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Archive for December, 2011

this year's Crowleymas entertainment


New Gender-Bending Reality Show to Hit TVs

Reality TV has taken a new turn, with the upcoming debut of a show which
sees 11 "macho" men competing for the title of most lady-like.

The contestants on He’s A Lady, which premieres on October 12 on TBS, had
expected to compete in gruelling physical challenges, but instead must act
like supermodels, plan a wedding and serve as bridesmaids for a shot at a
$250,000 grand prize.

Actress Morgan Fairchild and TV personalities John Salley and Debbie
Matenopoulos have been recruited as judges, who will eliminate contestants
each week and then preside over the culminating beauty pageant.

Copyright World Entertainment News Network 2004

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Did anybody notice…

… that when Bush was introducing Laura Bush speaking on the monitor
at the RNC, there was a softball game in the background … and two
batters came up … and they were both left handed … so you could
see the back of their jerseys … and if you squinted, you could see
that they were both wearing number "43".

Talk about carefully managed….

Also, the govinator Arnie, Praised Nixion:
From Reuters.com

… "But then I heard Nixon speak. He was talking about free
enterprise, getting government off your back, lowering taxes, and
strengthening the military. Listening to Nixon speak sounded more like
a breath of fresh air.

"I said to my friend, ‘What party is he?’ My friend said, ‘He’s a
Republican.’ I said, ‘Then I am a Republican."

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Thank you very much Joan, for trying to help. However, it is unneccessary.
It’s really not that difficult to find nekkid pictures on the web. If you
check you will see that they’re everywhere. I really apreciate your concern
for my masturbatory habits, but I am really quite capable of finding
material on my own.

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We … need … pizza …. We … need ….


Thursday September 2, 12:10 PM

Could space signal be alien contact?
LONDON (Reuters) – An unexplained radio signal from deep space could — just
might be — contact from an alien civilisation, New Scientist magazine has

The signal, coming from a point between the Pisces and Aries constellations,
has been picked up three times by a telescope in Puerto Rico.

New Scientist said on Thursday the signal could be generated by a previously
unknown astronomical phenomenon or even be a by-product from the telescope

But the mystery beam has excited astronomers across the world.

"If they can see it four, five or six times it really begins to get
exciting," Jocelyn Bell Burnell of the University of Bath told the magazine.

It was broadcast on the main frequency at which the universe’s most common
element, hydrogen, absorbs and emits energy, and which astronomers say is
the most likely means by which aliens would advertise their presence.

The potentially extraterrestrial signals were picked up through the
SETI@home project, which uses programmes running as screensavers on millions
of personal computers worldwide to sift through the huge amount of data
picked up by the telescope

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genuine zennists

Genuine zennist: an acolyte who, having experienced satori, puts the state
of consciousness to use in zazen and doesn’t, out of weakness and lack of
discipline, use the realization to muse the ruse and confuse and/or steer
others from realizing the quintessential state of satori to live zen; this
often excludes most women’s agendas by neuro-physiological default.

Another insightful look into one of many dark zen, illuminati, discordian,
fnord/slack ‘misery loves company’ strategies brought to you by management’s
management, who’s, fortunately, immune to such trite.


The Management’s Management

"Wer nicht liebt Wein, Weib und Gesang
der bleibt ein Narr sein Leben lang."

(Who doesn’t love Wine, Woman and Song
remains a Fool all Live long.)

–German proverb

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The virtue of idleness

For the "workshy" among you, an article by editor of The Idler, Tom
Hodgkinson, (recently printed in The Guardian):

The Virtue of Idleness

For more idleness, see also: http://www.idler.co.uk

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Axis of Eve

A new campaign against Bush. Uses panties with slogans like: "Expose
Bush", "Lick Bush", "Down on Bush": http://www.axisofeve.org/
(Includes pictures)

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website update

well, i added a what’s new section and made some long overdue updates.  more
to come…

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symbol/sign/ideogram/word/brain/percepti on/expression/reading: 2 articles

Los Angeles Times (CA)
September 4, 2004
Science File
Dyslexia Varies by Writing System, Brain Scans Show
Author: From Associated Press

With 6,000 characters to memorize, Westerners shudder at the idea of reading
even the most basic street signs and instructions in Chinese.

A new set of brain images shows why: Reading English-style alphabets and
Chinese characters use very different parts of the brain.

The results, published in the latest issue of the journal Nature, also suggest
that Chinese schoolchildren with reading problems misfire in a different brain
region than the one used in reading alphabet-based languages such as English.

This demonstrates that the learning disorder dyslexia is not the same in every
culture and does not have a universal biological cause, researchers said.

Dyslexia is a developmental disorder in which people of normal intelligence
have difficulty learning to read, spell and master other language skills. In
the United States, it is observed in 5% to 15% of the population, while in
China it affects up to 7%.

Brain scans show that English-reading dyslexics misfire in the left
temporal-parietal region of the brain associated with awareness of phonemes.

According to the study, reading Chinese uses the left middle frontal gyrus, or
LMFG, which is associated with symbol interpretation.

Unlike alphabet letters, Chinese characters represent entire thoughts and
physical objects.

Brain scans show the LMFG fires in normal Chinese readers, but Chinese
dyslexics show glitches in that circuitry, according to Li-Hai Tan of the
National Institute of Mental Health in Bethesda, Md., and the University of
Hong Kong.

The finding does not mean Chinese dyslexics might be able to use different
portions of their brain to read English more easily.

Once a person learns to read he or she tends to use the same circuitry
regardless of the second language and its alphabet.

Los Angeles Times (CA)
September 4, 2004
Graphic retort
Art Spiegelman assails terrorists and Bush policy in his new volley.
Author: Lewis Beale; Special to The Times
Dateline: New York

In the days and months following Sept. 11, Art Spiegelman began thinking the

A 56-year-old graphic novelist who had won the Pulitzer Prize for his
groundbreaking Holocaust work "Maus," Spiegelman lived in SoHo, just blocks
from the World Trade Center, and had seen both buildings collapse. He and his
wife had frantically run around town making sure their children were safe at
their respective schools. And like millions of Americans, he had obsessively
followed the news about the disaster and the ensuing invasion of Afghanistan.

Yet what Spiegelman took from these events seemed out of sync with most of the
American public. He felt just as terrorized by the policies of the Bush
administration as he did by Al Qaeda. And he suggested that, apart from the
human toll, the destruction of the twin towers — thought by many to be two of
the city’s ugliest buildings — was a form of "radical architectural

Spiegelman wanted to put these and other thoughts down on paper, to translate
them into his unique visual language. But despite his reputation and contacts,
no one wanted to publish his musings.

"What I was finding was the things I needed to be drawing about were not
suitable for prime time in America," he says. "I then realized the tone and
specifics of what I was saying were comfortably received in Europe, where I was
thought of as a thinner, slightly more confused and complicated version of
Michael Moore."

Spiegelman is referring to the comic panels that make up his new book, "In the
Shadow of No Towers." Originally published as a series of 10 monthly pages in
the German newspaper Die Zeit, beginning in August 2002, the work is a
colorful, controversial and highly subjective look at an event that changed the
world. Using bold colors and an oversized format — "No Towers" is slightly
smaller than a broadsheet newspaper page — Spiegelman’s book is also
disjointed in tone.

It’s not only a personal response to Sept. 11 but an homage to the classic
comic strips of the early 20th century. The book riffs on everything from "The
Katzenjammer Kids" to "Krazy Kat," using these hoary comics in a modern
context. When Spiegelman wants to portray an argument with his wife over his
obsessive news consumption after the attacks, for example, he draws it as a
fight between Maggie and Jiggs of the old "Bringing Up Father" comic. And the
last half of the book is a series of full-page reproductions of such early
comics pages as "Little Nemo in Slumberland" (1907) and "The Kin-der-Kids"

"In the Shadow of No Towers" is nothing if not idiosyncratic.

"The phrase I find useful is multi-phrenic," rather than schizophrenic, says
Spiegelman in describing the book. "The fact that it’s time to take a shattered
brain, a shattered city and shattered government and make a new mosaic out of
the pieces that survived the blast is something I haven’t seen other people
trying to flirt with. There are works that are more linear and more
documentary, but trying to document a subjective response is a difficult thing
to do. And that’s what I think this is, a document of a subjective response."

Spiegelman says this while seated at a table in his fifth floor SoHo studio,
drinking coffee and smoking one of the 40 or so Camel Lights he will consume
during the day. Of average size and with thinning hair, Spiegelman is an
amiable, self-effacing guy. He looks constantly frazzled even when at repose
and is a fast talker who speaks in dense, philosophical prose that doesn’t come
off as pretentious as it might sound. He’s simply someone whose mind works at
hyper-speed, making leaps from the cultural to the political with astonishing,
and mind-boggling, ease.

So it comes as no surprise that Spiegelman’s studio space is filled from top to
bottom with a jumble of cultural artifacts both high and low: books and CDs,
nostalgic tchotchkes like an Alfred E. Neuman doll and framed original panels
from "Dick Tracy," "Terry and the Pirates" and other historic comic strips. In
the center of the room is a large computer that Spiegelman uses for much of his
work — he does most of his initial sketches on it and uses a page layout
program to help him format his stories.

The son of Holocaust survivors, Spiegelman was born in Sweden, grew up in
Queens and, like millions of Americans, became hooked on comics at an early
age. Heavily influenced by the anarchic nature of "Krazy Kat," what he refers
to as the "post-modernism" of Mad magazine and the hippy-dippy vibe of R.
Crumb’s "Zap Comix," Spiegelman began his career working as an artist for the
Topps bubble gum company, where he created Wacky Packs and the Garbage Pail

In 1986 he achieved critical acclaim and international fame with the
publication of "Maus," the compelling tale of his father’s Holocaust
experience, which was drawn in a breakthrough style featuring cats subbing as
Nazis, with mice as their Jewish prey. Since then, he’s worked regularly for
the New Yorker (at the time of this interview, he was covering the Republican
convention for the magazine), exhibited at numerous museums and, with wife
Francois Mouly, created Raw magazine, a trend-setting showcase for adult comic

Respect, major commissions, prizes and fame. It’s a long way from the days when
Spiegelman was practically embarrassed to tell people what it is he did. "Like
I’d get on an airplane and they’d ask for my occupation on the form they ask
you to fill out, and I’d say ‘publisher’ or ‘graphic artist,’ " he says,
"because cartoonist was blue collar. Also, you’d get into weird conversations
where people would be amused, it’s as if you’d said ‘sword swallower.’ And
that’s now changed."

What changed was critical respect for works like "Maus" and other graphic
novels, a term Spiegelman refers to as "a marketing concept," nothing else.
"Now comic books, if they’re called graphic novels, won’t seem like they’re
stupid and for kids," he says. "What is relatively recent is the 200-page comic
book, which was born for me when I did ‘Maus,’ not because I wanted to make the
world a better place, but because I had this vision of a comic book that needed
a bookmark. I wanted something that you couldn’t read as a quick read."

He’s being a tad ironic here. Graphic novels have covered subject matter
ranging from teenage alienation ("Ghost World") to living in Iran under the
ayatollahs ("Persepolis"), and Spiegelman is the first to acknowledge that the
comic form can do some things better than other media ever will. "Because it’s
made of words and pictures," he says, the art form "is plugging into two sides
of your brain and it’s the only medium that can do that while standing still.
That means you have the luxury of appreciation and analysis; it offers a chance
for reflection."

That, in essence, is what "No Towers" is about — a chance to reflect on Sept.
11 from two very personal, but alternate, perspectives. The first part is, says
Spiegelman, essentially "condensed diary entries" that reflect the fact that he
is "furious at [the Bush administration for] the hijacking of the hijacking
that reduced a cataclysm to a war poster."

The second part, the old comics pages, is something else entirely. It shows
Spiegelman’s love for his art form and his astonishment at the ways in which
transient culture can actually survive and take on deeper meaning. The old
comics, he says, "were made to be read — and one moves on. The fact that some
of these things were made to be read and then tossed aside has a kind of
amazing ability to resonate decades and centuries later. It’s part of what gave
me solace after Sept. 11. There’s this thing called culture. It’s what remains
after civilization has turned to sand."

This talk of grand themes — civilization, culture — is central to
Spiegelman’s work and his response to the twin towers tragedy. Three years
later, he believes America has become a more fearful place, "shaped by the
vision of the towers as a kind of Armageddon harbinger. If I had done an 11th
page of the ‘No Towers’ plates, the 11th would have to be the War Between
Heaven and Heck, the battle between the secular and religious, because what it
really comes down to is that’s the fault line that was exposed by the
earthquake of Sept. 11th.

"Those nuts who ran those planes into the towers were informed by visions of
dancing girls in a milk and honey paradise. And the Ashcroft response is
informed by a feeling that we’re living in the last days as predicted by the
Book of Revelations."

This from a man who says "I don’t know any Republicans," and is covering the
convention because "this was a good chance to see what they look like." More
than that, however, "No Towers" ultimately seems to be a plea to the world west
of the Hudson River, an America that Spiegelman believes still doesn’t
understand what Sept. 11 was all about.

"It was one more special effects movie that was shown on all the networks
simultaneously," he says.

"On the other hand, everyone knows something’s up. We’ve gotten that far."  

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Last rites for freedom of assembly ?


Just gets scarier and scarier n’est pas?

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