Pamphlet #1 - page 8
From Dobbs came the prophetic utterances which are now severe and compulsory Tenets of the Church. He popularized the concept of Critical-Paranoiac Follies Evaluation by which we know that "...any inanity spouted by a SubGenius at any given time automatically becomes part of orthodox SubGenius Liturgy." It is one of the single greatest Tenets, for by its own very token one can also deny it later. It is erasable. For instance, a guilty SubGenius speaks an Inanity which later proves anti-nonprofit. He can then insist, "No, I didn't say that. It was merely my 'image' 'id' took over temporarily." Logically, then, nothing that a SubGenius says is any more or less true and consecrable than any other thing he just happens to utter - even (and especially) if they are contradictory. The SubGenius is an hebephreniac Oxymoron who speaks in Slangs and oxymora. So it doesn't matter what you say or who hears you say it. See? Dobbs denies vehemently that things should ever happen according to preset 'plans,' telling us to look instead to the blunders and flukes of our lives for inspiration - for will not Jehovah determine our fates at every twist and turn anyway?? Can any philosophy other than BULLDADA be brought to bear to preserve us from such impaling facts???


What is not? Bulldada is the nearly unexplainable label for that mysterious quality that impregnates ordinary things with meaning for the SubGenius no matter how devoid of value they may appear to The Others. Seeing in the vivisecting light of bulldada, we recognize that the most awe-inspiring artifacts of our civilization are not the revered artsy-fartsy pieces of "culture" displayed in our swankest art museums, universities and concert halls - as the Conspiracy would have us believe! - but are instead to be found in such icons as low-budget exploitation movies, lurid comic books, all-nite TV, sleazy Paperbacks of the Gods, certain bizarre billboards and pulp magazine ads, and literally any other fossil of raw humanity in all its shit-kickingly flawwed glory.
Bulldada shows us that cheesiness tells the Truth and gives good Slack whereas status-mongered slickness is merely a sheen of sham value dangled as bait for the hungry dollars of the idiot bourgeois. The SubGenius is not interested in dignified "Learning" or even science fiction - no, what he craves is greasy SCI-FI. He is a veritable scholar of CHEEPNIS! For when a certain level of shoestring-budget "exquisite badness" is descended to on the Rungs of Art, one hits'the cut-off point where true bulldada begins, the 'edge valve' where the SubGenius starts finding almost religious interpretation for the results of atrocious craftsmanship, the point after which a work's quality as a piece of bulldada increases in inverse proportion to its ability to yell a coherent story. The less sophisticated a motion picture (our highest art form) becomes, for instance, the more dismemberingly eternal are the truths between the lines. MARS NEEDS WOMEN! PANIC IN YEAR ZERO! Often, they contain inadvertent prophecies - as well as unexpected background appearances of Dobbs! PLAN NINE FROM OUTER SPACE! MONDO BIZARRO!
bulldada the latest exploration into the world of advanced surrealist morealism in which the mind is filled with dirt and lugs which trickle like mutilated centipedes down the sides of the cranium to find sheller and rest inside the now sightless eye-sockets.
- Shredni Chisholm
: definition of bulldada

DADAISM (Fr. dada, hobby horse), an artistic movement begun in Zurich in 1916 as a protest against the folly of war and against the civilization that engendered it. Its scope was enlarged, as it spread to Berlin, Paris, and New York, to express disgust with all that was conventional and sacrosanct by portraying deliberately inane objects as art of the highest order. The school was well represented by such artists as Man Ray, Max Ernst, Marcel Duchamp, and Hans Arp, and succeeded in developing psychological, aesthetic, and technical experiments through its encouragement of uncensored spontaneity, thereby allowing a multitude of new forms to appear in the artistic world which eventually found their milieu in the more guided application of surrealism. The movement faded out in 1922 and many Dadaists became surrealists.