Canadian officials have warned that this year’s wildfire season could shape up to be the second-worst on record. The Canadian Interagency Forest Fire Centre, a non-profit owned and operated by federal, provincial and territorial wildland fire management agencies, said on its website that 744 active wildfires were burning across Canada on Wednesday August 6/25.
Images from an ongoing Boreal Burning Series /Allan Harding MacKay
It is worth reading Trump’s remarks in full to get a sense of how the president speaks on a day-to-day basis. At the beginning of July, Trump was asked, “What is the next campaign promise that you plan to fulfill to the American people?” He rambled on about removing regulations.
“I got rid of – just one I got rid of the other night, you buy a house, they have a faucet in the house, Joe, and the faucet the water doesn’t come out. They have a restrictor. You can’t – in areas where you have so much water they don’t know what to do with it. Uh, you have a shower head the shower doesn’t uh, the shower doesn’t, you think it’s not working. It is working. The water’s dripping out and that’s no good for me. I like this hair lace and [sic] – I like that hair nice and wet. Takes you – you have to stand in the shower for 20 minutes before you get the soap out of your hair. And I put a, a thing – and it sounds funny but it’s really not. It’s horrible. And uh, when you wash your hands, you turn on the faucet, no water comes out. You’re washing whole – water barely comes out it’s ridi – this was done by crazy people. And I wor – wrote it all off and got it approved in Congress so that they can’t just change it.”
Court Painter knows how much studio resident scribe Chatterley Grandiose Preposterous Tartlet (Chat GPT) loves the challenge of transfiguring MAGAMonarch Trump’s rambling monologues into rhyming couplets in a Shakespearean tone — ornate, dramatic, and befitting a soliloquy from a monarch vexed by plumbing:
MAGAMonarch Vexed by Plumbing : Soliloquy
I cast aside one law but yesternight, A trifling thing, yet cause of great despite.
Thou buy’st a home — within, a noble tap, But twist its neck, and water as a drip doth hap.
Restrictors there, where streams in bounty flow, Yet stinted still — what madness would do so?
The showerhead doth hang with solemn grace, Yet yields no force to cleanse the orange face.
Thou think’st it broke — nay, ’tis by design, A drip s0 slow as sorrow’s tepid brine.
This will not do, for I, with princely hair, Require a splash to wash it clean and fair.
To stand in steam for twenty minutes long, The suds retreat as rinse with my dreary song.
I did install a piece, though some may jest, But truly, sir, ’twas folly manifest.
When hair is plunged beneath the faucet’s gaze, No water comes — or comes as dripping faze.
The meagre drops, as if the pipe did weep, Not cleanse the head, but merely make it seep.
These faucets forged by fools in fevered dream, Who’ve never known a proper washing stream.
I took my sharpie, and with this wrathful pen, Did strike the scroll and gathered up my men.
In Congress’ hall, I did the wrong upbraid, And won the vote — the drip was then allayed.
No more shall fickle folk with soap be stuck, For I have freed the drip from its stingy yoke.
Court Painter strums a soothing tune after a hard day at the easel.
Pamela Anderson and Liam Neeson in “The Naked Gun” (2025).Credit : Frank Masi/Paramount Pictures
With all the buzz surrounding the recent film The Naked Gun (2025), starring Liam Neeson and Pamela Anderson, Court Painter would like to point out that Pamela has been a cherished studio muse for many years. The moment seems ripe to revisit the numerous Naked Brush works in which she appears among Court Painter’s extensive repertoire of sizzling yet modestly posed female imagery.
Court Painter and the entire studio celebrate Pamela’s journey from impoverished art studio modeling to real fame and fortune on the silver screen and deny piggy backing on the success of the film to further CP’s current lagging media profile.
President Donald Trump is still stewing at Canada a day after halting trade negotiations over an Ontario advertisement that invoked former President Ronald Reagan and spoke in opposition to tariffs.
“CANADA CHEATED AND GOT CAUGHT!!!” the president charged Friday morning on his social media platform, Truth Social. “They fraudulently took a big buy ad saying that Ronald Reagan did not like Tariffs, when actually he LOVED TARIFFS FOR OUR COUNTRY, AND ITS NATIONAL SECURITY.”
Court Painter seen with “Donald & Soother”
July 21/25
Trump slams Canada’s plan to recognize Palestinian state amid trade talks
‘That will make it very hard for us to make a Trade Deal with them,’ says U.S. president in late night post
Although The Trumpster’s latest pique toward The Great Dominion is time sensitive, the definition of mad will endure.
MAD: Adjective
Of a person: displaying thinking or behaviour considered to be irrational, inappropriate, or dissociated from reality; spec. displaying such thinking or behaviour as a symptom of serious mental illness.
Now dated and offensive however very fitting for The Trumpster
Of a person: lacking in restraint; (wildly) unconventional in demeanour or conduct; marked by irresponsible gaiety; violently exuberant, outrageous, chaotic. Now frequently of an action, disposition, etc.
Of a person, action, disposition, etc.: uncontrolled by reason or judgement; foolish, unwise. Subsequently only in stronger use (corresponding to the modern restricted application of sense, from which it is now often indistinguishable): extravagantly or wildly foolish; ruinously imprudent.
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a. Of a person: beside oneself with anger; moved to uncontrollable rage; furious. b. Angry, irate, cross. Also, in weakened sense: annoyed, exasperated (with †against, at, with, etc.). Now colloquial (chiefly North American) and British regional.
Definitions : Edited from Oxford English Dictionary
A Court Painter Explainer:( If needed , an explainer of the explainer is available for a small fee payable in a crypto-coin of your choice)
The Court Painter’s oeuvre of commissioned portraiture materializes a meticulously curated simulacrum of rugged authenticity, deployed within meticulously staged postindustrial contexts that both signify and complicate a performative celebration of blue-collar labor and artisanal craft. His aesthetic trajectory signals a pronounced recalibration of taste away from the artifice of algorithmically generated visual paradigms and toward a valorized, ostensibly “natural” aesthetic. This shift inscribes a reflexive engagement with the knowledge-intensity embedded in the praxes and epistemological frameworks of his subjects, ultimately situating his work within a discursive ethos of authenticity, anti-corporate resistance, and nonprofit ideological alignment.