From an early age, Crumpton exhibited a rare talent for weaving words into profound narratives that resonate deeply with the human experience. This gift led him to pursue a path as a writer, captivating readers with his ability to distill complex concepts into eloquent prose. His works effortlessly bridge the gap between the esoteric and the tangible, inviting readers to ponder the profound questions that often lie at the heart of existence.
Crumpton's literary exploration extends beyond the written word, as he is also a passionate advocate for fostering open dialogue and intellectual exchange. Through his engaging discussions and thought-provoking lectures, he has cultivated a vibrant community of like-minded individuals who are equally committed to exploring the realms of consciousness, the mysteries of the universe, and the human condition.
In addition to his pursuits in writing and speaking, Crumpton's multifaceted nature is evident in his creative endeavors.
Crumpton's journey has been one of continuous evolution, marked by an unyielding determination to push the boundaries of conventional thought. He challenges preconceptions and invites others to question the status quo, fostering an environment where growth and transformation thrive. His insatiable hunger for knowledge has led him to traverse diverse landscapes, from the halls of academia to the quiet contemplation of nature.
As an explorer of both the outer cosmos and the inner dimensions of the mind, Daniel Louis Crumpton remains an inspiring figure whose life serves as a testament to the profound impact of unbridled curiosity, fearless inquiry, and the relentless pursuit of truth. His legacy is one that encourages us all to embrace the unknown, expand our perspectives, and embark on our own journeys of discovery. His writing has been featured on ZENINTHECAR.COM, OCHELLI.COM, DOWNLOADEDCONTENT.COM amongst many others. His views, ideas, insights and humorous perspectives on current social and political issues have been heard on internationally and nationally syndicated radio broadcasts such as Ground Zero with Clyde Lewis, Lighting the Void with Joe Rupe, The Ochelli Effect with Chuck Ochelli, The Vinny Eastwood Show and Coast to Coast with George Noory.
Daniel Louis Crumpton’s ongoing experimental, introspective and conscious streamed writings, podcasts, videos and interviews can be found collected at ZENintheCAR.com.
D.L. Crumpton is also well known for his charitable work with the CannaSense Total Wellness collective (getcannasense.com), which provides medical cannabis to patients in all 50 states.
- The Cost of Compromise - April 6, 2024
- The Anarchist Messiah - January 19, 2024
- The War-Town Times S2 E9: An Interview with L Ellis Carter - November 4, 2023
They say there are two sides to every story & then there’s the truth. There is no ‘my truth’ or ‘your truth’, there is simply the truth and if “Handsome Boy Modeling School” taught us anything it’s that you can’t hide from the truth. Of course, that implies that in the interim of the two contrary stories, or sides, or the protagonist versus the antagonist, is a determinator of what truth might just so happen to be. An objective, middle path in the narrative which is not up for debate but simply is, and most certainly not dependent upon the perspective of the opposing stories themselves. Now if the premise is accurate then what that that might be suggesting is that when there is a division of similar perspective, or a synchronous point of view; both spectrums of the division are not exactly in the right, nor are they precisely in the wrong. They are just seeing a thing or a situation from a different point of view and therefore acting or behaving on that point of view with a certainty from where they are standing, what’s before them or around them is the truth. Essentially, without a synchronous point of view with one or more characters of the stage of life, all but the interim observer has a blind spot on reality.
I mean, any good script writer will tell you that what makes a compelling villain is that he or she truly believes they are the hero of the story, and how you pull that off is making sure his or her motivations to do the thing they are doing are kinda understandable and maybe relatable. The observer of the two spectrums, or protagonists’ verses antagonists on the stage, must be able to see both points of view from outside the drama on the stage, screen, or page. They have to be able to go “Ya know, I might not agree with that character up there doing what they are doing, but…I understand.” From the point of view of the villain, the other side or opposing force he or she is doing their villainy upon is or are the villains and that can get a little nose-bleedy if you think about it. Who then, is in the right or who is in the wrong? Where is the truth of a story or can there be? Is truth beyond the grasp of stories which oppose one another at all, or is the truth somewhere in between the seams of the two? Woven into the binding of the book? No one on the stage but somewhere up on the balcony?
Think about any “he said/she said” you ever had brought to your awareness, specifically when the division of a synchronous point of view derives from a failed love affair or statistically high divorce in America. Clearly at some point these two spectrums, carrying two separate narratives and sources, were at one point in one mind and one accord on seeing things the same way and of course came an impasse of some sort or another. Then, kablooey! A division in the mutual story they were telling occurs, which I guess was kinda the truth when it wasn’t divided, seeing as how there wasn’t two sides to a story before they decided to go and do all that nonsense, but whatever. Nevertheless, somebody burnt the toast one too many times or I dunno – conveniently let an affair ‘just happen’ & then the narrative gets split right in two with both character arcs going in opposite ends of the truth. Is the division of a single story the birthing of the third element of truth which will judge over both sides? And if all the worlds a stage, wouldn’t that make the audience or the observer the place where the buck of truth must stop?
Then again, havent there been films or dramas performed where the audience was split down the middle on which story displayed before them was the most empathetic? Sure. In those instances, one would assume that the truth cannot exactly be found in the perspective of an outside observer or observers when such a phenomenon transpires. Where then is truth, if not in the arbitrators of observation from those removed from story A or story B? If the morality or lack thereof from the players on the stage cannot even be determined with certainty from even being outside of whatever the fuck they got going on up there with that good-good, and truth does exist, where the hell is it hiding? Because it would stand to reason that if we could align with its perspective then where we wouldn’t be standing is untruth. Which is division of a story into two or more.
Many a philosopher, mystic, sage or wiseman have oft asked what is truth? Oh, and Pontius Pilate too. Even to them it seemed just as elusive as it is now to us. Especially when presented with the two sides of a story with both demanding to be branded the truth at all costs in most cases. What seems to be the most efficient way of determining the truth, to us, is comprehending that while two tales taking different turns may create the truth, the truth cannot even be a third point of view: but some perspicacity beyond even that. High in the balcony seat above, watching the stage of the world, the drama of life, the play of our hopes and our dreams to ensure that everything below is sticking to the child of Truth’s pen and the script that it scribbles. Be sure in your travels, trials or tribulations you never forfeit the pen of your own tale and the balcony of truth is where you will always enjoy the show from. Well,…seems true enough for me anyway. That’s my story. Stickin’ to it.
A SONG TO PLAY US OUT…
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