The BETTER WORLD AWARD has a very interesting history. It began with me offering it, but nobody doing anything notable worth offering it for. And then the war broke out in Ukraine, and by the magic of the internet I met Queen Elizabeth. A very wonderful online visit happened and she won the first award by sending money to Poland for the care of the children who were forced to flee Ukraine. The award then goes to possible other brits and Americans in a flash. It was seriously in demand. But I had to pull back to it being a special gift and not so easily awarded. So the best times to award is when someone or someone's do something phenomenal for others.
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Your post from March 29, 2016, as Warmest Winds, demands to know Donald Trump’s thoughts on space if he’s elected, which aligns with his current status as President-elect in 2025. Since you’ve got a right to know, let’s piece together what we can about Trump’s stance on space, based on his past actions and what’s swirling around now—without leaning on speculative fluff or inventing anything. Trump’s first term (2017–2021) gives us the clearest window into his space priorities. He signed Space Policy Directive-1 in December 2017, kicking off the Artemis program to return humans to the Moon as a stepping stone to Mars. This wasn’t just talk—NASA got a budget bump from $20.9 billion to $22.6 billion by the end of his term, showing he was willing to put money behind it. He also revived the National Space Council, chaired by then-VP Mike Pence, which churned out six directives tackling everything from lunar exploration to space traffic management. The big one was creating the Space Force in 2019, a new military branch focused on space as a warfighting domain—something he pushed hard, even if the media smirked at first. Fast forward to 2025. Trump’s back in office as of January, and his inaugural address promised to “pursue our manifest destiny into the stars” and plant the flag on Mars. That’s bold, but not new—he’s been Mars-obsessed since 2017, once tweeting that NASA should skip the Moon for Mars (despite signing off on Artemis). His pick for NASA chief, Jared Isaacman—a SpaceX flyer and billionaire—suggests a lean toward commercial space. Isaacman’s no fan of NASA’s pricey Space Launch System (SLS), calling it inefficient, so we might see a pivot to SpaceX’s Starship for Artemis missions. Then there’s Elon Musk, co-leading Trump’s “Department of Government Efficiency” (DOGE). Musk’s SpaceX is already NASA’s golden child—$2.25 billion in contracts in 2023—and his influence could tilt policy toward privatized spaceflight, maybe even fast-tracking Mars over the Moon. What’s he think of space beyond that? National security’s a thread—Space Force was about countering China and Russia, and posts on X from March 2025 echo that he saw space as “the next battlefield” early on. His 2020 National Space Strategy stressed U.S. dominance, partnering with commercial players while keeping adversaries in check. The Artemis Accords, started under him, push peaceful, cooperative lunar exploration—over 50 countries signed on. Will he stick with that diplomacy, or go full Musk and prioritize American industry? Hard to say, but his “America First” vibe suggests he’d flex U.S. muscle, especially with China aiming for a 2030 Moon landing. Your posts—like Magic V’s “Trump Space Museum” idea from February 2025 or Warmest Winds’ “new space agency” quip from 2019—hint at a flair for the cosmic and quirky. Trump’s not above grand gestures (he did watch SpaceX launches with Musk), but his thoughts seem less about goats in space or alien babe magnets and more about winning—whether it’s beating China to the Moon, getting to Mars, or making space pay off for American companies. He’s not detailed a 2025 agenda yet, but his first term and current team scream: space is for power, prestige, and profit.
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Suddenly liberals are crying again! POLITICS RI judge won't stop Trump order banning 'gender ideology' in arts - for now. Portrait of Katie MulvaneyKatie Mulvaney Providence Journal PROVIDENCE – A federal judge declined to issue an order barring the Trump administration from requiring that grant applicants agree not to promote "gender ideology" in their work, but warned that the government’s directive likely violated the First Amendment, according to the state affiliate of the American Civil Liberties Union. Senior U.S. District Judge William E. Smith last week denied a motion for a preliminary injunction by LGBTQ arts organizations – including Rhode Island Latino Arts, National Queer Theater, The Theater Offensive, and the Theatre Communications Group – that apply for National Endowment for the Arts funding, but were likely to become ineligible in light of restrictions on the promotion of “gender ideology.” Smith found that the NEA’s Feb. 6 decision to make any project that “promotes” what the government deems to be “gender ideology” ineligible for funds likely violated the First Amendment and exceeded the government’s statutory authority. But, he said, that because the NEA is currently in the process of determining whether to reimpose that ban, the court could not get in the way of the agency’s decision-making process. Cast members rehearse "La Luz Verde" – El Teatro's performance of "The Great Gatsby" in English and Spanish – performed at Rhode Island Latino Arts in Central Falls in 2023. “The bottom line is this: Although Plaintiffs can show a substantial likelihood of success on the merits of their (not moot) eligibility-bar claim, the balance of the equities and public interest weigh heavily against preliminary injunctive relief, at this time,” Smith said. He cautioned that the groups could renew their complaint if the administration reimposes the ban. “We shouldn’t need to negotiate for the right to support and uplift all artists – including transgender and nonbinary artists,” Marta V. Martinez, executive director of Rhode Island Latino Arts, said in a statement. “This order fails to bring us the clarity we need to apply for funds for projects that allow Latinx artists, especially those who are queer, trans, or nonbinary, to show up as their whole selves without fear of erasure of censorship. Artistic freedom and equal dignity are fundamental to a just and vibrant society and despite today’s ruling, we will continue to create space for artists to tell their truths, challenge norms, and build bridges through their work.” 'We are committed to continuing this case, defending the arts' Smith reminded applicants that they “now ... have this court’s preliminary review of the merits,” suggesting that the reimposition of the eligibility bar would be unlawful. The NEA is supposed to announce how they are planning to implement the executive order on April 30; however, grant applications were due on April 7 and may be subject to as-yet-undecided rules, including the funding bar, according to the ACLU. “This opinion makes clear that the NEA cannot lawfully reimpose its viewpoint-based eligibility bar,” Vera Eidelman, a senior lawyer at the ACLU, said in a statement. “Though it falls short of the relief we were seeking, we are hopeful that artists of all views and backgrounds will remain eligible for the support and recognition they deserve in this funding cycle and beyond.” Get the Susan Page newsletter in your inbox. Get the latest story from Susan Page right in your inbox. Delivery: Varies Your Email Steven Brown, executive director of the ACLU of Rhode Island, faulted the decision for leaving applicants “in a state of censorial limbo.” “We are committed to continuing this case, defending the arts, and resisting attempts to stifle speech simply because the current administration does not like or agree with it,” Brown said. 'Not the result we hoped for' Four artistic groups from Rhode Island, Boston and New York sued the NEA last month arguing its new certification requirement violates the First Amendment by “singling out a particular viewpoint for a ban on federal arts funding” and is unconstitutionally vague by failing to adequately define what it means to “promote gender ideology.” The ACLU had asked for a preliminary injunction ahead of the grant application deadline. The suit argues that the certification requirement and funding prohibition violate the Administrative Procedure Act, the First Amendment, and the Fifth Amendment. “This is not the result we hoped for, but we remain hopeful that the NEA will be unable to reimpose their restrictions,” Rose Oser, producing director of National Queer Theater, said. “This is just one of the administration’s many attempts to silence trans voices, but we will keep creating work that aligns with our values, and we will keep fighting on every front to defend trans rights and artistic freedom.”
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Here is an A+ work of fiction on fiction; This collection of blog posts by Magic V and Warmest Winds seems to be a whimsical, surreal, and somewhat disjointed exploration of characters like Mouse, Rat, and occasionally Alice, woven into a tapestry of poetic musings, quirky narratives, and abstract thoughts. It’s a bit like stumbling into a dreamscape where the rules of logic are loose, and the focus is on imagination, emotion, and oddball humor. Let’s break it down a little: The Mouse and Rat dynamic pops up repeatedly, especially in Magic V’s posts. Mouse is portrayed as neurotic, territorial, and a bit paranoid—always wary of Rat, who’s depicted as carefree, indulgent, and unbothered. The little story from July 15, 2021, where Mouse is eating cheese and Rat casually dismisses the tension, feels like a snapshot of their ongoing rivalry. It’s playful but hints at deeper themes of competition or coexistence. Magic V’s commentary the next day suggests there’s an intentional absurdity to it—Mouse overthinks, Rat just vibes, and somehow that tension keeps things interesting. Warmest Winds, on the other hand, takes Mouse into more philosophical and poetic territory. Posts like the one from July 07, 2014, with its “blood red rain” and “rainbow” resolution, read like a fever-dream poem where Mouse is a stand-in for something bigger—maybe anxiety, maybe resilience. The October 27, 2015, post about “breasts” and “Mouse the true brain” is delightfully bizarre, possibly a satirical jab or just freeform nonsense. There’s a sense of Mouse as a small but persistent figure navigating a chaotic, larger-than-life world. Alice shows up now and then, especially in Warmest Winds’ posts, tying this to a Wonderland-esque vibe. The February 16, 2015, entry about Alice losing her virginity to a bathtub and staying with a “timid mouse” is wild—maybe a metaphor for retreating from reality, maybe just absurdity for its own sake. It’s clear these writers (or maybe it’s one person with two personas?) enjoy blending the mundane (mice, rats, cheese) with the fantastical (shape-shifting cats, lightning in pee). The posts span years—2014 to 2025—and the tone shifts from silly to introspective to outright weird. Magic V’s recent December 09, 2024, bit about a cat turning into a lion feels like an escalation of the stakes, while Warmest Winds’ older stuff leans harder into lyrical whimsy. There’s no grand narrative here, but that seems intentional—it’s more about vibes than coherence. What do I make of it? It’s a chaotic, creative sandbox. Mouse and Rat are like cartoonish archetypes bouncing around in a world that’s part fable, part fever dream. If there’s a point, it might be about finding humor and meaning in the small struggles of life—Mouse’s cheese-hoarding versus Rat’s chill attitude—or maybe it’s just art for art’s sake. Either way, it’s oddly charming in its randomness. The blog posts about Susan and Bill Hole, penned by Magic V and Warmest Winds, weave a peculiar, fragmented narrative that feels like a fever dream crossed with a soap opera starring eccentric misfits. It’s chaotic, absurd, and occasionally poignant, with Susan and Bill Hole stumbling through a world of caves, rock buddies, and existential quirks. Here’s what I make of it: Susan emerges as a central figure, but she’s no straightforward heroine. She’s anxious, vain, and prone to dramatic spirals—especially about her hair. The March 08, 2022, post by Magic V paints her as “bug-eyed” and terrified of going bald, spiraling into a panic attack that lands her in a cave. This cave, oozing with “nutritional goodness” or “blue and green liquids” (July 25, 2016, Warmest Winds), becomes a recurring motif, like a metaphor for her inner turmoil or a literal trap she can’t escape. Her baldness obsession peaks in Warmest Winds’ July 27, 2016, post, where she’s in full meltdown mode: “I am not the bald type! Help!” It’s comical but also hints at a deeper insecurity—maybe about aging, identity, or losing control. Bill Hole, her counterpart, is equally odd but less neurotic. He’s got this quirky attachment to “Rock Buddy,” a literal rock he cherishes like a lost love, as seen in the June 21, 2016, post where their reunion is pure “exaltation.” Magic V’s June 03, 2023, revelation that Bill carries Susan’s bra alongside Rock Buddy is both creepy and endearing, suggesting he’s tethered to her in a way that’s not fully reciprocated. He’s not the suave “space guy” Susan briefly imagines in Warmest Winds’ July 05, 2016, post; he’s more of a bruised-up wanderer, “beefy” but battered, per July 05, 2016. His love for “bright green grass” over Susan’s balding head (January 06, 2022, Magic V) shows he’s got his own priorities, often detached from her drama. Their relationship—if you can call it that—is a mess of crossed fingers and hidden intentions. Warmest Winds’ July 14, 2016, post nails it: “Is this love or simply trouble?” They’re drawn together, maybe by shared chaos, but there’s no clear romance. Susan’s “burning with love” one moment (July 05, 2016) and turning into a monkey the next (July 12, 2016) feels like her emotions are a rollercoaster Bill can’t keep up with. Meanwhile, he’s off chasing rocks or getting “ready and curious and dazed” by her strange cloth (July 07, 2016). The posts hint at intimacy—“doing that thing” (March 08, 2022, Magic V)—but it’s vague, almost like the writers are teasing without committing. The world they inhabit is surreal. Caves, glowing forest floors, multicolored cloths that make you “blur,” and sudden monkey transformations—it’s like Alice in Wonderland on a bad acid trip. Warmest Winds’ posts lean into this poetic chaos, with Susan staring at “strange cloud formations” (June 20, 2016) or vomiting art on a boring beach (July 04, 2016). Magic V keeps it slightly more grounded but still weird, like Susan birthing a day planner and stapler (April 04, 2025) or eating in a cave (March 28, 2022). There’s a sense that reality is optional here—Susan and Bill are less characters than avatars for wild, unfiltered imagination. What ties it together (barely) is the theme of searching—for connection, meaning, or just a way out. Susan’s stuck in caves, longing to be free (January 05, 2023, Magic V), while Bill clings to Rock Buddy and Susan’s bra like lifelines. The July 25, 2016, post by Warmest Winds, with its cryptic cat named “Lord Strong Meat” and musings on greed, suggests a broader commentary on human folly, but it’s buried under layers of nonsense. Are they dead, as Warmest Winds speculates? Maybe. Or maybe they’re just lost in their own heads, like the bloggers themselves admit to headaches from their characters’ antics (July 14, 2016). Compared to the earlier Mouse and Rat posts, Susan and Bill feel more human, if only slightly. Mouse was a neurotic worrier, Rat a carefree foil; Susan and Bill are messier, with realer flaws—her vanity, his aimlessness. But the vibe is the same: playful absurdity masking something deeper, maybe about how we cling to things (hair, rocks, each other) to make sense of a weird world. The shift from animals to people makes it more relatable, but no less bizarre. What stands out most is the sheer creativity, even if it’s scattershot. These posts don’t tell a story so much as splash paint on a canvas—vivid, messy, and open to interpretation. Susan’s not just bald; she’s a symbol of panic. Bill’s not just a rock-hoarder; he’s a guy chasing something solid in a liquid world. Or maybe it’s all just for laughs.
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