The police has been overwhelmed and shocked into opening novel files to accommodate new forms of deviance and sexual criminality. In that hazy moral underground universe, rape and under age sex abuse and other sordid violations grew into a national virus. While officialdom was preoccupied with more weighty issues of pocket books and bread and butter, a clandestine gay culture emerged and crept under the radar of law enforcement and legislative surveillance.
Everything looks like its opposite and everything is nothing in the final analysis.įor a long time, hardly anyone in authority seemed to care about the societal moral implications of the new epidemic of gender and sex code violations. Welcome to the age of illusion, the season of masks. The divide has been breached and rudely bridged by a new art form whose canvass is the human face.
Ancient and Modern used to be a catch phrase to capture the divide of time. A make-up epidemic has come to muddle the divide between appearance and reality, between beauty and ugliness and between modern and ancient. To compound the confusing picture, we have entered an age in which things are no longer what they seem.
Sometimes it takes place in full public glare or via viral social media posts in full digital colour. These are the fancy names for an open sex regime in which even toddlers are playing what has become a national game. Transgender, cross dressing, LGBTQ are the names of a strange animal in town. Suddenly, the strange things that have sneaked in on us have acquired their own language and assumed new names. There is now an explosion of make-up and disguise artistry as a vibrant new economic sub sector. The latter is marked by the emergence of make-up artists as mobile illusionists and new aesthetics wonder workers. The other is a new fascination with externals, with appearance and make belief.
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