Roseanne Barr












Television’s first gorgeous feminist

March 30, 2017

Copyright © Jyonah Jericho


“Man you couldn’t drag a needle out of her butt with a tractor”. That’s funny, right? It is when Roseanne Barr says it.


Like all serious comedians who retain full creative control over their craft, Roseanne only delivers a comic punchline if she finds it hilarious in her heart-of-hearts. This is one source of Roseanne's signature-style comic genius.


Labeling Barr a ‘genius’ in no way diminishes her work-ethic and tenacious spirit that underpins her global acclaim as a comedian, actress, businesswoman, philanthropist and champion humanitarian.


An Emmy winning actress, Roseanne is among the select few whose art form reached the pinnacle of her field - as a stand-up comedian and as a television actress. She is a positive role-model for fellow comedians, actors and global citizens of all ages, genders, colors and creeds.


Roseanne Barr epitomizes the virtues that define the women who rock our planet: courage, integrity, humility and an unwillingness to compromise her convictions for expedience or short-term gain.


The mainstream appeal of Roseanne’s self-titled sitcom stems from its authenticity. Barr stymied those who sought to airbrush the Conner family into just another plastic fantastic cyborg posse.


Most Americans are proud, humble members of the blue-collar working class. This is why the masses of real people relate to Matriarch Roseanne Conner and the core members of her tight-knit loving clan: Dan, Becky, Darlene, D.J., Jerry, Jackie and Beverly.


Roseanne Barr defies the mold of what Hollywood requires of its leading ladies. Her alter ego Roseanne Conner is a minimum wage earning working class mom for the best part of the series. She is the antithesis of the ‘bimbo waif’ formula that is perpetually repackaged for the masses by television's patriarchal elite. Cuddly, outspoken, smart and strong are not the traits that television portrays in its leading ladies.


From 1988 to 1997, the Domestic Goddess of ‘Lanford’ Illinois gave America's silent, invisible majority a strong voice and a proud face on the small screen in America and beyond. She made us laugh, too many times. She also made us cry.


Roseanne’s sitcom also gave a voice to several marginalized social groups as it casually dealt with a raft of awkward social problems that bedevil our society. Barr refused to shy away from the realities of life such as same-sex love, alcoholism, wage-debt slavery, mental illness and planned parenthood.


Yet Roseanne’s show never comes across as political or agenda-driven. In a subtle manner, Roseanne and her talented cast merely mirror back to us the ‘life-and-stuff’ issues that most ordinary folk encounter in their day-to-day existence.


Fast forward to 2017. Roseanne and her sitcom remain more relevant than ever. Class relations are back on the political map. The POTUS glass ceiling bears a few fingernail scratches and the word ‘fake news’ has entered the mainstream lexicon. Race relations remain tense and marriage equality remains a distant dream.


Barr’s catalogue of work belongs in the Smithsonian archives alongside America’s national treasures. Roseanne's phenomenal contribution to television made the world a better place for millions of people and humanity should be eternally grateful for this offering. She paid a high personal price in her conquest for truth and justice. 


The passing of two decades has proven that Roseanne - the sitcom and personality, are decades ahead of their time. When I reflect on the state of affairs of contemporary society, I question whether I am short-changing Roseanne Barr’s glorious legacy. Decades, definitely. Centuries, could be.

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Roseanne, total episodes: 222


Best episodes:


1.    The driver’s seat: Season 6, episode 11 (1993)
2.    Into that good night part 2: Season 9, episode 24 (1997)
3.    The sleeper: Season 7, episode 5 (1994)
4.    Trick me up, trick me down: Season 4, episode 6 (1991)
5.    Rear Window: Season 7, Episode 13 (1995)

http://www.imdb.com/title/tt0094540/



​​​​Martina Navrátilová & Chris Evert


Martina and Chris: Take a Bow


Copyright Jyonah Jericho, 23 June 2018 (registered)




Beyond the realm of team sports, there has been no rivalry as entertaining or sustaining as the Navrátilová–Evert match-up. From 1973 to 1988, the Grand Dames of women’s tennis squared off a record 80-times in nine nations; Martina edging Chrissie 43 to 37.

 
The contrasting personas of these prodigies reads like a richly plotted bestseller. The all-American prom queen sweetheart versus the mighty muscled Czech defector. The tortoise and hare archetypes offer a colorful technical comparison. The patient, steady baseliner squaring off with the impetuous net dasher.

 
An enduring myth of the Navrátilová–Evert rivalry is that it was a switch of one-sided preeminence – Chris dominating the 1970s and Martina spearheading the 1980s. A scrutiny of the history books reveals a more intriguing account. Ranked number 2, Chrissie won three consecutive Grand Slam singles titles during the ‘82/‘83 season. Evert won five of her last ten matches against Martina. This see-saw finale climax lays testament to Chris’s commitment to perpetually offer her best to the sport.

 
Navrátilová, Evert and Billie-Jean King are sporting pioneers who laid the foundations of the all-powerful Women’s Tennis Association.  Martina’s phenomenal contribution to her craft stems from her disciplined work-ethic and physical fitness. Her cross-sports training and weight lifting regimen forged the benchmark for future sports stars of both sexes to emulate. Navrátilová’s athleticism transformed the women’s game from an elegant sideshow into a profession on par with the professional men’s circuit.



The historical narrative of these clash-of-giants extends far beyond Martina’s virile volleys and Chris’s pin-point passing shots. Their legacy symbolizes the golden era when women’s tennis reached its zenith. Both players’ stroke-making artistry, consistency and tactical genius were products of the first- and second-generation racket technologies that blessed their sport during the last century.  



Ultimately, the Evert–Navrátilová fairytale is a story of friendship and sportsmanship. They remind us that arch rivals don’t need to be bitter enemies. Saying ‘great shot’ to your opponent takes guts. It is the hallmark of a generous-spirited champion. Both players publicly acknowledge that they would not have reached the pinnacle of their prowess if their arch rival had never picked up a tennis racket.

 

The seemingly effortless magnificence displayed by Chris and Martina on court never comes from talent alone. Their public performances provide a mere snapshot of the behind-the-scenes torture that elite athletes inflict on their bodies. In our celebrity society, these mammoth sacrifices are often taken-for-granted by sports fans and public commentators alike.

 

May fellow tennis fans allow me to thank Martina and Chris for their colossal contribution to our beloved sport. Both gals paid a high personal price in their pursuit of excellence.

 

The ranks of Martina’s and Chris’s fan-bases continues to grow among the online generation – a cohort born a decade after Chris retired her racket first in 1989. Thumbs up ladies. Hashtag #Legends.

 
Records that will never be broken by any male or female tennis professional.

Evert - consistency
           
1. 125 consecutive singles match wins on clay.
2. Reached the singles semi-finals or better in 52 out of 56 Grand Slam tournaments played.
3. 90.0% career winning singles match percentage spanning over a decade and 1,000+ matches.


Navrátilová - longevity

1. 41 Grand Slam doubles titles.
2. 344 WTA titles (167 singles, 177 doubles – both records).
3. Ranked in the top 10 at year-end for 21 consecutive years.




​Björk


​Army of Björk

Copyright Jyonah Jericho 2018 (registered)

 

In a career spanning five decades, and still thriving, Iceland’s most celebrated songbird has firmly established herself as one of the most original and respected recording artists of all time.

 

Björk’s portfolio of accomplishments is a curriculum vitae that many aspiring artists dream of attaining. She has collected dozens of awards from several national musical academies from four continents. In 2001, she won the Best Actress Award from the Cannes Film Festival Academy for her lead role in the critically acclaimed 'Dancer in the Dark'.  She sang solo at the Athens Olympic Games closing ceremony in 2004. And who could forget Björk stealing the show, singing at the Academy Awards in 2001?

 

Her infamous/famous ‘Swan Dress’ captures the essence of the enchanting phenomenon that is Ms. Guðmundsdóttir. Her charmed life-course navigates a planetary playground void of bounds. An incarnation liberated from super-serious paparazzi poses and socially-engineered chaos.

 

Björk is credited as the solo writer for most of her lyrics. She likewise retains veto authority over her collaborative masterpieces. Her generous nature permits talented colleagues to claim credit as Executive Producers and other inflated titles.  Since her elevation to the apex of the art world, Björk frequently deflects questions about herself in interviews. Her responses direct the subject towards emerging superstars – the future generation.  

 

The accurate prophetic visions of Björk’s work hide in plain sight for those awake and attuned. The lyrics of 'The Modern Things' (Björk & Massey, 1995) foresees the global pervasiveness of the artificial stupidity (AI) phenomenon. A toxic, totalitarian Orwellian force. 'All is Full of Love' (1999) forebodes beyond what’s imminent. It predicts the transformation of human lifeforms into mechanically reproduced sterile cyborgs. Ancient history repeating itself.

 

Beyond the elfin face and childish vocal exists primal wisdom of pre-Jurassic origin.  "Declare Independence. Tibet! Tibet!" The rights or wrongs of this public broadcast are beside-the-point. I cannot imagine any contemporary daring to microphone-mouth these words solo, deep inside Sino territory. Freedom-of-expression is the prerogative of bona fide artists.

 

The essence of Björk’s biography is a narrative about artistic integrity and self-respect. She publicly claims to be an unwilling supernova. Her memoir bears testament to this contention. The drivers of her fortune and fame defy the blueprint that manufactures this hollow outcome for the revolving-door of disposable bubblegum pop-tart puppets. An authentic artist regards wealth and acclaim as possible outcomes of high-art. To pursue them as objectives stifles personal creativity and astral expansion.

 

Like most pure artists, it is impossible to categorize Björk’s musical catalog by genres. Is she electronica, synth pop, folk, avante-garde or something else? She is all and none of these simultaneously. In her tower of steel, this lotus blossom is a non-category genus of her own free-willed construction.

 

I cannot imagine a world devoid of the electromagnetic vibrations that pulsate from Iceland’s most gifted guru.

 

cLoned crowns and servant clOwns

       on ouR planet they abounD

               outside

     this

     # MATRIX #

     Björk 😊

                                                          is

                                                          found


 

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Best vocal collaboration: Regina (The Sugarcubes, 1989)

Best solo vocal: Human Behavior (1992)

Best album: Debut (1992)

Best lyrics: One Day (1992)

Best instrumental - Flute:  Glóra (1993)

Best video: Bachelorette (1999)


​Best contemporary song: Stonemilker (2015)




Judy Wood PhD Virginia Tech

Angels don’t fear to tread

Copyright © July 12, 2018 Jyonah Jericho

 

Judy Wood is a silent-achiever whose gargantuan gift to the world of applied physics creeps under the radar. For now.

 

This champion patriot is worthy of many grand titles: Pioneer, innovator, physicist, engineer, leader. ‘Arch Humanitarian’ is arguably the most appropriate accolade her peers could bestow.

 

Wood enrolled in the undergraduate Civil Engineering program at the prestigious Virginia Polytechnic Institute and State University during the 1970’s. According the Nguyen (2000, p. 286) around 1% of engineering students in the United States were female at the turn of the 1970s. Since her youth, Judy Wood has distinguished herself as exceptional and inspiring.

 

Wood’s contribution to the field of applied science should remind scholars and others of the true purpose of higher educational institutes. They are privileged zones of exception. They should aim to foster the development of critical-thinking and practical skills that translate to the real world. This in turn advances the quality-of-life for conscious entities of current and future generations.

 

Judy is not an academic of the ‘Ivory Tower’ breed. Wood has accomplished two stratospheric achievements that most Emeriti Professors fantasize about in their wildest dreams. She created an evidence-based scientific model that is objective, practical, accurate and timeless. Furthermore, Judy remains the undisputed owner of two sub-fields.

 

Wood’s work on Dustification and Directed Free Energy is without parallel. Watch her space. This visionary’s time has come. Her best years are in the future.

 

Over the past decade, Judy Wood’s approach to the dissemination of knowledge informs humanity of all that is wrong, so very wrong, with higher education institutes. Academia at-large has been hijacked by cash-rich, selfish vested interests whose hyper-secretive, sinister agenda aims to commit heinous criminal acts on a monumental scale. Many and possibly most scientists and social scientists who are perched at the apex of their profession are nothing more than hapless sycophant serfs who prostitute their credentials to the highest bidder.

 

Freedom-of-expression and the advancement of truth is the biggest hoax of modern academia. Orthodox scientific ‘discoveries’ are rarely legitimate. Fraudulent ‘premier’ journals and corrupt ‘elite’ universities routinely disseminate mainstream pseudoscience. They do so to covertly replicate the global status quo. The perpetual suppression of humanity-at-large and the enrichment of super-elites who lurk in the shadows is their goal.

 

Wood’s legacy lays testament to the peerless power of independence – Sine metu neque gratiam. The dissemination of knowledge can never take place inside a matrix of madness that violates the universal laws of altruism.

 

Self-publication of a high-stakes thesis is the prerogative of ethical scholar alumni of the highest caliber. Doctor Judy Wood; lion heart hero, you. I applaud you. I respect you. I pray for you.

 

Reference                                                                                                                 
 
Nguyen, D. (2000), ‘The Status of Women in Engineering Education’, International Journal of Engineering Education, 16 (4), 286–291. Viewed July 12, 2018.

https://www.researchgate.net/profile/Mercy_Manyuchi/publication/275657107_Zimbabwean_Women_in_Engineering_Education-Is_It_About_Technophobia/links/5545e81d0cf234bdb21d781a/Zimbabwean-Women-in-Engineering-Education-Is-It-About-Technophobia.pdf





Krypton School of Journalism


Ethical Journalism in a Post-truth Era


www.journalistethics.com





 

 





 


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