van·​guard
Noun; 1: the forefront of an action or movement; 2: the troops moving at the head of an army

"Heroes like this that you have never heard of before now are going to start coming to the forefront. They are the vanguard of saving this republic."
https://t.co/JJ10XjT85e

I am going to say something very uncomfortable. Read before you react please.

Purity culture encourages pedophilia, a thread:

Purity culture encourages pedophilia.

Some of the standards of purity culture are innocence (pretty much ignorance about sex), submission (for women), virginity as the ultimate standard, and “modesty” (for women that is wearing clothes that don’t reveal their adult curves)*
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Purity culture makes the desirable standard a child. It makes child likeness desirable in regards to sexuality. It makes virginity, and innocence, and submission; what the male brain should want most in a partner. And your brain doesn’t rewire just because you get married.
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This doesn’t mean every man raised in purity culture is a pedophile, that’s not what I am saying. What I am saying is that purity culture wires the brain of men to desire child likeness, which encourages pedophilia. After all desire and objectification happen in our brain.

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Now if you are a pedophile who wants to act on those desires, purity culture does a lot of the grooming for you. Purity culture discourages comprehensive sex education leaving children without the ability to know what’s appropriate and what’s not.

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Time once again for my occasional series "Women with great hair fleeing gothic houses!"

And today all the covers are by Walter Popp...

Crucible of Evil, by Lyda Belknap Long. Avon Gothic Original, 1974. Cover art by Walter Popp.

Hornet's Nest, by Evelyn Bond. Avon Gothic Original, 1972 Cover by Walter Popp.

The House In Munich, by Dorothy Dowdell. Avon, 1974. Art by Walter Popp.

The Secret Of Chateau Laval, by Susan Marvin. Avon Gothic, 1973. Art by Walter Popp.

In the shadowy corners of the shortwave spectrum lurk the Numbers Stations: strange radio broadcasts of mysterious blocks of numbers in creepy monotone voices!

It's actually an old form of spycraft which is still in use today. And as it's #WorldRadioDay let's take a listen...

A Numbers Station is a type of one-way voice link for sending information to spies in foreign countries.

Operating on Short Wave radio bands they transmit a secret code of spoken numbers. Use of Numbers Stations peaked during the Cold War, but some are still operating today.

Numbers Stations are operated by various national intelligence agencies. At set times on a pre-arranged frequency a musical tone is played, followed by a speech synthesised voice reading out blocks of numbers. To most listeners it sounds both creepy and meaningless.

However to spies it can be vital. The numbers can be decoded to reveal a message, provided the spy has the right One Time Pad (OTP) - a random number key that is only used once before it is destroyed. OTP encryption is impossible to break if done correctly.

Why broadcast your secret message on Short Wave? Because it can be picked up across the globe. All a spy needs is a shop bought SW radio, a pencil, and the correct One Time Pad and they - and only they - can decipher the message. No complex kit is required.

#WednesdayWagner Hoiho! Missing your weekly thread on Wagner's leitmotifs and composing strategies? Here I am! This week, we start talking on a leitmotif that appears in every Wagner's opera:
ONE LEITMOTIF TO RULE THEM ALL (part 1 out of 3)
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#WednesdayWagner Although each Wagner's creation has its own "sound world", and although leitmotif technique was not exactly exploited since the 1st one, there is a short gesture/motive that appears in ALL Wagner's operas. Don't you believe me? Keep reading ⬇️
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#WednesdayWagner This is the recurrent leitmotif: the 4-pitch gesture that can be listened to right at the beginning of Lohengrin 
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#WednesdayWagner In this first thread, let's go through the first 3 Wagner operas ("Der fliegende Holländer", "Tannhäuser" and "Lohengrin") to identify this small but powerful melody
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#WednesdayWagner Note that I would just mention the main appearances of this gesture or melodic idea, without digging bar by bar into the whole operas
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Inequality requires narrative stabilizers. When you have too little and someone else has more than they can possibly use, simple logic dictates that you should take what they have.

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The forbearance exercised by the many when it comes to the wealth of the few isn't down to guards or laws - rather, the laws and the guards are effective because of the STORY, the story of why this is fair, even inevitable.

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Think of the story of monarchy and its relationship to the Church: the Church affirms that the monarch (and the aristocracy) was chosen by God ("dieu et mon droit") and the monarchy reciprocates by giving the Church moral and economic power within the kingdom.

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Capitalism replaced the story of divine will with a story of a self-correcting complex system: humans are born and raised with a variety of aptitudes and tastes, and at any moment, historical exigencies dictate that some individuals are better suited than others to do well.

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When it's railroad time, there are people who were born to oversee the laying of track and the coordination of rail networks: markets find those people, allocate capital to them, and allow them to mobilize that capital to produce shared prosperity for all of us.

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