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I  write subtitles for a living.
I create MEMES whilst i'm doing it all day long.
It is the art of work. Meaning getting rid of meaning.

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COMING SOON!!!!

Can’t wait to debut this new work on the Sharjah Biennial...
Which opens on 7 March 2019:

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‘Digest,’ 2019
300-channel video installation
Commissioned by the Sharjah Art Foundation...

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What do we do with what we do not control? To answer this question, source of his latest creation for seven dancers and a musician, Fabrice Lambert is interested in what remains in us of uncontrolled and wild by exploring the fundamental movements that animate the body. In a bewitching scenic and visual device, imagined with the scenographer Sallahdyn Khatir and the light designer Philippe Gladieux, an intuitive, singular and sensitive dance arises at the rhythm of Marek Havlicek's music and percussion by Benjamin Colin.

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Body element transformation via Lyra!

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Lyra Aerial Performance - Steven Bishop (dancer)

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Dance artist Julia MCghee - project // work in progress

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Dance artist Julia MCghee - project // work in progress

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missed her project in Tain because of 🤬transport links to get to the middle of somewhere. Luckily im learning to drive and it's only the beginning of her project presented at this event.  v interesting motives indeed. Nice to get out the city and into a new field.  Hope to be there next time.
'Julia McGhee is developing a new contemporary dance work inspired by the Morrich More.  Following a week of research with Glasgow based dance artist Penny Chivas, Julia will hold a sharing at the Seaboard Hall in Balintore on Saturday 16th February at 5.30pm.  This informal event is open to anyone who is interested in seeing some of the ideas that Julia and Penny create during their week together. It will last about half an hour and is a free event.

The Morrich is walking distance (at low tide) from Inver and is an area of Special Scientific Interest and Special Area of Conservation.  It also forms part of RAF Tain - the largest MOD live fire aerial weapons range in the UK.  Julia lives in Inver and has become fascinated by the area - with help from local residents she has gathered objects and stories about the Morrich and learnt some of its history.'

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Capernaum (meaning confusion or chaos in Arabic)

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Capernaum (meaning confusion or chaos in Arabic)

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Is it difficult as a female director in Beirut?
I’ve never felt that. It’s very difficult to make a film anyway in Lebanon: there’s no film industry. Perhaps that’s part of it. We’re doing it from scratch. We’re not entering a man’s world. It’s a clean page. In fact, there are more women than men working in film in Lebanon.

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Nadine Labaki: 'I really believe cinema can effect social change'

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The Oscar nominee talks about being a female director in Lebanon, the child poverty that inspired her latest film and the Syrian refugee crisis

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This interview was conducted to accompany the presentation of UBERMORGEN's work Vote-Auction as part of Net Art Anthology, Rhizome's ongoing online exhibition of key works of net art.

Launched during the 2000 US Presidential election, Vote-Auction claimed to connect people who wished to sell their vote with potential buyers.
Michael Connor: How did the project begin?
UBERMORGEN: James Baumgartner invented the whole thing. He was from RPI, and he had this idea to do this Vote-Auction thing as a political statement. He did that and ran into serious troubles immediately with the New York City Election Committee. Soon after, the FBI was poking around. One of The Yes Men was teaching up at RPI. They got together and came to the understanding that this was not a project that could be done from the US. And then we took it over.

There was a article, and from this moment on it was a complete danger in America. So, basically, we firewalled them off. And UBERMORGEN had a different strategy: we are experimental; we're not political artists. We don't have any message. We don't care. We were just interested in experimental approaches and pushing the project to the absolute limit and over the edge. So that's what we did.

We started to do a new version of the website with an algorithm that would, every time someone would interact and offer a vote, interact with all the other votes and organically grow the whole system. We started to get traction. And, after a short while, we got so many threats. FBI, NSA, CIA, Austrian Secret Service, German Secret Service. Everybody was basically coming after us. Thirteen states were sending us injunctions. We had to legally protect ourselves. We stayed in Europe for ten years because of this project, never went to the US.

Our domains got killed, but we were flexible. We used a network of people. We worked with press releases, so every time something happened we sent out a press release which generated hundreds of articles or news features in media. Interestingly, it was all mass media-newspapers, video, TV. It was basically the last manifestation of this old mass media system that was still very much in place and had no idea what was going on.
MC: So on the new version of the site, you would sign up to sell your vote, but there was no money exchanged?
UM: No, that would have been highly illegal. Already in certain states, the solicitation of buying and selling a vote is an illegal act. In California, it's a felony. It was very important for us that we protect the stupid people who just had no idea how the internet works.

We could not even register any kind of data because the moment we would have done that we would have incriminated not only ourselves, which was okay- we would have incriminated the audience.

The problem legally was that it posed a threat to the integrity of the American electoral system. That's why they spent, we think, about five million dollars in thirteen states and federally to investigate the case. The spooks-the fucking CIA, NSA, FBI, Janet Reno were investigating the case.

They had to take it seriously. It could have been a problem. And afterwards, in Florida, it became obvious that there were problems, big problems, in the voting system. But technically it was nothing. It was just a shitty website.

We didn't show our identity, we didn't do it in a style that we liked, and we didn't do it as a political message. That was all off the table. We never talked about it as an artistic project. We had aliases, and we represented ourselves as Eastern European businesspeople the whole way through.

The art world had no idea that we were behind it. They had no fucking idea. Only after November 7th we would go and show the thing like the 700 kilograms of legal documents, the videos, et cetera, in museums and galleries around the world.
MC: So how do you position the work as within your artistic practice?
UM: We come from a background of Viennese Actionism, like with the body and shitting on each other and ejaculating on each other and hurting each other or yourself as an act of art in the 1960s. We did something very similar in the '90s and 2000, but we put it in a digital space. It felt very physical, and the body was under threat.

It wasn't digital, it wasn't abstract; it was as real as if you were threatened on the street by someone with a knife. James Baumgartner had FBI agents sitting in front of his apartment. That's how we learned that the ideological separation of digital and analog space is a fucking lie. It's a Silicon Valley lie, it's a philosophical lie, it's a business and marketing lie. There is no difference.

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The Body Was Under Threat: UBERMORGEN on 'Vote-Auction'

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This interview was conducted to accompany the presentation of UBERMORGEN's work Vote-Auction as part of Net Art Anthology, Rhizome's ongoing online exhibition of key works of net art. Launched during the 2000 US Presidential election, Vote-Auction claimed to connect people who wished to sell their vote with potential buyers.

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Looks Like I'll BE heading back to Eden Court Again. This is v. good news.

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Looks Like I'll BE heading back to Eden Court Again. This is v. good news.

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Yes, at last! Humans are animals!!! Stop trying to hide it! The brain is a machine and the body an animal. If you refuse this truth, you don't see the world in all its equity.

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Legendary, eccentric artist Salvador Dalí declared at age 6 that he wished to become a chef. First published in 1973, Les Diners de Gala was a bizarre dream come true-a cookbook filled with surreal illustrations and recipes inspired by the lavish dinner parties that Dalí and his wife Gala organized. The parties were legendary for their wild opulence, with guests often required to dress in costume and wild animals left to roam free around the table.

Acclaimed publisher Taschen is reissuing the cookbook, available for pre-order, as only 400 of the original publications are known to exist. The book, which includes 136 recipes divided into 12 chapters, is arranged by courses-including aphrodisiacs. Aside from his illustrations, Dalí's musings are scattered through the publication, giving insight into his philosophy on gustatory delights. If, as the artist proclaims, "the jaw is our best tool to grasp philosophical knowledge," he does well to display the bizarre and decadent aspects of cuisine. "Thousand Year Old Eggs," "Veal Cutlets Stuffed With Snails," "Frog Pasties," and "Toffee with Pine Cones" are all on the menu, with sometimes unsettling imagery to match. Overtones of cannibalism also creep into the work-for instance, an armless woman with a skirt formed from lobster stands atop of pile of dead bodies, many with severed heads.

Those interested in taking on the challenge of cooking Dalí-style will also need to throw their diets out the window. Dalí writes from the outset, "We would like to state clearly that, beginning with the very first recipes, Les Diners de Gala, with its precepts and its illustrations, is uniquely devoted to the pleasures of Taste. Don't look for dietetic formulas here. We intend to ignore those charts and tables in which chemistry takes the place of gastronomy. If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you."

Whether purchased for the cuisine or the art, Les Diners de Gala demonstrates how Dalí, as a multifaceted artist, never allowed himself to be bound by the limits of the canvas. His artistic mind knew no bounds, moving from the gallery to the kitchen with ease.

Taschen: Website | Facebook | Instagram
via [ Colossal]
All images via Taschen.

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Salvador Dalí's Eccentric Cookbook Is Being Reissued for the First Time in Over 40 Years

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Legendary, eccentric artist Salvador Dalí declared at age 6 that he wished to become a chef. First published in 1973, Les Diners de Gala was a bizarre dream come true-a cookbook filled with surreal illustrations and recipes inspired by the lavish dinner parties that Dalí and his wife Gala organized.

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Benjamin Zephaniah rejects poet laureate overtures: 'They are not worthy'

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Poet says he has 'absolutely no interest' in state appointment after being speculatively named as a contender to follow Carol Ann Duffy

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“Derek Jarman said, ‘Gen, when they know you’ve got a terminal illness, they start liking what you do,’” she said, referring to the director and author. “‘You wait and see.’ And now people want the art in art exhibitions. [And the NYT will finally write about you.]"

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Genesis P-Orridge in her Lower East Side apartment. The musician and artist, 68, is battling leukemia. Credit Credit Gioncarlo Valentine for The New York Times

Neil Andrew Megson discovered Max Ernst when he was 15 years old, and it set a course for his life. The book was called "The Hundred Headless Woman," surrealistic collages of human and animal forms. It presented the body as fluid and mutable, and the self as open to negotiation. It was the mid-1960s, and to a British schoolboy who felt he didn't fit in - into his school, his gender, his body - this was freedom.

In the half-century since, Megson - better known as the musician and visual artist Genesis Breyer P-Orridge - has steadily probed at the boundaries of the body, both literally and figuratively, evolving from art provocateur to founder of the influential British bands Throbbing Gristle and Psychic TV to semi-established fine artist with archives at the Tate Britain. As P-Orridge now considers retiring from live music, Throbbing Gristle's albums from the 1970s and early 1980s are newly available in deluxe reissues on Mute.

At 68, P-Orridge lives on the Lower East Side neighborhood of Manhattan in a body racked by chronic myelomonocytic leukemia.

"I'm stable right now, my blood counts are close to normal," P-Orridge said on a recent afternoon at home, flanked by a snoring Pekingese named Musty Dagger. "But at some point it will finally flare up and become terminal, and there's no way to know when that might be. Optimistically, two years. Less optimistically, a year, maybe six months. And then I'm on the downward slope to death."

The artist at home: working-class English accent, Rogaine in the bathroom, black T-shirt reading "Thank God for Abortion." Breast implants and a mouth full of metal teeth, an idea P-Orridge got from watching the movie "Belle de Jour" on LSD. Shelves full of books and artwork, mostly by P-Orridge, including various fetish objects and a wooden rabbit dotted in blood, the residue of hundreds of ketamine injections.

Since a series of operations with Jacqueline Breyer P-Orridge, P-Orridge's wife, who died in 2007, P-Orridge prefers genderless pronouns, usually first person plural, but is O.K. with female pronouns. Her life, she said, was an experiment that was still playing out.

"We know that Neil Andrew Megson decided to create an artist, Genesis P-Orridge, and insert it into the culture," she said. "Some people take their lives and turn them into the equivalent of a work of art. So we invented Genesis, but Gen forgot Neil, really. Does that person still exist somewhere, or did Genesis gobble him up? We don't know the answer. But thank you, Neil."

It has been a provocative run. P-Orridge first came into being with a Dadaist performance collective called COUM Transmissions, whose shows included whipping, masturbation and live sex; "Prostitution," their 1976 retrospective at the Institute of Contemporary Arts in London, included nudity and bloody tampons and scandalized the British public.

When P-Orridge and others branched off that year to form Throbbing Gristle, they added assaultive industrial noise and Nazi imagery to the mix.

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Jacqueline Breyer P-Orridge, known as Lady Jaye, and Genesis in the film "The Ballad of Genesis and Lady Jaye." Credit Marie Losier, via Museum of Modern Art, New York

"In terms of being shocking, punk was pretty tame in comparison," said Simon Reynolds, the author of "Rip It Up and Start Again: Postpunk 1978-1984." "They were writing songs about serial killers and cutting themselves onstage."

In 1981, P-Orridge reversed course in the gently trippy Psychic TV, whose danceable songs echoed the occult writings of Aleister Crowley and Austin Osman Spare, and included a tribute to Brian Jones of the Rolling Stones called "Godstar." P-Orridge imagined the band as the center of a global consciousness raising, and recruited fans to join Thee Temple ov Psychick Youth, a cross between a fan club and a cult, whose members donned paramilitary gear and submitted bodily fluids as part of their initiation.

In 1995, after a recording session with the band Love and Rockets in the Los Angeles home of the producer Rick Rubin, P-Orridge woke up to a massive electrical fire there and jumped from a second-story window, shattering her arm and suffering post-traumatic stress disorder. Psychic TV went on hiatus, but returned in the late '90s and again with a new lineup in 2003.

But all the time she was making collages and other visual art, including a solo show at the Rubin Museum of Art that made The New York Times's roundup of the Best Art of 2016. And she was writing books, including, most recently, "His Name Was Master," a collection of interviews with Brion Gysin, whose "Cut-Up" literary experiments with William S. Burroughs - splicing and recombining texts to unlock meanings - have been a driving aesthetic in P-Orridge's work and life.

It takes a moment in the apartment to realize that the two naked blondes in a wall-sized photograph, identical of breast and chin, are P-Orridge and Lady Jaye, Jacqueline's nickname. In the bedroom are photos of their California wedding, June 1995, Friday the 13th. Genesis was the bride. Lady Jaye wore a mustache, tight leather pants and a leather vest, nothing underneath.

Their marriage - they met at an S & M dungeon in New York, where Lady Jaye worked - began a new creative phase, this one a partnership, in which their main medium was their bodies.

Lady Jaye was both a registered nurse and a dominatrix, a delightful combination. P-Orridge sometimes worked with her at the dungeon, as the domineering Lady Sarah. The pay wasn't bad - maybe $200 an hour for what was called a "tribute" - but the work wasn't steady, she said. They had money from a lawsuit after the fire, and an idea: What if they altered their bodies to become a third entity, neither male nor female, but free from the binary framework that they saw as destructive?

They called their project the pandrogyne, the fusing of two persons into a third that only existed when they were together. P-Orridge had been an early proponent of piercing and ritual cutting or scarring. The pandrogyne was their way of applying Burroughs's and Gysin's "Cut-Up" technique to their own flesh.

P-Orridge, the father of two daughters from a previous marriage - she attended PTA meetings in a miniskirt and thigh-high boots - remembered calling up her daughter Genesse, saying, "'There's something you ought to know. Lady Jaye and myself, we got matching breast implants last week.' And Genesse just said, 'What? You got breast implants when you could have bought me a new car?' That was 2003. She was about 19."

"My daughters adore me still, despite everything that's been unorthodox," she added. "They don't bat an eye. They call me Papa Gen-Gen."

P-Orridge onstage with Psychic TV. Credit Catherine McGann/Getty Images

Lady Jaye had surgery on her chin and nose to match her mate's. The couple took hormones but didn't like them; they took ketamine, daily, and liked it so much that they often went to sleep with full syringes on their night stands, so that whoever woke up first could inject the other partner in mid-slumber.

The French filmmaker Marie Losier documented their relationship in the 2012 documentary "The Ballad of Genesis and Lady Jaye," which ran at the Museum of Modern Art earlier this month.

The writer Douglas Rushkoff, who briefly played in Psychic TV, recalled nights in the city with Gen and Jackie, as he called the Breyer P-Orridges (like other old friends, Rushkoff refers to P-Orridge by masculine pronouns).

"He and Jackie were our most normal friends," he said. "We'd just go to the Indian restaurant. He had weird teeth or took weird drugs or had weird art, but we would talk about what to do with savings, or how to deal with air conditioning. Just normal, mundane stuff."

Then in 2007, Lady Jaye died of an acute heart arrhythmia. Her death left P-Orridge alone, one half of an art project that no longer had a second half.

"It became really tricky," Rushkoff said. "To make that level of commitment, not just in marriage and love, but to do this thing to your body that doesn't quite make sense anymore without the other half, that's rough."

When P-Orridge developed leukemia, Rushkoff organized a GoFundMe crowdfunding campaign that has raised almost $55,000 for her medical bills.

"We realized for the first time in a tangible way how much people care for me," P-Orridge said. "That was really beautiful to discover. See, I'm getting teary already. That's a good feeling, that that many people want you to stay."

The prankishness of P-Orridge's work sometimes distracts people from the art itself, said Jarrett Earnest, 31, an art critic and curator who met her at a performance piece by Leigha Mason called "Spit Banquet," in which people sat at a table and spat into empty vessels.

"What she's done as a thinker and as a maker, this has not been understood in the wider art world," Earnest said. "People in the music world know her in a specific way. But her writing and her ideas about culture and the relationship of life to art are so profound."

Throbbing Gristle performing at Coachella in 2009. Credit Axel Koester/Corbis, via Getty Images

Earnest added: "She does a lot to play the part of the cartoon, because there's a part of her that's really silly. She is those things, but at the same time this sweet, profound, authentic person. It's not just someone with weird teeth who looks like a cult leader."

On another afternoon in October, P-Orridge wore a T-shirt that read "Cult Leader." She was recovering from pneumonia, preparing to travel to Europe for two concerts, the last two dates in an otherwise scrapped tour. After that, she said, she did not expect to tour again, because her health was too unpredictable.

And she was in love, with a woman she'd met in Granada a few years back.

"We certainly didn't expect it, at our age," she said. "What a beautiful surprise it was to be in love again. She's 28. It's ridiculous, but what can you do, man?"

In the last year, an old bandmate and girlfriend, known as Cosey Fanni Tutti, accused P-Orridge in a memoir of being physically and emotionally abusive. P-Orridge said she had not seen the book, but denied the allegations. "Whatever sells a book sells a book," she said.

And she was busy, preparing two volumes of her notebooks from the 1960s and a graphic novel called "Man Into Wolf," whose title comes from a 1948 book about sadism, masochism and werewolves. Museums, she said, were calling about new and old work.

"Derek Jarman said, 'Gen, when they know you've got a terminal illness, they start liking what you do,'" she said, referring to the director and author. "'You wait and see.' And now people want the art in art exhibitions."

If there is a next chapter, P-Orridge hopes it will be to form a collective community, with people sharing resources but having more privacy than in a commune. The '60s dream still drives her.

"When you've got a terminal illness, you think about what your legacy might be," she said. "My only answer is, we would hope that it would inspire people to see that they can do a life totally as they would like it to unfold. Live your life every day like a page in your book of life, and make that page as interesting as you can. Whenever you have a choice, say: Which is the better page in my book?"

She said she was not afraid of death. "I'd like to stay, because it's fascinating here," she said. "But as far as we can tell, having a physical body is a luxury we don't often get, and too many people squander that luxury."

She smiled, a mouthful of gleaming metal. "We've not squandered it," she said. "We've utilized it to the maximum we could."

A version of this article appears in print on , on Page AR19 of the New York edition with the headline: Provocateur of the Body, Now at Its Mercy. Order Reprints | Today's Paper | Subscribe

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Genesis P-Orridge Has Always Been a Provocateur of the Body. Now She's at Its Mercy.

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Neil Andrew Megson discovered Max Ernst when he was 15 years old, and it set a course for his life. The book was called "The Hundred Headless Woman," surrealistic collages of human and animal forms. It presented the body as fluid and mutable, and the self as open to negotiation.

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Find, rate and share the best memes and images. Discover the magic of the Internet at Imgur.

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I am always both when it comes to this particular meme.

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I am always both when it comes to this particular meme.

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Regardless of sides.

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Akala says it takes 7 drafts to write a book, 5 if you've done well.

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Akala says it takes 7 drafts to write a book, 5 if you've done well.

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Literacy in Scotland dating back 300 years ago.

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Literacy in Scotland dating back 300 years ago.

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Probably why storytelling is so alive & powerful in Scotland. The weavers would read for hours at the loom. Then after work they would discuss literature.

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Natalia's Barua work has recently returned to live performance, and she is interested in expanding screendance into cross art form contexts.

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We need to be changed by the things we learn, not just use them Lacan (1991, p. 201

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We need to be changed by the things we learn, not just use them Lacan (1991, p. 201

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"The place of psychoanalysis in the academy has always been controversial, from Freud's (1919) paper ‘On the Teaching of Psycho-analysis in Universities’ onwards. Lacan was especially scathing: in Seminar XVII (Lacan, 1991) he made several statements that boiled down to the claim that academic understanding systematically reverses psychoanalytic understanding, for example (p. 41) that the person working in the realm of the ‘university discourse’ ‘cannot do anything other … than reverse my formula, that is, give it a significance that, it has to be said, is strictly contrary to the truth.’ If this is so, what can we hope for? Well, as I tell students on the MA Psychoanalytic Studies in my institution, we can differentiate ourselves from psychoanalytic trainings around the issue of psychoanalysis being an object of study. Where trainings have as their task to socialize trainees into the structure of psychoanalysis, so that they see the world through its eyes, the academy should be a place for critical evaluation and exploration of what psychoanalysis is about – where it comes from, how it has arisen, what its impact is, what it can and cannot do. But there is something more: even within this conventional way of looking at the academic task, psychoanalysis radicalizes things. It teaches that there are ways of knowing that are not mystical, yet are also not reducible to the usual practices of supposedly rational intellectual scrutiny. We need to be changed by the things we learn, not just use them, as Lacan (1991, p. 201) also said, to gain or award ‘credit points.’ In a period of neoliberal dominance, this is an essential truth."

STEPHEN FROSH is a Professor in the Department of Psychosocial Studies at Birkbeck, University of London

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No.1

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No.2

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Social resources should be shared including cultural platforms.

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Social resources should be shared including cultural platforms.

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fear of quotas.

Speaker 1: "What do we lose? ...Thinking in terms of  "loss and deficiency"  --how that overpresence (of one demographic over and over again) necessarily means that there is a loss of other voices and a deficiency of other perspectives and other narratives."

Speaker 2: "My issue is intellectual integrity; an issue of effort towards wholeness" ...Do you go out of your simple ordinary shell to go out and look for them, do you go beyond your own limitedness?

My second issue is institutional  debauchery / decadence we think it's our sitting rooms; we have a serious responsibility to think of the society which we find ourselves.

The basics in culture teach the 3 Ps  think of person , the programme, think of the public.

They pay their taxes, they enable the institutions but have you given ppl a reason to come to the institutions?

Cannot claim to be ignorant about the exclusion in institutions, they were built on exclusion, they were made when some of us weren't considered human, it's carried on by those who run them, they think in another 3 P's power,patriarchy, privilege. The question is how do we break that?"

Speaker 3: "That's why I'm coming back to the beginning of the conversation, many times I thought oh it's useless to work at university and to work with these students who have the privilege, or the small privilege to have been inside the seminars on wedesdays and fridays. i dont believe in it anymore. I dont believe in having a thousand meetings with mentors , candidates and presidents because it is such a violent and enormous, majestic structure that I think sometimes it's more effective to do the work and expose the work outside and to give another image and another narrative  of what humanity is, that's what i've been very busy with."

Speaker 4: "we can't pretend anymore, we can't kid ourselves that we are breaking these structures. We cant kid ourselves we're pretending to reach out to the rest of the world. And we can't pretend we are doing enough because we're not and this is something that i'm grappling with, as an individual as an artist. What does my work do really? and in many ways I almost want to walk away from it because of that nagging frustration. On an institutional level it reinforces these same structures that we're asking these questions and having this conversations over and over again.  we're seeing the tilt in the politics and the proof that none of this has worked. This strategy doesnt work. institutions exclusions and disparities. how can we do it differently how can we utilise them against themselves. politics not counteracting inequality and racism . step out of comfort we are here because we are privilege we are speaking on behalf of others , others voices, collectively can we come up with an alternative or are we just going to sit here and have the same conversations.

Speaker 2: " A lot of us need safe places and comfort zones. i need a space its a fact we need to create our own spaces where we can do the discourses to bring in the bodies to perform certain knowledges that we think are important where there is nobody brutal standing behind you. radically engage with reflexification. we need to question what exists and create new meaning to it. i cannot afford myself the privilege to not to do that.  new words, new concepts. new spaces.

Speaker 3: These platforms i'm creating are not linked to colonisation. we work within violence that's why we need safe places. its difficult to walk this path it's a path of violence. It's important to dismantle institutions . i'm happy to do my own thing. I want to work with ppl that make me feel happy and that want to share a new language with me and exchange. development of language texts, libraries. This is much what we have to focus on.

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Armen Avanessian & Enemies #35: NO MORE DICK SOUP