
and the Gypsies and the elitists
were Ruining Germany Forever!!!
Adolf got his friends together.
"We have got to do something
about this before it gets worse,"
he said. "I need your help."
"Whatever you need," said Kurt,
and the others all nodded.
"We need to show people
that it's better to work together
than to fight until everyone flies
apart," Adolf said. "A picture
is worth a thousand words!"
"Hear, hear," said Hans.
"If we can't show them that,
we're not fit to be artists."
So they began weaving in
bits of each other's imagery
and doing more group shows.
Adolf went back to the school
and invited the philosophy professor
to give talks on fellowship while
the patrons looked at the pictures.
Daiena brought some of her relatives
to dance in the square, and Hans
painted them draped in flowers.
Kurt convinced his engineer friends
to show off their inventions, and Samuel
drew them covered in Jewish craftsmen.
People outside of Germany began
to notice what they were doing.
They got invited to Paris.
They got invited to Rome.
They got invited to Madrid.
They even got invited to America,
though none of them could afford to go.
Adolf sent the Americans a pile of pictures
with the colored girl's on top and watched
from a distance as they lost their minds.
"This may be your best idea ever,"
Hans laughed as they watched the news.
It was all very amusing, and they
had a wonderful time doing it.
Their efforts could not prevent
the war, though, which spilled out
from Germany across Europe.
Then the friends turned from
promoting peace to thwarting
the destructive tide of war.
They took up smuggling and
shipped priceless paintings
to safety in countries not yet
caught in the fires of conflict.
They smuggled people, too, when
it became clear that Himmler meant
to hunt down all the groups he hated.
So they ferreted away the Jews
and the Gypsies, the homosexuals
and the intellectuals, helping them
find a route out of the battlefields
to a safer shore overseas.
In secret, they gave lessons on
peace and art, and their students
scribbled graffiti on the battlements
as they fled the ashes of Germany.
When the war was over and
Himmler had committed suicide in
some ignominious basement hideout,
they took on the hardest task of all.
They began to rebuild the arts
in a nation shattered by war.
"Write to everyone you know,"
said Adolf. "We must get
the galleries back in action,
and the museums, and
the art school, as soon
as we possibly can."
"My people are shaken,"
Samuel said, and Hans added,
"Mine are mostly in hiding."
"The caravans have run
far and fast," said Daiena,
"but we can still help bring
the scattered people home."
"I don't know if mine will want
to return," said Kurt. "Scientists
are well treated in America and
in Russia. Why should they
come back to Germany?"
"You can't have the arts
without the sciences,"
Adolf said. "I'll show
them myself if I have to."
His friends all laughed.
"That'll do it," they said.
* * *
Notes:
(These links are controversial.)
Adolf Hitler was an artist. The Academy of Fine Arts Vienna is famous for rejecting him, thus redirecting him to politics. But what if he had gotten into art school? History would look very different.
What is the point of an art school anyway? It is not, or should not be, merely to produce "great art" or "commercial art." It's about supporting the diversity of art, and especially, about broadening student minds.
Bad art teachers, and here I include biased admissions officers, do a number of terrible things. This includes despising and attacking specific styles, genres, subjects, etc. of art and/or artists of disadvantaged groups. This can ruin students' creativity and lives. And it put Hitler in charge of WWII. No matter how bad some people think his art was, the world would have been infinitely better off had he stayed an artist instead of becoming a politician. That's the kind of power that admissions officers have, but they don't think about it, and that is a problem.
Read a much longer discussion about the art issues.
In German-speaking Europe, the self-designation of Romani/Gypsy people is Sinti,
Basic emotions are universal across cultures and inherent to the human species. Many people have proposed sets, which are not identical but do largely overlap. For artists who draw people, it is essential to master at least the rendering of these emotions accurately. However, many artists seek to portray a much wider range. Learn how to draw facial expressions. and see worksheets blank and filled for the 25 Essential Expressions Challenge. You also need to understand emotional intensity. Practice with the Expression Intensity Chart blank and filled. Such exercises greatly assist in identifying and modulating emotions, a useful skill regardless of the quality in art.
(Some of these images are very creepy.)
Macabre art deals with death, anything from paintings or photographs of dead things to carving actual bones. Explore historic and modern examples.
World War I lasted from 1914 to 1918.
(These links feature graphic violence.)
War art depicts various aspects of violent conflict. Hitler produced a variety of war art during WWI. Browse an online exhibit of WWI art.
What if Hitler had not come to power? The Axis had a superabundance of Nazis, military leaders, and other candidates for supremacy. In the dimension of Arts and Crafts America, it fell to the similarly psychotic but less charismatic Heinrich Himmler. Other dimensions have a wide array of WWII heads.
So many causes fed into World War II that it was functionally inevitable. That is, while nothing is inevitable in theory because the future is unfixed, many things are impossible to avoid in practice. An interesting question in alternate history concerns divergence points: at what point in time did WWII become inevitable? This leads to the question of whether killing (or otherwise diverting) Hitler would have stopped the war. It has implications for modern politics too.
Read a much longer discussion about alternate history.
Democide is mass killing. It includes but is not limited to genocide. WWII included many cases of both.
Compare the Holocaust to more recent and ongoing genocides. (In particular, the genocide of Native Americans continues today though it is largely silenced.) Consider parallels between Hitler's Germany and Trump's America. While America purports to be "haunted by the past" of refouling Jewish refugees, it continues similar policies today, thus disproving the claims of regret. Observers connect the 1930s Jewish refugees with current Syrian refugees, among others. What would you have done in WWII? Would you have helped the Jews and other victims of the Holocaust? Whatever you believe you would have done back then, apply it to the current genocides and refugees. Speak out -- while there is still someone left.
Artists may become activists for many reasons. Protest art is just one outgrowth of this. Learn how to become an artist-activist.
Local-Earth saw much theft and looting of art in WWII. However, some people went to great lengths to smuggle art to safety.
Other heroes smuggled people. Disgracefully, it took a long time to recognize them as heroes, although they obviously risked their lives doing it. So let's be clear: anyone assisting people to escape an untenable environment for a safer one is a hero. (This does not count those who prey upon the desperate, as they are not helping but rather victimizing refugees.)
Charisma is a quality that allows people to charm others into doing things they otherwise wouldn't do. It is the defining feature of charismatic leadership. This has a dark side, as embodied most dramatically in Hitler.
janetmiles. It also fills the "Opposites" square in my 6-1-20 card for the Cottoncandy Bingo fest. This poem belongs to the Arts and Crafts America series.WARNING: This poem contains intense and controversial content that may disturb some readers. Highlight to read the warnings, some of which are spoilers and possibly also triggers. It features alternate history of World War II, Adolf Hitler as an artist, and generally in a positive light, his friends from several victim categories of the Holocaust, the use of persuasion and charisma to influence the art world, macabre art, World War I, war art, Heinrich Luitpold Himmler in charge of WWII, artists upsetting applecarts, and other mayhem. People sensitive to the issues of WWII should think twice about this one. The background is heinous, but the tone is generally positive. If these are touchy topics for you, please consider your tastes and headspace before deciding whether it is something you want to read.
"The Wolf of the Galleries"
[1907-1947]
When Adolf Hitler got accepted
to the Academy of Fine Arts Vienna,
he was thrilled but stunned.
He had hoped, of course, but
he'd never really expected.
He was good but not great,
and he knew it. He dreamed
of becoming better, if only
he could get a chance.
"I'm the luckiest man alive,"
he told himself. "I won't forget it."
So Adolf practiced his studies
with diligence and determination.
He took the drawing classes
both in charcoal and in ink.
He took the painting classes
both in watercolor and in oil.
He even tried art pastels,
the oil and the chalk, but he
had to admit that was hopeless.
He found precision impossible.
"Well, at least I tried," he said.
"It was still a learning experience."
The drawing, though, he got
rather good at that, especially
outlining in ink and coloring in
with watercolor afterwards.
He enjoyed oil painting,
doing better landscapes
than portraits, and best of all
the colorful abstract works.
Adolf made friends in
his art classes, and it
frustrated him that people
overlooked most of them.
There was the boy who kissed
other boys -- well, who cared?
It was art school, after all.
Hans painted flowers,
lilies bursting from vases,
passionflowers surrounded
by tiny threaded extensions,
fuzzy curled cockscombs
and upthrust fire pokers.
At first nobody paid
any attention, but Adolf
dragged them over and said,
"His paintings are beautiful,
the shapes of the flowers,
and such colors! You'd see
that, if you'd only look."
He made them look,
and then they saw.
There was Daiena,
a Sinti girl who did things
with the chalk pastels that
Adolf had never dreamed,
sunrise over the Rhine and
sunset on the windows of Berlin
and the Black Forest in winter
all done in deep green and white.
"You should come look," Adolf said,
hauling their teacher by the hand.
"Look how the edges of the world
go all soft in her pictures."
The teacher looked, and saw.
Adolf determined to try his hand
at portraiture again, and did better
at it in charcoal than in chalk or oil.
The Jewish boy Samuel was incredible,
though. He drew a series in which
the central portrait was surrounded by
a cuckoo clock of images showing
each of the different emotions.
Adolph despaired of the art teacher,
instead fetching a philosophy professor.
"Look at this," he told her, pushing her
at the pictures. "See how Samuel
catches the light and shadow
to weave them into feelings."
The philosophy professor asked
if Samuel could draw them bigger,
large enough to use in her lectures.
They absconded with a vast piece of
background paper from the studio
dedicated to photography, and
Samuel created a mural of
nearly life-size expressions.
It was in a class on illustration
where Adolf learned more about
working with watercolor and ink.
He made friends with an intellectual
who was into scientific illustration, and
while Kurt was drawing delicate machines,
Adolf discovered a fascination with
the intricacies of human bones.
Hans looked at the stack of skulls
and said, "It needs some flowers."
So Adolf filled in a foreground of
daisies blooming in the grass,
two flowers filling the eyes
of the skull on the top.
Then he went over to visit
the architects and engineers
to make them come see
what Kurt had drawn.
"Look at the little watch!"
he said, "All the gears perfect,
you almost expect to hear ticking."
They got in a fight over Kurt.
Muffling a laugh, Adolf
dragged his friend out of
the fray and off to a pub,
buying Kurt a beer by way
of apology for the fracas.
So it was and so it went,
Adolf making people look at
the marvels his friends were
creating, and his friends hanging
Adolf's cityscapes and abstracts
and flower-festooned macabres
in their tiny student apartments.
Before long, they started doing
shows, first together and then
separately, Hans and Daiena
and Samuel and Kurt.
Adolf never quite got
good enough for a show
of his own, but it didn't matter:
his friends, now famous, always
insisted on including a few of
his pictures for good luck.
The gallery owners learned
that he had an incomparable eye
for the undiscovered, and they
turned him loose in the streets
with a budget and orders
to bring back the best that
nobody knew about yet.
Adolf brought in a colored girl
and a Russian peasant and
a former Italian mobster, all
with different styles and charm.
The owners loved him. They
called him the Wolf of the Galleries
and paid him handsomely for his help.
He made postcards, some of his own work
and others showcasing artists he'd found,
which soon became collectibles.
It was too good to last, though.
War broke out, and in 1914,
Adolf joined the army.
He carried paper and
canvas to the front, where
he drew and painted what he
saw around him -- farmhouses,
military encampments, and so on.
He became quite fascinated with
the geometry of trenches and
shell craters, and developed
a particular love of ruins which
he drew with his technical pens.
After the war, Adolf went around to
the gallery owners and asked them
to start collecting war art from
as many artists as they could.
"It's cheap now, but people will
want it later," he insisted. "Besides,
for some of these artists, it's all we
have left of them. So many of
them died out on the front."
The owners were dubious,
but they gave it a try, and they
discovered that some soldiers
wanted to buy the art as a way
of showing friends and family
what they had gone through.
"You were right," the owners said
to Adolf. "War art is selling."
"This is nothing," Adolf said.
"Wait ten or twenty years."
By that time, however,
a whole new storm was
brewing on the horizon.
When Herr Himmler started
going on and on about how
the Jews and the homosexuals
and the Gypsies and the elitists
were Ruining Germany Forever!!!
Adolf got his friends together.
"We have got to do something
about this before it gets worse,"
he said. "I need your help."
"Whatever you need," said Kurt,
and the others all nodded.
"We need to show people
that it's better to work together
than to fight until everyone flies
apart," Adolf said. "A picture
is worth a thousand words!"
"Hear, hear," said Hans.
"If we can't show them that,
we're not fit to be artists."
So they began weaving in
bits of each other's imagery
and doing more group shows.
Adolf went back to the school
and invited the philosophy professor
to give talks on fellowship while
the patrons looked at the pictures.
Daiena brought some of her relatives
to dance in the square, and Hans
painted them draped in flowers.
Kurt convinced his engineer friends
to show off their inventions, and Samuel
drew them covered in Jewish craftsmen.
People outside of Germany began
to notice what they were doing.
They got invited to Paris.
They got invited to Rome.
They got invited to Madrid.
They even got invited to America,
though none of them could afford to go.
Adolf sent the Americans a pile of pictures
with the colored girl's on top and watched
from a distance as they lost their minds.
"This may be your best idea ever,"
Hans laughed as they watched the news.
It was all very amusing, and they
had a wonderful time doing it.
Their efforts could not prevent
the war, though, which spilled out
from Germany across Europe.
Then the friends turned from
promoting peace to thwarting
the destructive tide of war.
They took up smuggling and
shipped priceless paintings
to safety in countries not yet
caught in the fires of conflict.
They smuggled people, too, when
it became clear that Himmler meant
to hunt down all the groups he hated.
So they ferreted away the Jews
and the Gypsies, the homosexuals
and the intellectuals, helping them
find a route out of the battlefields
to a safer shore overseas.
In secret, they gave lessons on
peace and art, and their students
scribbled graffiti on the battlements
as they fled the ashes of Germany.
When the war was over and
Himmler had committed suicide in
some ignominious basement hideout,
they took on the hardest task of all.
They began to rebuild the arts
in a nation shattered by war.
"Write to everyone you know,"
said Adolf. "We must get
the galleries back in action,
and the museums, and
the art school, as soon
as we possibly can."
"My people are shaken,"
Samuel said, and Hans added,
"Mine are mostly in hiding."
"The caravans have run
far and fast," said Daiena,
"but we can still help bring
the scattered people home."
"I don't know if mine will want
to return," said Kurt. "Scientists
are well treated in America and
in Russia. Why should they
come back to Germany?"
"You can't have the arts
without the sciences,"
Adolf said. "I'll show
them myself if I have to."
His friends all laughed.
"That'll do it," they said.
* * *
Notes:
(These links are controversial.)
Adolf Hitler was an artist. The Academy of Fine Arts Vienna is famous for rejecting him, thus redirecting him to politics. But what if he had gotten into art school? History would look very different.
What is the point of an art school anyway? It is not, or should not be, merely to produce "great art" or "commercial art." It's about supporting the diversity of art, and especially, about broadening student minds.
Bad art teachers, and here I include biased admissions officers, do a number of terrible things. This includes despising and attacking specific styles, genres, subjects, etc. of art and/or artists of disadvantaged groups. This can ruin students' creativity and lives. And it put Hitler in charge of WWII. No matter how bad some people think his art was, the world would have been infinitely better off had he stayed an artist instead of becoming a politician. That's the kind of power that admissions officers have, but they don't think about it, and that is a problem.
Read a much longer discussion about the art issues.
In German-speaking Europe, the self-designation of Romani/Gypsy people is Sinti,
Basic emotions are universal across cultures and inherent to the human species. Many people have proposed sets, which are not identical but do largely overlap. For artists who draw people, it is essential to master at least the rendering of these emotions accurately. However, many artists seek to portray a much wider range. Learn how to draw facial expressions. and see worksheets blank and filled for the 25 Essential Expressions Challenge. You also need to understand emotional intensity. Practice with the Expression Intensity Chart blank and filled. Such exercises greatly assist in identifying and modulating emotions, a useful skill regardless of the quality in art.
(Some of these images are very creepy.)
Macabre art deals with death, anything from paintings or photographs of dead things to carving actual bones. Explore historic and modern examples.
World War I lasted from 1914 to 1918.
(These links feature graphic violence.)
War art depicts various aspects of violent conflict. Hitler produced a variety of war art during WWI. Browse an online exhibit of WWI art.
What if Hitler had not come to power? The Axis had a superabundance of Nazis, military leaders, and other candidates for supremacy. In the dimension of Arts and Crafts America, it fell to the similarly psychotic but less charismatic Heinrich Himmler. Other dimensions have a wide array of WWII heads.
So many causes fed into World War II that it was functionally inevitable. That is, while nothing is inevitable in theory because the future is unfixed, many things are impossible to avoid in practice. An interesting question in alternate history concerns divergence points: at what point in time did WWII become inevitable? This leads to the question of whether killing (or otherwise diverting) Hitler would have stopped the war. It has implications for modern politics too.
Read a much longer discussion about alternate history.
Democide is mass killing. It includes but is not limited to genocide. WWII included many cases of both.
Compare the Holocaust to more recent and ongoing genocides. (In particular, the genocide of Native Americans continues today though it is largely silenced.) Consider parallels between Hitler's Germany and Trump's America. While America purports to be "haunted by the past" of refouling Jewish refugees, it continues similar policies today, thus disproving the claims of regret. Observers connect the 1930s Jewish refugees with current Syrian refugees, among others. What would you have done in WWII? Would you have helped the Jews and other victims of the Holocaust? Whatever you believe you would have done back then, apply it to the current genocides and refugees. Speak out -- while there is still someone left.
Artists may become activists for many reasons. Protest art is just one outgrowth of this. Learn how to become an artist-activist.
Local-Earth saw much theft and looting of art in WWII. However, some people went to great lengths to smuggle art to safety.
Other heroes smuggled people. Disgracefully, it took a long time to recognize them as heroes, although they obviously risked their lives doing it. So let's be clear: anyone assisting people to escape an untenable environment for a safer one is a hero. (This does not count those who prey upon the desperate, as they are not helping but rather victimizing refugees.)
Charisma is a quality that allows people to charm others into doing things they otherwise wouldn't do. It is the defining feature of charismatic leadership. This has a dark side, as embodied most dramatically in Hitler.
Re: Thoughts
Date: 2020-06-11 07:56 pm (UTC)I mean, I could see them both trying to duplicate things in odd and appauling ways.
With their fascination with bodies in blood...
Hey look, what happens if we actually *use* this to paint with? What colors does this make it? It's too bad they didn't have refrigeration back then,...and maybe a good thing...because it would make it more feasible.
...
Yep, we could go on all day about this, couldn't we? (I forget that around you, I can be interested in this sort of weird shit, and no one gives a shit, LOL)
-T~
Re: Thoughts
Date: 2020-06-12 12:57 am (UTC)Yikes.
>> Yep, we could go on all day about this, couldn't we? (I forget that around you, I can be interested in this sort of weird shit, and no one gives a shit, LOL) <<
It's way more interesting than the sex life of celebrities I don't even remember the names of, which seems to fascinate normal people. 0_o
Re: Thoughts
Date: 2020-06-12 02:26 am (UTC)Yeah. I remember the names off celebraties, but more because I like their art, bnot because someone had sex with whomever else. Like, I'll sometimes get snippets if I walk by some, but most often I just...there's a reason private lives are *private*. When I was younger I kinda got into that, but now?
I'd much rather read about Toby going on a date with Tybalt, than who J-Lo had sex with *this* week. LOL )I don't even really *like* Ja-lo, which is one of the reasons I picked her.)
I'll admit to being a tad more interested in some lives than I'd like (And I'm changing that because I just...finding out that I wouldn't want my life ripped to shreds that way...so now it's like "Hey, I think this topic has a lot more interest to me now." ... Especially the more I accept that I'm huming, and that I'm a soul with a body. Not a body with a soul.
You can't not when you spend mot of your time with yourself.
-Trausio~