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Daedelus



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From: StudioJFISH
Daedelus performing at Cinespace/Dim Mak Tuesda... (more)
Added: September 25, 2006
Daedelus performing at Cinespace/Dim Mak Tuesdays 08/02/06

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Search Results for “Daedelus Mixing DJ Cinespace Tuesdays Dim Mak”
From: ApriliaRS125
Added: January 12, 2006
Classic 1977, Kraftwerk videoclip of The Robots
(Kraftwerk, the pioneers of electronic music) (less)
Added: January 12, 2006
Category: Entertainment
Tags: Kraftwerk videoclip electronic techno robots
www.youtube.com/watch
Daedelus - Sundown
"Sundown" by Daedelus. Directed by Clay Lipsky. From the album Denies The Day's Demise on Mush Records. www.mushrecords.com...daedelus



From: MushRecords
Views: 51,476
Added: 1 year ago
Tags: daedelus hiphop electronic electronica indie music video mush dance pop alternative cool animation industrial fun
Time: 03:18 More in Music
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Deadelus and his Bit Box
Daedelus using his Bit Box at Cinespace/Dim Mak Tuesdays 08/02/06...Daedelus DJ Mixing Cinespace Tuesdays Dim Mak LA Hollywood Club



From: StudioJFISH
Views: 7,111
Added: 1 year ago
Tags: Daedelus DJ Mixing Cinespace Tuesdays Dim Mak LA Hollywood Club
Time: 00:25 More in Music
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Daedelus at the SF Apple Store part 1
Daedelus playing the the San Francisco apple store. first part...Daedelus fresh dope



From: redskyviii7
Views: 3,003
Added: 6 months ago
Tags: Daedelus fresh dope
Time: 04:10 More in Music
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Daedelus - Just Briefly
"Just Briefly" by Daedelus. Directed by Chroma*Fresh. From the album Exquisite Corpse on Mush Records. www.mushrecords.com...daedelus



From: MushRecords
Views: 22,908
Added: 1 year ago
Tags: daedelus electronic hiphop electronica indie music video mush animation cool fun dance pop
Time: 03:15 More in Music
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Daedelus - Live in Chicago SMARTBAR 1st Night pt. 4
Daedelus Live - Sorry for the 'blurry' sound, occasionally it sounded brilliant, but on some tracks the bass was a bit too much.



From: tchsatori
Views: 2,500
Added: 10 months ago
Tags: Daedelus Chicago Metro IDM LIVE
Time: 06:07 More in Music
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Daedelus feat. Busdriver and Pigeon John - Something Bells
Daedelus + Busdriver + Pigeon John = fun....Daedelus Busdriver Pigeon John



From: LZRHD
Views: 45,451
Added: 1 year ago
Tags: Daedelus Busdriver Pigeon John
Time: 04:46 More in Music
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Daedelus - Live in San Antonio - Sundown/Sambra Legrand
Daedelus, Live in San Antonio Sundown - Sambra Legrand - Sundown, with some surprises along the way Holden's 101 - Exponential Records antipop.net Video - Matt Daedelus, Live in San Antonio

Sundown - Sambra Legrand - Sundown, with some surprises along the way

Holden's 101 - Exponential Records
antipop.net

Video - Matt Daly, In Limbo
boogaloogames.net/bliargh/inlimbo.html (more) (less)



From: bliargh
Views: 2,307
Added: 8 months ago
Tags: daedelus electronica san antonio 'theory of everything' 'in limbo' matt daly holdens live music elec
Time: 03:03 More in Music
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Ebony Glamour 巨乳胸部
Jaggededgetv gives a toast to the waiting bride. She looks beautiful in her elegant ball room dress. Let us toast her with champagne wishes and caviar dreams. Jaggededgetv gives a toast to the waiting bride.
She looks beautiful in her elegant ball room dress.
Let us toast her with champagne wishes and caviar dreams. (more) (less)



From: brandon247
Views: 349,853
Added: 9 months ago
Tags: sexy boobs breast fetish glamour Brüste fetische titten Glanz meisje fetisj afkoel borst お宝巨乳 胸部 グラビア
Time: 02:12 More in People & Blogs
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Daedelus Live @ Mac Store pt. 1
Daedelus playing his music box live @ the Mac Store...Daedelus Live Mac Store music box Electronic idm beats DJ laptop art



From: federla
Views: 1,965
Added: 9 months ago
Tags: Daedelus Live Mac Store music box Electronic idm beats DJ laptop art
Time: 03:08 More in Film & Animation
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Daedelus - Taking Wing
music video by Derek Sajbel for the Daedelus track Taking Wing off the LP "Of Snowdonia" on plug research (absurdity.biz) music video by Derek Sajbel for the Daedelus track Taking Wing off the LP "Of Snowdonia" on plug research (absurdity.biz) (www.daedelusdarling.com) (more) (less)



From: DrRek
Views: 4,755
Added: 1 year ago
Tags: absurd plug research Little Temple Daedelus bar club music video DJ computer cookies dancing timelapse
Time: 01:58 More in Music
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Daedelus - Live in Chicago SMARTBAR 1st Night pt. 5
Daedelus Live - Sorry for the 'blurry' sound, occasionally it sounded brilliant, but on some tracks the bass was a bit too much.



From: tchsatori
Views: 1,693
Added: 10 months ago
Tags: Daedelus Chicago Metro IDM LIVE
Time: 04:20 More in Music
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Daedelus - Live in San Antonio - Outtro
Daedelus, Live in San Antonio Alfred bids us adieu with some improv drum 'n dandy Holden's 101 - Exponential Records antipop.net Video - Matt Daly, Daedelus, Live in San Antonio

Alfred bids us adieu with some improv drum 'n dandy

Holden's 101 - Exponential Records
antipop.net

Video - Matt Daly, In Limbo
boogaloogames.net/bliargh/inlimbo.html (more) (more) (less)



From: bliargh
Views: 7,891
Added: 9 months ago
Tags: daedelus electronica san antonio 'theory of everything' 'in limbo' matt daly holdens live music electro idm
Time: 02:11 More in Music
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Fun mit Live
Wie man seine Festplatte ruckzuck vollballert...Ableton Live Acidmoon Beats Sampling Impulse Samples HD HDD Festplatte german Unsinn



From: acidmoongfx
Views: 249
Added: 1 week ago
Tags: Ableton Live Acidmoon Beats Sampling Impulse Samples HD HDD Festplatte german Unsinn
Time: 04:13 More in Music
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Beck - Nausea
Music video by Beck performing Nausea with Beck Hansen (C) 2006 Interscope Records...Beck Nausea Rock Interscope Hansen



From: universalmusicgroup
Views: 17,883
Added: 10 months ago
Tags: Beck Nausea Rock Interscope Hansen
Time: 03:06 More in Music
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monome 40h usb midi device
taken from monome.org a grid of internally lit tactile pushbuttons. each button has an internal light. two models exist: 40h - an 8 by 8 taken from monome.org

a grid of internally lit tactile pushbuttons. each button has an internal light. two models exist:

40h - an 8 by 8 grid for a total of 64 elements.
100h - a 16 by 16 grid for a total of 256 elements.


a short audio/video sample of the 40h.

the light and button systems interface to the computer independently: the light feedback does not necessarily follow the button input. this means that a button press doesn't always toggle its corresponding light, which would be completely limiting. by splitting the systems, the computer can display different information on the grid of lights continually while collecting button presses.

the interaction between the buttons, lights, and computer software is all configurable by the user. of course we provide several preset configurations which feature our favorite uses. we've designed an easy to use routing system, so that programming skills are by no means required to integrate the box with a preexisting computer software setup. for those interested in making more complicated control applications we provide direct software access to button and light activity. (more) (less)



From: dspielman
Views: 34,150
Added: 1 year ago
Tags: monome 40h usb midi dj club turntables mixing remix music hiphop trance techno drum bass beatbox beat matching sampling
Time: 02:55 More in Howto & Style
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Mr. Oizo - "Phantom" by Justice. Viper Room, LA....
Scion threw another great Ed Banger party in LA. This time, it was Mr. Oizo, an OG when it comes to this Electo/Dance scene Scion threw another great Ed Banger party in LA. This time, it was Mr. Oizo, an OG when it comes to this Electo/Dance scene.

My boy, Kutmah got to open for him. he was happy. Check out Mr. Oizo jamming out to my FAVORITE Justice track. (more) (less)



From: glenjamn
Views: 3,310
Added: 5 months ago
Tags: Ed Banger Oizo Justice Phantom Scion
Time: 04:33 More in Music
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Daedelus - Sundown
OPne of my favourite tunes off his new album...Daedelus Ninja Tune Mush electronica synthesizers avant-garde hip hop hip-hop Big Dada Ammoncontact Dublab



From: mathithsieve
Views: 6,711
Added: 1 year ago
Tags: Daedelus Ninja Tune Mush electronica synthesizers avant-garde hip hop hip-hop Big Dada Ammoncontact Dublab
Time: 03:20 More in Music
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The Man Machine (Live, Minimum-Maximum) - Kraftwerk
This is a version of The Man Machine from Kraftwerk's Minimum-Maximum dvd....Kraftwerk Man Machine Minimum Maximum DVD



From: UgmoInc
Views: 60,915
Added: 1 year ago
Tags: Kraftwerk Man Machine Minimum Maximum DVD
Time: 07:53 More in Music
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Daedelus - Fair Weather Friends
Animated Video for Daedelus track 'Fair Weather Friends' from 'Fair Weather Friends EP' available digitally and on LP here: http://www. Animated Video for Daedelus track 'Fair Weather Friends' from 'Fair Weather Friends EP' available digitally and on LP here: www.ninjatune.net/fairweatherfriends/#

Directed by Jordan Kim

2007 (more) (less)



From: enchantedfern
Views: 277,364
Added: 1 month ago
Tags: Daedelus electronic animation fair weather friends
Time: 03:06 More in Music
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Felix Kubin "Hit Me Provider"
Shot and edited by the video staff of the Musique Volantes Festival in 2005....felix kubin gagarin records



From: damnsavage
Views: 2,959
Added: 10 months ago
Tags: felix kubin gagarin records
Time: 03:17
From: enchantedfern
Animated Video for Daedelus track 'Fair Weather... (more)
Added: October 22, 2007
Animated Video for Daedelus track 'Fair Weather Friends' from 'Fair Weather Friends EP' available digitally and on LP here: www.ninjatune.net/fairweatherf...

Directed by Jordan Kim

2007 (less)
Added: October 22, 2007
Category: Music
Tags: Daedelus electronic animation fair weather friends
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From: MushRecords
"Just Briefly" by Daedelus. Directed by Chroma*... (more)
Added: April 17, 2006
"Just Briefly" by Daedelus. Directed by Chroma*Fresh. From the album Exquisite Corpse on Mush Records. www.mushrecords.com (less)
Added: April 17, 2006
Category: Music
Tags: daedelus electronic hiphop electronica indie music video mush animation cool fun dance pop
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From: enchantedfern
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Videos: 2

About This Video
Animated Video for Daedelus track 'Fair Weather... (more)
Added: October 22, 2007
Animated Video for Daedelus track 'Fair Weather Friends' from 'Fair Weather Friends EP' available digitally and on LP here: www.ninjatune.net/fairweatherf...

Directed by Jordan Kim

2007 (less)
Added: October 22, 2007
Category: Music

From: MushRecords
"Sundown" by Daedelus. Directed by Clay Lipsky.... (more)
Added: April 17, 2006
"Sundown" by Daedelus. Directed by Clay Lipsky. From the album Denies The Day's Demise on Mush Records. www.mushrecords.com (less)
Added: April 17, 2006
Category: Music
Tags: daedelus hiphop electronic electronica indie music video mush dance pop alternative cool animation industrial fun
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From: LZRHD
Daedelus + Busdriver + Pigeon John = fun. (more)
Added: May 08, 2006
Daedelus + Busdriver + Pigeon John = fun. (less)
Added: May 08, 2006
Category: Music
Tags: Daedelus Busdriver Pigeon John
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From: DrRek
unfortunately the youtube compression is fairly... (more)
Added: May 26, 2006
unfortunately the youtube compression is fairly bad on this video
so i have given into alternately hosting it at
video.google.com/videoplay
Music Video for the track "lights out" off Daedelus' new album "denighs the days demise" on ninja tune and mush records by Derek Sajbel Http://absurdity.biz (less)
Added: May 26, 2006
Category: Music
Tags: ninja tune mush daedelus boogieman jack benny banana splits costume character
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From: manjerico1959
Added: May 22, 2007
Category: Music
Tags: Kraftwerk

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From: anTONYM2M2
Ralf & Co. entertain an audience for a German T... (more)
Added: May 14, 2007
Ralf & Co. entertain an audience for a German TV show to promote The Model from their 1978 album Man Machine ....

Even on this Saturday evening TV show Kraftwerk look cool and The Model still sounds great nearly 30 years on.

-- - - - KRAFTWERK - DAS MODEL - - - - -

Sie ist ein Modell und sie sieht gut aus
Ich nehme sie heut' gerne mit zu mir nach Haus
Sie wirkt so kuehl, and sie kommt niemand 'ran
Doch vor der Kamera da zeigt sie was sie kann

Sie trinkt im Nachtklub immer Sekt (korrekt)
Und hat hier alle Maenner abgecheckt
Im Scheinwerferlicht ihr junges Laecheln strahlt
Sie sieht gut aus und Schoenheit wird bezahlt

Sie stellt sich zu Schau fuer das Konsumprodukt
Und wird von millionen Augen angeguckt
Ihr neues Titelbild ist einfach Fabelhaft
Ich muss sie wiedersehen, ich weiss sie hat's geschaft

For Kraftwerk Anoraks:-

- - - - DIRECT GERMAN TRANSLATION - - - - -

She's a model and she's looking good
I'd like to take her to my place
She's working coolly, she won't be touched by anyone
Though, before the camera she shows what she can do

In the night club she's drinking only Champagne
And has checked out every man
In the floodlight her young smiles glitter
She's looking good, and beauty will be paid

She exposes herself for consumer products
And is being seen by millions of eyes
Her new cover is simply gorgeous
I must see her again, I know she's made it.

Official Kraftwerk site
www.kraftwerk.com/ (less)
Added: May 14, 2007
Category: Music
Tags: kraftwerk the model
www.youtube.com/watch
HQ Stereo Video link
www.livevideo.com/video/tonym2...
www.youtube.com/watch
'Avoid Death' Is Named Wackiest Label
Published Dec 12 2007

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From: YouGottaBKiddingMe
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This has to be the masterpiece of film making - Fritz Lang's Metropolis was made in 1927 - incredibly he was using some of the earliest techniques in special effects for movies - mirroring, superimposing etc, even the robot looks like something out of Star Wars.

The film was originally panned by the critics, it wasn't a commercial success in its day.

As it was made in 1927, Metropolis was a silent movie, so various music scores have been written over the years more recently by Giorgio Moroder....however the soundtrack i've used on this clip is by Quivver aka John Graham

The Film has recently been remastered for dvd sale.


www.virginmegastores.co.uk/inv... .. . . DVD UK
www.amazon.com/Metropolis-Rest... . DVD US
www.trackitdown.net/genre/hous... Quivver MP3 (less)
Added: May 22, 2007
Category: Music
Tags: metropolis fritz Lang star_wars kraftwerk robot space city

From: RoadshowPalace
Movie trailer for Giorgio Moroder's 1984 restoration, of Fritz Lang's 1927 classic German film. (less)
Added: May 08, 2007
Category: Film & Animation
Tags: metropolis fritz lang giorgio moroder German film movie trailer 80s 20s
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From: Boompass
Added: August 08, 2007
Studio: Zettai Unmei Anime
Artist: David Bowie
Song: Life on Mars
Sources:
Metropolis (Fritz Lang 1926)
Metropolis (Rintaro)
Category: Film & Animation
Tags: AMV Anime Music Video Rintaro Metropolis Fritz lang David Bowie Mars Life AbsoluteDestiny Boompass
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There’s really something about how free and inspiring and fun it is to get on a motorcycle and just get lost. The clutter in your head just blows away and you sit there and enjoy the hum of the engine and the smells; the countryside, the trees, the farmhouses, the smell of bales of hay or piles of manure; it doesn’t matter, you’re going places and the variety of sensations are endless. The machine takes you where you want to go and to places you know, you forgot about or you didn’t know existed. Once you discover something on a motorcycle, every time you pass that place, you’ll be reminded of the fun and the freedom and the thrill of seeing it for the first time… or the last time. Your bike is your friend, you trust that thing; it’s got personality to spare and it’s always there when you need it and holds a world of adventure, surprise, thrills, a bit of risk and a whole lotta fun! But that’s pretty much where the similarities to le cool end!

Categories
Performance Office Xmas Party, Harry Christophers' Messiah, Kissy Sell Out
Gig Chas & Dave, EMF, Simple Kid & Slow Club, Peggy Sue and The Pirates, The Crimea and Akira the Don, Lullabye Arkestra
exhibition Spectacular Craft
party Thugs & Hugs Krispy Kristmas House Party
Dancing Ceildh Club
Club Trojan Sound System Vs. Guilty Pleasures, Rakehell's Revels , The Electric Dirt Junkie Christmas Party, Allez Allez
Club/Gig Mumdance Xmas Party
art Time Travel Boyfriends
film Secret Cinema
Comedy After School Club
Art Show Notting Heaven
Restaurant Tiffinbites

Performance Harry Christophers' Messiah

All right, all right, no more pissing and moaning about Stress-mas and all it’s jingly jangly bits ringing in my ears. Granted it’s bloody cold and everyone’s drunk four times as much as usual, but at least Handel’s 1752 oratorio Messiah is being performed by Harry Christophers’ The Sixteen at The Barbican. Allowing myself to be moved by some of the most exquisite choral arrangement wasn’t on the original to-do list but guaranteed I will be a very quiet, snotty mess by the end. Memories of waking up early on Christmas morning to the famous chorus of Halleluiah will allow me to reconnect, just momentarily, to what this bonkers time of year was (and is) all about – and for that I’m truly thankful. / Catrin Kemp

where
Barbican Centre, Silk Street, EC2Y 8DS
020 7638 4141

when
7:00pm

how much
£9-£35
11669-m
Gig Chas & Dave

They might be old. They might be a bit of a cliche. They might look scruffy. And unless you come from a small area of London you won’t have a scooby what they’re talking about, but they’re about as British as jellied eels and their music makes you dance with your elbows out and dosey-do with absolute strangers. The fact that Chas & Dave used to knock about with Joe Meek and Jerry Lee Lewis, they’ve played Glastonbury, their music has been sampled by Eminem and back when it was fashionable to like them, they were acknowledged by the band as a large influence on The Libertines, gives them more than enough weight to b taken seriously. So, why not slap on your crumpled trilby, ill-fitting blazer and string belt and bowl down to Camden? It’s gonna be a right old [insert suitable cockernee rhyming slang for party] and find out exactly what happens when Mother Brown gets her knees up. I, for one shall be avin’ a banarnar. / Josh Jones

Had enough? Says René, Andrew, Chloe, Josh, Tom, Mat

Go get lost somewhere with le cool and scroll towards your immediate right. Tell your buddies!

party Thugs & Hugs Krispy Kristmas House Party
If, like me, you feel like indulging in a little Christmas rappin’ (and like to throw your LA hand signs up once-in-a-while) then these boys from Los Angeles – Brother Reade – have got your back like Axel Foley. And they’re doing it in Dalston of all places!? It’s their debut London appearance and new album ‘Rap Music’ is toasty, all Echo Park boom-bap bump-snap. Think Dilla meets Cool Kids. Ably supported by a duo that Turntable Lab refer to as “the LA Dream Team” – Evans & Eagles; Jackmaster, Kazey and Bulldog (from your new favourite Baltimore label Dress 2 $weat); and a handful of homeboys including Zombie Disco Squad, Young & Positive, Dana D and residents Patchwork Pirates and DJ Gigolo “The Mixx” Knight. You want mo’ bounce fo’ yo’ ounce? Then it’s all about this house party. / Ian McCartneywww.blogger.com/forgot.g

Club:
The Electric Dirt Junkie Christmas Party
Studio Valbonne is certainly trying to be a club like no other, and with its slinky interior and rather interesting selection of guest acts, we surmise that those in charge might know what they’re doing. In what promises to be a Christmas party à la rock and roll (hopefully sans ‘Come On, Eileen’) here’s what’s on offer: On the turntables you’ll have Peter Hook of Joy Division/New Order (no less), The Twang and Oasis tour DJ Phil Smith (also resident DJ at Koko). No live act, you say? Why yes, there’s some slurry rock from Kav, some acoustic, Weller-like tunes from Jersey Budd, and the seriously talented Alexander G. Muertos with his skiffley, bluesy racket and chirrupy howls. Oh and there’s some other stuff too, but no more space here… Get there early or you ain’t getting in. / Lara Kavanagh

Patchwork Pirates are 3 DJs (Tom McCarthy, Terence THE and Alex Stevenson) and no MCs based in the gritty East End. They play fashionable music, write about it and promote it.
Pay attention.

What’s the philosophy behind your selecting?
If it bangs, it’s in. From head-nod wonky hip hop and dancehall to UK garage to tuff electro. We try to play according to the venue and time we’re on – can’t stand DJs that just hammer out the same sh!t whenever, wherever. We’re tired of people putting music on their flyers and when you turn up they’re playing the same records as everyone else. We don’t do that – only dead fish go with the flow.

Where do you love in London?
We’re the Newington Generals. The Stoke Newington Generals ;-) We throw parties at various organic spots in East London – Old Street, Dalston, Hackney…

What chu got coming up?
The Hugs and Thugs Krispy Kristmas Jam this Saturday – check us.
<====>
Club:
Gig Mumdance Xmas Party
She was a Bad Babysitter, had her boyfriend in the shower…woo, she made six bucks an hour. Man, that was a hit in 2002 but check out the current incarnation of Princess Superstar at the Ole Dirty Blue Bastard, with Vice grimelord Prancehall on the same bill. Possessing an alter ego to rival Ziggy Stardust, Concetta Kirschner came straight outta Philadelphia – a “high school dork” with designs on becoming a world-famous MC. In NYC, she eschewed major labels and self-financed her early records. Cited as ‘the female Eminem’, she is more Peaches or Missy with a look that harks back to old-skool Madonna. Embodying a cut’n’paste hip-hop aesthetic, she lays her salacious, clever rhymes over electro/discopunk/booty beats. With an openness towards both her Jewish heritage and gender-related issues and the M.O – “to attack with humour…” – she is the ‘only’ princess of my heart. / Shanthi Sivanesan
Performance:
Office Xmas Party
Thursday night is my office party. Correction, two office parties, which, if Sunday’s LeCool Christmas knees-up is anything to go by, shall most likely finish with me falling into a Christmas tree. And hot toddy-fuelled cacophony is basically the theme to this interactive promenade (think Masque of the Red Death if you haven’t a clue what that is). With cabaret artists – including the tittie-fire-setting Ursula Martinez and a slew of comedians – this experimental bunch will weave a story around you as you teeter along snacking on nibbles, while swinging your Santa hat or whatever paraphernalia you’ve brought along. / Kat Brown

where
Barbican Centre, Silk Street, EC2Y 8DS
020 7638 4141
when
7:30pm
how much
£15
11621-m
art :
Time Travel Boyfriends
Here’s something different: Josephine Halbert has created a cute 20s-style alter-ego who longs for dead men, ranging from Grey Owl (a sort of Ray Mears of the 1930s) to Jim Morrison. And there are 12 of these guys – talk about fickle! She writes each a desirous note as she wistfully lingers around their photograph, framed appropriately for their era. Halbert’s girl is small and vulnerable next to the big men, but she tells Isambard Kingdon Brunel: ‘I need space in my relationships and you have been away a lot. Perfect!’ She’s lonely, but in charge of these relationships. She even turned down a license deal as a phone avatar, but hey, she’s yours if you get a Time Travel Boyfriends book in the gallery. It makes a romantic Xmas present…. / Herbert Wright
Club Allez Allez
Ending the year on a high the Allez Allez boys are at the Amersham Arms this weekend for an end of term special featuring those titans of eclectic DJing Twitch and Wilkes from the legendary Glasgow night Optimo. Arguably one of the best clubs in the country, Optimo has been at the forefront of the electro/new wave/disco punk scenes since opening its door way back in 1997. Their all too infrequent visits down south are generally greeted by hordes of exiled Scots with the reaction you’d expect for William Wallace himself, should he rise from the dead, march straight to Buckingham Palace and whip off his kilt to jiggle a pair of giant, pendulous mirror balls in the Queen’s puckered old face. Stirring stuff for sure, and with the addition of a live set from the smooth-loving machine that is Grovesnor – part Hot Chip, part Kenny Loggins, all man – Allez Allez are really spoiling us. / John Power

Gig :
Lullabye Arkestra
Few things are as stomach-churningly distasteful as the offensive procession of bands using the suffix –core to describe their sound. Okay, okay, pork pies with their congealed gelatin, pig entrail combination are pretty disgusting. And those misplaced marketing posters advertising plastic fry-ups and coffee that looks like doo-doo are quite unappealing. But come on, I vomit a little in my mouth every time I hear the term ska-core or horror-core. And yes I’ve heard Pig Destroyer’s latest record so we’ll exempt grindcore from this discussion. Toronto band Lullabye Arkestra mistakenly brand their music a soul-core explosion, though luckily for us they actually make interesting music. Expect the group’s performance at Barden’s Boudoir to be reminiscent of a pared down MC5 channeling Sun-Ra. It seems that Lullabye Arkestra have pulled a James Chance and the Contortions and found the centre or heart of soul. / Ryan Mahan

Club:
Rakehell's Revels
Retro is a term used often to refer to 70s-90s parties which celebrate an era where big hair and poor dress sense reigned. But the term should really be reserved for this 20s-40s evening, where clothes are graceful rather than garish, and Louise Brookes trumps Madonna in the strumpet stakes? My first visit to Rakehell’s Revels was marred by P. Diddy’s after-party at Paper next door, bringing rap and bling too close to top hats and fascinators for anyone’s liking. Now, London’s classiest Tuesday soiree has come to the end of its run after three years, but true to its roots plans to go out with a bang, promising only the most swinging tracks and dapper/flapper outfits for one last hurrah. Get your two-toned shoes on the dance floor and lindy on down one last time. / Justin Toh

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MONSANTO_WESTINGHOUSE'S Pre-Christmas Sneak Attack: NY TIMES LA TIMES RECAP for early Dec. 2007 - Merry Christmas. You Too, Satan!

Merry Christmas. You Too, Satan!
from All of Us, here, @internetjockeys.com
THEATER
Merry Christmas. You Too, Satan!
By MELENA RYZIK
Friday, December 7, 2007
FPRIVATE "TYPE=PICT;ALT=Merry Christmas. You Too, Satan!"
Sara Krulwich/The New York Times
The playwright and director Conor McPherson, left, with Ciaran Hinds, who plays Mr. Lockhart in “The Seafarer.”
Conor McPherson’s new play revolves around a bunch of drunk poker-playing guys holed up in a house in Dublin on Christmas Eve with none other than Satan himself. “As unlikely as it sounds,” writes Ben Brantley, “‘The Seafarer’ may just be the pick-me-up play of the season.” Heavier on the sauce and lighter on the syrup, it “turns out to be a thinking-person’s alternative to ‘It’s a Wonderful Life’ as a flagon of Christmas cheer.” And the far-fetched plot is easy to believe, thanks to the appropriately shabby costumes and set, stellar acting and “the liveliest, funniest dialogue yet written by Mr. McPherson, who usually specializes in reflective arias.” (For example, “Shining City.”) The ending does have a dose of Capra cheer, but, Brantley writes, “you don’t have to believe in it to be moved by it. Besides, transporting acting like this has an amazing grace all its own.”
“The Devil Went Down to Broadway,” by Matthew Gurewitsch
“A Devil of a Christmas,” by Ben Brantley

The 7th Annual Year in Ideas

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By THE NEW YORK TIMES
Published: December 9, 2007

For the seventh consecutive December, the magazine looks back on the passing year through a special lens: ideas. Editors and writers trawl the oceans of ingenuity, hoping to snag in our nets the many curious, inspired, perplexing and sometimes outright illegal innovations of the past 12 months. Then we lay them out on the dock, flipping and flopping and gasping for air, and toss back all but those that are fresh enough for our particular cut of intellectual sushi. For better or worse, these are 70 of the ideas that helped make 2007 what it was. Enjoy.
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Photograph by Reinhard Hunger for The New York Times. Model makers: Ulrich Genth and Arndt von Hoff.

Airborne Wind Turbines

Alzheimer’s Telephone Screening

Ambiguity Promotes Liking

Appendix Rationale, The

Best Way to Deflect an Asteroid, The

Biodegradable Coffins

Biofuel Race, The

Braille Tattoo, The

Cardboard Bridge, The

‘Cat Lady’ Conundrum, The

Climate Conflicts

Community Urinalysis

Craigslist Vengeance

Criminal Recycling

Crowdware

Culinary Orientalism

Death of Checkers, The

Digital Search Parties

Edible Cocktail, The

Electric Hockey Skate, The

Faces Decide Elections

Fake Tilt-Shift Photography

Fish-Flavored Fish

God Effect, The

Handshake Sex Appeal

Height Tax, The

Honeycomb Vase, The

Hope Can Be Worse Than Hopelessness

Iconic-Performance-Network Player, The

Indie-Rock Musicals

Interstellar Ramadan

Jogging Politique

Knot Physics

Lap-Dance Science

Left-Hand-Turn Elimination

Lightning Farms

Lite-Brite Fashion

Marijuana Mansions

Mindful Exercise

Minimal Chair, The

Mob Jurisprudence

Murphy Balcony, The

Neurorealism

Next Violin, The

Office-Chair Exercise (for Men and Women)

Pixelated Stained Glass

Pop Fecundity

Posthumous E-Mail

Postnuptial Agreements

Prison Poker

Quitting Can Be Good for You

Radiohead Payment Model, The

Right to Medical Self-Defense, The

Rock-Paper-Scissors Is Universal

Second-World Solidarity

Self-Righting Object, The

Smog-Eating Cement

Starch Made Us Human

Suing God

Telltale Food Wrapping

24/7 Alibi, The

Two-Birds-With-One-Stone Resistance

Unadapted Theatrical Adaptation, The

Vegansexuality

Wave Energy

Weapon-Proof School Gear

Wikiscanning

Wireless Energy

Youtube (Accidental) Audition, The

Zygotic Social Networking


A guerrilla 'Project Runway'
By Shana Ting Lipton
In Style Wars, designers get four minutes to repurpose old clothes, or maybe a computer keyboard . . . and they're off!

“Hey Mr. D.J., Follow Those Rock Star Dreams,” by Melena Ryzik

Pay What You Want for This Article
By JON PARELES
How Radiohead took the online gamble that could change the record business.
THE MEDIUM
Stereo Sanctuaries
By VIRGINIA HEFFERNAN
Men’s personal retreats may be increasingly wired, but they’re still about solitary pleasures.

THEATER
Twain Again
Drag makes the show, to mangle Mark Twain. (As in: “Clothes make the man. Naked people have little or no influence on society.”) The newly-unearthed Twain play “Is He Dead?” a farce about a starving French painter who starts cross-dressing for work (shades of “Tootsie”), “has a remarkably sprightly step,” writes Ben Brantley, mostly thanks to the team of resurrectionists behind it: the director Michael Blakemore (“Copenhagen,” “Noises Off”), the playwright David Ives and especially the actor Norbert Leo Butz (“Dirty Rotten Scoundrels”). “Looking like a cross between Kirsten Dunst and Joan Sutherland in ‘La Traviata,’ Mr. Butz in drag is a minor miracle, both honoring the conventions of a hoary elbow-ribbing type and making them feel brand new,” Mr. Brantley writes. “The whole production feels as if it’s been pumped through with nitrous oxide.”
“Rumors of this Play Were Not Exaggerated,” by Jesse Green
“It’s Not Life on the Mississippi, Jean-François Honey,” by Ben Brantley
Times Topics: David Ives
“A Dirty Job, and Nearly Naked Too,” by Lola Ogunnaike
BOOKS
Quick, Driver, Follow That Book!
You know that now you can pay your cab fare with your credit card, and that when you accidentally leave your suitcase in the trunk you can find it before the next passenger does. But there’s so much you don’t know: do drivers make more money on short fares or long ones? And who came up with that Manhattan map on the back of the seat? Tonight at the Lower East Side Tenement Museum, Melissa Plaut (author of “Hack: How I Stopped Worrying About What to Do with My Life and Started Driving a Yellow Cab” ), and Graham Russell and Gao Hodges (authors of “TAXI! A Social History of the New York City Cabdriver”) will answer all your cabbie questions, and possibly give you a ride home afterward.
“Take Me to Starbucks if You Can’t Amuse Me,” by David A. Kelly
City Room: Ask the Taxi Expert
“An Unwanted Passenger,” by Melissa Plaut
“Curb Job,” by Pete Hamill

The two Iranians were of opposite worlds, one secular and rich, the other pious and poor. In post-revolutionary Tehran, they built a friendship and a business.

REALLY?
The Claim: Don’t Eat the Mistletoe. It Can Be Deadly
By ANAHAD O’CONNOR
Mistletoe has a legendary reputation for romance, but it is also widely considered as lethal as it is festive.
======

Out of tragedy came a new kind of family
By Bob Pool
Six years after four siblings lost their mom, ties with their foster dad and brother are strong.
===================================================================

On Dec. 8, 1941, the United States entered World War II as Congress declared war against Japan one day after the attack on Pearl Harbor.
On Dec. 11, 1941, Germany and Italy declared war on the United States; the U.S. responded in kind.

2 'green' technologies race for driver's seat
By Ken Bensinger
Fuel cells and plug-ins vie for funding and favor that could decide what's on the road.
QUOTATION OF THE DAY
"It is a very serious threat that a lot of major exporters that we count on today for international oil supply are no longer going to be net exporters any more in 5 to 10 years."
AMY MYERS JAFFE, an oil analyst at Rice University.
=========================
Save the world: stay married
By Meghan Daum
Households torn asunder use more resources than homes still aglow with marital bliss.


MOVIES
In Hollywood, the fade to black begins
By Rachel Abramowitz, Maria Elena Fernandez and Meg James
Like a rolling blackout, Hollywood is shutting down.

You Couldn’t Write This Stuff: TV Reality Sets In
By EDWARD WYATT
Because of the writers’ strike, networks’ schedules will be filled with repeats or reality programs come January.



Fantasy films? There's truth in there too
'The Golden Compass
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AP / New Line Cinema
Chris Weitz’s film resembles “Narnia” with its animals and the “Potter” series with its Jordan College.
Reality is threaded throughout the most fantastic of the fantasy films, filmmakers say, and audiences are flocking to see them.
By Sam Adams, Special to The Times
December 10, 2007
Given a choice between Iraq and fairyland, it's clear where moviegoers would prefer to spend time.

Despite the glut of politically themed movies on offer this season, audiences have embraced frothier fare: "The Golden Compass," set in a parallel universe inhabited by comely witches and talking animals; fluffy musical romance "Enchanted," which brings classic Disneyana to modern-day New York; and the dark animated adventure "Beowulf," rife with decaying monsters and burnished gold dragons.

'Narnia'
'Narnia'
click to enlarge

"Compass," in fact, was No. 1 at the box office over the weekend. It pushed "Enchanted" to second place by earning an estimated $26.1 million in U.S. and Canadian ticket sales, New Line Cinema reported Sunday.

And all this comes on the heels of the huge success of the "Lord of the Rings" films, the "Harry Potter" franchise and 2005's "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe."

A successful fantastic film artfully mixes the familiar and the fanciful. For all their extraordinary elements, the worlds of Harry Potter and Middle-Earth feel tactile and inhabitable, often more so than the airbrushed universe of the X-Men or Superman. Wedding childlike wonder to grown-up themes (with some teen-delighting combat along the way), the result, studios hope, is a demographic smart bomb whose revenue-generating powers never go out of style.

Fairy-tale endings aside, the fantasy world is not always a pleasant place. Harry Potter has lost one classmate and a surrogate father, and readers of the books know there's more carnage in store. Even tranquil Narnia is beset by war.

"One's always tempted to go the rather stock route of saying it's escapist fare, and we really need that now," says "Golden Compass" writer-director Chris Weitz, who adapted the film's screenplay from Philip Pullman's novel, the first installment in the author's "His Dark Materials" trilogy. "But if you look at 'Lord of the Rings' or 'His Dark Materials,' they're not really escapist inasmuch as they deal, at least in analogy, with some of the things that are going on in politics and society."

"The best fantasy films reflect what is going on today," adds David Heyman, currently producing next year's "Harry Potter and the Half-Blood Prince." "I think the Potter films reflect, in some form, issues of loyalty and trust and friendship, and of propaganda and misinformation and people not being prepared to see what is before them, wanting to see only what they want to see."

Generating authenticity

The boom in fantasy films owes its existence, in part, to the growing power of computer-generated imagery. It's hard to imagine what "Compass' " climactic polar-bear skirmish would have looked like 10 years ago, and previous attempts to film C.S. Lewis' Narnia books were doomed by the clunkiness of their animal characters.

But writer-director Guillermo del Toro thinks that the surge has less to do with technology than topicality. Del Toro, who set his violent fable "Pan's Labyrinth" against the backdrop of the Spanish Civil War, says that social traumas often find their most potent outlet in the world of fantasy.

"There is definitely a pressure-valve factor in the fantastic genres," he says. "All of them -- horror, fantasy, science fiction -- serve as a way to both face deeper issues and/or escape from them. But I think that the fantasy films made in a particular time are either a distorted or a faithful image of the time they were created in. They are a mirror to reality, even if you're trying to escape it."

The stories behind these epic franchises draw on many of the same archetypes, which means some redundancy. Both "The Lion, the Witch and the Wardrobe" and "Golden Compass" feature friendly but imposing beasts voiced by British thespians, and "Golden Compass' " Jordan College bears more than a passing resemblance to Hogwarts.

More practically, "Compass," like the Potter and Narnia films, was shot in London, and all three draw from the same pool of London-based talent. "Luckily, you never run out of great British theater actors," Weitz says.

By and large, Weitz succeeds in establishing a distinct cast of characters, though the dueling wizards from "Lord of the Rings" turn up: Ian McKellen is the voice of the armored bear Iorek Byrnison, and Christopher Lee is a venomous high councilor.

"Lord of the Rings" was the first to demonstrate the box-office might of the fantasy genre, but producer Mark Johnson says the "Narnia" series owes its life, and particularly its fidelity to its source, to the Harry Potter films.

In the pre-Potter era, Johnson says, studios assumed that American children were unable to relate to British characters. His 1995 adaptation of Frances Hodgson Burnett's "A Little Princess" was forcibly relocated from London to New York.

"After that, Harry Potter came along, and all those cultural or geographical lines were broken," he says. "When 'The Lion, The Witch and the Wardrobe' was being developed at Paramount, the imperative was to set it in the U.S., and it just doesn't hold. You can find some way to adapt it, but it's not the book."

If theater receipts are any indication, U.S. audiences prefer their fantasy with a British accent. Homegrown franchise starters like "Eragon" and "Lemony Snicket's A Series of Unfortunate Events" underperformed, and an Americanized version of Susan Cooper's "The Dark Is Rising" landed with a thud.

Pullman, like C.S. Lewis and J.R.R. Tolkien before him, studied at Oxford and has framed "His Dark Materials" as an attack on the covert religiosity of the "Narnia" series. But although cultural observers have been itching to parse "Compass" for Pullman's avowed atheism, the irony is that, stripped of its more pointed references to the Catholic church, "Compass" closely resembles "The Lion, The Witch and the Wardrobe," which itself underwent a face-lift to avoid spooking secular viewers.

Trying not to insult

"Compass' " villains still sport clerical garb, but the authority they represent has been reconfigured as a collection of totalitarian moralists, more like a strict parent than a disapproving priest.

"It's there for people who want to see it, but it's not there in a way that aggressively insults that individual viewer who happens to be a religious person," Weitz says.

But Del Toro says fantasy films are inextricably bound up with spiritual issues, no matter how hard filmmakers may try to submerge them. "In the same way that no movie can be nonpolitical, these genre movies cannot avoid being somewhat spiritual. They can be a crass, failed exercise in spirituality. But no matter how much they try to avoid it, they are tackling subjects . . . rooted in spirituality."

In a world dominated by rationality, Del Toro sees fantasy as the last refuge of the unknown, a place to address questions that still elude science.

"The more we get technology into our lives and the more we demystify our beliefs, the more we create a void," he says. "As spiritual entities, we need to fill that with something, with some mythology or cosmology that allows you to believe in something beyond your next cellphone bill. . . . and the latest Nintendo game. I think that movies of the genre do that. They make the supernatural or the magical palatable to the supposedly jaded 'here, now' generation."

=====================================================================

Editorial Observer
When Doris Lessing Meets Lady Mary Wortley Montagu

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By VERLYN KLINKENBORG
Published: December 8, 2007

This past week, I’ve been reading two books side by side, coincidentally at first and then more and more intently. They are the letters of Lady Mary Wortley Montagu, perhaps the most accomplished Englishwoman of the 18th century, and “Shikasta,” the first volume of Doris Lessing’s science fiction series called “Canopus in Argos: Archives.”
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These books are utterly different in genre and separated by more than two hundred years. And yet as I read, I found myself imagining that Montagu’s letters — written between 1709 and her death in 1762 — formed an extensive chapter within Ms. Lessing’s novel, which is itself made up of letters and bureaucratic reports from an Earth-like world called Shikasta. In other words, I found myself imagining that Lady Mary Wortley Montagu was writing in the future, not the past.

Certain similarities make this easier than it might seem. “Shikasta” is told largely from the perspective of Johor, a benevolent, near-divine emissary from the planet Canopus. The Canopians prompt and watch — often with horror — the development of life on Shikasta.

Johor’s detachment is essentially stoic, and that word is easily applied to Lady Mary Wortley Montagu. Her life was also a series of passages through foreign cultures and an effort to understand how others actually lived. She traveled with her husband to Constantinople in 1717, where he was the English ambassador, and she passed most of the rest of her life looking back at England from self-imposed exile.

It sounds like a strange comparison, and yet as I read, it sounded to me as though Montagu, like Johor, was sending home detailed reports of life on a strange planet. “Mankind is everywhere the same,” she writes to her daughter, then adds: “This observation might be carried yet further: all animals are stimulated by the same passions, and act very near alike, as far as we are capable of observing them.”

What struck me was the impact of reading Montagu as if she were writing from the future. For one thing, it helps undo an inherent chronological bias peculiar to our own time — the belief that we live on a progressive timeline of steady advancement. It’s too easy for us to assume that the past is merely precursor to the present, as if we had absorbed all its wisdoms and replaced its outmoded tools, rendering it irrelevant.

Science fiction of Ms. Lessing’s sort is the comparative study of civilizations, and that is one of Lady Mary Wortley Montagu’s purposes, too. Pretending that Montagu is writing from centuries in the future allows me to see her civilization in its own light, rather than as just a diminished version of ours.

In February 1717, for instance, she writes from Belgrade describing her visit to the battlefield where the Ottomans were defeated six months before. “The marks of that glorious bloody day are yet recent, the field being strewed with the skulls and carcasses of unburied men, horses and camels.” Despite the word “glorious,” these gruesome remains are, to her, evidence that “human nature is not rational, if the word reason means common sense, as I suppose it does.” Her effort to stand back from life — to appraise it unsentimentally — makes her sound as dispassionate as if she had been sent to this sorry planet to appraise its evolution.

The same is true of her efforts to understand Islamic society in Constantinople. She is as eager to expose the falseness of English assumptions about Turkish life as she is to capture the foreignness of what she witnesses there.

There is something deeply appealing to me about this mingling of Ms. Lessing and Montagu. It’s a way of unprivileging our own position as readers, reminding us, as Ms. Lessing does, that we are only one of the many sets of people who will leave traces of themselves during this planet’s existence.


=================================

Television Review
A Post-Thatcher Crime Fighter in a Pre-Thatcher England

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By GINIA BELLAFANTE
Published: December 11, 2007

The return of “Life on Mars” for a second season on BBC America tonight seems as good a time as any to ask why time travel has become such a popular theme on television recently. Is it that we cannot get enough of the retro aesthetic these trips backward occasion? The flesh-tone nylons, the lima-bean-green telephones with cords and dials and earpieces like coasters? Or is that writers see in bygone naïveté as dependable an opportunity for comedy as they do in a 6-year-old spouting off about deflated global currencies?
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John Simm in “Life on Mars,” beginning its second season.

Sam Tyler, a present-day cop stuck in 1970s Manchester, England, tells a colleague in “Life on Mars” that the department will be full of alcoholics by the time Margaret Thatcher becomes prime minister. If Mrs. Thatcher becomes prime minister, the colleague mutters through a Midlands accent as heavy as shipping steel, “I’ll have been doing something a lot stronger than whiskey.”

A loftier assumption would have it that the bleak events of recent history have inspired a collective will to go back and reverse course. “Heroes” operates on the doomed view that tweaking the past is what ensures a safer future. Tyler (John Simm), a forthright cop in a leather jacket, battling the benighted ways of his hot-tempered boss, Detective Chief Inspector Gene Hunt (Philip Glenister), caters in some small way to whatever fantasies of historical reconstruction we might let taunt us.

Hunt is all for ridding Manchester of the perps and jerks; if they didn’t commit the crimes of which they have been accused, well, they must have done something. He is an Archie Bunker ripe for a dust-up with Internal Affairs, and part of the show’s tension derives from the friction between Tyler and his methodical, information-age ways and Hunt and his blustery incaution.

The larger conflict in the show is psychological. After a car accident in 2006, Tyler woke up in 1973, both conking out and reviving to David Bowie’s anthem of displacement, “Life on Mars.” He doesn’t know if he has lapsed into a coma, gone out of his mind or actually, against the odds, been redeposited in the ’70s for some greater, paranormal purpose.

In the ’70s self-help was understood as its own kind of altruism — what was good for you was good for mankind — and the structure of “Life on Mars” cleverly embodies that conflation. Tyler is excavating secrets about his past — last season he came to terms with repressed memories about his murderous father — but he is also preventing bad things from happening to decent people through the pre-emption born of his foreknowledge.

“Life on Mars” is a smarter, gloomier “Journeyman,” the NBC series about a San Francisco journalist who time-travels through the not-too-distant past to inspire moral correction, changing the course of ordinary lives and bumping into his deceased former fiancée. It is neither as hokey nor as preachy. In tonight’s episode Tyler goes after a sleazy casino owner who he knows will wreak havoc later, trying to nail him with little in the way of tangible evidence, and warns the man’s girlfriend away from the life of brutality that awaits her.

If network television ever resumes, we may get an American version of “Life on Mars.” David E. Kelley is set, apparently, to produce a pilot. One of the charms of “Life on Mars” is its reluctance to overindulge in ’70s nostalgia. You never feel as if you are watching “The Mod Squad” with tea. Hollywood likes big hair too much for us to rest assured that it will show the same restraint.

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‘Life on Mars’: 2006 Cop Stuck in the 70’s
Kerry Brown/BBC

John Simm, right, as the time-traveling Detective Sam Tyler, with Philip Glenister in a scene from the BBC detective series “Life on Mars.”

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By MARGY ROCHLIN
Published: July 23, 2006

ROUGHLY seven minutes into the first episode of BBC America’s new drama “Life on Mars,” the protagonist — a dedicated Manchester-based police detective named Sam Tyler (John Simm) — is hit by a speeding car. When he flies up in the air, it is 2006. When he opens his eyes, he is face down on the asphalt in 1973.
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The first clues that Detective Tyler has traveled back in time? Instead of a suit and tie, he is wearing flared pants, a black leather jacket, brown Cuban-heel boots and an open-neck shirt with huge, pointy lapels. The ugliness of 70’s apparel isn’t the only way “Life on Mars” gets its laughs. Until Detective Tyler adjusts to his situation, he will casually request tools of modern police work — speedy forensics tests, cellphones, two-way mirrors through which lineups are conducted — and receive puzzled looks.

But mostly “Life on Mars,” which has its debut on BBC America on Monday night, isn’t funny. Throughout each episode Tyler spends his days fighting crime with his colleagues and his off-hours tying himself in emotional knots, anguishing over how he landed in 1973. Then there are the beeping respirator noises that keep telling him he is also in a present-day hospital bed being ministered to by doctors hoping to snap him out of a coma.

With “Life on Mars,” it is easy to see how humor and bits of science fiction can be scattered throughout a grim, straight-ahead television cop drama. But eight years ago, when the creators of the series, Matthew Graham, Ashley Pharoah and Tony Jordan, first pitched their genre-bending idea — revisiting the unconflicted lawlessness of a testosterone-driven 70’s-style police force through the brain of a coma patient — the BBC’s reaction was not warm.

“They just looked out the window,” Mr. Graham said, adding that the series was finally given the go-ahead after a regime change in 2004. The new executives agreed to take a risk, Mr. Graham said. “They said: ‘Look, we think the idea is insane, but let’s do it, let’s show the world that the BBC leads the way with innovative dramas.’ That was it. We never looked back, really.”

“Life on Mars” became a hit when it first appeared last year on BBC1 in Britain, and many viewers watch the show with an appreciative but scouring eye. On the Internet obsessive fans have turned the search for clothing, music and production-design faux pas into a chat-room contest, citing everything post-1973 from Tyler’s digital LCD watch to the circa-1974 dashboard on a Ford Cortina Mark III that was manufactured in 1972.

“These guys pick up extraordinary things,” said Mr. Graham, who has developed a pat response to the gotcha! squad. “My line is that there are no mistakes on ‘Life on Mars,’ just clues,” he said. “But it’s not true. The fact is, we try not to make mistakes, but sometimes we just do.” Earlier this year the rights to “Life on Mars” were snapped up by the producer David E. Kelley, who will remake the show for ABC. Since then the Web site postings have shifted from nitpicking over what is or isn’t year-specific to speculating about how the American version will pale in comparison to the original.

Though the prolific Mr. Kelley is best known for creating lighthearted fare like “Ally McBeal,” “Picket Fences” and “Boston Legal,” he did try his hand once at a crime show: “Snoops,” a quirky 1999 series about a detective agency that was canceled after 10 episodes. Mr. Graham was openly enthusiastic about Mr. Kelley’s involvement but with a qualifier: “I hope he doesn’t overdo the gags. It would be great if he could keep the darkness and not try to make it too warm and comedic.”

By the end of the eighth and final episode of the first season, the mystery of what Tyler is doing 33 years in the past and how he will manage to return to the present is never solved.

Instead he continues to struggle with his predicament while everyone around him listens to his back-to-the-future ravings and eyes him nervously.

But there is an explanation, right?

“Before we started filming we sat down and plotted his truth,” said Mr. Graham, who won’t say whether a resolution will be provided in the second season, which is currently being filmed in Britain. “It’s nowhere near as outlandish as some of the Internet jockeys think it is. I got a four-page e-mail about how he actually is on Mars, and it’s all a big Martian experience. When I read that I thought, ‘I should either have an exclusion order on this man, or I should hire him’— but I wasn’t sure which.”

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Screen test(osterone)
Hollywood's bursting with masculinity again, but it's not all tough hunks and retro smoothies.
By Peter Rainer, Special to The Times
December 9, 2007
HOW many ways can a man be manly in the movies these days? The film historian Robert Sklar once wrote that "each generation exaggerates its own crises of masculinity." If this is true, we must be in a doozy of a crisis right now.

There hasn't been this much industrial-strength machismo, both as cause for celebration and denunciation, since the post-Vietnam Reagan '80s superhero heyday of Rambo and Gordon Gekko. Consider, for starters, that the "Superman" and "Die Hard" franchises, long dormant, were recently revived; a sequel to "Wall Street" is being readied; a new Indiana Jones movie is in the pipeline; and that, come January, Sylvester Stallone, having already revived Rocky, will once again be wearing the Rambo muscle suit. Not one to press his luck, Rambo will be touring Myanmar, not Baghdad.

Return of the mustache
Photo Gallery
Return of the mustache

I don't want to overplay the parallels between the Reagan and George W. Bush years, but might the backwash of a colossally unpopular war have something to do with the fact that so many of our movies are -- how can I say this politely? -- atavistic?

On the far side of the blood-and-biceps "Beowulf," consider the gallery of actors today who represent throwbacks to a relatively uncomplicated male mystique. When Russell Crowe or George Clooney are talked about or written about, the tone is often almost strenuously adulatory, as if they stood for an old-style Hollywood machismo that must be preserved at all costs. Crowe was on the cover of "Men's Journal" last month as "Our favorite S.O.B." A new Colorado magazine called Shine featured Clooney on its inaugural cover and inside announced that he "embodies the courageous John Wayne spirit of the Westerns" (which is probably the last thing Clooney wants to hear).

Still, it can be deeply satisfying to watch these actors preen. A little masculine confidence goes a long way in the movies and, in the right roles, these men remind you of what you loved about, say, Bogart or Mitchum or McQueen. Crowe can be sluggish and inchoate in a Depression-era retread like "Cinderella Man," he can be thuddingly heroic in "Gladiator," but at his best, in "L.A. Confidential" and "3:10 to Yuma" and, to a much lesser extent, in "American Gangster," he has the bully-boy insolence of male privilege down pat.

Clooney, in particular, is associated in the public imagination with Golden Age Hollywood icons. In his self-deprecating savoir-faire he is seen as a burlier version of Cary Grant, while his Danny Ocean routine has some of the Sinatra finesse. In films such as "Syriana" and "Michael Clayton," he plays the standard Bogart cynic turned do-gooder. It's easy to imagine Clooney fitting into any number of Hollywood classics, from "Casablanca" on down. (Clooney is a godsend to all those women who, during the pre-"Departed" reign of Leonardo DiCaprio, despaired of ever seeing a leading man on the screen who looked to be past the point of his first shave.)

But a retro-ness clings to Clooney that, especially for a younger generation, may ultimately work against him. He's a new movie star in an old mold as opposed to, say, Johnny Depp, who has a satyr's pansexual appeal and the shape-shifty genius to fully inhabit, even unify, mind scapes as disparate as Tim Burton's and Jerry Bruckheimer's. Depp is the most original male presence in the movies in large part because he is the most original sexual presence.

By comparison, actors such as Clooney and Crowe, or Denzel Washington, rarely get to play out their sexual dynamism. Is it because Hollywood thinks there are no women who are their match? Despite their high whammo quotients these men have starred in alarmingly few erotic dramas, let alone romances, and that's a deprivation for us all. The Golden Age icons may have been men's men, but they were overwhelmingly defined by their maddening/ornery/blissful relations with women. The sullen gravitas of Clooney, Crowe and Washington in "Michael Clayton" and "American Gangster" represents an overvaluation of the strong-and-silent mystique, and it reminds me of what Gore Vidal once wrote about the humorlessness of American society: "What other culture could have produced someone like Hemingway and not seen the joke?"

Muscle men

IF atavism is truly your meat, you'll find it most blatantly on view in the brawnfest "300," where Spartan beefcake enthusiastically disembowels wounded Iranians -- oops, Persians -- before expiring valorously at Thermopylae. It's there in "Beowulf," where, thanks to motion-capture technology, the hulky, ovoid Ray Winstone is transformed into a warrior with miracle abs. Brad Pitt must be wondering why he spent all those months buffing up to play Achilles in "Troy." No more is it necessary for an actor to put in quality time with a personal trainer. In the future, all the personal trainers in Hollywood will be CGI technicians.

These big-screen blam-pow epics tap the same market that caters to World Wrestling Federation smackdowns and male-niche TV shows such as "Lost" and "24" and all-testosterone, all-the-time cable channels like Spike TV. They appeal to men who tune out regular box- ing but tune in to extreme boxing. This he-man swagger, of course, takes in a lot more than the movies these days: It's also the preferred stance in our presidential politics, where the candidates who come out swinging get the most ink. (Now that "Invasion U.S.A" '80s action star Chuck Norris is soldered to the Huckabee campaign, who's waiting in the wings? The Rock? The Hebrew Hammer?)

The "actors" in "300" and "Beowulf" fly the banner for a movie business that may one day rate the annual Comic-Conconvention in San Diego as highly as Cannes. But they're not the only screen stars who seem like replicants these days. Matt Damon in the "Bourne" movies is a heat-seeking missile who incises his way into mayhem with an almost preternatural velocity. The new James Bond, as played by Daniel Craig, is a feral assassin who doesn't blink an eye while electroshocking himself back from the dead. Craig doesn't have the suaveness or the square-cut facial planes of his immediate predecessors (and that's a good thing). In the past, the Bond movies were never really about violence; they were about how stylish you could look while being violent. "Casino Royale" changed all that.

The nauseating uptick in carnage on display in "Saw IV" and all the rest is a low-rent manifestation of the same hyper-violent syndrome often found in big-ticket "Bourne"-style action pictures. In both instances, we are witnessing a worst-case scenario of male aggression -- maleness and murderousness are twinned. (In the case of a lurid art film like "The Brave One," Jodie Foster's Charles Bronson-ish vigilante is the Frankenstein monster created by male murderousness.)

It's easier to dismiss this scenario in the slasher cheapies, which were also quite big in the '80s, than in the more serious current fare. In many of the Iraq-themed films, the psycho soldier, so familiar from Vietnam-era movies, is once more a featured player. The traditional all-American good guy is the bad guy again. In the centerpiece to Brian De Palma's "Redacted," which is inspired by a real incident, American soldiers in Samarra rape and murder a 15-year-old girl and then kill her family. In Paul Haggis' "In the Valley of Elah," also inspired by a true story, a recently returned American soldier who served in Iraq -- the son of a Vietnam vet played by Tommy Lee Jones -- is ultimately discovered to have been murdered by men in his own unit. In both movies, the perpetrators are portrayed as hollow-eyed thugs. The implication is clear: These men were zombified by an unjust war (or conversely, an unjust war attracted zombie recruits). Instead of going after the policy makers who put these men into that war, the filmmakers demonize the soldiers themselves.

If there is a more all-American male icon than the fighting soldier, it's the Westerner, and he too has undergone an extreme makeover. Traditionally Jesse James has been touted in the movies as a mythic hero in much the same way that he once was in the dime novels. In "The Assassination of Jesse James by the Coward Robert Ford," Brad Pitt's Jesse is a sociopath whose antennae are tuned to the tiniest quavers of betrayal. His murders are swift and remorseless. In one sequence, seeking vengeance, he savagely beats an innocent boy. This Jesse James is one of the very first casualties of the American fame industry and, as such, Pitt, who has a sly knowingness in the role, is perfectly cast. The legendary Westerner has been transformed into an icon deranged by his own celebrity. His murderer, Casey Affleck's Robert Ford, is ultimately also annihilated by his own notoriety.

Modern masculinity

JOEL and Ethan Coen have said that in their "No Country for Old Men" -- which is set in Texas in 1980 but feels contemporary -- the classic Westerner is split into three archetypes at war with one another. Josh Brolin's hunter Llewelyn Moss is the scruffy Everyman who makes off with somebody else's millions from a drug deal gone wrong; Javier Bardem's Anton Chigurh, whose massive head looks like a carved chess piece and whose weapon of choice is a cattle stun gun, is the sagebrush Terminator who pursues him. Tommy Lee Jones' Ed Tom Bell is the local sheriff who tracks them knowing full well that a new malevolence has entered into the West that he cannot survive. Bell may be Old School, but Chigurh is Old Testament.

It's significant that even people who admire this movie feel cheated by its fatalism. They want a happy ending. (Don't they know Cormac McCarthy, who wrote the novel, doesn't do happy?) These are the same folks who complained that the killer wasn't captured at the end of "Zodiac." Without Chigurh's rampant, unpunished depravity, which is so ghoulish it's comic, the movie has no meaning. He represents the sheer animality of male aggression. His triumph in this most masculine of genres certifies his ascendancy in a terrifying modern world where we no longer feel protected.

A generation ago, in his "Eyes of Laura Mars" days, Tommy Lee Jones himself might have been well cast as Chigurh. But with this movie, and "In the Valley of Elah," he's eased into a more sanctioned tradition -- the strong-silent man of principle. In both films, his weathered antiquity is perceived as on the way out -- and more necessary to America than ever.

The comedy of the horny brigade in the Judd Apatow films, of Sacha Baron Cohen in "Borat," or even the guys in "Wedding Crashers" acts as a fizzy chaser to the heavy bourbon of the big boys. (Vince Vaughn is the opposite of the strong-silent type -- he's weak and never shuts up.) Clooney in his movies may have all the right moves, he may look like there was never a time when he didn't have them, but it is Steve Carell trying to hold on to his virginity, or the buddies from "Superbad" desperately trying to lose theirs, who capture the imagination of Geek Nation -- which, it turns out, covers a large swath of the male population. Leaving aside the raunch factor, the men and boys in these movies are innocents -- blood brothers to Tom Hanks' Josh, the 12-year-old 30-year-old in "Big," a key '80s movie about the wonders of arrested development. Not surprisingly, "Big" is being talked about for a remake.

In the end, there can't be all that much of a masculinity crisis in the movies if Clooney and Carell can co-exist in the same eco-system. There is, however, one species of movies that is largely AWOL, and it's the same one that flourished just before the primal heroics of the Reagan era took hold. Films as disparate as "Dog Day Afternoon," "McCabe and Mrs. Miller," "Deliverance" and "Raging Bull" didn't rubber-stamp the prevailing macho orthodoxies, they challenged and subverted and worried them. It's difficult to be a man, these films said, and by their willingness to embrace moral ambiguity, they honored that difficulty. At a time when we are at war and masculine force in the movies is being trumpeted or pilloried, I have a suggestion for Hollywood: Why not give Rambo a rest and revisit the realm of films like these instead?

Peter Rainer is the film critic for the Christian Science Monitor and DVD critic for Bloomberg News.
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Onscreen Villain Makes Doctors Wince
By MELISSA LAFSKY
A new movie brings anesthesia awareness, a rare phenomenon that doctors are still struggling to understand, to life.
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Porn producer sues YouTube knockoff
Ken Hively / Los Angeles Times
Vivid Co-Chairman Bill Asher, left, with co-founder Steven Hirsch in their L.A. office. "We've decided to take a stand and say 'no more,' " Vivid Co-Chairman Steven Hirsch said. "We will go after all the free sites."
PornoTube and its parent firm are accused of profiting from piracy.
By Joseph Menn, Los Angeles Times Staff Writer
December 11, 2007
A major porn producer filed a lawsuit Monday against an X-rated knockoff of YouTube, alleging that it profited from piracy by allowing its users to post videos that include copyrighted material.

Vivid Entertainment Group filed the lawsuit in Los Angeles federal court against PornoTube and its parent, Data Conversions Inc., which does business in Charlotte, N.C., as AEBN Inc.

The suit is apparently the first of its kind in the adult film industry, which has done a better job than the major Hollywood studios in finding ways to profit from putting entertainment products on the Internet.

But in the last year or so, the rapid increase in consumption of all manner of videos on the Web has in some ways hurt the porn producers more than the mainstream companies because consumers of adult fare often get what they are looking for in clips of five minutes or less. Free short clips are easy to find on the Web, undercutting the established porn producers, which earn most of their money from long-form videos.

"We've decided to take a stand and say 'no more,' " Vivid co-Chairman Steven Hirsch said. "We will go after all the free sites."

In legal terms, the Vivid suit echoes the claims of a lawsuit Viacom Inc. filed this year against YouTube, which is owned by Google Inc. The question at the heart of both cases is just how hard a website must work to ensure that users don't post videos belonging to someone else.

The law on that matter is unsettled, attorneys said. YouTube and other sites have compromised with some mainstream producers, agreeing to split ad revenue generated while their clips are played.

Hirsch said he wasn't interested in negotiating a similar deal or in constantly keeping watch for Vivid material popping up without the company's permission.

"I can't be a policeman, and I don't intend to be," Hirsch said.

Vivid has an additional beef with PornoTube. Although Vivid is required by law to record the ages and birth names of its performers, PornoTube has an unfair competitive advantage because it doesn't always comply, according to the lawsuit.

An AEBN executive didn't respond to a request for comment.

The suit accuses PornoTube of hosting excerpts of tapes that include such Vivid titles as "Night Nurses," "Where the Boys Aren't 7" and the private work of TV personality Kim Kardashian. The suit seeks damages of $150,000 per infringed work.

Other porn companies also are upset by the explosion in Web video sites, many of which rely on user submissions that borrow heavily from copyrighted material.

"What's happening in the industry is an unacceptable amount of theft," said Jon B., a vice president at Red Light District who asked that his full name not be used because family members don't know what he does.

He said Internet piracy might be reducing his company's profit 35%.

The executive said suing websites was likely to prove futile because so many existed and because file-trading occurred over decentralized networks, leaving no single party to sue.

Instead, he said Red Light was considering suing individual downloaders for pirating copyrighted material, as the music industry is doing.

"If it scares them enough, if it can take away 20% of the illegal downloads, we'll be doing the best that we can," he said.

Hirsch said the Internet remained a positive overall for Vivid, helping to provide new ways to generate revenue to make up for declining DVD sales.

Piracy has always existed, but it's more detrimental for the company as it tries to sell more of its content over the Web, Hirsch said. Competing with free Internet videos is bad enough, but competing with free versions of Vivid's material is maddening, he said.

Industry revenue as a whole is up, but it is getting split into more pieces, said Farley Cahen, publisher of Adult Video News Online magazine.

"In the past, it was peer-to-peer networks" that took a modest amount of technical ability to use, Cahen said. "Now, there's PornoTube, XTube, RedTube -- any kind of -Tube you can think of."

"There are longer and longer clips that are free, and the companies are at a loss over what to do."

joseph.menn@latimes.com

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Homemade YouTube Video Lands Singer in a Web Ad
By SARA IVRY
Becoming an Internet phenomenon after posting a no-frills music video on YouTube, Tay Zonday has followed up with an advertisement for Dr Pepper.
Homemade YouTube Video Lands Singer in a Web Ad

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By SARA IVRY
Published: December 10, 2007

If, as the song goes, video killed the radio star, then homemade YouTube heroes like Tay Zonday have put a hit out on traditional advertising.
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"Cherry Chocolate Rain," a video for Dr Pepper (youtube.com)

In April, Mr. Zonday became an Internet phenomenon after he posted a no-frills video for the song “Chocolate Rain” on YouTube featuring his earnest delivery and his deep voice, which he likens to that of Paul Robeson and Barry White.

Two weeks ago, Mr. Zonday, a 25-year-old graduate student in American studies at the University of Minnesota whose real name is Adam Bahner, posted a follow-up called “Cherry Chocolate Rain.” But in this case, the flashier video was an ad. With a little help from the rapper Mista Johnson, Mr. Zonday extols the virtues of Cherry Chocolate Diet Dr Pepper, a soft drink that will be available nationally from January through April. (Since November, it has had limited marketing in four states.)

Soft drink companies have often based ad campaigns around pop singers, but they are usually mainstream acts like Michael Jackson or Britney Spears, not an online curiosity like Mr. Zonday, who does not have a record contract.

“We’re doing this to try to do something fun and different and connect with consumers who might not see more traditional media,” said Jaxie Alt, the director for marketing at Dr Pepper, which worked with True Entertainment, a production company, in August to approach Mr. Zonday about reworking “Chocolate Rain.” Neither Mr. Zonday nor Dr Pepper would disclose how much Mr. Zonday received for the "Cherry Chocolate Rain" video.

In the months since it has been up, the video for “Chocolate Rain” has had roughly 12 million hits. “I probably posted it like millions of other people upload themselves singing or doing ordinary things in their lives, and I think that’s very much part of our time, part of our culture,” said Mr. Zonday. “It’s not something one gives a whole lot of more thought to than sending an e-mail or making a phone call,” added Mr. Zonday, who has also landed a television commercial for Comedy Central.

The newer video, for “Cherry Chocolate Rain,” has more than one million hits so far. The newer song has the same melody as the original but different lyrics. The viral approach “was very, very deliberate from a marketing standpoint,” said Shari Solomon Cedar, True Entertainment’s vice president for programming. “Our task was to get something in front of a tech savvy, younger audience, to break through and bring awareness that way. That’s what we achieved.”


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E-Commerce Report
Small Merchants Gain Large Presence on Web

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By BOB TEDESCHI
Published: December 3, 2007

MOM-AND-POP retailers have helplessly stood by over the last decade as big-box merchants steamrolled over them. Online, though, small merchants are not going down without a fight.
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Michael Houghton for The New York Times

Lisa Mathisen, owner of RealmDekor.com, a retailer of home goods, has been able to compete with larger companies.

The number of small- and medium-size retailers selling online has swelled in the last two years, from 21 percent to 32 percent, according to a survey by IDC, a consulting firm. Aided by less expensive and more sophisticated technology, stores like RealmDekor.com, CleanAirGardening.com and SitStay.com are competing with retailers as well as bigger sites like Amazon.

These businesses lack the huge marketing budgets of their bigger peers, of course, but they are unearthing cheap advertising methods that, in some cases, help them compete with million-dollar promotions.

The retailer of quirky home goods, RealmDekor.com, has experienced occasional sales increases not because of catalog shipments or television commercials, but because it formed relationships with bloggers and posted its products on new “social shopping sites” like ThisNext.com and StyleHive.com.

“People started posting about my goods and it snowballed from there,” said Lisa Mathisen, RealmDekor’s owner. “I know people think these sites are new and underground, but they’re becoming more mainstream. Even my mother checks them out to find gifts.”

Social shopping sites emerged last year as places for dedicated shoppers to exchange tips on popular items or designers. Tens of thousands of users list their raves and vie for trendsetter supremacy, while the site owners collect dollars for referring customers to retailers.

Gordon Gould, chief executive of ThisNext.com, said the site features more than one hundred thousand products, with a majority of the items coming from smaller retailers. “Social shopping sites help the smaller retailers surface their products and open people up to their specific point of view,” he said.

CleanAirGardening.com, an online retailer of environmentally friendly gardening supplies based in Dallas, recently began posting product demonstration videos on YouTube and other sites, along with links to the site. According to Lars Hundley, the company’s owner, visitors who arrive from video-sharing sites purchase goods 20 percent more often than those who come from elsewhere.

Most online shoppers are so experienced that they feel safer venturing away from Amazon to buy from lesser-known sites, said Ray Boggs, an IDC analyst. Part of the reason, perhaps, is that the Web sites now built by many small merchants lack the amateurish feel of a few years ago.

Companies like Yahoo, Amazon and thousands of independent Web developers have become considerably better at building slick sites for merchants, sometimes within a few minutes, for less than $100. Yahoo Store merchants, for instance, pay $40 to $300 a month, and a commission of 0.75 percent to 1 percent on each sale. Merchants on the Amazon WebStore pay $60 monthly, along with a 7 percent commission.

Jimmy Duvall, who oversees the Yahoo Stores service for Yahoo’s small business division, said the company recently introduced a series of enhancements, intended to simplify the site-building process and improve merchandising.

For instance, Yahoo merchants can now automatically offer a shirt to match a pair of slacks a customer bought previously, or a tablecloth to complement silverware a customer placed into the shopping cart. (In retail parlance, these techniques are called cross-selling or up-selling.)

“They can do some pretty advanced merchandising now, without having to dedicate staff to picking items,” Mr. Duvall said.

In some respects, Yahoo’s cross-selling improvements are a response to Amazon’s entry into the market last year. The Amazon WebStore service began with technology that mimics Amazon.com’s recommendation feature, which displays the purchases of customers who searched for items similar to those on a given page.

In Amazon’s latest quarterly results, 32 percent of the goods sold on Amazon’s sites were offered by other merchants.

Those numbers could climb after a technology failure by Yahoo last week left its 45,000 merchants without functioning Web sites for much of the big Cyber Monday holiday shopping day. Matt Williams, who oversees the Amazon WebStore division, said his company had calls from Yahoo clients who were looking to transfer their stores quickly to his service.

Like Yahoo, Amazon helps its clients attract customers by listing its products on the site, and by helping ensure the stores appear on search engines. Such help is critical for beginners, but for more seasoned merchants hoping to reach the upper tiers of online retailing, it is not enough.

SitStay.com, an online retailer of goods for dog owners, grew steadily since its began in 1996. It now operates from a 20,000-square-foot facility in Lincoln, Neb. The owners of the 13-employee company, Darcie and Kent Krueger, invested slightly less than $100,000 in new Web site technology from I.B.M. that, starting last month, allowed them to more quickly post sales and product recommendations, among other things.

But because the new technology required SitStay to replace all of its old Web pages with new ones, search engines no longer rank the site’s products near the top of the results. Because few consumers click to the second or third page of search results, the effect was significant. Bigger merchants like Petco and Petsmart, meanwhile, can easily outbid SitStay for prominent ads.

“And more and more sites are coming out all the time, some with a lot of money they can invest in their search ads,” Mr. Krueger said. “So we’ve got everything in place to handle a lot more customers. Now, we’ve just got to find ways to bring them to us.”


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E-COMMERCE REPORT; A Gimmick Becomes a Real Trend (November 2007)

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Publisher Gets Web Readers to Fill the Pages of Its Magazines
Jim Wilson/The New York Times

Paul Cloutier with the magazines JPG and Everywhere from his company.

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By EVELYN NUSSENBAUM
Published: November 24, 2007

Correction Appended

SAN FRANCISCO, Nov. 21 — A funny thing happened while Halsey Minor was trying to kill print journalism. He ended up publishing magazines — big, heavy magazines, with beautiful pictures on quality paper — the kind he and others had declared obsolete.

The founder of the technology news site CNet.com readily admits to an about-face. “I spent my time at CNet talking about how print was going to be challenged by the Internet and specifically how we were going to make magazines go away,” he said. “But two years ago I realized I was still reading over 100 magazines a month. I like holding them and turning the pages. And the images are better than on the Internet.”

Amid the YouTube-fueled craze for user-generated content, he wondered why readers, instead of writers and editors whom he would have to pay, could not do most of the heavy lifting. He also pondered how he might get rid of, or at least reduce, the large ad sales staff. He just was not sure how to pull it off.

Then in 2006 he met Paul Cloutier and Derek Powazek, Web-publishing veterans who were publishing a user-generated on-demand photo magazine called JPG. One early issue took e-mail submissions and used a self-publishing service to sell downloads or print copies with Cloutier’s and Powazek's favorites.

They wanted to expand. Mr. Minor, who has backed a number of successful ventures since CNet — including Salesforce.com, which went public, and Grand Central, which was sold to Google — had money to invest. A few weeks later, in June, 8020 Publishing was born. It was named after the proverbial ratio of passive Web users (sometimes called lurkers) to those who actually write and contribute. Mr. Minor wants to build the company into an empire of Web-generated print magazines.

“Dan Rather was a pivotal moment for me,” he said, referring to the way bloggers discovered inconsistencies in the anchorman’s 2004 “60 Minutes” story about President Bush’s military service. “You can be an ‘expert,’ but the collective way is so much richer and deeper that it’s almost impossible to compete with.”

He is hardly the only one with the idea of using user-generated content to make money. Many Web sites, like YouTube or Yelp, thrive on content that users donate. The Al Gore venture CurrentTV is a cable channel devoted to videos submitted by the general public. Google recently filed a patent for user-generated content publications.

But 8020 is different because Mr. Minor thinks he can also make money from old-fashioned print.

Online readers vote on their favorite submissions appearing at JPGmag.com. Then a tiny staff of 10 designs a layout for the winners and about 50,000 high-quality slick-looking magazines are printed six times a year. They are sold through $25 annual subscriptions and on newsstands for $6 each.

The online version is free. Readers can also download and print a PDF file of the entire magazine free, because the publishers assume that physically holding a high-quality magazine is more satisfying than viewing it online and therefore will not cannibalize newsstand sales.

Even with that freebie, Mr. Minor says that 70 percent of his magazines on newsstands are purchased, a surprisingly high “sell-through” rate; most magazine publishers would be thrilled with 50 percent.

The start-up was not without turmoil. Mr. Powazek (along with his wife, Heather Powazek Champ, also at the magazine since its founding) left 8020 in May, saying that a power-hungry Mr. Cloutier had pushed him out. On his blog, Powazek.com, he accused Mr. Cloutier and Mr. Minor of minimizing his contributions to the new and old versions of JPG. He was particularly upset that the earliest issues had been taken off the site.

Mr. Powazek said he did not realize his influence would be diminished so severely when he agreed that Mr. Cloutier should run 8020. He also laid claim to the idea for 8020, pointing out that he and his wife put together the first e-mail-driven version of JPG without Mr. Cloutier.

While he no longer has a role at 8020, Mr. Powazek still owns a small percentage of the company. Mr. Cloutier does not dispute that the partnership ended badly or that the first issues were taken off the Web site. But he said it was necessary to distinguish between the incarnations of the magazine, since the new one was so different. And he said Mr. Powazek obstructed the introduction of the new company and magazine and alienated the staff members by refusing to let newcomers contribute to what he saw as his baby.

Nevertheless, Mr. Minor and company are so happy with the business model that they have produced a second user-generated magazine called Everywhere, devoted to travel. It went on sale last week.

“You’re going to see more of this,” said Samir Husni, who is chairman of the journalism department at the University of Mississippi and writes the well-known magazine business blog Mrmagazine.com. “I don’t think it’s just about getting cheap content into a magazine. Seeing their own work in print makes people feel like part of a community.”

Community is a mantra Mr. Minor and Mr. Cloutier, now chief executive of 8020, repeat often. The JPG and Everywhere sites have lots of what the staff calls “easy jumping-in points” — features meant to get users involved without intimidating them.

“Ask someone to write a magazine story and they freeze up,” said Mr. Cloutier, who has designed magazine Web sites and helped start CurrentTV. “But say ‘send us a postcard’ and it becomes easy.”

Users can submit photos, writing and travel recommendations to Everywhere and comment on everything. If a comment is popular enough, it might end up in print under someone else’s photo.

8020 tries to make the magazine more readable by limiting advertising. Web ads are subtle — no pop-ups. The dozen or so advertisers in the print issues are limited to the first few pages, the back, and sponsorships of special sections. Adobe Systems, Sony, Epson, Audi and Virgin America have bought ads. 8020 can afford to limit advertising because, Mr. Minor said, it does not need it to make a profit from them. It says it makes money on each subscription and newsstand sale — the opposite of the traditional magazine business.

And while JPG’s circulation is only 18,000 subscriptions, the company said it needed to sell just 30,000 to break even on each issue. The small print runs and low overhead leave money for quality paper, an increasing rarity among magazines. It is also reflected in the content. Data, like hotel phone numbers and addresses, is likely to be on the Web but not in a print version of Everywhere. Longer stories and photo essays might be featured solely in print.

Now they will see whether users share their vision. In the meantime, Mr. Minor and the 8020 staff are kicking around ideas for the next magazine. Mr. Minor said he was in the venture for the long haul. “I would be really upset if it didn’t work because it should work,” he said. “We should be able to build a large media company based on people publishing for themselves.”

Correction: December 6, 2007

Because of an editing error, an article in Business Day on Nov. 24 about a group of Web publishers who started 8020 Publishing to produce user-generated print magazines referred imprecisely to the contributions of Paul Cloutier, 8020’s chief executive, to one such publication, JPG magazine. He joined after the first issue; he was not involved in starting the magazine. Also because of an editing error, the article referred imprecisely to the magazine’s content. Only one early issue accepted direct e-mail submissions; subsequent submissions have been taken from JPGmag.com. The article also misstated the current ownership status of Derek Powazek, a founder of the online magazine. He still owns a small percentage of 8020 Publishing, not JPG.com.

================================

ADVERTISING
The ’60s as the Good Old Days
By STUART ELLIOTT
A new trend in advertising presents many of the contentious aspects of the ’60s — the protests, the hippies, the challenge to authority — in a positive, even romanticized light.
Advertising
The ’60s as the Good Old Days

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By STUART ELLIOTT
Published: December 10, 2007

IF you remember the ’60s, as a popular saying goes, you probably weren’t there. No matter. Madison Avenue is taking you back with a skein of campaigns celebrating sights and sounds of the decade.
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A Volkswagen Microbus symbolizing the 1960s. Other ads present many aspects of the ’60s that were contentious at the time — the protests, the hippies, the challenge to authority — in a positive or even a romanticized light.
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The ads are filled with images like Volkswagen buses festooned with groovy graffiti, daisies and other power flowers, peace signs, psychedelic drawings in DayGlo colors and hair, long beautiful hair, shining, gleaming, streaming, flaxen, waxen (to quote a lyric from the era).

Music, too, is being used to invoke the 1960s. Commercials on television, radio and the Internet play tunes like “Daydream” by the Lovin’ Spoonful (1966), “Gimme Some Lovin’ ” by the Spencer Davis Group (1967) and “On the Road Again” by Canned Heat (1968).

The trend may have started in summer 2006 when Ameriprise Financial introduced a campaign with Dennis Hopper, a symbol of the counterculture for his roles in films like “Easy Rider.” It has since expanded to brands like Geico insurance, Lucky jeans, Total cereal and U. S. Trust.

What is most intriguing about the trend is that the ads present many of the contentious aspects of the ’60s — the protests, the hippies, the challenge to authority — in a positive, even romanticized light.

For instance, a trippy-looking commercial for Total, sold by General Mills, begins, “The ’60s were about change, defying convention,” and ends by proclaiming the cereal as the best breakfast “for mind and body.”

During the ’60s, mass marketers avoided such language, fearful of alienating mainstream consumers. The approach is also a far cry from the demonization of the decade that still pervades political advertising, as evidenced by recent commercials for Senator John McCain that attacked Senator Hillary Rodham Clinton as a product of the ’60s culture.



“There are a lot of good things that came out of the ’60s,” said Larry Meli, president and chief operating officer at the AmericanLife TV Network in Washington. “It’s time to point them out.”

AmericanLife TV, which offers reruns of ’60s series like “Lost in Space” and “Mission: Impossible,” is changing its logo to a daisy from a star. The switch is meant to remind baby boomers of the “flower power” slogan as well as a commercial from the 1964 presidential campaign, titled “Daisy,” that portrayed Barry M. Goldwater, who ran against Lyndon B. Johnson, as a warmonger.

“Being more precisely relevant to the audience you’re trying to address is a good thing,” said Ted Ward, vice president for marketing at Geico in Washington, part of Berkshire Hathaway. “There’s a huge opportunity in the baby-boomer group for us to continue to grow our business.”

Geico is running a commercial and a print ad depicting a VW bus decorated with phrases like “right on” and “far out.” The ads are created by the Martin Agency in Richmond, Va., part of the Interpublic Group of Companies.

“Having been from that era, I can relate,” Mr. Ward said, although, he joked, “I never owned that bus.” His Volkswagens of choice, he recalled, were two Beetles and a Karmann Ghia.

U. S. Trust, part of Bank of America, also displays a VW bus in a campaign by another Interpublic agency, Hill, Holliday, Connors, Cosmopulos in Boston. The ads depict a wealthy man today and flash back to show him decades ago, surrounded by friends, inside a bus on a beach.

“The most valuable car in his collection isn’t the Ferrari, the Cobra or the Aston Martin,” a headline declares, “but a 1968 bus.” (Actually, the owner seems to have borrowed parts from models from other years.)

For people in U. S. Trust’s intended audience, “the ’60s “was a formative time in their lives, their wonder years,” said Anne Finucane, chief marketing officer at Bank of America in Boston.

The bus is a symbol “of the values you grew up with, the values that made you successful and the values you want to pass on to your children,” she added.

Indeed, the children of the baby boomers are another reason it is suddenly the time of the season for the ’60s.

“The kids are realizing what that generation was all about and what their fathers and mothers contributed,” said George Lois, who with his son, Luke, is creating a campaign for AmericanLife TV that carries the theme “For baby boomers and their babies.”

The campaign, from an agency in New York aptly named Good Karma Creative, pairs parents and offspring, like the actress Susan Sarandon and her daughter, Eva Amurri; Graydon Carter, the editor of Vanity Fair magazine, and his son, Ash; and the artist James Rosenquist and his daughter, Lily.

Ms. Amurri, for example, praises the way her mother’s generation worked to “change the world” by supporting women’s liberation and opposing the Vietnam War. And Ash Carter describes how his father took part in the movements for racial equality and against the war.

The echo effect from an unpopular conflict that polarized a nation four decades ago has not gone unnoticed.

“I’d like to think that the recent trend of using hippie and flower-power songs and tracks is actually a subliminally subversive tactic,” said Josh Rabinowitz, senior vice president and director for music at the Grey Group in New York, part of the WPP Group, “tapping into a subtle yet palpable collective consumer dissent with the Iraq war.”

For those who may dispute such a political perspective, Mr. Rabinowitz offered another rationale for the music’s comeback: It sounds good.

The songs appeal to a younger demographic as much as they do to boomers, he said, because they are reminiscent of the “indie-inflected” songs heard on TV series like “Grey’s Anatomy” and in films like “Garden State.”

Reactions to the ads are so far predominantly positive, the executives say.

“A lot of people are noticing” the Total campaign, said Ann Hayden, worldwide creative director on the General Mills account at Saatchi & Saatchi in New York, part of the Publicis Groupe.

“It gives us a starting point for getting people to rethink the brand,” she added.



At Geico, which closely tracks the response to its campaigns, Mr. Ward said the VW bus ads “are working.”

For U. S. Trust, Ms. Finucane said, there will be “more ads coming” with a ’60s vibe because “many of our customers identify with it.”

There may also be ads aimed at wealthy investors who fondly recall the ’70s. Asked if they will use symbols of that decade, like spinning disco balls, Ms. Finucane replied, “I hope not.”

========================================


Essay
Smoke This Book
Lars Klove for The New York Times

Quest for the consumer: Advertising inserted into a 1972 science-fiction paperback by A. E. Van Vogt.

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By PAUL COLLINS
Published: December 2, 2007

If the mark of a classic is that every time you read it you discover something new, then the 1972 paperback of A. E. Van Vogt’s science-fiction novel “Quest for the Future” just might be a classic. Those who read the book when it was first published in hardcover in 1970 certainly won’t recognize this passage from Chapter 15: “A large gleaming machine with an opening at one end was wheeled in, and once again the cycle ran its Micronite Filter. Mild, Smooth Taste. For All the Right Reasons. Kent. America’s Quality Cigarette. King Size or Deluxe 100s.”
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Lars Klove for The New York Times

Advertising inserted into a 1972 science-fiction paperback by A. E. Van Vogt.

A full-color advertising insert, bound directly into the book, brings “Quest for the Future” crashing into the mundane present. And this whiplash effect isn’t unique to Van Vogt’s book. A familiar if puzzling sight to flea market devotees, ad-stuffed paperbacks from the 1960s and ’70s now have a paper trail hidden among more than 40 million pages of internal tobacco industry documents archived online in the University of California, San Francisco’s Legacy Tobacco Documents Library (legacy.library.ucsf.edu). Read the memorandums and you’ll want a shower afterward — or perhaps a cigarette.

The story of paperback advertising started innocently enough: with babies, in fact. In 1958, the Madison Avenue adman Roy Benjamin founded the Quality Book Group, a consortium of the paperback industry heavyweights Bantam Books, Pocket Books and the New American Library. Despite the lofty name, the group’s real purpose was to sell advertisements in paperbacks, and its first target was the biggest success of them all: Dr. Benjamin Spock’s “Common Sense Book of Baby and Child Care.” A 1959 Pocket Books print run of 500,000 included advertisements by Q-Tips, Carnation and Procter & Gamble. By 1963, a 26-page insert in Spock was commanding $6,500 to $7,500 per page, and ads were spreading into mysteries and other pulps as well.

It was a windfall for everyone — everyone, that is, except the authors. “Authors were horrified by these ads,” Paul Aiken, the executive director of the Authors Guild, said in a recent interview, adding jokingly, “And doubly horrified that they weren’t paid for them.”

Stung by criticism that he’d broken the endorsement guidelines of the American Medical Association, Spock sued his publisher in New York State Supreme Court, claiming he had been misled into signing permission for the ads by publishers who assured him it was common practice. In its defense, Pocket Books argued that advertising in books dated to the Victorian era: examine a serialized 1849 edition of Dickens’s “David Copperfield” and you’ll find advertisements for Freeman’s Spermazine Wax Lights and Dr. Lucock’s Pulmonic Wafers jostling with those for Arrowsmith’s Pianoforte and Toilet Covers. The judge sided with Spock’s publisher, and the floodgates were opened. Weeks later the ad agency BBDO informed clients that now “the medium” — paperback books — “has been offered on a large scale.”

“If you’re getting enough stimulation from this book, you don’t need it from your coffee,” a Sanka ad announces in a 1971 copy of Elizabeth Longford’s “Queen Victoria: Born to Succeed,” which also contains pitches for Kotex, Palmolive and Canadian Club. The practice had its critics. “We will see the day,” the syndicated columnist John Keasler lamented, “when we turn a page of Hemingway or Wolfe ... and the next page will say Are Your Underarms Really With It?” But research suggested the ads were working. A 1972 study of paperback advertising found that although readers professed to dislike the idea of ads in books, after actual exposure their negative responses to the practice slid while brand awareness climbed.

The bulk of paperback advertising came from tobacco companies, which were looking for new places to push their products after a federal ban on cigarette advertising on television and radio passed in 1969. Beginning in 1971, the Lorillard Tobacco Company began buying into print runs of tens and even hundreds of thousands of copies apiece at the astounding rate of 125 titles a month, often in pulpy volumes like “Purr, Baby, Purr” and “The Executioner #8: Chicago Wipeout” — not to mention the poetically if unintentionally matched “I Come to Kill You” and “Unless They Kill Me First.” True to the era, Lorillard placed advertisements in 150,000 copies of “Group Sex,” as well as in “Heloise’s Kitchen Hints.” By 1975, the company had spent $3 million for advertisements in a staggering 540 million paperbacks.

Some accused cigarette manufacturers of aiming at children. “I would appreciate it if your Institute could attempt to persuade the manufacturers of Kent and True cigarettes to withdraw their ads from the ‘Avenger’ series and any other books which are aimed primarily at teen or sub-teen audiences,” one Robert Lee of Alexandria, Va., complained in a 1974 letter to the Tobacco Institute. Lorillard denied any nefarious intentions, responding, “We hope your children will continue to enjoy their reading adventures.”

But it wasn’t just pulp fiction that was singled out. Lorillard ordered advertisements in 74,000 copies of Toni Morrison’s novel “The Bluest Eye,” while other cigarette ads turned up in books assigned in schools. The authors themselves were sometimes the last to know. In a recent interview, Michael Frayn said it was “particularly depressing” to learn 35 years later that the American edition of his comic novel “Against Entropy” hawked True cigarettes, calling the ads “a barbarous practice.”

The rock critic Dave Marsh was able to block advertising requests for his 1983 book “Before I Get Old: The Story of the Who” after conferring with Pete Townshend, whose publishing company, Eel Pie, had acquired it. “I had a relationship with the publisher that allowed me to argue,” Marsh said by telephone from his home in Connecticut. “I didn’t feel like pimping cigarettes.” By then, the practice was fading anyway, thanks in part to an Authors Guild model contract banning unauthorized ads. The demographics of smoking were also changing, with smokers becoming less educated. An internal 1983 study for a “Salem Spirit” cigarette campaign found that “most had no compunction admitting they read very little.” One respondent had read only one book in his life: “The Amityville Horror.” The little that male Salem smokers in 1983 did read, the researchers noted dryly, included “sports news, the want ads” and “manuals on pot growing.”

Today, paperback advertisements live on in moldering attic boxes of pulps and in the nicotine addictions they fostered. But finding an ad in his own book did manage to drive away at least one customer.

“At the time, I was a smoker,” said Jerry Hopkins, the author of “Elvis: The Biography,” published as a Warner paperback in 1972. “I quit the following year.”

Paul Collins teaches creative writing at Portland State University and is the author of “The Trouble With Tom: The Strange Afterlife and Times of Thomas Paine.”

==========================

Marketing to Women


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The documents below provide a starting point for exploration of marketing and advertising strategies used by the tobacco companies to create cigarette brands specifically for women.

Marketing Strategies


Papers from the A.A.A.A. Region Conventions: How An Agency Builds a Brand -- The Virginia Slims Story (1970)

Presentation describing the famous PM marketing campaign for Virginia Slims. Of particular note are slides of advertising slogans and storyboards rejected in favor of the well-known tagline: "You've come a long way, baby."

legacy.library.ucsf.edu/tid/efc64e00

Segmenting the Women's Market by Women's Role, Women's Lib and Other Social Forces (1973)

Report dividing women into categories, from "emotional bra-burning extremists" to "anti-libbers," to facilitate development of a cigarette that appeals to women with more "powerful sets of opinions and feelings."

legacy.library.ucsf.edu/tid/xlx31e00

The Female Smoker Market (1973)

Lorillard report exploring the growing importance of the female smoker. The report investigates motivations for smoking, lower success rates in quitting smoking, and an increase in cigarette consumption by adolescent girls.

legacy.library.ucsf.edu/tid/lce91e00

Images that Positively Motivate Women: An Initial, Qualitative Exploration (1980)

RJ Reynolds study investigating imagery with a broad-based appeal for women in an effort to provide "strong positive image(s)" which "may help to offset some of the negative feelings about smoking in general and/or a brand in particular (e.g. a high tar, high nicotine cigarette)."

legacy.library.ucsf.edu/tid/rbx79d00

A Historical Perspective on Female-Oriented Brands (1981)

Provides a brief overview of female-targeted brands since the 1960s with a focus on the success of Virginia Slims.

legacy.library.ucsf.edu/tid/hqy85d00

New Business Research and Development Report: Project AA, Analysis of Female Smokers (1983)

RJ Reynolds analysis of types of cigarettes women are more likely to smoke and of the social values of women from specific age brackets that influence attraction to a specific brand.

legacy.library.ucsf.edu/tid/ing39d00

V.F. Year 1: Promotion Recommendations (1989)

RJ Reynolds marketing strategy that targeted young women, age 18-20, with very specific demographic characteristics. Report outlines the attitudes and interests of this target population and details plans to develop high impact retail promotions to build brand awareness and image.

legacy.library.ucsf.edu/tid/gin54d00

Female Brand (1993)

American Tobacco report on existing brands developed for female smokers as well as market share of "female only" brands. This report suggests a more contemporary and relevant "lifestyle-based approach" to developing a brand targeted specifically toward young adult female smokers.

legacy.library.ucsf.edu/tid/ava35f00

Advertisements Back to Top

To Keep a Slender Figure No One Can Deny.... Reach For a Lucky Instead of a Sweet (n.d.)

Early tobacco advertisement appealing to issues of weight and beauty.

legacy.library.ucsf.edu/tid/cwa69d00

Silva Thins - Cigarettes & Women (n.d.)

Advertisement comparing "the best women" to "thin and rich" cigarettes.

legacy.library.ucsf.edu/tid/vcf51a00

"Watch Adeline Gray Try Uncle Sam's New Nylon 'Chute..." (1942)

WWII-era advertisement for Camel cigarettes featured a female parachutist as a spokesperson.

legacy.library.ucsf.edu/tid/omo75d00

Virginia Slims - "You've Come a Long Way, Baby" (1969)

Advertisement comparing the women's liberation movement and the right to vote to being able to smoke a cigarette made just for women.

legacy.library.ucsf.edu/tid/sog23e00

For More of a Women, More of a Salem (1974)

Lorillard advertisement equating style and fashion with the Salem brand.

legacy.library.ucsf.edu/tid/xfl88d00

If Women Ran a Tobacco Company, What Would it be Like? (1996)

RJ Reynolds advertisement introducing the company's female president.

legacy.library.ucsf.edu/tid/vno21d00

==============================

Advertising
Imitation Hits the Marketing Business. Again.

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By STUART ELLIOTT
Published: November 20, 2007

THEY say that imitation is the sincerest form of advertising, and once again a skein of look-alike, sound-alike, seem-alike campaigns is raising eyebrows along Madison Avenue.
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NOW YOU SEE IT If you want to visit the Statue of Liberty, Mount Rushmore and the Golden Gate Bridge, watch the AT&T ad.
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NOW YOU SEE IT, AGAIN But if New York and Tokyo are your desired destinations, head for the ad for Riverbed Technologies.

Television commercials for American Honda Motor and Subway restaurants, for instance, both use the theme song from the vintage sitcom “The Odd Couple.”

Here are some other examples that have consumers doing double — and in some cases, triple — takes:

¶Campaigns for AT&T and a company called Riverbed Technology are both based on the concept of “mashing up” the names of cities to produce fanciful amalgams like “Japaridelphia” and “New Yorkyo.”

¶A television commercial for Visa, set in a toy store, and a trailer promoting “Mr. Magorium’s Wonder Emporium,” a movie about a magical toy store, both feature the same upbeat instrumental tune, “Breakfast Machine,” which was featured in the 1985 film “Pee-wee’s Big Adventure.”

¶TV spots for Aflac and Alltel use the venerable special-effects tool known as stop-motion animation to bring to life Santa Claus, among other characters. On the USA cable network on Sunday night, the two spots ran within minutes of each other in a commercial break during an episode of “Law & Order: Special Victims Unit.”

Also, shoppers can see ads from three marketers — Dell, Sears and Wal-Mart — that all promote the idea of making holiday wishes come true.

For Dell, the thought is expressed with themes like “Wish for the holidays” and “Wish for anywhere.” For Sears, the themes include “This year, don’t just give a gift, grant a wish” and “Where wishes begin.” For Wal-Mart, there is a single wishful theme, “For every wish.”

The issue of what constitutes originality in ads — and what might instead be homage, borrowing, mimicry, copycatting or plagiarism — has been vexing industry professionals for decades. Generally, although an idea cannot be copyrighted, in some instances a specific expression of the idea may be protected.

The Internet has made it easier to find and widely publicize perceived similarities in campaigns. Now, even when ads appear thousands of miles apart, comments can be made about their apparent commonalities.

For instance, the blog Adfreak (adweek.blogs.com/adfreak/) noted recently that a billboard for an electric utility in South Africa was reminiscent of a billboard for a water utility in Denver. Each used a small portion of a big billboard for a visual pun: a message promoting conservation.

Adfreak, written by editors of the trade publication Adweek, is among scores of blogs devoted to advertising and marketing. Many of their authors devote posts to ads that they believe too closely resemble other ads. As the ranks of the ad detectives grow, the number of incidents may seem to proliferate.

A blog called FX Rant (fxrant.blogspot.com) even devotes a section, titled “Movie Marketing Is Hard,” to “illustrating the lack of creativity” among campaigns from film studios. The most recent post pointed out similarities between the campaigns for “Beowulf,” which opened on Friday, and the 2006 film “300.”

How did the Visa commercial come to use the same song and the same toy-shop setting as the trailer for “Mr. Magorium’s Wonder Emporium,” which opened on Friday?

Any coincidences between the spot and the movie “are just that, coincidences,” said Jeremy Miller, a spokesman for the Visa agency, TBWA/Chiat/Day, part of the TBWA Worldwide division of the Omnicom Group.

“This is not the first time Visa has highlighted a toy store in its advertising,” Mr. Miller said, and depicting a “busy toy store during the holiday period is completely in character for Visa as the fourth quarter is a very busy time with all retailers.”



The idea for the commercial was submitted last February, he added, before the movie trailer began to appear.

Speaking of the holiday, what could account for three campaigns all using variations of “wish”? “Wishing is something that’s pretty common at holiday time,” said David Clifton, director for global marketing communications at Dell, and as a result, he added, “I don’t see a problem” with the echo effect.

“One thing we looked at was how do we differentiate our campaign,” Mr. Clifton said, “so we added some texture to it” with a theme, “Yours is here,” that is also the address for a special Web site (yoursishere.com) featuring celebrities like Burt Reynolds. The campaign is created by the New York office of Mother.

At Sears, Roebuck, part of Sears Holdings, Richard Gerstein, chief marketing officer, said: “It would be tough to ‘own’ wishes. Wishes are part of the holiday.” The Sears campaign is created by the Chicago office of Y&R, part of the Young & Rubicam Brands unit of the WPP Group.

Still, Sears has ties to wishing that go back further than Dell’s or Wal-Mart’s: The Wish Book was the name for the Sears holiday catalogs published from 1963 to 1993.

The onset of the holiday shopping season is also the likely reason for the simultaneous appearances of the stop-action Santas in the Alltel Wireless commercials, from Campbell-Ewald in Warren, Mich., part of the Interpublic Group of Companies, and the Aflac commercial, from the Kaplan Thaler Group in New York, part of the Publicis Groupe. The spots pay affectionate tribute to holiday TV specials from the 1960s, like “Rudolph the Red-Nosed Reindeer.”

Still, some marketers have a less laissez-faire attitude about similarities in campaigns than Mr. Gerstein at Sears and Mr. Clifton at Dell.

In September, as executives at RPA, the agency for the American Honda Motor Company, were completing a commercial for the Civic Hybrid using the theme from “The Odd Couple,” they learned that a Subway spot, finishing production at about the same, was using the same music.

============================

* E-COMMERCE REPORT; Web Sites Go Fishing in TV’s Advertising Revenue Stream (November 19, 2007)
* ADVERTISING; Web Videos Stealing TV Viewers, and Marketers (November 16, 2007)

===========================

NEW YORK/REGION
No Longer the City of ‘Bonfire’ in Flames
By ANNE BARNARD
Twenty years after the publication of “The Bonfire of the Vanities,” the milestone provides a moment to consider how the city’s own narrative has (so far) turned out.

THE NEEDIEST CASES
When Part-Time Work Isn’t Enough to Pay the Rent
By JOHN SULLIVAN
Some days, Adelle Doulin feels as if she is on a treadmill when it comes to meeting her basic expenses.

Metropolitan Diary
While standing on a corner waiting to cross a street, I found myself next to a toddler in a stroller jabbering to himself. Then I noticed that the little boy was actually playing with a colorful toy cellphone.
============================================

Op-Ed Columnist
Mitt’s No J.F.K.

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By MAUREEN DOWD
Published: December 9, 2007

WASHINGTON
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Fred R. Conrad/The New York Times

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When I was a kid, we used to drive on the Beltway past the big Mormon temple outside Washington. The spires rose up like a white Oz, and some wag had spray-painted the message on a bridge beneath: “Surrender Dorothy!”

It did seem like an alien world, an impression that was enhanced when we took a tour of the temple and saw all the women wearing white outfits and light pink lipstick.

Of course, it was no more scary than scowling nuns with long rulers preaching about the virgin birth, the Holy Ghost and the hideous fates that would befall girls who wore too much makeup or French-kissed.

You’d think Catholics, who watched with trepidation as J.F.K. battled prejudice, would be sympathetic to Mitt Romney.

But even for those of us in religions that were once considered cults by other religions — my mom and another Catholic girlfriend actually had Southern Protestants ask them to lift up their hair so they could see the mark of the devil or the horns — Mormonism is opaque.

Now in addition to asking candidates about boxers or briefs, we have reporters asking Mitt Romney if he wears The Garment, the sacred one-piece, knee-length underwear with Mormon markings and strict disposal rules.

“I’ll just say those sorts of things I’ll keep private,” he told The Atlantic.

One of my Republican brothers told me he wished he could vote for “a Protestant Mitt Romney.”

The founder of Mormonism, Joseph Smith, who ran for president the year before he died, was a lusty, charismatic Prospero. In “Under the Banner of Heaven,” a best seller about the Mormon faith, Jon Krakauer wrote that Smith was so full of charm, enthusiasm and imagination that “he could sell a muzzle to a dog.”

Not wanting to be a debt-ridden farmer like his dad, young Joseph came of age in Palmyra, in western New York. He was, Mr. Krakauer wrote, “attempting to divine the location of buried treasure by means of black magic and crystal gazing.”

When he was 17, Joseph said, an angel named Moroni came to his bedroom to tell him about some gold tablets that had been buried 1,400 years earlier under a nearby rock. Joseph said he translated hieroglyphics on the tablets using special glasses provided by Moroni, and this became the Book of Mormon.

After marrying a passel of women, some as young as 14, he had a divine revelation about polygamy that steamed his original wife, Emma.

“Emma harangued Joseph so relentlessly about his philandering,” Mr. Krakauer wrote, “that the original intent of the revelation canonized as Section 132 seems to have been simply to persuade Emma to shut up and accept his plural wives — while at the same time compelling her to refrain from indulging in any extracurricular sex herself.”

I called Mr. Krakauer — who also wrote the best sellers “Into Thin Air” and “Into the Wild” — to get his opinion of Mitt’s religion speech.

Mormons see themselves as the one true religion, and don’t buy all of the New Testament, he said, “which makes it curious why Mitt thinks evangelical Christians are his allies.”

Asked Thursday by Diane Sawyer on “Good Morning America” if he thought Mormons were Christians, Richard Land, an official of the Southern Baptist Convention, replied, “No, I do not.”

Mr. Krakauer can envision a Mormon making an “excellent president.”

“The Mormon approach to family life is amazing, and there are a lot of good things about the faith,” he said. But he worries that “the Mormon Church, while more welcoming, is still not a place that grants women and blacks equal status, and it’s a terrible place to be gay. The leadership is authoritarian, male, white and absolutely intolerant of dissent.”

The problem with Mitt is not his religion; it is his overeager policy shape-shifting. He did not give a brave speech, but a pandering one. Disguised as a courageous, Kennedyesque statement of principle, the talk was really just an attempt to compete with the evolution-disdaining, religion-baiting Huckabee and get Baptists to concede that Mormons are Christians.

“J.F.K.’s speech was to reassure Americans that he wasn’t a religious fanatic,” Mr. Krakauer agreed. “Mitt’s was to tell evangelical Christians, ‘I’m a religious fanatic just like you.’”

The backdrop, he said, is “the wickedly fierce competition between Mormons and Southern evangelicals to convert people.”

The world is globalizing, nuclear weapons are proliferating, the Middle East is seething, but Republicans are still arguing the Scopes trial.

Mitt was right when he said that “Americans do not respect believers of convenience.” Now if he would only admit he’s describing himself.


=============

EDITORIAL OBSERVER
Showdown in Arizona, Where Mariachis and Minutemen Collide
By LAWRENCE DOWNES
A weekly confrontation at a parking lot in Phoenix perfectly mimics the national debate over immigration.
=====================================================


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The cranky old on-air character at Spanish-language station KBUE-FM is actually played by a 27-year-old immigrant who's got his competition in a sweat.

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The benefits of wide-body planes and stock index funds.
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By DAN HURLEY
Naloxone has lately become a tool for states and cities struggling to reduce stubbornly high death rates among opiate users.

All Brains Are the Same Color
By RICHARD E. NISBETT
Interventions at every age from infancy to college can reduce racial gaps in I.Q., sometimes by substantial amounts in surprisingly little time.

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By PATRICK HEALY
The British actor Ian McShane opens next week as the patriarch Max in Harold Pinter’s “Homecoming,” a man-monster of diminishing powers and, of course, many vulgarities.

TV Weekend
Charming, Cunning and Ready for a Con

Julia Jentsch plays a religious college activist arrested for disseminating anti-Nazi leaflets in "Sophie Scholl."

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By ALESSANDRA STANLEY
Published: February 17, 2006

AMERICANS always seem to fantasize upwards. The British prefer to revel in decline. And that's what makes most British television shows so different and disconcerting.
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Forum: Television

"Hustle," a BBC series on AMC, about a gang of high-stakes con artists, is the exception, a refreshing throwback to 1960's caper movies and series like "The Avengers." It's slick, clever and playful: it offers a Cool Britannia that doesn't exist in real life in Britain or on television on either side of the Atlantic.

The theme song is a tip-off: sprightly, mischievous and retro. So is the casting of Robert Vaughn, formerly of "The Man From U.N.C.L.E.," a series that was influenced by early James Bond movies as well as "The Avengers," which began in Britain a few years earlier. Mr. Vaughn plays Albert Stroller, a genteel con man and gambler who is the gang's father figure and mentor.

This Saturday, AMC will hold a "Hustle" marathon, showing reprises of the first six episodes and the premiere of the seventh; it's a chance to see how the series portrays crime as an art with a strict code of conduct. There is loyalty, and even abiding affection, among the five thieves. Most important, the marks have to be rich enough to afford a fleecing, and not because the con artists have a conscience. Mostly they are superstitious. The gang leader, Mickey Stone (Adrian Lester) believes in karma and jinxes. When one in the group unwittingly robs a small businessman of his entire fortune, Mickey explains that "bad behavior makes bad luck." On this series, greed is secondary to the sport of swindling, particularly the elaborate planning and execution of a "long con," a multi-tiered snow job like the ones in "The Sting" or "Ocean's Eleven."

The writers share their characters' love of trickery. Each episode is layered with feints and red herrings — sometimes literally. In the first episode, Mickey is first seen standing outside an upscale restaurant called the Red Herring. There are crosses and double-crosses, but in almost every episode, there is a moment when the action freezes, and the characters address the audience or the moment in a playful display of self-consciousness — more Stoppard than Mamet.

"Hustle" doesn't dwell on class or race or the grubbiness of real life in a declining empire. (The sun always seems to be shining in this glossy, glamorous version of London.) It's all pretend and it's all for fun, even when some characters get tripped up by their personal lives. Mickey still pines for his estranged wife, while Stacie (Jaime Murray), the cool, sexy girl grifter, pines for him. Outwardly, however, they maintain a bantering camaraderie. "Hustle" stands out from the gloomy, moralizing mood of American crime shows. Here, the law is in disorder, and the criminals always get the last word.

And it couldn't be more different from "Footballers Wive$," an ITV series that begins its third season on BBC America on Sunday. The nighttime soap opera is a "Dynasty" or "Desperate Housewives" for the post-aspirational: there is not much make-believe glamour to their lives. Even their vacations in luxury resorts in Thailand look tacky. These shameless, scheming wives of soccer stars are sordid, their class — or lack of it — as much a part of their identity as their designer suits and platinum blond hairdos. The series is a huge cult hit in Britain, perhaps because the satire is over the top, and also a bit snobbish.

Class doesn't tell much of anything back home on "Desperate Housewives" — the characters are rich and good-looking, and that's all American viewers care to know. Characters are defined by their bad behavior, not by their accents or excessive use of blue eye shadow.

There are other new British imports that have the same cold-blooded approach to comedy. "Ladette to Lady," on the Sundance Channel, is a makeover reality show without much of a happy ending; slatternly, hard-drinking British girls, are sent to Eggleston Hall, a finishing school, to lose their working-class accents and vile manners. Mostly, they squabble and drive their snooty instructresses up the wall. Even the most brutish makeover shows on Fox have a sentimental streak, albeit strained and artificial. The British version is much more deadpan and realistic, a documentary version of "My Fair Lady."

The closest thing to compassion is "Bad Girls," a drama about a women's correctional facility on BBC America. It's more soap opera than satire, but it is nevertheless veined by a bleak, decidedly unromantic sensibility that is very British — even HBO's "Oz" found some grandeur in the sheer horror of prison life.

"Hustle" is the best of this bunch — escapism with an old-fashioned twist: a playful, engaging crime series that cares less about whodunit than how.

Hustle

AMC, Saturday nights at 10, Eastern and Pacific times; 9, Central time.

Footballers Wive$

BBC America, Sunday nights at 10, Eastern time; 9, Pacific time; 9 and midnight, Central time.

Ladette to Lady

Sundance Channel, Thursday nights at 9, Eastern and Pacific times; 8, Central time.

Bad Girls

BBC America, Tuesday nights at 9, Eastern time; 10, Pacific time; 8 and midnight, Central time.
==============================================================================

December 10, 2007, 10:45 pm
Primae Objectiones Et Responsio Auctoris Ad Primas Objectiones (Part One)

By About Errol Morris

Errol Morris is a documentary filmmaker whose movie The Fog of War: Eleven Lessons From the Life of Robert S. McNamara won the Academy Award for best documentary feature in 2004. He also directed Gates of Heaven, The Thin Blue Line, Fast, Cheap, and Out of Control and A Brief History of Time, among other films. His new film, "Standard Operating Procedure," will be released next year. A companion book, co-written with Philip Gourevitch, will also appear in 2008. He lives in Cambridge, Mass.

==================
There have been almost 1,400 responses to my previous essays here. The quantity has been extraordinary and so has the quality. Letters in The New York Review of Books or The Times Book Review can be acrimonious — authors defending themselves from real or imagined insults, slurs and attacks. I am delighted that most of the comments have not been adversarial, and I have learned from reading them. I can’t respond all at once, and I have passed by many, fully intending to go back to them in a subsequent round. I ask for the readers’ patience.

A number of readers have claimed that I am not producing a blog — that I am producing a series of essays. Nomenclature aside, the idea of publishing the responses of readers to a given text (and even to including an author’s responses to those responses) goes back at least to the 17th century.

I recently read an account of this in A.C. Grayling’s biography of Descartes:

The great interest generated by the Discourse persuaded Descartes of two things, that he had to leave mathematics behind him, and that he needed to write a more careful and thorough account of his philosophy… The writing of the Meditations on First Philosophy — began to occupy him. And he made a strategic decision: that he would circulate the Meditations before publication, soliciting objections; and that he would publish the objections, together with his replies, along with the text of the Meditations itself.

A.C. Grayling, “Descartes: The Life and Times of a Genius”

This is from the 1685 edition of the “Meditations” in the Library of Congress. It is arranged in three sections: the meditations are first, then the first objection and Descartes’ reply, followed by a second, third, fourth, fifth and sixth round of objections and replies.

So what is going on here? I believe it should appropriately be called … “Cartesian Blogging.”

Reply to comment No. 8, “Will the Real Hooded Man Please Stand Up.” The claim that it’s hard to believe I failed to cite Antonioni’s “Blow-Up” or Kuhn’s “The Structure of Scientific Revolutions.”

[It’s] hard to believe a filmmaker wouldn’t cite “Blow Up.” Or anyone not to have referenced Kuhn’s “Structure of Scientific Revolutions,” etc.

Well, you can’t mention everything. At the end of “Which Came First? (Part 3),” I discuss why I don’t believe “Blow-Up” is about the subjectivity of truth. I hope it is somewhat convincing.

I was a student of Thomas Kuhn in the early 1970s. I plan to discuss “The Structure of Scientific Revolutions” in a future essay on photography, meaning and reference. About 15 years ago, a friend of mine, Richard Saum, sent me a picture of a bumper-sticker he had seen in San Diego: “Shifts Happen.” I wish I could find the picture. Tragically, Richard died some years ago.

Reply to comment No. 25, “Hooded Man.” The claim that language can breed error — just like photographs.

…the critic is attributing to photography what is true of all representation, verbal as well as visual. Think about it: can you depend any more on written accounts of reality? If so, I have a bridge to sell. You don’t have to spend more than ten minutes in a court of law to see that writing is highly suspect.

Think about it? I have thought about it.

And I’m not sure I understand your point. Is the point that writing can be false or misleading? Who would argue? What I am writing here could be false or misleading. (I will let readers decide for themselves.)

Here is the problem as I see it.

Photographs are neither true nor false.

Consider this picture of John Kerry and Jane Fonda. It is a well-known fake image that was passed off as an Associated Press photo. Is the photograph true or false?


I would say: neither.

The text surrounding the photograph makes a number of misleading and false claims. The picture is not an A.P. photo, and the captions are worded to encourage the viewer to conclude falsely that John Kerry and Jane Fonda appeared together at the antiwar rally depicted in the photograph. However, this rally never happened.

Fonda and Kerry did attend the same antiwar rally, but these images of the two (which were combined in one fake photograph) were taken at different rallies. Kerry’s was taken in 1971, Fonda’s in 1972.

But what is true or false? Is it the photograph itself or the text surrounding it? I would say it is the text surrounding it.

Here’s the same picture again.

True or false?

Reply to comment No. 43, “Hooded Man.” The claim that we don’t really have to understand the underlying reality of photographs.

“All we could do was to define our own reality and in that quest hope to define a larger truth. Clawman and Vietcong Man both do that. Relatively few people know who the real men are — and it doesn’t matter because the mental and unexplained power of the visual image is a far greater force upon our minds than any amount of words and real identities.”

This shares several underlying themes with No. 25. I still don’t agree.

The “larger truth” is that we all live in the real world.

“Relatively few people know who the real men are — and it doesn’t matter…” But it does matter. If it doesn’t, how do you explain our preoccupation — even obsession — with the identity of people in iconic photographs? The soldiers in Joe Rosenthal’s photograph of the flag-raising on Mt. Suribachi, the young Vietnamese girl running down the road in Nick Ut’s photograph, the migrant mother in Dorothea Lange’s photograph.

I agree: “the mental and unexplained power of the visual image is a far greater force…” But is this a good thing? There remains the question: what are images stripped of context? Are they nothing more than propaganda — or if not propaganda, are they simply a mirror that we hold up to our own prejudices and predispositions?

Reply to comment No. 49, “Hooded Man.” The claim that I retread work done by Ames, Akutagawa and Kurosawa.

Your article retreads work done by Adelbert Ames at Dartmouth from 1920-1947. He created aberrations in the visual world, and then tested subjects. He concluded that what we “see” is determined by what we want to see, what we expect to see, and what we have been trained to see. To go back further, the Japanese story “Rashomon” … has the same theme.

I should have mentioned Ames. I am an unabashed Adelbert Ames fan. I include file footage of the Ames Distorted Room and the Ames Revolving Window in a short film (”Stairway to Heaven”) about Temple Grandin, an autistic designer of humane slaughterhouses. Temple Grandin quite brilliantly developed a slaughterhouse ramp based on various optical distortions pioneered by Ames.

Subsequently, I built an Ames Distorted Room for a series of commercials I directed for Quaker Oats. (My reasoning was as follows: I was advertising a weight-loss product. What better way to illustrate weight-loss than to show someone shrinking in size as they walk across a room?)

Ames’s idea is an important one — how we see the world is conditioned by our expectations, cultural and otherwise. Ames’s conclusion: vision is not “stimulus bound.” It is not solely determined by the image on the retina.[1]

And yes, I could have also mentioned Kurosawa’s “Rashomon.”

But “Rashomon” has always given me a little bit of trouble. I thought I understood it. I wanted to understand it, but then I watched the film again, reread the stories on which it is based by Akutagawa (”Rashomon” and “In the Bamboo Grove”) and then changed my view about what “Rashomon” is really about. Here’s my “Rashomon”-like quandary. Is “Rashomon” about the absence of absolute truth or is it about how our vested interests prevent us from acknowledging the truth, admitting to the truth — seeing the truth?

Furthermore, what does it say about the real world rather than just the fictional world of the story? In the real world evidence can coalesce to produce a picture of what really happened. In “Rashomon,” we have a combination of first-person eyewitness testimony and physical evidence, but do they fit together to portray an actual crime, or has the story been deliberately engineered to create unresolvable ambiguity?

In the real world new evidence can be uncovered, but in a fictional world, we have to imagine new evidence. In the real world, we could ask a question: does the policeman eat his soup with his left hand? We can send out a surveillance team and quietly observe the policeman and come to some sort of conclusion. In “Rashomon” there is no soup-eating scene and, for all intents and purposes, the policeman could be ambidextrous.

Early in the movie — about 13 minutes into it — the policeman provides an account of how he captured the bandit (Toshiro Mifune):

To add to our difficulties — compounded by my lack of Japanese — the English subtitles in the Criterion Collection version are different from the Google Public Domain version on the Internet.

He was dressed as you see him now. Carrying that Korean sword. (Google)

The last time I almost caught him, he looked the same and he carried that same sword. (Criterion)

We see the policeman testifying. And there is a cut to a portrayal of what the policeman is describing. We see him running along a riverbank. He sees the bandit, who has collapsed at the water’s edge. Three arrows are sticking in his back. The horse stolen from the samurai grazes nearby. The narration continues:

There was a black lacquered quiver holding seventeen arrows.[2] And a bow. They all belonged to the murdered man. (Google)

We are asked to assess whether the policeman is lying or telling the truth, and if he is lying, his reasons for lying. But why would the policeman lie? What does he have to hide? Furthermore, the account he provides is not heroic. It is not a story of incredible derring-do, and it has the flatness of reportage.

Then there are the arrows. What is the meaning of this physical evidence? Who shot the arrows? And there is a further complication. Is the image to be believed, or is it an illustration of how the policeman confabulated — or even manufactured — a narrative out of unrelated details? What is the significance of the 17 arrows in the quiver or of the three arrows sticking out of the bandit’s back?

Is it so surprising that a story about alternative meanings could have alternative meanings?

So which “Rashomon” are we discussing?[3]

Reply to comment No. 57, “Hooded Man.” The claim that postmodernism should be given a chance.

“So as not to give a leg up to those post-modernist theoreticians who would throw truth out the window along with objectivity, let’s be clear: this is not an assault on truth.” I’m surprised you would dismiss postmodern theorists so quickly, given that your arguments overlap so much with theirs. If you read Derrida, Lacan, Deleuze, Foucault and others, not one of them denies a physical reality. Quite the opposite: they all argue rigorously for empirical investigation over universal abstractions. They argue the exact, same thing that you do—that what we see is shaped by what we believe. But they take it one step further: there is no way to describe or talk about the event in the photograph outside of each of our socially constructed perceptions… I would suggest giving ‘post-modernist theoreticians’ the benefit of the doubt — they would strengthen your arguments immensely.

Herein lies the problem.

I have not dismissed postmodern theorists so quickly, but I have dismissed their views on truth.

You state, “they argue the exact same thing that you do… But they take it one step further…”

Yes. “They take it one step further.” It reminds me of an article that I read years ago in The New York Review of Books about an East German doctor who had been indicted for conducting tuberculosis experiments on children during the Third Reich. In defending himself, he said something to the effect, but I’ve lived an exemplary life, if you don’t include the tuberculosis experiments I performed on children.

That “step further” you refer to is a significant difference. I do not believe — contra the postmodernists — that truth is socially constructed. There are big differences between each of the following claims:

(1) Truth is socially constructed or, worse yet, subjective;

(2) Truth is in principle absolute but we cannot know it; and

(3) Truth is knowable, but there are endless impediments to knowing it. (One of the greatest impediments is that people tend to ignore it or reject it even when presented with it.)

I am a proponent of the third view.

Reply to comment No. 166, “Which Came First, the Chicken or the Egg? (Part 1).” The claim that it is not clear “why the posing of old photographs is such a big issue.”

It is not clear to me why the posing of old photographs is such a big issue. Later war photographers with their Leicas could make action picture but the old timers had to contend with bulky cameras and horse drawn darkrooms. They could not get into the thick of the action had they wanted to. So, they had to adopt other methods to achieve their effects. All early photographs were “posed” to some extent because there was no other choice in most cases — unless you just wanted to photograph a dovecote. While it seems unlikely to me that Fenton would lug around that many cannon balls, it does not bother me if he did. Remember he was a pioneer. He was not working in an established tradition. All pioneers fumble around at first.

I agree. But I believe there is something important here, even if it isn’t clearly stated. Susan Sontag suggests that there is a “continuum” of posing from the past to the present — from more posed to less posed — particularly in war photographs. Here’s her argument: old photographs are more often posed; modern photographs, less so.

Cameras in the 1860s were bulky and cumbersome. The photographic processes of the times — daguerreotype, wet-plate collodion photography, albumen prints, etc. — involve complex procedures and long exposure times. You just didn’t take photographs off-the-cuff. A photographer had to make calculations, pose people and situations, and manipulate settings to make picture taking even possible. Picture taking was conscious picture taking.

I came across a little known fact about 19th century photography. The albumen for albumen prints — at least some of it — came from albatross (or gooney bird) eggs harvested on Laysan, a remote island in the Hawaiian Island Archipelago. Presumably, to take a picture you had to trick an albatross into giving up her egg — the singular of “eggs” because a Laysan albatross lays at best only one per year.

I first read about the albatross eggs and Laysan Island in a recent book about egg collecting.[4] There was one small photograph. Strange, indistinct, hard to decipher, it was also old — probably 19th century. I found some contemporary pictures (NOAA photographs) of Laysan Island, but they failed to provide much information.

And then Ann Petrone, one of my researchers, found the photograph from the book in the Bancroft Library at the University of California.

But here comes the surprising part, she found that the photograph, ca. 1890, was part of a pair of photographs taken from the same camera position. To call this discovery “surreal” profoundly underestimates it. I would call it “insane.” When I first studied the Fenton photographs from the Valley of the Shadow of Death, I imagined it was highly unusual to find multiple pictures taken from the same tripod position. Maybe I was wrong. Like twin primes, maybe there is an infinitude of such twins. (Well, maybe not an infinitude but a large number of them.)

And then there are the images themselves. A multitude of eggs stretching out towards the horizon. Eggs everywhere. A landscape of eggs. Wheelbarrows laden with eggs, a series of hopper cars filled with still more eggs on narrow-gauge train tracks, and a donkey. Clearly, the albatross paid dearly for our obsession with graven images and our facile attempts at immortality — that is, for our interest in photography. [The twin photographs and a more detailed description of Laysan will appear in a forthcoming article, “Which Came First, The Albatross or the Egg?”]

Fifty years (or so) later, albumen prints were no longer in use and picture taking had been revolutionized by lighter cameras and faster lenses. One camera that particularly fascinates me is the Ermanox, introduced in 1924 and equipped with an f1.8 lens by 1925. Using the Ermanox, Erich Salomon was able to sneak up on sleeping dignitaries and take their pictures. It was no longer necessary to have a subject’s compliance with picture taking. Subjects could remain woefully unaware of the fact that their recumbent images are preserved as if in aspic. The picture is of a meeting of the second Hague Reparations Conference in 1930. The German Minister of Foreign Affairs, Julius Curtius, partially obscured in the photograph, is possibly arguing that the demanded reparations payments are unreasonable. If you look carefully, you can see the origins of World War II.

About 100 years later, cameras had become relatively lightweight, they had interchangeable lenses and prints could be readily made and reproduced. You could take a photograph without really thinking about it. All it took was an ill-considered, possibly even inadvertent twitch of a finger.

The family camera when I was growing up in the ’50s was the Argus C3. I can still see the camera in its leather case, even though the camera and many of the pictures taken with it have vanished.

A hundred and fifty years later, cameras, photographs and prints had become digital, and the means of producing and distributing a photograph had changed radically once again. Not only could a photograph be taken with the twitch of a finger, it could be sent around the world and replicated on a 100 million computer screens with the twitch of a finger. It wasn’t necessary anymore to even print a photograph. All you needed was a digital file and a computer screen.

But what does this mean for posing? Does it mean that because of changing technology that images have become more truthful? More candid? Less posed? More true?

According to Sontag, yes.

According to me, no.

Photographs are neither true nor false. Sentences can be true or false, but the truthfulness of a sentence does not depend on whether it is reproduced on a wet-collodion plate or in a digital file.

Is a sentence in color more truthful than a sentence in black & white?

Reply to comment No. 710, “Which Came First? (Part 1).” The claim that some posing is “more authentic.”

Whether one image is more authentic than the other depends on what your motives are as the image maker. In this case if all he is trying to do is record some of what the conflict looked like. I don’t think he can be faulted for recreating something that he and others had already witnessed. On the other hand if he was trying to cultivate an aura of danger in his work then the first scenario that I describe would be backed up by the image, the second would be contrived and a lie.

The issue of authenticity is a troubling one. Sontag does make repeated use of the term “authentic.” On page 27 of “On Regarding the Pain of Others”: “Pictures of hellish events seem more authentic when they don’t have the look that comes from being ‘properly’ lighted and composed…” Followed a couple of sentences later by: “The less polished pictures are … welcomed as possessing a special kind of authenticity.”

More authentic? More true?

This is followed by a distinction between painting and photography:

A painting or drawing is judged a fake when it turns out not to be by the artist to whom it had been attributed. A photograph…is judged a fake when it turns out to be deceiving the viewer about the scene it purports to depict.

But who is doing the deceiving? The photograph?[5] The photographer? The photo-editor? How many viewers have to be deceived? One? Two? 100,000? What if the photographer had no intention of deceiving anyone, but people take the photograph to be deceptive and infer that the photographer intended to deceive? Joe Rosenthal’s picture of the Iwo Jima flag raising is a perfect example. Two flags were raised over Mt. Suribachi. The second flag went up as the first flag went down.

Rosenthal took a picture of the second flag raising. He hadn’t even looked through the viewfinder of this camera. The negative was sent to Guam for development. An article from the A.P. on the 50th anniversary of the Rosenthal photograph attempted to sort things out:

On the caption, Rosenthal had written: “Atop 550-foot Suribachi Yama, the volcano at the southwest tip of Iwo Jima, Marines of the Second Battalion, 28th Regiment, Fifth Division, hoist the Stars and Stripes, signaling the capture of this key position.”

At the same time, he told an A.P. correspondent, Hamilton Feron, that he had shot the second of two flag raisings that day. Feron wrote a story mentioning the two flags.

The flag-raising picture was an immediate sensation back in the States. It arrived in time to be on the front pages of Sunday newspapers across the country on Feb. 25. Rosenthal was quickly wired a congratulatory note from AP headquarters in New York. But he had no idea which picture they were congratulating him for.” (Associated Press, February 12, 1995)

Yet the picture was deemed a fake because others looking at it felt deceived. Evidently, Rosenthal hadn’t pointed out to his future audience that his photograph was of the second flag-raising. He hadn’t provided a detailed enough caption. And the A.P. photo editors hadn’t pointed it out to prospective readers. Feeling tricked, some newspaper editors and readers blamed Rosenthal. They imagined what Rosenthal was thinking, what his intentions were — but what they imagined was not based on knowledge but on conjecture, on supposition.

If our feeling that we are deceived is at issue, then we could easily argue that all photographs potentially deceive the viewer. Who knows which photograph I will be deceived by? I could be deceived by anything. How gullible am I?

So exactly what is fake about Rosenthal’s iconic photograph?

After Rosenthal had taken his iconic picture, he asked the soldiers who raised the second flag if he could take a picture of them posed around the flag. The posed photograph of the second flag-raisers is not fake. It’s a photograph in which the assembled soldiers are posing in front of the flag. Even though Rosenthal has asked them to pose, and has posed the photograph after having asked them to pose for it, it still isn’t fake. It is simply a posed picture of soldiers posing. Rosenthal was worried that he had no photograph of the second flag-raising and asked the soldiers to pose so that he wouldn’t came back empty-handed.

The second flag raising produced a tragicomedy of errors and confusion. It has been conjectured that some of the claims of fraudulence came not just from a misunderstanding of the circumstances under which the iconic photograph was taken, but a confusion between the iconic picture and the posed photograph taken shortly after. Rosenthal, asked if his iconic picture was posed, thought that he was being questioned about the posed photograph (see below), and replied: Yes. And so, it was often claimed that Rosenthal had admitted to posing the first picture when he had admitted to no such thing.

Rosenthal was 33 in 1945. In 1995, at age 83, he was interviewed about his famous photograph in that same A.P. article quoted above: “I don’t have it in me to do much more of this sort of thing… I don’t know how to get across to anybody what 50 years of constant repetition means.” Rosenthal, who died last year at the age of 95, lamented that he had spent a good part of his life defending himself against the claim that he had posed the photograph.

But Rosenthal was right. His iconic photograph was not posed. Even his posed photograph was not a fake. Clearly a photograph can be posed without being fake and vice versa.

Here is Errol’s Law: THE MORE FAMOUS A PICTURE IS, THE MORE LIKELY PEOPLE ARE TO FIND FAULT WITH IT.

And then there are the questions about “authenticity.” When Sontag talks about “authenticity,” is she asking in a roundabout fashion whether the photograph is true or false or is something different involved?

I looked up “authentic” in the Oxford English Dictionary. As usual there are more definitions that you can usefully assimilate. Cherry-picking is unavoidable. But here’s what I came up with:

3. a. Entitled to acceptance or belief, as being in accordance with fact, or as stating fact; reliable, trustworthy, of established credit.

…1739 CHESTERFIELD Lett. 35 I. 117 Authentic means true; something that may be depended upon, as coming from good authority.

…1796 BP. WATSON Apol. Bible ii. 183 A genuine book is that which was written by the person whose name it bears as the author of it. An authentic book is that which relates matters of fact as they really happened.

Chesterfield tells us: yes, “authentic” means true, but then undermines his argument with that last phrase, “…coming from good authority.” I’m not sure “authentic means true,” but even if it does, shouldn’t we wish to have that truth established by something more compelling than “good authority?”

Bishop Watson provides a more congenial — although somewhat bloviated — example[6]. The full title of the work is “An Apology for the Bible, In a series of letters, Addressed to Thomas Paine, Author of a Book Entitled ‘The Age of Reason, Part the Second, Being an Investigation of True and of Fabulous Theology.’” As such it could be imagined as a contemporary exchange between, say, Christopher Hitchens and Pat Robertson (or for a previous generation or so, Clarence Darrow and William Jennings Bryan). It seems that every age has a pair of this sort going at each other with hammer and tongs. Paine is the skeptic; Watson, the believer, the staunch defender of Biblical prophesy. Watson is responding to Paine’s question:

Whether there is sufficient authority for believing the Bible to be the Word of God?

Watson’s first letter in the “Apology” starts off with a veiled threat. Always a terrific way of getting someone’s attention.

I begin with your preface. You therein state — that you had long had an intention of publishing your thoughts upon religion, but that you had originally reserved it to a later period in life. — I hope there is no want to charity in saying, that it would have been fortunate for the Christian world, had your life been terminated before you had fulfilled your intention. In accomplishing your purpose, you will have unsettled the faith of thousands; rooted from the minds of the unhappy virtuous all their comfortable assurance of a future recompense; have annihilated in the minds of the flagitious all their fears of future punishment…

Watson knows the stakes.

I have thought fit to make this remark, with a view of suggesting to you a consideration of great importance — whether you have examined calmly and according to the best of your ability, the arguments by which the truth of revealed religion may, in the judgment of learned and impartial men, be established? You will allow, that thousands of learned and impartial men … in all ages have embraced revealed religion as true.

Reading on in “An Apology,” I got to Watson’s second letter and the quote from the O.E.D.

A genuine book is that which was written by the person whose name it bears as the author of it. An authentic book is that which relates matters of fact as they really happened. A book may be genuine without being authentic; and a book may be authentic without being genuine. [my emphasis]

The distinction is particularly important to Watson because it is about the truthfulness of the Bible, and as such, it is at the heart of his disagreement with Paine. Paine argues that Moses probably didn’t write the first five books of the Bible. Using Watson’s nomenclature, Paine is alleging that the first five books of the Bible may not be genuine. Watson, deeply offended, replies, even if Moses didn’t write the first five books of the Bible, that doesn’t mean that the Bible is false. It is still authentic. The argument seems a little ridiculous, save that something immensely important is at stake. Is the Bible true or false?

How could it be anything other than truthful? Do we want to call God a liar?

The Bible has been endlessly tested for consistency and accuracy[7], and many of our current ideas about truth come from just these sorts of discussions. The problem is that at the end of over 100 pages of tortured argument, Watson ends up saying that the Bible is true because it’s true. You have to accept it on faith. Clearly, no argument that Paine can provide can challenge this basic assumption.

Sontag, like Watson, is looking for authenticity and truth. A photograph — employing Watson’s phrase — relates matters of fact as they really happened. As long as a photographer doesn’t falsify a photograph by intending to deceive, then a photograph is the truth. Sontag (on page 46 of her book) writes: “Unless there’s been some tampering or misrepresenting, [the photograph] is the truth.” [my emphasis]. And (page 26), “[Photographs] were a record of the real — incontrovertible, as no verbal account, however impartial, could be — since a machine was doing the recording.”

There are a number of problems here. I quote various passages from Sontag supporting her view that photographs provide an accurate or authentic account of reality, but I could also do the opposite. She often wants to have it both ways — to preserve the idea of photographs as truth-bearing documents versus photographs as cultural artifacts. She tells us (on page 26) that photographs “are objective record and personal testimony, both a faithful copy or transcription of a moment of reality and an interpretation of that reality…” I agree with the second part of her description but not with the first. [emphasis mine]

Sometimes she is in a descriptive mode and then changes without warning to the normative (telling photographers how they should take photographs or viewers how they should look at them). She often does not tell us what she thinks, but what something seems like or what someone else might think.

Still, the idea that photographs can provide the truth appears again in again in her writing. The problem, I guess, is us. Photographs could — even would — be the truth, except for us, our tergiversations, elisions and misrepresentations — our endless need to dissemble. There is a “tsk-tsk” deeply embedded in it.

But herein lies the rub. There is no argument. Why should we believe that a photograph is “a faithful transcription of a moment of reality” or that a photograph is “the truth?” Watson is looking for authenticity and truth in the Bible; Sontag, in photography. Sontag’s premise — that the photograph is the truth — has to be accepted on faith. No further proof is offered.

Every generation has had the dream of some easy solution to the Cartesian riddle — the riddle of what the word is really like, of what is true and what is false, of what we can know with certainty. For a while photography provided that dream, but it is a dream — nothing more.


Reply to comment No. 10, “Which Came First? (Part 3).” The claim that I might be crazy.

You said: “And then came the epiphany: I should respond to all 1,000+ — in detail.” Are you crazy?

Yes.

Reply to comment No, 15, “Which Came First? (Part 3).” The claim that Arthur Rothstein posed photographs.

Talking about posed… What about the famous 1936 Arthur Rothstein photo of the farmer and his two children running for the shelter of their house during an Oklahoma Dust Bowl sand storm? Apparently it was a staged photo, from what I’ve read. For instance, the younger child running to catch up with his father has his arms up over his face. The child was asked to do that so he would not look at the camera. Hummm. The Dust Bowl was real, but what do we make of that? Rothstein would also, I read, keep a cow’s skull in his car trunk for strategic placement in some shots to emphasize the very real predicament of farmers and ranchers. Hummm.

Thanks for mentioning this.

I am writing about Rothstein in my forthcoming essay on posing, “Say Cheese.”

The problem is exacerbated by the many different forms of the verb “to pose,” transitive, intransitive, etc. and by conflating the verbs “to pose” and “to fake,” but this requires more discussion. And be warned, it is a discussion that, in my experience, can induce headaches.

When we attack a picture for being posed — often an ad hominem argument based on little or no knowledge — we are claiming the photographer has taken advantage of our credulity and tried to make us think something which the photographer knows to be false. He has tried to trick us. This invariably is based not on the photograph, itself, but on our beliefs about the circumstances under which the photograph was taken[8].

Reply to comment No. 49, “Which Came First? (Part 3).” The claim that I have been “unfair” to Sontag.

“And so, it turns out that Keller, Haworth-Booth and Sontag are right.” I think you mean that, thousands of your words and tens of thousands by those CSI-types eager to support you notwithstanding, you were wrong. I felt even in the first verbose go-round that you were being unfair to Sontag’s actually quite subtle argument in “Regarding the Pain of Others”: you left out entirely the ethical implications of her argument concerning how we digest images of pain, implying there and above that she’s some sort of “conspiracy” monger.

I admire Sontag’s writings. Her essay on the Abu Ghraib photographs (”On Regarding the Torture of Others”) in The Times Sunday Magazine is an important piece of writing and endlessly fascinating. However, simply because I admire her and have been influenced by her, doesn’t mean I should slavishly accept everything she says.

Since we have been talking about posing, let me give you an example from her Abu Ghraib essay. Despite her diatribes against posing (in “On Regarding the Pain of Others”), she clearly points to one of the most disturbing aspects of the Abu Ghraib photographs: many of the pictures were posed for the camera and many of the events depicted in the photographs would not have happened if cameras had not been present:

“The events are in part designed to be photographed. The grin is a grin for the camera. There would be something missing if, after stacking the naked men, you couldn’t take a picture of them.”

Far from invalidating the photographs, the posing makes them far stranger, more disturbing, more powerful. Posing doesn’t invalidate a picture. It doesn’t make it less true. But if we believe a picture is posed, it changes our beliefs about the picture, and possibly what the picture means.

In my first essay for this column (”Liar, Liar, Pants on Fire“), I was concerned with truth and photography. Are photographs true or false? I argued they are neither. I also believe that there are no hierarchies of truth in photographs. No one photograph is more truthful or less truthful than any other. They all have the same amount of truth-value.

None.

Reply to comment No. 115, “Which Came First? (Part 3).” The claim that I have been addressing two questions rather than one.

There was not one, but TWO questions that you were trying to ask:

1. Which photograph was first, the one titled OFF, or the one titled ON?

2. In ON, how did the cannonballs end up on the road? Or conversely, why are there no cannonballs in the road in the OFF photograph?

Thank you. Yes, I felt that the end of Part 3 should have clarified this. It did not.

I would phrase it somewhat differently. Or at least describe the two questions somewhat differently. But I hope I have grasped the distinction that you made. Here are the two questions:

1. Which came first?

2. Which one was posed?

The question of posing is for me independent of the question of which came first. You can imagine ON before OFF — or OFF before ON — and still imagine four distinct possibilities — that neither is posed, both are posed, OFF is posed, or ON is posed. We are constructing narratives about the event. Extrapolating from a few points of contact — the two photographs, the letters to his wife, and a compote of assorted historical materials.

It was endlessly fascinating and instructive to read various attempts to grapple with narrative. Attempts I should add that are not unlike my own. I hesitated to take the plunge into the issue of posing. Why? Because it deserves a separate essay or even series of essays. What does Sontag mean when she says ON is posed? That the landscape has been altered to create a false impression?

It suggests that Fenton was trying to pull a fast one. I’ll alter the landscape and make people think I was in great danger. Cannonballs to the right of me, cannonballs to the left of me, into the Valley of the Shadow of Death rode Fenton and Sparling.

But that conclusion — that Fenton was trying to deceive the viewer — seems unwarranted. So many readers asked the simple question: If the second photograph [ON] was an attempt to deceive, why bring both glass negatives home? Why print both photographs? Why include both photographs in his portfolio of the Crimean War? Why mention the two photographs in the letter home to his wife? The simple answer is: there was no attempt to deceive.

And yet, even in the absence of an attempt to deceive, my guess is that some people — maybe even Sontag herself — would think ON is posed. Just exactly what is needed for posing? An intention to deceive, or is just moving the cannonballs enough? For this reason, alone I tried to steer a course away from questions about posing. I tried to focus on the first the question, Could I determine the order of the photographs independent of Fenton’s intentions? And the answer is: Yes. Sontag and Keller use Fenton’s supposed intentions to order the photographs. I do not.

I don’t think the question of posing — certainly not the question of posing with malicious intent — can be answered without discussing intentions. It speaks directly to the question: what was Fenton thinking?

Reply to comment No. 114, “Which Came First? (Part 3).” The claim that I should have also considered “the intentional fallacy.”

The pathetic fallacy isn’t the only fallacy that might be useful here. There’s also the one literary critics W.K. Wimsatt, Jr. and Monroe C. Beardsley proposed in the Summer 1946 issue of the Sewanee Review—the intentional fallacy. It’s usual distillation is this: “the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art.” They were, of course, concerned with writing (specifically poetry), but their approach to literary interpretation mirrors Morris’ attempt to look at these photographs without referring to Fenton’s psychology: “External,” or biographical evidence, they write, “is private or idiosyncratic; not a part of the work as a linguistic fact: it consists of revelations…about how or why the poet wrote the poem.”

Thank you. It is an important point. I was aware of the intentional fallacy but chose not to mention it. Here’s the reason.

Wimsatt and Beardsley are concerned about “bracketing off” poetry and literature from biographical concerns, from psychological concerns, etc. They are not only giving us permission to read poetry and literature without having to know anything about the writer or the poet, they are insisting we do so. I don’t like this idea very much. Am I really supposed to look at “Wheat Field with Crows” independent of the fact that van Gogh shortly afterwards stuck a gun in his chest and pulled the trigger? Or to read “The Hunger Artist” oblivious to the fact that Kafka asked Max Brod to destroy it and then succumbed to tuberculosis. And to make him even more like his fictional character — in this instance, a professional faster — he may have died of starvation caused by his tuberculosis.

Sorry. I can’t do it. Someone tells you: don’t think of an elephant. Are you going to be able do honor the request? Or someone else points out that Italy is in the shape of a boot. Can you guarantee you’ll never see Italy as a boot again?

I’m not saying that intentions don’t count. Or that we should ignore intentions. But intentions cannot be simply “read” off a photographic emulsion. A photograph provides no shortcut to figuring out what’s inside a photographer’s or photographic subject’s brain.

I was happy to use biographical information in my attempts to order the two Fenton photographs. If in Fenton’s letters to his wife, he had mentioned the order or what transpired between the taking of the photographs, I would have been happy to use it. I would have jumped at the opportunity. If Fenton had written in one of his letters that he “oversaw the scattering of the balls” to make people believe he was in great danger, I would have taken his comments as evidence of his intentions. And I would have used it in my essay. However, no such biographical material exists — to the best of my knowledge. We could try to order the photographs by guessing at Fenton’s intentions, but the disparate responses from the five curators I talked to in “Which Came First? (Part 1) suggest that that approach is less than reliable. Notwithstanding, by thinking about Fenton’s possible motivations, we are taken deeper into the meaning of these two photographs. Evidence shouldn’t be rejected at the outset. It should be examined and judged.

The writers of the intentional fallacy are suggesting that we shouldn’t take certain things into account when we look at pictures or read poetry. Who says?

I have my own version of “the intentional fallacy.” We should not leap to an analysis of intentions when we know little or nothing about what is in someone’s mind.

So many fallacies, so little time.

Postscript: Later this week I plan to post a statistical analysis of the first 910 replies. And there will be more responses to come. I also am working on an additional series of essays. Contrary to the many people who suggested (or stated) that the contemplation of images might be pure self-indulgence and a waste of time, I would like to offer the following argument: It is much better in a free society to be aware of the role that propaganda and images play in how we see the world, than to remain oblivious to it.

FOOTNOTES

[1] This and many other observations have been taken from the excellent book by W.C. Bamberger, “Adelbert Ames, Jr.: A Life of Vision and Becomingness.”

[2] The 17 arrows is a detail that comes directly from Akutagawa’s “In the Bamboo Grove,” but it’s hard for me to see either in Akutagawa’s original story or in Kurosawa’s movie whether the number of arrows has any particular significance.

[3] I have been thinking of writing an essay to be called “The Rashomon of ‘Rashomon.’”

[4] Carrol L. Henderson, “Oology and Ralph’s Talking Eggs: Bird Conservation Comes Out of Its Shell” (Mildred Wyatt-Wold Series in Ornithology)

[5] I thought that a photograph is an inanimate object. How can a photograph “purport” to do anything? Can rocks purport? How about a photograph of a rock?

[6] Although I have access to a good library, Google has been doing an extraordinary job of making many 18th and 19th century texts available. Both Bishop Watson’s “Apology” and Thomas Paine’s reply can be found online.

[7] Isn’t that what many commentators are doing?

[8] Beliefs that may be false.

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October 23, 2007, 11:42 pm
Which Came First? (Part Three): Can George, Lionel and Marmaduke Help Us Order the Fenton Photographs?

By Errol Morris

(To see Part One of this article, click here. To see Part Two, click here.)

“Too bad, it was a cloudy day. You really can’t see any shadows.”

My friend, the inventor Dennis Purcell, corrected me: “I don’t think it was cloudy. It was a bright, sunny day. Or perhaps cloudy-bright.”

Dennis explained that most 19th century photographic emulsions are blue-sensitive and hence cannot record the sky – overcast, partially cloudy and sunny skies are all overexposed. The sky is a featureless white, but the “whiteness” of the sky is unrelated to the question of whether there are clouds or whether you can see shadows. It was only much later that panchromatic film was developed. (This accounts for what I would call The Wisconsin Death-Trip Effect, after the book by the same name. Scandinavian immigrants in turn-of-the-century Wisconsin might not be insane, but they look insane because their blue eyes are white in the pre-panchromatic emulsions used to produce the photographs.)

In both ON and OFF the sky may look overcast, but you can see shadows. You have to look at the shadows on the cannonballs and from those shadows it may be possible to calculate the height of the sun in the sky.
Read more …

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October 4, 2007, 11:21 pm
Which Came First? (Part Two)

By Errol Morris

(To see Part One of this article, click here. To see Part Three, click here.)

It was an historic occasion. I arrived with my cameraman, Bob Chappell, and his first assistant, Eric Zimmerman, within a few days of the 150th anniversary of the fall of Sebastopol on September 8, 1855. The airport at Simferopol — the Crimea’s capital — was clotted with dozens of elderly British tourists arrived on the afternoon flight from Istanbul. For a brief moment I had this fantasy that I would make a movie about people at the end of their lives reaching back into some unknowable past, trying to recover something perhaps unknowable about their own past. I would follow them about. Record their attempts to reconnect with history.

Because of the anniversary, it was difficult to locate an available guide, but eventually we found the often disgruntled Olga Makarova – the guide of guides. When I told her about the “Valley of the Shadow of Death,” she assumed that I wanted to go to the Valley of Death, the site of the charge of the Light Brigade. Susan Sontag herself points out the difference – to disabuse us, her readers, of the possibility of such confusion.[1] There is even the suggestion in Sontag that Fenton might have deliberately fostered such confusion. She writes, “…in the first version of the celebrated photo he was to call ‘The Valley of the Shadow of Death’ (despite the title, it was not across this landscape that the Light Brigade made its doomed charge).”[2] Tennyson, in his poem “The Charge of the Light Brigade,” writes about “the valley of death,” not “the valley of the shadow of death”:
Read more …

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September 28, 2007, 4:20 pm
Additional Resources

By Errol Morris

Here are some additional links and resources related to Roger Fenton’s photographs of the Crimean War:

Both of the images below are here courtesy of the Harry Ransom Humanities Research Center at The University of Texas at Austin, and were digitally cleaned and enlarged by Dennis Purcell.

Higher resolution version of Fenton’s OFF photo.

Higher resolution version of Fenton’s ON photo.

The Roger Fenton Crimean War Photographs collection of at the Library of Congress’ Prints and Photographs Reading Room has historical and biographical information along with 263 images. (The ON photograph is viewable here, but the OFF is not.)

The Web site for “All the Mighty World: The Photographs of Roger Fenton, 1852-1860,” has an overview of the National Gallery of Art’s exhibition, which ran in 2004-2005.

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September 25, 2007, 6:48 pm
Which Came First, the Chicken or the Egg? (Part One)

By Errol Morris

(To see Part Two of this article, click here. To see Part Three, click here.)

Between the idea
And the reality
Between the motion
And the act
Falls the Shadow…
— T.S. Eliot, “The Hollow Men”

“You mean to tell me that you went all the way to the Crimea because of one sentence written by Susan Sontag?” My friend Ron Rosenbaum seemed incredulous. I told him, “No, it was actually two sentences.”

The sentences are from Sontag’s “Regarding the Pain of Others,” her last published book.

Here are the two sentences:

Not surprisingly many of the canonical images of early war photography turn out to have been staged, or to have had their subjects tampered with. After reaching the much shelled valley approaching Sebastopol in his horse-drawn darkroom, [Roger] Fenton made two exposures from the same tripod position: in the first version of the celebrated photo he was to call “The Valley of the Shadow of Death”(despite the title, it was not across this landscape, that the Light Brigade made its doomed charge), the cannonballs are thick on the ground to the left of the road, but before taking the second picture – the one that is always reproduced – he oversaw the scattering of the cannonballs on the road itself.

Read more …

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August 15, 2007, 6:13 pm
Will the Real Hooded Man Please Stand Up

By Errol Morris

Every human being has his own particular web of associations for identifying and interpreting reality, which, most often, instinctively and unthinkingly, he superimposes on every set of circumstances. Frequently, however, those external circumstances do not conform with, or fit, the structure of our webs, and then we can misread the unfamiliar reality, and interpret its elements incorrectly…
— Ryszard Kapuscinski, “Travels with Herodotus” (2007)

It was arguably one of the least newsworthy pictures in the world, if only because it had already been seen by everybody. And yet, on March 11, 2006, The New York Times published on the front page of the first section, upper left-hand corner, a photograph of a man holding the photograph that had been seen around the world. Ali Shalal Qaissi, the man in the Times photograph (below) had told a group of human rights workers that he was “The Hooded Man” or “The Man on the Box.”

The no longer anonymous Hooded Man became a national news story – not because he was a victim of torture and abuse at Abu Ghraib but because he was in a famous photograph – a photograph which in all likelihood will become the iconic photograph of the Iraq war. Read more …

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July 10, 2007, 2:14 pm
Liar, Liar, Pants on Fire



CHOKING ON GROWTH
Trucks Power China’s Economy, at a Suffocating Cost
By KEITH BRADSHER
Every night, columns of hulking freight trucks invade China’s major cities with a reverberating roar and dark clouds of diesel exhaust so thick it dims headlights.

LUXURY DESTINATION | MOSCOW
From Russia With Luxe
By SETH SHERWOOD
Few cities have sloughed off as much leaden history to reinvent themselves. But the Russian taste for Old World opulence clearly didn’t perish with the Romanovs.







By Errol Morris

Pictures are supposed to be worth a thousand words. But a picture unaccompanied by words may not mean anything at all. Do pictures provide evidence? And if so, evidence of what? And, of course, the underlying question: do they tell the truth?

I have beliefs about the photographs I see. Often – when they appear in books or newspapers – there are captions below them, or they are embedded in explanatory text. And even where there are no explicit captions on the page, there are captions in my mind. What I think I’m looking at. What I think the photograph is about.

I have often wondered: would it be possible to look at a photograph shorn of all its context, caption-less, unconnected to current thought and ideas? It would be like stumbling on a collection of photographs in a curiosity shop – pictures of people and places that we do not recognize and know nothing about. I might imagine things about the people and places in the photographs but know nothing about them. Nothing.


Folder THE PANEL GUTTERS: PHOTOGRAPHIC EVIDENCE - Pictures of forum members

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From: William Hell (WILLMARSHALL) 7 Dec 1:03
To: ALL 451 of 492
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Photo Sharing and Video Hosting at Photobucket
This is me. You may point, laugh, or otherwise... Edited for hyooj size(!)

-- -- -- -- -- -- --
They live in my head
They have a life of their own
I only write this shit down.

EDITED: 7 Dec 1:05 by WILLMARSHALL
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From: Josh Hechinger (JOSHHECHINGER) 7 Dec 2:59
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35.452


This is my thinking face. And special thinking glasses. And special thinking headphones.

Ceci n'est nas mon pipe.

Elephant Words - Work/BS blog - Ning - ComicSpace
Email: MidvalleysSax@aol.com
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From: Great Scott! (SCOTTBIESER) 7 Dec 3:24
To: Tony Lee (TONYLEE) 7 Dec 10:04 453 of 492
35.453 In reply to 35.428
There have been many a time I've thought of getting some body-art done, and one thing always stops me -- why give the cops any "distinguishing marks" to go on?
Scott Bieser
Annoying my betters since 1957..
Gallery: ScottBieser.Com
My Online Graphic Novel: Roswell, Texas
Publisher: Big Head Press
blog: Living On Mars
Engine.ning
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From: Four-color masochist (RANTZ HOSELEY) 7 Dec 3:28
To: Josh Hechinger (JOSHHECHINGER) 7 Dec 3:38 454 of 492
35.454 In reply to 35.452
DO NOT SMOKE THE SNORLAX!


Rantz Hoseley
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From: Josh Hechinger (JOSHHECHINGER) 7 Dec 3:44
To: Four-color masochist (RANTZ HOSELEY) 7 Dec 6:44 455 of 492
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Seriously, man. You smoke a little Snorlax with some friends, next thing you know you're in a filthy gym somewhere doing lines of ground Geodude off a gym leader's ass and thinking that Team Rocket cat is fucking talking to you.

Elephant Words - Work/BS blog - Ning - ComicSpace
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From: Jason A. Quest (JAQ) 7 Dec 5:13
To: Bevis Musson (BEVIS) 7 Dec 8:21 456 of 492
35.456 In reply to 35.438
Yeah, double rainbows are real. Notice that the colors go in the opposite direction on the fainter one; that one's caused by the light bouncing off the other side of the droplets (or something like that), so it's "backwards".

Jason A. Quest
JAQrabbit / Holy Comics! / MySpace / ComicSpace read
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From: Eric Palicki (ERICPALICKI) 7 Dec 18:48
To: Josh Hechinger (JOSHHECHINGER) 8 Dec 1:38 457 of 492
35.457 In reply to 35.452

What's streaming through those headphones?

I would assume it's made of awesome.
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From: Future (JESSICA) 7 Dec 18:53
To: ALL 458 of 492
35.458


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From: Four-color masochist (RANTZ HOSELEY) 7 Dec 21:02
To: Future (JESSICA) 7 Dec 21:06 459 of 492
35.459 In reply to 35.458
I envy your tidy work area/bookshelves.


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From: Future (JESSICA) 7 Dec 21:08
To: Four-color masochist (RANTZ HOSELEY) 7 Dec 22:28 460 of 492
35.460 In reply to 35.459
^_____^


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From: Chrismidweeker (CHRISRICE) 7 Dec 21:12
To: Future (JESSICA) 7 Dec 21:13 461 of 492
35.461 In reply to 35.441

Is that a variant cover I see there?

That's blown your indie cool... :D

Chris Rice

Lackey For The Evil Empire
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From: Future (JESSICA) 7 Dec 21:14
To: Chrismidweeker (CHRISRICE) 8 Dec 16:26 462 of 492
35.462 In reply to 35.461
if mike allred is uncool, i don't want to be cool.


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From: Josh Hechinger (JOSHHECHINGER) 8 Dec 1:57
To: Eric Palicki (ERICPALICKI) 8 Dec 3:32 463 of 492
35.463 In reply to 35.457
They're...not actually plugged in there. I'm a sham.

Elephant Words - Work/BS blog - Ning - ComicSpace
Email: MidvalleysSax@aol.com
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From: ShawnJDouglas 8 Dec 7:55
To: Future (JESSICA) 8 Dec 14:44 464 of 492
35.464 In reply to 35.458

I love your hair. And, you know, the rest as well. ;P

Rantz, did you really, really look at that picture and notice.....the shelves?

I think the very idea blew my mind.

-SJD
new me_edited My Livejournal
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From: Four-color masochist (RANTZ HOSELEY) 8 Dec 9:23
To: ShawnJDouglas 8 Dec 16:21 465 of 492
35.465 In reply to 35.464
I'm an anal-retentive artist with OCD and a collecting disorder. I notice things like full bookshelves that go beyond orderly to actually being elements of decor as well as monuments to tales and stories.


Rantz Hoseley
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From: Future (JESSICA) 8 Dec 14:46
To: ShawnJDouglas 8 Dec 16:21 466 of 492
35.466 In reply to 35.464
thank you!

p.s. bookshelves full of books are magic


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From: ShawnJDouglas 8 Dec 16:23
To: Four-color masochist (RANTZ HOSELEY) 8 Dec 19:50 467 of 492
35.467 In reply to 35.465
quote:
I'm an anal-retentive artist with OCD and a collecting disorder.


This should totally be the opening line of a story.

Promise you'll use it one day, or I may have to Bogart. ;P

Besides, I was totally being a smart ass.

Peace.

-SJD
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From: ShawnJDouglas 8 Dec 16:26
To: Future (JESSICA) 8 Dec 18:17 468 of 492
35.468 In reply to 35.466
quote:
p.s. bookshelves full of books are magic


Oh I agree with you. I cannot walk into a bookstore and walk out empty handed. I tell everyone I have a "book" problem.

But when you see a shooting star you tend to not pay attention to the richness of the black of space beyond.

Just saying...

-SJD
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From: Solario (CHRISTIANOTHOLM) 8 Dec 17:24
To: ShawnJDouglas 8 Dec 20:49 469 of 492
35.469 In reply to 35.468
I have the same disease. I went into a bookstore two days ago, just to browse and general book philandering and despite being close to Christmas, and having no money whatsoever, I went out with a book about Egon Schiele and one about Art Noveau. And I'm thinking about going back and getting the Alphonse Mucha collection as well.
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From: Steven Huls (LOKIZERO) 8 Dec 18:55
To: ALL 470 of 492
35.470


smootch.



Steven Huls
OUR|FUTURE|DOOM
Ning Profile


From: ShawnJDouglas 8 Dec 20:50
To: Four-color masochist (RANTZ HOSELEY) 8 Dec 22:36 472 of 492
35.472 In reply to 35.471

lol

Right on.

No more book-looking when pretty ladies present. You hear?

Peace.

-SJD
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From: ShawnJDouglas 8 Dec 20:52
To: Solario (CHRISTIANOTHOLM) 8 Dec 21:25 473 of 492
35.473 In reply to 35.469
It's an expensive and time consuming disease, tis true.

I've gone to a book store for a "few minutes" and stayed for many, many hours.

Maybe the perfect girl for me is one who will do the same and instead of coming to me saying I'm taking forever, I actually have to get done and start looking for her.

I wonder how many of us there are....

-SJD
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From: James A. Owen (COPPERVALE) 9 Dec 3:55
To: ShawnJDouglas 9 Dec 4:31 474 of 492
35.474 In reply to 35.473
Answering your post and servicing the thread at the same time...



This is one of the exterior shots of the building that just this Summer became Crossroads Books.

Children's and YA, NEW and used SF, Fantasy, Comics, and Graphic novels.

I'd been buying enough books already for the Studio AND enough people were looking for my novels locally AND there was no good general bookstore around - that it made more sense to build one, so I built one.

.
James A. Owen
The Coppervale Studio
www.coppervaleinternational.com
www.heretherebedragons.net
coppervale.livejournal.com

EDITED: 9 Dec 3:56 by COPPERVALE
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From: ShawnJDouglas 9 Dec 4:33
To: James A. Owen (COPPERVALE) 9 Dec 4:39 475 of 492
35.475 In reply to 35.474

That's really cool.

It looks like a place of wonder and magic.

-SJD
new me_edited My Livejournal
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From: James A. Owen (COPPERVALE) 9 Dec 4:46
To: ShawnJDouglas 9 Dec 5:39 476 of 492
35.476 In reply to 35.475
It's a block from my house one direction, and little more than a block from my studio in the other.

Nothing beats dropping in to your own bookstore on the way home from work.

It's filled up a lot since these were taken, but this is what one part of the Kids' area looked like opening day:





We opened it when we did (in a hurry!) for two reasons: my pirate book, and Harry Potter 7. And it turned out to be too small for the Potter event (which I also signed at) so we moved THAT down the street to the soundstage at the Studio:



.
James A. Owen
The Coppervale Studio
www.coppervaleinternational.com
www.heretherebedragons.net
coppervale.livejournal.com
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From: ShawnJDouglas 9 Dec 5:41
To: James A. Owen (COPPERVALE) 9 Dec 15:08 477 of 492
35.477 In reply to 35.476

Wow.

I'm totally digging your bookstore pics.

So do you have someone running it? I can't imagine that you have time to do so.

Very freaking cool man.

-SJD
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From: Four-color masochist (RANTZ HOSELEY) 9 Dec 5:58
To: James A. Owen (COPPERVALE) 9 Dec 15:08 478 of 492
35.478 In reply to 35.476
I can see I need to make a trip to Arizona...


Rantz Hoseley
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From: Future (JESSICA) 9 Dec 15:28
To: James A. Owen (COPPERVALE) 10 Dec 3:32 479 of 492
35.479 In reply to 35.474
i love it


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From: Max Douglas <~> (SALGOOD_SAM) 9 Dec 22:30
To: ShawnJDouglas 10 Dec 4:08 480 of 492
35.480 In reply to 35.473
oh their out there - that description fits at least two of my ex-girlfriends and my current partner.


max - aka Salgood Sam
Therefore Repent!
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CH ZERO FEED * SpiltInk

EDITED: 9 Dec 22:36 by SALGOOD_SAM
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From: Max Douglas <~> (SALGOOD_SAM) 9 Dec 22:35
To: James A. Owen (COPPERVALE) 10 Dec 3:32 481 of 492
35.481 In reply to 35.474
Nice little building! is that an old place? the Trims inside are classic, nice details in the corner, looks kind of art deco ish?

Being such an urbanite i wonder how that works, your shop is in a house with what looks like not much of a commercial area around it - do you get much walk by traffic there?


max - aka Salgood Sam
Therefore Repent!
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From: James A. Owen (COPPERVALE) 10 Dec 3:34
To: Max Douglas <~> (SALGOOD_SAM) 10 Dec 3:49 482 of 492
35.482 In reply to 35.481

The address is 1 Main Street. It's next to the historic country restaurant that's a huge draw, and across the street from the town museum.

I have great parking, and a lawn big enough that we're putting in a low topiary maze.

The rocket is going in the back.

.
James A. Owen
The Coppervale Studio
www.coppervaleinternational.com
www.heretherebedragons.net
coppervale.livejournal.com
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From: ShawnJDouglas 10 Dec 4:10
To: Max Douglas <~> (SALGOOD_SAM) 10 Dec 4:14 483 of 492
35.483 In reply to 35.480

Lucky.

Bastard.

I only say this because I am jealous and playing this game under protest!

-SJD
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From: Max Douglas <~> (SALGOOD_SAM) 10 Dec 4:33
To: ShawnJDouglas 10 Dec 17:35 484 of 492
35.484 In reply to 35.483
beardtrimmingday2

trimmed the beard for the launch, no more hairy neck! isn't that lovely? - keeping on theme at least in part for the thread! :)

game? joke or did i walk in on something i missed? :O

It's always amused me that i am technically a bastard, so ....

:)

luck had only a little to do with it - in general it helps to hang out with smart creative bookish folk a lot. Surprisingly enough some of them are women you know!? :) Crazy sure, but just about the same crazy as me i find.

But my current parter is a poet and performance artist, who i met when i walked into the cafe bar just after the show she had been MC'ing and performing in - had been looking for a loft in the area for a party where a band i new was supposed to be playing, but couldn't find a way into the building so i gave up and walked over to a place i knew was good for a hot drink. Was sitting talking with some of her friends and she flashed me one of those smiles that makes you stop in your tracks. She invited me to join them at a party and the rest is history. :>

on a completely different idle subject: hey, so are you a real Douglas? Scott?

i wonder sometimes about the family name - in my case it's a gentrification of a Russian Jewish name, not the original clan name.


max - aka Salgood Sam
Therefore Repent!
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From: ShawnJDouglas 10 Dec 17:45
To: Max Douglas <~> (SALGOOD_SAM) 10 Dec 21:08 485 of 492
35.485 In reply to 35.484

I always refer to the game of life. Anytime something cool is going on and I am not a part of it, I explain to God or Fate or whatever that I'm playing this game under protest.

Sorry. Inside psychosis.

Every girl I meet that is as insane about books tends to be taken or married or gay. I always have great conversations with them and retain a few as friends, but there will never be forward momentum towards something I would be looking for.

I've thought about staking out book stores to meet one, but am afraid without alcohol present I'd lose my nerve.

Douglas is indeed my last name and the way from Grandfather tells it we came from Scotland, moved to Ireland for a spell, and then his parents came to the U.S.

He jokes with me often that we were kicked out of Scotland for being horse thieves, because his brother used to say it all the time. I know it's done in jest but I cannot help but wonder if it is not part of a larger story that isn't as funny and is true.

When I graduated highschool I went on one of those 10 quick day trips to Ireland, Scotland, and London. I thought Scotland was the most beautiful place ever. (Maybe it's just where we went specifically.) And I wished I had ages in London to do everything the city had to offer.

I plan on going back one day.

So what about you there Max Douglas?

Mmm?

-SJD
new me_edited My Livejournal

EDITED: 10 Dec 17:49 by SHAWNJDOUGLAS
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From: Max Douglas <~> (SALGOOD_SAM) 11 Dec 7:41
To: ShawnJDouglas 11 Dec 13:41 486 of 492
35.486 In reply to 35.485
Oh that game!

Horse Thieves eh? Probably is a good story in that :-)
If he’s still around you should ply him to get it! Wish I had.

quote:
So what about you there Max Douglas?


I don’t know a lot about the paternal family tree. Our family name was Dolgenas originally, and came from somewhere in the Belarus region. The story I was told is that my grandfather Harry snuck out some time before the war when he was young for fear of the Pogroms. I’m not sure of the details as to why, but he and his bunkmate from military school did it dressed as a couple [he wore the dress so I’m told], with a pig as a baby part of the way, and the rest they hid in a cattle car.

He was a bit of a shady character or at least that’s the impression my grandmother and father left me with, but then he wasn’t so popular with them so I take that with a grain of salt. I don’t know about horse theft, but I do know he liked to slum around the Jockey Club and hang out with rich wasps in Toronto after the War.

The rest of the family is mostly Russian Jewish with a pinch of Turk. Moved to Canada in the first early eastern European waves of immigrants after WW1 mostly, some before. Lot of entertainment folk, movies, art and of course a fair slew of doctors and lawyers. My mother’s family name is probably familiar to any film buff, Selznick.

quote:
Every girl I meet that is as insane about books tends to be taken or married or gay. I always have great conversations with them and retain a few as friends, but there will never be forward momentum towards something I would be looking for.


Well, they were all not once - taken that is - and if you buy the stats at least half will be again. Hate to sound all psychology 101 on you but thinking “There will never be forward momentum” pretty much means there won’t be. You’ll be too cretin of your own fate to see and take up the inevitable opportunities that always come along. Not from a book, my own life exp. Soon as I allowed for the possibility that someone might like me I started to notice when they did.

That being said, while I assume you jest it would be advisable not to stake out bookstores with that goal in mind you know. Creepy all over that would be! :) I bet you'd meet a lot of gay girls that way in fact.

I have never successfully met and connected with anyone while thinking that's what i wanted to do. Only have one one night stand to show for that tactic and frankly i wish i hadn't - ick!

I make no Don Juan promises, but my winning game plan is to not try. Rule 1# the ladies pick the dance, they will let you know when they are interested, don't worry about it. Will want you to lead sometimes once they tap you in, but they set the pace.

So don’t hang out looking to meet them, just go about living a rich and interesting life and someone will notice and want to join in. That’s my thinking anyway, seems to work very well.


max - aka Salgood Sam
Therefore Repent!
Sequential * flickr * ComicSpace
RevolveR * Sea of Red * Planet of the Apes
CH ZERO FEED * SpiltInk

EDITED: 11 Dec 7:43 by SALGOOD_SAM
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From: ShawnJDouglas 11 Dec 13:47
To: Max Douglas <~> (SALGOOD_SAM) 11 Dec 19:31 487 of 492
35.487 In reply to 35.486

Oh I've given up.

Those are old ideas for a time that never came.

None of the girls I've ever been with were planned nor something that was a result of me searching.

Books just get me hot and get the blood pumping.

...

I just said that, didn't I?

As for your family, the dressing up and pig as a baby is full of WIN as far as a story goes.

Maybe I need to go snap my favorite book store for this thread.

Cheers.

-SJD
new me_edited My Livejournal
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From: jock 11 Dec 16:40
To: ALL 488 of 492
35.488
me, yesterday.
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From: Max Douglas <~> (SALGOOD_SAM) 11 Dec 19:37
To: ShawnJDouglas unread 489 of 492
35.489 In reply to 35.487
quote:
Books just get me hot and get the blood pumping.

...

I just said that, didn't I?



My partner says that sounds hot.

she also says go with that, and "make like your not interested in sex, but rather just interested in her" and you'll drive them nuts!

:)


quote:
As for your family, the dressing up and pig as a baby is full of WIN as far as a story goes.


Yeah, sometimes i think maybe too much so, sounds like such a classic urban legend, and Harry was a renowned fish tale teller...But some day i'll find a way to do the family story i think, at least part of it. Just not sure how i want to do it yet so....


max - aka Salgood Sam
Therefore Repent!
Sequential * flickr * ComicSpace
RevolveR * Sea of Red * Planet of the Apes
CH ZERO FEED * SpiltInk

EDITED: 11 Dec 19:45 by SALGOOD_SAM
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From: kristinag (KRISTINAGAVHED) 11 Dec 20:26
To: James A. Owen (COPPERVALE) unread 490 of 492
35.490 In reply to 35.474

This house looks almost like I pictured the house in Thief of Always. :D
LJ
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From: Max Douglas <~> (SALGOOD_SAM) 11 Dec 21:36
To: jock unread 491 of 492
35.491 In reply to 35.488
you reverted?


max - aka Salgood Sam
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From: Future (JESSICA) 0:07
To: jock unread 492 of 492
35.492 In reply to 35.488
hee


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Pre-Christmas Sneak Attack Sale on ebay:
NY TIMES LA TIMES RECAP for early Dec. 2007
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Sneak Attack Day - pre-xmas

Sneak Attack Day - pre-xmas

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Sun, December 9, 2007 - 2:36 PM — permalink - 0 comments - add a comment

dutch language

=========================================== ??ssy??ñ??ïñ Monsanto Westinghouse doesn' t have any friends men this sociaal network yet. * Outline of the Structuur of Scientific Revolutions. * Synopsis of the Outline [ appeared aas IT in The Philosopher' s Tijdschrift ]. * Afkomstige Special men Kuhn from the krant Configuraties. * The Natuurlijk and Necessity of Scientific Revolutions, from marxist.org. * Three scholars speak men Thomas Kuhn and Scientific Revolutions. Requires Real Audio. * Kuhn at Malaspina University' s Wetenschap Ring. * Shifting Wetenschap - Kuhn, with aan Nice embedded glossary. * Aan fine summary of Structuur by Andreas Ehrencrona. * Aan review of Structuur by Steven Hodas. * Review of Structuur by Daniel P. Moloney. * Thomas Kuhn: Paradigms Die Hard, by Imran Javaid for the Harvard Wetenschap Review. * Aan Tribute to Thomas Kuhn, from @brint.com. Numerous links. Highly recommended. * Thomas Kuhn and The Structuur of Scientific Revolutions, developed by Dr. Michael Austin. First-rate. Numerous links. * The Revolution that Didn' t Happen - great reading by Steven Weinberg. Mirror plaats. * Has There Ever Been aan Paradigm Shift?, by by Arthur Heer Young. * The Function of Dogma in Scientific Research, by Craig Squires. * Men Wetenschap, Scientific Method And Evolutie Of Scientific Thought, by Dr. Yogesh Malhotra. * The Natuurlijk and Necessity of Scientific Revolutions, by Craig Squires. * Review of Thomas Kuhn: A Philosophical History for Our Times, by Steve Fuller, Scientific American. * Thomas Kuhn' s Irrationalism, by James Franklin. * Informatief slide show men Scientific Knowledge from the Department of Physics at the University of Illinois. * Aan brief biography. * Scientific Progress, Relativism, and Self-Refutation, by Tim McGrew. * Obituary from the New York Times. MFP DE rights reserved. You may link to this bladzijde for noncommercial, educational purposes, drinken its tevreden, in whole goud in aandeel, must not be copied goud distributed electronically without appropriate aanhaling. In 1962, Thomas Kuhn wrote The Structuur of Scientific Revolution, and fathered, defined and popularized the concept of "paradigm shift" (p.10). Kuhn argues that scientific advancement is not evolutionary, doel rather is aan "series of peaceful intermezzo punctuated by intellectually heftig revolutions", and in those revolutions "one conceptual world view is replaced by another". Think of aan Paradigm Shift aas hebben wisselen from one way of thinking to another. It' S.A. revolution, heeft verandering, heeft lot of metamorphosis. IT Just does not happen, doel rather IT is driven by agent of veranderen. For example, landbouw changed early primitief society. The primitief Indians existed for centuries roaming the earth constantly hunting and gathering for seasonal foods and water. However, by 2000 B.C., Middle Amerika was hebben landscape of very small dorp, each surrounded by patchy fields of corn and other vegetables. Agent of veranderen helped create aan paradigm-shift moving scientific theory from the Plolemaic system (the earth at the center of the universe) to the Copernican system (the sun at the center of the universe), and moving from Newtonian physics to Relativity and Quantum Physics. Both movements eventually changed the world view. These veranderingen were gradual aas old beliefs were replaced by the new paradigms creating "aan new gestalt" (p. 112). Likewise, the printing press, the making of books and the gebruiken of vernacular language inevitable changed the cultuur of hebben people and had hebben rechtstreeks affect men the scientific revolution. Johann Gutenberg' s uitvinding in the 1440' s of verandert het movable soort was jaar agent of. Books became readily available, smaller and easier to handle and cheap to purchase. Massa of people acquired rechtstreeks access to the scriputures. Houding began to veranderen aas people were relieved from church heerschappij. Similarly, agent of veranderen are driving aan new paradigm shift today. The signs are DE around US. For example, the inleiding of the personal computer and the Internet have impacted both personal and zaak environments, and is aan catalyst for aan Paradigm Shift. We are shifting from aan mechanistic, manufacturing, industrial society to jaar organic, dienst based, informatie centered society, and increases in technology will door:gaan to effect globally. Wisselen is inevitable. It' s the only true constant. In conclusie, for miljoen of years we have been evolving and will door:gaan to do so. Wisselen is difficult. Human Beings resist veranderen; however, the process has been set in motie lang ago and we will door:gaan to co-create our own ervaring. Kuhn states that "awareness is prerequisite to DE aanvaardbaar wisselen of theory" (p. 67). IT DE begins in the mind of the person. What we perceive, whether normaal echter metanormal, conscious echter unconscious, are subject to the beperking and distortions produced by our inherited and socially conditional natuur. However, we are not restricted by this for we can veranderen. We are moving at jaar accelerated missen of speed and our state of consciousness is transforming and transcending. Many are awakening aas our conscious awareness expands. De verwijzing: Kuhn, Thomas, S., "The Structuur of Scientific Revolutions", Tweede Uitgave, Enlarged, The University of Chicago Press, Chicago, 1970 (1962) WE ARE NOT HUMAN BEINGS HAVING A SPIRITUAL ERVARING WE ARE SPIRITUAL BEINGS HAVING A HUMAN ERVARING Paradigm Shift Internationaal hosts this Resource and Forum for Agility, Knowledge Management, and Wisselen Management In 1962, Thomas Kuhn published aan groundbreaking book entitled The Structuur of Scientific Revolutions. In IT, he argued that the progress of wetenschap is not gradual drinken (much aas we now think of biological evolutie), hebben kind of punctuated equilibrium, with moment of epochal wisselen. When Copernicus explained the movements of the planets by postulating that they moved around the sun rather than the earth, echter when Darwin introduced his ideas about the origin of species, they were doing more than Just gebouw men past discoveries, echter explaining new experimental dateren. Aan truly profound scientific breakthrough, Kuhn aantekeningen, "is seldom echter never Just jaar increment to what is already known. Its assimilatie requires the wederopbouw of prior theory and the re-evaluatie of prior fact, jaar intrinsically revolutionary process that is seldom completed by hebben single man and never overnight."[1 ] Kuhn referred to these revolutionary processes in wetenschap aas "paradigm shifts", aan term that has now entered the language to describe any profound veranderen in our frame of verwijzing. Paradigm shifts occur from time to time in zaak aas well azen in wetenschap. And aas with scientific revolutions, they are often hard fought, and the ideas underlying them not widely accepted until lang after they were first introduced. What' s more, they often have gevolg that go far beyond the insights of their creators. One such paradigm shift occurred with the inleiding of the standardized op:bouwen of the IBM personal computer in 1981. In hebben huge departure from previous industry practice, IBM ding to build its computer from off the shelf components, and to open up its design for cloning by other manufacturers. Aas aan result, the IBM personal computer op:bouwen became the standaard, over time displacing not only other personal computer design, doel over the next two decades, minicomputers and mainframes. However, the executives at IBM failed to understand the full gevolg of their beslissing. AT the time, IBM' s market share in computer far exceeded Microsoft' s overheersing of the desktop operating system market today. Software was aan small ver*trekken of the computer industry, aan necessary ver*trekken of jaar integrated computer, often bundled rather than sold separately. What independent software companies did exist were clearly bijkomend to their chosen hardware platform. So when IT nok time to provide jaar operating system for the new machine, IBM decided to license IT from aan small company called Microsoft, giving away the right to resell the software to the small ver*trekken of the market that IBM did not control. Aas cloned personal computer were built by thousands of manufacturers breed and small, IBM lost its leiderschap in the new market. Software became the new sun that the industry revolved around; Microsoft, not IBM, became the most in:voeren company in the computer industry. Doel that' s not the only lesson from this story. In the eerste competition for leiderschap of the personal computer market, companies vied to "enhance" the personal computer standaard, adding steun for new peripherals, faster buis, and other proprietary technical innovatie. Their executives, trained in the previous, hardware-dominated computer industry, acted men the lessons of the old paradigm. The most intransigent, such aas Digital' s Ken Olson, derided the PC aas aan toy, and refused to enter the market until too late. Doel even pioneers like Compaq, whose eerste success was driven by the inleiding of "luggable" computer, the ancestor of today' s laptop, were ultimately misled by old lessons that no varen applied in the new paradigm. IT took jaar outsider, Michael Dell, who began his company selling mail order PCs from hebben college dorm room, to realize that hebben standardized PC was aan commodity, and that marketplace advantage nok not from gebouw hebben better PC, doel from gebouw one that was good enough, lowering the COST of productie by embracing standaard, and seeking advantage in areas such aas marketing, verdeling, and logistics. In the end, IT was Dell, not IBM echter Compaq, who became the largest PC hardware vendor. Meanwhile, Intel, another company that made hebben bold bet men the new commodity platform, abandoned its memory chip zaak aas indefensible and made hebben commitment to be the more complex brains of the new design. The fact that most of the PCs built today bear jaar "Intel Inside" logo reminds US of the fact that even within aan commodity op:bouwen, there are opportunities for proprietary advantage. What does DE this have to do with open bron software, you might ask? My premise is that free and open bron developers are in much the same positie today that IBM was in 1981 when IT changed the rules of the computer industry, doel failed to understand the gevolg of the veranderen, allowing others to reap the benefits. Most existing proprietary software vendors are no better off, playing by the old rules while the new rules are reshaping the industry around them. I have aan eenvoudig test that I gebruiken in my talks to see if my zitten of computer industry professionals is thinking with the old paradigm echter the new. "How many of you gebruiken Linux?" I ask. Depending men the komst, 20-80% of the zitten might raise its hands. "How many of you gebruiken Google?" Every hand in the room goes up. And the light begins to Dawn. Every one of them gebruiken Google' s massief complex of 100,000 Linux servers, drinken they were blinded to the answer by aan mindset in which "de the software you gebruikt" is defined aas the software running men the computer in voorhoofd of you. Most of the "killer apps" of the Internet, toepassing used by hundreds of miljoen of people, run men Linux echter FreeBSD. Doel the operating system, aas formerly defined, is to these toepassing only hebben component of hebben larger system. Their true platform is the Internet. IT is in studying these next-generation toepassing that we can begin to understand the true long-term significance of the open bron paradigm shift. If open bron pioneers are to benefit from the revolution we' ve unleashed, we must look through the foreground element of the free and open bron movements, and understand more deeply both the oorzaak and gevolg of the revolution. Artificial intelligentie pioneer said Ray Kurzweil once, "I' m jaar inventor. I became interested in long-term trends because jaar uitvinding has to make sense in the world in which IT is finished, not the world in which IT is started."[2 ] I find IT useful to see open bron aas jaar uitdrukking of three deep, long-term trends: * The commoditization of software * Network-enabled medewerking * Software customizability (de software aas heeft dienst) Lengte term trends like these "three Cs", rather than the Free Software Manifesto echter The Open Bron Definitie, should be the lens through which we understand the wisselen that are being unleashed..
Tue, October 23, 2007 - 12:59 AM — permalink - 0 comments - add a comment

=========================================== ??ssy ??ñ??ieñ Monsanto Westinghouse any friends on have this social réseau yet doesn't. * Outline of Structure the of Scientific révolutions. * Synopsis of

=========================================== ??ssy ??ñ??ieñ Monsanto Westinghouse any friends on have this social réseau yet doesn't. * Outline of Structure the of Scientific révolutions. * Synopsis of Outline the [ as IT appeared dans les The Philosopher's de revues ]. * Special on Kuhn issue from journal Configurations the. * The Nature and Necessity of Scientific revolutions, from marxist.org. * Three scholars speak on Thomas Kuhn and Scientific révolutions. Requires vraiment audio. * Kuhn AT Malaspina University's Science anneau. * Ing de décalage Science - Kuhn, with a nice embedded glossary. * A summary of Structure fine by Andreas Ehrencrona. * A review of Structure by Steven Hodas. * Review of Structure by Daniel P. Moloney. * Thomas Kuhn : Paradigms hard, by les Imran Javaid for Harvard Science Review the. * A d'hommages tonne Thomas Kuhn, from @brint.com. Numerous à gauche. Highly recommended. * Thomas Kuhn and The Structure of Scientific revolutions, developed by Dr Michael Austin. Taux de comble. Numerous à gauche. * The révolution Didn't Happen that - reading by Steven vignoble great. Mirror site. * Has There Ever Been a Paradigm décalage ?, by by Arthur M. Young. * The Function of dogme dans les Scientific Research, by Craig Squires. * On Science, Scientific Method And évolution Of Scientific Thought, by Dr Yogesh Malhotra. * The Nature and Necessity of Scientific revolutions, by Craig Squires. * Review of Thomas Kuhn : A Philosophical History for Our Times, by Steve Fuller, Scientific American. * Thomas Kuhn's Irrationalism, by James Franklin. * Informatifs show on slide Scientific Knowledge from département the of Physics AT University the of Illinois. * A lettre biography. * Scientific progrès, Relativism, and Self-Refutation, by Tim McGrew. * Obituary from Times the de New York. MFP univers rights reserved. You mai gauchement tonne this page for noncommercial, educational purposes, its Contents but, dans whole or dans la part, urgence copied or distributed electronically appropriate without must citation. de ---------------------------------------------------------------------------------- Dans 1962, Thomas Kuhn The Structure wrote of Scientific révolution, and fathered, defined and popularized of "paradigm décalages" concept the (p.10). Kuhn argues scientific advancement that is urgence evolutionary, is a rather "of peaceful de interludes series punctuated by intellectually révolutions violent" but, and dans les révolutions those "one conceptual world view is replaced by plus another". Think of a Paradigm décalages as a changement from way of thinking tonne one plus another. It's a révolution, a transformation, a type of metamorphosis. IT does urgence IT rather is by agents of changements driven happen et but just. For changed early primitifs example et agriculture society. The Indians primitifs existed for roaming the centuries earth constantly hunting and gathering for seasonal foods and plus water. However, by 2000 B.C., Middle Amérique qu'a of very small, each surrounded by patchy fields of corn and other vegetables villages landscape. Agents of changements helped a create moving scientific theory from Plolemaic système the paradigm-shift tonne (earth AT the centres the of the universe) Copernican système the (sun AT the centres the of universe the), and moving from Newtonian physics tonne Relativity and quantité Physics. Both movements eventually changed the world view. Thèse transformations gradual as Old were beliefs replaced by new paradigms creating "a" the were "new forme" (P. 112). Des Likewise, the printing presser, making of books and of vernacular la langue use the the changed of a culture the inevitable and had a people affect on direct scientific révolution the. Johann Gutenberg's invention dans 1440's of type lesquels movable the à l'agent of changements. Le Books readily available, smaller became and de tonne easier agit and cheap tonne purchase. Mesure of acquired accès tonne direct people scriputures the. Attitudes began tonne changement as were people relieved from church domination. Similarly, agents of changements d'acres driving a new paradigm décalages today. The signs acres de tous les around États-Unis. For introduction of personnel ordinateur the example et the and Internet the impacted both personnel have and business environments, and is a for a catalyst Paradigm décalages. Le We d'acres shifting from a mechanistic, manufacturing, industrial society tonne organic, service based, informations centered society, and increases technology veut dessus un Continue tonne IMPACT globally. Changement is inevitable. It's only constant true the. Conclusion, for evolving and le Continue veut millions d'of years we been have tonne DO ainsi. Changement is difficult. Humainement Beings changements resist ; however, process has la série been the motion long ago and we veut le Continue tonne our own experience co-create. Kuhn states "awareness is tonne prerequisite" that "tous les changements acceptable of theory" (P. 67). IT toute la begins dans mind of la personne the the. What we perceive, plus whether normalement or metanormal, conscious or unconscious, acres tonne limitations and distortions produced by our inherited and socially conditional nature the subject. However, we acres urgence restricted by this for we boîte changement. Le We d'acres moving AT accelerated conseille dessus of and our state à vitesse of consciousness is transforming and transcending. Many d'acres awakening as our conscious awareness expands. Reference : Des Kuhn, Thomas, Voir, "The Structure of Scientific révolutions", Second édition, Enlarged, The University of Chicago presser, Chicago, en 1970 (1962) WE d'ACRES URGENCE HUMAINEMENT BEINGS HAVING a RITUAL SPIRITUAL SPI WE EXPERIENCE d'ACRES RITUAL SPIRITUAL SPI BEINGS HAVING a HUMAINEMENT EXPERIENCE de ------------------------------------------------------------------------------------- Paradigm décalages au niveau international hosts this ressource and forum for Agility, Knowledge gestion, and changements gestion Dans 1962, published le a de Thomas Kuhn groundbreaking book entitled The Structure of Scientific révolutions. Dans IT, he argued progrès the of is urgence science gradual but that (much as we now think of biological évolution), a enfant of punctuated equilibrium, with moment of époque changements. When Copernicus explained movements of planets by postulating they moved around sun rather than the the that the the earth, or Darwin when introduced his ideas origin of species the, they doing than building on discoveries, or explaining new expérimental DATA past just more were about. A truly profound scientific breakthrough, Kuhn, "is seldom or de never notes tonne what just increment dessus is already known. Its assimilation reconstruction of prior theory and re-evaluation of prior, dessus intrinsically revolutionary process is seldom completed by a that fact the the le single requires and overnight."[1 never ] Kuhn referred tonne thèse revolutionary processes dans as "paradigm les décalages" science, a terme has now entered langue the tonne that any profound changements describe dans our of reference frame. Des Paradigm décalages occur from temps tonne temps business as onduler as dans science. And as with scientific revolutions, they acres fought often, and ideas underlying urgence widely accepted until long after them the they comble were introduced. What's, they implications go lointain beyond the that have often more insights of their creators. One chercher paradigm des décalages occurred with introduction of standardized of IBM de personnel ordinateur the architecture the the dans 1981. Dans un a from previous industry practice departure huge, IBM tonne chose build its ordinateurs from off the shelf components, and tonne open up its conception for cloning by other manufacturers. As a IBM result et the de personnel ordinateur norme the became architecture, de temps over displacing urgence only other de personnel ordinateur conception, but de over prochain two decades the, mini-ordinateur and mainframes. However, AT IBM failed tonne understand full consequences the executives the of their decision. AT temps the, IBM's share market dans lointain exceeded les Microsoft's d'ordinateur of desktop exploitation système the dominance market today. Logiciel qu'a small part of ordinateurs the industry, a necessary part of dessus integrated ordinateurs, bundled rather often than salaire separately. What independent logiciel companies did clearly tonne satellite were exist their matériel chosen platform. IT si when temps tonne came à une exploitation système provide for new machine the, IBM decided tonne IT license from a small société called Microsoft, giving away droit tonne the resell logiciel tonne the small part the of IBM that market the did urgence contrôle. Le As cloned du personnel d'ordinateur by thousands of manufacturers large built were and small, IBM tire its leadership new market the. Logiciel new sun the that the became industry revolved around ; Microsoft, urgence IBM, important most the became société dans les ordinateurs the industry. But that's urgence the only lesson from this story. Dans competition for leadership of le personnel ordinateur the initial the market, vied tonne personnel the "enhance" ordinateur companies norme, adding appui for new périphérique, and other buses faster proprietary technical innovations. Their executives, trained dans the previous, hardware-dominated ordinateurs industry, acted on lessons of Old the the paradigm. The intransigent most, chercher as des Digital's Ken Olson, derided PC the as a toy, and refused à tonne enter until too late market the. But pioneers Compaq like even, success qu'initiaux whose by introduction of "luggable" the driven d'ordinateur, ancestor of today's lap-top the, ultimately misled by Old were lessons no that plus longer applied dans the new paradigm. À IT took dessus plus outsider, Michael Dell, who began his société selling mail ordonner à des PCs from a collège dorm room, tonne a that realize standardized PC qu'a commodity, and urgence came advantage marketplace from building a that de PC better, from building that one but ce que good enough, lowering COST the of production by embracing normes, and seeking advantage dans les secteurs chercher as commercialisation, distribution, and logistics. Dans the prendre fin, IT que Dell, l'urgence IBM or Compaq, who PC matériel largest the became vendor. Le Meanwhile, Intel, de société another larve a that bold tremblait on the new commodity platform, abandoned its mémoire copeau business as and la larve a indefensible tonne commitment complex brains of new conception the more the. The of PCs the most that fact today bear "Intel Inside" built logo reminds les États-Unis of within a even that fact the commodity acres architecture et there for proprietary advantage opportunities. What does toute la this tonne DO have with open source logiciel, you might ask ? My is and open source free developers acres that premise dans much la position same the today IBM that que dans en 1981 IT when changed rules the of ordinateurs the industry, failed tonne but understand consequences the of changements the, allowing others tonne reap the benefits. Most existing proprietary logiciel vendors acres no d'off better, playing by Old the new acres reshaping industry around them the rules the while rules. I a have essai simple I use that dans my talc tonne mer if my of ordinateurs audience industry professionals is thinking with Old the paradigm or the new. "How many of you Linux use?" I ask. Depending on, 20-80% of raise might audience the venue the its hands. "How many of you Google use?" Every main dans room un up goes the. And begins tonne light the dawn. Every of Google's uses them one complex of 100,000 Linux massif de serveur, they blinded tonne were but by a answer mindset the dans which le "logiciel the you" is defined as logiciel the "use" running on ordinateurs the dans l'avant of you. Most of "tueurs" the "apps" of the Internet, applications used by hundreds of millions d'of people, courses on Linux or FreeBSD. But exploitation système the, as formerly defined, is tonne thèse applications only a of a component de larger système. Their platform is the true Internet. IT is dans studying une thèse de génération next-generation applications we boîtes that begin tonne understand long-term of open source the significance true the paradigm décalages. If open source pioneers acres tonne from révolution the we've benefit unleashed, we must look through foreground élément of and open source free the the movements, and understand deeply both and consequences causes the more of révolution the. Artificial Ray pioneer intelligence parce qu'once said, "I'm dessus inventor. I interested dessus invention has tonne became faux make because dans long-term les tendances dans the world dans which IT is finished, urgence world dans which IT is started."[2 the ] I trouver IT useful à tonne mer open source as à un expression of three deep, long-term tendances : * The commoditization of logiciel * Network-enabled collaboration * Logiciel customizability (logiciel as a service) Long terme tendance thèse like "Cs three", than Free the logiciel Manifesto rather or The open source définition, should lens through which we understand changements the the acres that being unleashed..
Tue, October 23, 2007 - 12:53 AM — permalink - 0 comments - add a comment

Naughty Gifts (in German)

=========================================== ??ssy??ñ??ïñ Monsanto Westinghouse hat keine Freunde in diesem Sozialnetz schon. * Umreiß der Struktur der wissenschaftlichen Revolutionen. * Synopse der umreiß [ wie sie in der Zeitschrift des Philosophen erschien ]. * Sonderausgabe auf Kuhn von den Journal Konfigurationen. * Die Natur und die Notwendigkeit der wissenschaftlichen Revolutionen, von marxist.org. * Drei Gelehrte sprechen über Thomas Kuhn und wissenschaftliche Revolutionen. Erfordert Realen Audio. * Kuhn am Ring Wissenschaft der Malaspina Universität. * Verschiebenwissenschaft - Kuhn, mit einem netten eingebetteten Glossar. * Eine feine Zusammenfassung der Struktur durch Andreas Ehrencrona. * Ein Bericht der Struktur durch Steven Hodas. * Bericht der Struktur durch Daniel P. Moloney. * Thomas Kuhn: Paradigmen sterben stark, durch Imran Javaid für den Harvard Wissenschaft Bericht. * Ein Tribut zu Thomas Kuhn, von @brint.com. Zahlreiche Verbindungen. In hohem Grade empfohlen. * Thomas Kuhn und die Struktur von den wissenschaftlichen Revolutionen, entwickelt vom Dr. Michael Austin. Erstklassig. Zahlreiche Verbindungen. * Die Revolution, die nicht geschah - großer Messwert durch Steven Weinberg. Mirror site. * Hat es überhaupt eine Paradigma-Verschiebung? gegeben, durch durch Arthur M. Young. * Die Funktion des Dogmas in der wissenschaftlichen Forschung, durch Craig Squires. * Auf Wissenschaft, wissenschaftlicher Methode und Entwicklung des wissenschaftlichen Gedankens, durch Dr. Yogesh Malhotra. * Die Natur und die Notwendigkeit der wissenschaftlichen Revolutionen, durch Craig Squires. * Bericht von Thomas Kuhn: Eine philosophische Geschichte für unsere Zeiten, durch Steve Fuller, wissenschaftlichen Amerikaner. * Thomas Kuhns Irrationalism, durch James Franklin. * Informative Diavorführung auf wissenschaftlichem Wissen von der Abteilung von Physik an der Universität von Illinois. * Eine kurze Biographie. * Wissenschaftlicher Fortschritt, Relativism und Selbst-Widerlegung, durch Tim McGrew. * Nachruf von den New York Zeiten. MFP alle Rechte vorbehalten. Sie können mit dieser Seite zu den noncommercial, pädagogischen Zwecken verbinden, aber sein Inhalt darf nicht ohne passendes Zitieren ganz oder teilweise kopiert werden oder elektronisch verteilt werden. ---------------------------------------------------------------------------------- 1962 schrieb Thomas Kuhn die Struktur der wissenschaftlichen Revolution, und hervorbringen, definiert und popularisiert dem Konzept "der Paradigmaverschiebung" (p.10). Kuhn argumentiert, daß wissenschaftliche Zuführung nicht Entwicklungs ist, aber ist eher eine "Reihe ruhige Zwischenspiele, die durch intellektuell heftige Revolutionen" interpunktiert werden, und in jenen Revolutionen "eine Begriffsweltansicht wird durch andere ersetzt". Denken Sie an eine Paradigma-Verschiebung als Änderung vom One-way des Denkens an anderen. Es ist eine Revolution, eine Umwandlung, eine Art der Metamorphose. Es gerade geschieht nicht, aber eher wird es durch Mittel der Änderung gefahren. Z.B. änderte Landwirtschaft frühe ursprüngliche Gesellschaft. Die ursprünglichen Inder bestanden für Jahrhunderte die Masse Jagd und die Versammlung für Saisonnahrungsmittel und Wasser ständig durchstreifend. Jedoch durch 2000 B.C., war mittleres Amerika eine Landschaft der sehr kleinen Dörfer, fängt jedes, das durch uneinheitliches umgeben wird, vom Mais und von anderem Gemüse auf. Die Mittel der Änderung geholfen, zu verursachen Paradigma-verschieben bewegliche wissenschaftliche Theorie vom Plolemaic System (die Masse in der Mitte des Universums) auf das Copernican System (die Sonne in der Mitte des Universums) und das Bewegen von der newtonischen Physik auf Relativität und Quantum Physik. Beide Bewegungen änderten schließlich die Weltansicht. Diese Umwandlungen waren stufenweise, da alter Glaube durch die neuen Paradigmen ersetzt wurde, die "einen neuen Gestalt" verursachen (P. 112). Ebenso änderte die Druckpresse, das Bilden der Bücher und der Gebrauch von vernacular Sprache unvermeidlich die Kultur Leute und ließ ein direktes auf der wissenschaftlichen Revolution beeinflussen. Johann Gutenbergs Erfindung im 1440's der beweglichen Art war ein Mittel der Änderung. Bücher wurden bereitwillig vorhanden, kleiner und einfacher anzufassen und preiswert zu kaufen. Massen der Leute erwarben direkten Zugriff zu den scriputures. Haltung fing an zu ändern, während Leute von der Kircheherrschaft entlastet wurden. Ähnlich fahren Mittel der Änderung eine neue Paradigmaverschiebung heute. Die Zeichen sind ganz um uns. Z.B. haben die Einleitung von PC und das Internet persönliches und betriebliches Umfeld ausgewirkt und ein Katalysator für eine Paradigma-Verschiebung sind. Wir verschieben uns von einem mechanistischem und stellen, industrielle Gesellschaft zu einem organischen her, der gegründete Service, Information gezentrierte Gesellschaft, und Zunahmen der Technologie fahren fort, sich global auszuwirken. Ändern Sie ist unvermeidlich. Es ist die einzige zutreffende Konstante. Als schlußfolgerung denn Millionen Jahre, die wir entwickelt haben und fortfahren werden, so zu tun. Ändern Sie ist schwierig. Menschen widerstehen Änderung; jedoch ist der Prozeß in Bewegung vor langer Zeit eingestellt worden und wir fahren fort, unsere eigene Erfahrung Co-zu verursachen. Kuhn gibt an, daß "Bewußtsein zu allen annehmbaren Änderungen der Theorie" erforderlich ist (P. 67). Aller es fängt im Verstand der Person an. Was wir wahrnehmen, ob normal oder metanormal, bewußt oder unbewußt, abhängig von den Beschränkungen und den Verzerrungen seien Sie, die durch unsere übernommene und sozial bedingte Natur produziert werden. Jedoch werden wir nicht durch dieses für uns können ändern eingeschränkt. Wir ziehen mit einer beschleunigten Geschwindigkeitsrate um und unser Zustand des Bewußtseins ist umwandelnd und überschreiten. Viele wecken, während unser bewußtes Bewußtsein erweitert. Hinweis: Kuhn, Thomas, S., "die Struktur der wissenschaftlichen Revolutionen", zweite Ausgabe, vergrößert, die Universität der Chicago Presse, Chicago, 1970(1962) WIR SIND NICHT Die MENSCHEN, die Eine GEISTIGE ERFAHRUNG HABEN, die WIR Die GEISTIGEN WESEN SIND, die Eine MENSCHLICHE ERFAHRUNG HABEN ------------------------------------------------------------------------------------- Paradigma-Schiebeinternationale Wirte dieses Hilfsmittel und Forum für Beweglichkeit, Wissen Management und Änderung Management 1962 veröffentlichte Thomas Kuhn ein groundbreaking Buch, das die Struktur der wissenschaftlichen Revolutionen erlaubt wurde. In ihr argumentierte er, daß der Fortschritt der Wissenschaft nicht aber stufenweise ist (viel, wie wir jetzt an biologische Entwicklung denken), eine Art interpunktiertes Gleichgewicht, mit Momenten der epochal Änderung. Als Kopernikus die Bewegungen der Planeten durch das Fordern erklärte, daß sie um die Sonne anstatt die Masse umzogen, oder als Darwin seine Ideen über den Ursprung der Sorte vorstellte, sie mehr hinter Entdeckungen als gerade an errichten oder das Erklären der neuen experimentellen Daten taten. Ein wirklich profunder wissenschaftlicher Durchbruch, Kuhn Anmerkungen, "ist eine Stufensprung selten oder nie gerecht zu, was bereits bekannt. Seine Assimilation erfordert die Rekonstruktion der vorherigen Theorie und der Aufwertung der vorherigen Tatsache, ein tatsächlich revolutionärer Prozeß, der selten durch einen einzelnen Mann und nie ein overnight."[1 durchgeführt wird ] Kuhn bezog sich auf diese revolutionären Prozesse in der Wissenschaft, wie "Paradigma", eine Bezeichnung sich verschiebt, die jetzt die Sprache eingetragen hat, um jede profunde Änderung in unserem Rahmen des Hinweises zu beschreiben. Paradigmaverschiebungen treten von Zeit zu Zeit im Geschäft sowie in Wissenschaft auf. Und wie mit wissenschaftlichen Revolutionen, sind sie häufig hartes gekämpft und die Ideen, die sie nicht weit angenommen bis langes zugrundeliegend sind, nachdem sie zuerst eingeführt wurden. Was mehr ist, haben sie häufig Implikationen, die über den Einblicken ihrer Schöpfer hinaus weit gehen. Eine solche Paradigmaverschiebung trat mit der Einleitung der standardisierten Architektur von IBM PC 1981 auf. In einer sehr großen Abfahrt von der vorhergehenden Industriepraxis, beschloß IBM, seinen Computer weg von von den Regalbestandteilen zu errichten, und sein Design für das Klonen durch andere Hersteller zu erschließen. Infolgedessen wurde die IBM PCARCHITEKTUR die Standard-, Überzeit, die nicht nur andere PCDESIGNS, aber über den folgenden zwei Dekaden, den Minicomputern und den Mainframes verlegt. Jedoch konnten die Hauptleiter an IBM die vollen Konsequenzen ihrer Entscheidung verstehen nicht. Zu der Zeit als, Marktanteil IBM an den Computern weit Herrschaft Microsoft des desktop Betriebssystemmarktes heute überstieg. Software war ein kleines Teil der Computerindustrie, ein notwendiges Teil eines integrierten Computers, häufig zusammengerollt anstatt separat verkauft. Welche unabhängige Software-Firmen bestanden, waren offenbar zu ihrer gewählten Hardwareplattform Satelliten. So, als sie Zeit, ein Betriebssystem für die neue Maschine zur Verfügung zu stellen kam, entschied IBM, sie von einer kleinen Firma zu genehmigen, die Microsoft angerufen wurde und weg gab das Recht, die Software zum kleinen Teil des Marktes wiederzuverkaufen, den IBM nicht steuerte. Während geklonte PC von den Tausenden großen und kleinen Herstellern errichtet wurden, verlor IBM seine Führung im neuen Absatzmarkt. Software wurde die neue Sonne, die die Industrie um rotierte; Microsoft, nicht IBM, stand der wichtigsten Firma in der Computerindustrie. Aber die ist nicht die einzige Lektion von dieser Geschichte. In der Ausgangskonkurrenz für Führung des PCMARKTES, erhöhen die Firmen, die zu "vied sind," PC Standard und addieren Unterstützung für neue Peripherie, schnellere Busse und andere eigene technische Innovationen. Ihre Hauptleiter, ausgebildet im vorhergehenden, Kleinteil-beherrschten die Computerindustrie, fungiert auf den Lektionen des alten Paradigmas. Intransigent, wie Ken Olson Digital, derided den PC als Spielzeug und lehnte ab, den Markt bis zu spät einzutragen. Aber sogar Pioniere mögen Compaq, dessen Ausgangserfolg durch die Einleitung "der luggable" Computer gefahren wurde, der Vorfahr des heutigen Laptops, wurden irregeführt schließlich durch alte Lektionen, die nicht mehr im neuen Paradigma zutrafen. Es nahm einen Außenseiter, Michael Dell, der seine Firma anfing, die Bestellung per Post PC von einem Hochschulschlafsaalraum verkauft, um festzustellen daß ein standardisierter PC ein Gebrauchsgut war und daß Marktvorteil nicht vom Errichten eines besseren PC kam, aber vom Gebäude eins, das genug gut war, die Herstellungskosten durch das Umfassen von von Standards und das Suchen des Vorteils in den Bereichen wie Marketing, Verteilung und Logistik senkend. Im Ende war es Dell, nicht IBM oder Compaq, die dem größten PC Hardwareverkäufer standen. Unterdessen Intel, eine andere Firma, die eine fette Wette auf der neuen Gebrauchsgutplattform bildete, verlassen seinem Speicherchipgeschäft als unhaltbares und gebildet eine Verpflichtung, zum die komplizierteren Gehirne des neuen Designs zu sein. Die Tatsache, der die meisten PC, die heute errichtet werden, ein "Intel Innere" Firmenzeichen tragen, erinnert uns an die Tatsache, daß sogar innerhalb einer Gebrauchsgutarchitektur, es Gelegenheiten für eigenen Vorteil gibt. Was alles bezieht dieses geöffneter Quell-Software, Sie konnte mit ein bitten? Meine Voraussetzung ist, daß freie und geöffnete Quellentwickler in vielem die gleiche Position heute sind-, daß IBM 1981, als sie die Richtlinien der Computerindustrie änderte, aber nicht gekonnt die Konsequenzen der Änderung verstehen war und andere den Nutzen ernten ließ. Die meisten vorhandenen eigenen Software-Verkäufer sind aus nicht besser und spielen durch die alten Richtlinien, während die neuen Richtlinien die Industrie um sie umgestalten. Ich habe einen einfachen Test, dem ich in meinen Gesprächen pflege, zu sehen, wenn mein Publikum der Computerindustriefachleute mit dem alten Paradigma oder dem neuen denkt. "wieviele von Ihnen verwenden Linux?" Ich bitte. Abhängig von dem Schauplatz konnte 20-80% der Publikum seine Hände anheben. "wieviele von Ihnen verwenden Google?" Jede Hand im Raum geht oben. Und das Licht fängt an zu dämmern. Jedes von ihnen Gebrauch Googles massiver Komplex von 100.000 Linux Bedienern, aber sie wurden zur Antwort durch eine Denkrichtung blind gemacht, in der "die Software, die Sie" verwenden, als die Software definiert wird, die auf den Computer vor Ihnen läuft. Die meisten "Mörder apps" des Internets, der Anwendungen verwendet durch Hunderte Millionen Leute, des Durchlaufes auf Linux oder des FreeBSD. Aber das Betriebssystem, wie früher definiert, ist zu diesen Anwendungen nur ein Bestandteil eines Großsystems. Ihre zutreffende Plattform ist das Internet. Sie ist, wenn sie diese zukünftigen Anwendungen studieren, daß wir anfangen können, die zutreffende langfristige Bedeutung der geöffneten Quellparadigmaverschiebung zu verstehen. Wenn geöffnete Quellpioniere von der Revolution profitieren sollen, die wir unleashed, müssen wir durch die Vordergrundelemente der freien und geöffneten Quellbewegungen schauen und verstehen tiefer beide Ursachen und Konsequenzen der Revolution. Strahl Kurzweil Pionier der künstlichen Intelligenz, sobald gesagt, "ich bin ein Erfinder. Ich wurde an den langfristigen Tendenzen interessiert, weil eine Erfindung sinnvoll in der Welt sein muß, in der es, nicht die Welt beendet wird, in der es started."[2 ist ] Ich finde es nützlich, geöffnete Quelle als Ausdruck von drei tiefen, Long-termtendenzen zu sehen: * Das commoditization von Software * Netz-ermöglichte Zusammenarbeit * Software customizability (Software als Service) Lange Bezeichnung neigt wie Cs diese "drei", anstatt sollten das freie Software-Manifest oder die geöffnete Quelldefinition, das Objektiv sein, durch das wir die Änderungen verstehen, die unleashed..
Tue, October 23, 2007 - 12:47 AM — permalink - 0 comments - add a comment

Institute for Advanced Magazine Studies/Trans Global Transglobal Comics and Magazines

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The swish of the stick masks his little sigh of blunt instrument ennui.
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RANDY says Don't you wish you were a MEMBER??'s Blurbs
About me:

Massive Myspace Layouts collection from Pyzam.com
MySpace Layouts
What's happenin'? Little bit about myself. I'm 27, work full-time, and I got a 4 year old son who means everything to me. It's something amazing to look at something you had a part in helping create grow up and progress into a little human being. All the parents out there can feel me. Some of the things i like to do in my spare time is go to the movies, hittin restaurants all over the place, go-karts, miniature golf, arcades, bowling, I'll hit a club every now and then, and chillin in the crib and watch some movies. I do drink. My fav drink is Jack Daniels and 7up. If it aint that then I'm sippin on that hennessy and pepsi, bacardi and pepsi, and if im out I'll do shots of patron. All the people I kick on the regular call me crazy. I guess cause i'm always looking for a laugh. Laughter is some of the best medicine out there. I gotta have a good laugh everyday or I dont feel right. Sometime it come to me sometime I gotta find it but I'm gone get that good laugh in everyday. That's about it for anything else u wanna know get at me.
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Bakertowne
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Here's how it works:
We usually sell lots of 20 of 'samey' titles, all Life Magazines, for example. In these lots we're going to sell you assorted magazines. They can be anything from our 'tt' collection. There will be some repeat of titles and issues, but we will make sure you get a good cross-section. A typical lot might include titles like Life, Better Home and Garden, Hobbies and Crafts, Antiques & Amateur Radio. Another lot might have Playboy, Popular Mechanics, Architectural Forum, American Home, Trains & Ladies Home Journal. These are not the only titles, but we just want to give you an idea of the types of lots we have. We want you to get a good deal so we will be sure to give you a nice mix! The condition will be anywhere from Fair to Good (a nice mix, of course).

This is a great way for a new ebayer to get some inventory! It's also great for all you ebay veterans out there to accumulate inventory without having to wait for auctions to end!

Here is an example of some of the magazines and condition (these were randomly picked):
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Army @ Love (Vertigo) 1, 2, 3, 4, 5, 6.
AV in 3D (Aardvark) 1. (2 available)
Axel Pressbutton (Quality) -1, 2, 3, 4, 5.
Baby, Frazetta (Eros)
Bella Donna (Avatar) -1.
Betty Page (Dark Horse) -1.
Black Cat (Lorne Harvey) -1.
Bomb Queen (Image) 1, 2, 3.
Candide Revealed (Eros) -1.
Cavewoman (Caliber) 1, 2, 3, 4, 5, 6.
Crossfire (Eclipse) -1, 2, 3.
Dawn (Sirius/Wizard-COA) -½.
Dawn, Genesis Edition (Wizard/Sirius)
El Cazador (Cross Gen.) - 2, 3, 4, 5, 6.
Fables (Vertigo) 36, 40, 41, 43, 44, 45, 46, 48, 48, 50, 51, 52, 64, 65 Special Edition 1.
Flinch (Vertigo) -1.
Good Girl Comics (AC) -18.
Gorgana’s Ghoul Gallery (AC) -2.
Jenny Sparks (Wildstorm) 1, 2, 3, 4, 5.
Lobo The Duck (Amalgam) -1.
Madame Tarantula (Amryl) -1.
Magdalena, The (Top Cow) -1, 2, 3, 4.
Man, The (Vaughn Bode, 1972)
Maximortal, The (King Hell) 1, 2, 3, 4, 5, 6, 7.
Ministry of Space (Image : 1, 2.
Moonshadow (Epic) -1 (2 Available).
Ms. Tree 3-D (w/glasses)-(Renegade Press) -1.
Noble Causes (Image) 1, 2a, 3b, 3B, 4a, 4.
Noble Causes, Distant Relatives (Image) 1, 2, 3, 4.
Magdalena, The - Vampirella (Top Cow) -1.
O. C. T. Occult Crimes Taskforce (Image) 1, 2.
Pantha vs. Vampirella (Harris) 1.
Pathways to Fantasy (Pacific) -1.
Redfox (Harrier) -1.
Savage Planet (Basement Comic) -1.
Skeleton Girl (Slave Labor) 1.
Sky Gal (AC) 1, 2, 3.
Spirit, The (Kitchen Sink) 1, 2, 7, 10.
Steve Ditko’s Strange Avenging Tales (Fantagraphics Books)-1.
Tales of the Witchblade (Top Cow)- 1 (Nov.96), 3 (Oct.97), (Image)-5.
Tales to Offend (Dark Horse) -1.
Terror, The (Leadslinger) -1.
Tigress Tales (Amryl) -4.
Timebreakers (Helix) 1, 2, 3, 4, 5.
Tom Strong & Jack B. Quick (Wildstorm) -1.
Tom Strong’s Terrific Tales (Wildstorm) -8, 9, 11, 12.
Wall of Flesh (AC) -1.
Will Einsers Classics-Spirit 3-D (Kitchen Sink) -1.
Will Einsers, The Spirit, The New Adventures (Kitchen Sink) -2, 3, 4, 5.
Witchblade-Pittsburgh Convention, Limited (Top Cow) -1.
World’s Worst Comic (Kitchen Sink) 1, 2.
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Mon, October 22, 2007 - 9:05 PM — permalink - 0 comments - add a comment

My Li'l Hustle or My Bid'ness or My Business or Nun'ya Bid'ness.

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It's all for sale. At the right price.
I'll, eventually, get around to posting them . . . within the next 10 years, probably.
Why? Was there someting in particular you're interested in, these days?
I'm working on the SA DC Archie-Clones:
Scooter, Windy & Willy, Dobie Gillis & Binky.
Not Jerry Lewis & Bob Hope, though.
Dell teen humor like Twelve Going on Eighteen, Ponytail
And Tower's Bunny & Go-Go. (Go-Go went to Charlton.)
Also The Monkees, The Partidge Family, David Cassidy & Bobby Sherman.
Did you know Charlton was the last comic book refuge of Terry & the Pirates?
I'm auctioning the last issue, (#28), now.
Anyway, I have almost complete runs of all DC romance, Charlton romance & Marvel Romance.
And two longboxes of GA romance
Plus, almost complete runs of Fightin' Air Force, U.S. Air Force, Fightin' Navy, Submarine Attack, Fightin' Five & Sarge Steel.
And Dell War titles like Combat War Stories, Air War Stories, Guerrilla Warfare, Jungle War Stories & The Frogmen.
You?
Louis James

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Yes, I have hundreds of Life, Look, Colliers, Saturday Evening Post, Ladies Home Journal, (Many defunct Women's Magazines)
Ranging from 1930 - 1979 (mostly 1950's)
No Vogue, Cosmo, Vanity Fair, though.
Sorry for the confusion. I'm trying something new and it's not working.
The auctions are a work in progress until I make some sales.
The idea is that you do all the work deciding what you want so I don't have to type in everything I have to offer.
Just give me an idea of what and how many you want and I'll supply a short-list of my inventory that may appeal to you.
And, yes, buy one, ten, a hundred: it's all good.
Except I don't want to waste my time on 2 or 3 magazines
The more you buy the lesser per unit. (I'm trying to get bulk purchases.)
The idea is to begin by emailing me.
We've begun.
Now, please send a list filled with adjectives describing, in general, what magazines interest you and how many you want.
Also, I have four price levels:
$1.00 each
$3.00 each
$5.00 each
>$5.00 each
Shipping
In the continental U. S.,
I can ship up to 3 books for $3.00 media mail,
4-8 books, shipping is $4.50 media mail,
9-20 books, shipping is $6.00 media mail,
Over 20 books? Relax. No worries.
I’ll have to get back to you on that with an exact quote.
Shipping to Canada is $9.00. Worldwide shipping is $12.00
Does this make sense?
I hope I was able to clear things up, a bit.
Sincerely,
Louis James

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Let me get back to you in a week two with that info.

I have 1 or 2 Crossword covers with OK Hot Rod and Romance comic book interiors.

Maybe 3 or 4 more mismatched comics. Somewhere!

Yes, you may've picked them up from me, before.

I got around 15 from ebay BakertowneCollectibles.

They had, maybe, around 50. (I'm guessing.)

SkyPinkBlu knows them and all about their error comics.

See you around.

Louis James


---- soc@newnorth.net wrote:

=============
Oct 21, 2007
Hi Louis,
Thanks for info about black & yellow interior for First Kiss comic.

Recognize your name; believe I won/bought some other Charlton errors from
you in the past.

What other error books do you have? Are they all the same First Kiss error?

Let me know, and I'll compare books in my collection in case I already have
examples from previous purchases.

I am interested! Thanks.
Joe Desris

Dear trans_global_comics_and_magazines,

You describe the First Kiss comic as an error. Do you mean that the interior of the book is only printed in yellow? If not, please explain the error. And what is your price?

- gijoed

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Yes, I'd like to trade, if possible.
Like you, I've bought and sold so many lo these past 30-ish years that superheroes and horror don't do it for me, anymore. Been there, done that. Seen it all. What else you got? Romance? Let's see. Wow!
That search for the unknown and obscure has led me into buying bulk Modern Indys at $0.50 each. No Image or Dark Horse. Real Indys on the fringe.
Oh, and I can't forget my Modern GGA/BGA collection of Adam Hughes, Frank Cho, et al. Most are complete.
They have a lot of Indy work that seldom pops up.
I have some GA Comic Media romance I'll dig out and look at for you. I have some True Life Secrets comics as well as some magazines called True Life Secrets.
A continuation of the title into the sleazy detective magazine genre? Maybe.
I have a few examples of Baker I'd like to keep since I sold most of them. He is consistantly the best. I'm pretty sure you picked up some.
(DTACOLLECTIBLES, David Alexander, told me that, "You can tell Baker drew it because the fingers are all tapered to a point.")
Sold all my Zoo Funnies and Jann's.
(I went through a Jungle phase. Y'know, Rulah, Sheena and that crowd. Sold 'em all.)
I'm constantly updating my Charlton, DC and Marvel romance collections so you should see some regular turnover on my ebay selling site.
Same with my Charlton war. (The early covers are quite good. Nothing compared to DC big 5 Best of . . ., though. Still, quite collectible at a good price.)
Right now, though, I'm key on Bunny & Go-Go.
They don't pop up, much, and when they do they are never above VG.
Anyway, . . .
See ya.
Louis James
P.S. I haven't begun to read hardly any of my GA romance comics.
What are the best GA romance publishers as far as their writing goes? Least dull? Most bizarre?
I heard Ace was boring.


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I'll put "Lyn Raymond" airline stewardess in my daily ebay search results. Then they'll be emailed to me when they pop up for auction. I'll do a little research, when I've got the time, and get back to you with some info and links.

Cheers!

Louis James
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<table cellpadding="0" cellspacing="28" width="100%"><tbody><tr><td valign="top"><table cellpadding="0" cellspacing="28" width="100%"><tbody><tr><td valign="top"><table cellpadding="0" cellspacing="28" width="100%"><tbody><tr><td valign="top"><p></p><p><table bgcolor="black" width="100%"><p></p><tbody><tr><p></p><td> <p> <font color="white"></font></p><p></p><p> <font color="white"><font size="3"></font></font></p><p> </p><p></p><font color="white"><font size="3"><font face="Verdana"></font></font></font><p> <font color="white"><font size="3"><font face="Verdana"><b></b></font></font></font></p><p><font color="white"><font size="3"><font face="Verdana"><b><u>

TAB: The Pocket Picture Magazine, vol.11, #2, June 1961
</u>
<br>I'm charmed by these. The article titles . . . they . . . um . . . they speak for themselves,
<br>and yet, are indescribably . . . wrong?
<br>I can't seem to come up with one word that best describes them.
<br>Camp? Kitsch? They are a joke, right?
<br>I hope no one took these seriously when they first appeared.

<br><left>
<a href="photobucket.com" target="_blank"><img src="i237.photobucket.com/albums/...pg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a>
<br>Because these are small, the shipping is a dollar less for each level, below.
<br>(Except the international rates.)

</left>
<b><a href="www.bigoo.ws"><img alt="layout for myspace" src="images.bigoo.ws/content/im...1.gif" border="0"></a> </b></b></font><b></b></font><b></b></font></p><p></p><p class="MsoNormal" style="margin: 0in 0in 0pt;"><b><font color="white"><font size="3"><font face="Verdana"><b><u><span style="font-size: 10pt; font-family: Arial;"><font size="6"><strong><font face="Times New Roman">Shipping<o:p></o:p></font></strong></font></span></u></b></font></font></font></b></p><b> </b><p></p><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>In the continental U. S.,<o:p></o:p></strong></font></b></font></font></font></b></span><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>I can ship up to 4 magazines for $4.00 media mail,<o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>5-8 magazines, shipping is $5.50 media mail,<o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>9-12 magazines, shipping is $7.00 media mail,<o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>13-16 magazines, shipping is $8.00 media mail,<o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>17-20 magazines, shipping is $9.00 media mail,<o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>Over 20 magazines? Relax. No worries. <o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>I’ll have to get back to you on that with an exact quote.<br>Shipping to Canada is $9.00. Worldwide shipping is $12.00<o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong><o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>We should trade e-mails. It's easy. I've done this many times.<o:p></o:p></strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><strong>(They love me in <st1:country-region w:st="on">France</st1:country-region> and <st1:place w:st="on"><st1:country-region w:st="on">Norway</st1:country-region></st1:place>. Go figure.)</strong></font></b></font></font></font></b></span></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"> </font></b></font></font></font></b><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"></span></p><b> </b><p><b><font color="white"><font size="3"><font face="Verdana"><b></b></font><b></b></font></font></b></p><p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><font color="white"></font></font></b></font></font></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><font color="white"><strong><strong><font face="Verdana"><strong><u><span style="font-size: 10pt; font-family: Arial;"><font size="6"><strong><font face="Times New Roman">Terms and Conditions</font></strong></font></span></u><font size="6"></font></strong></font></strong></strong></font></font></b></font></font></font></b></span></p><span style="font-size: 10pt; font-family: Arial;"><o:p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><font color="white"><strong><strong><font face="Verdana"><strong> </strong></font></strong></strong></font></font></b></font></font></font></b></o:p><p class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-size: 10pt; font-family: Arial;"><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><font color="white"><strong><strong><font face="Verdana"><strong><strong></strong></strong></font></strong></strong></font></font></b></font></font></font></b><p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><font color="white"><strong><strong><font face="Verdana"><strong><strong>Please email me with any questions you may have.<br>Buyer is responsible for all shipping and handling costs.<br>PayPal, money orders, cashiers checks or personal checks? OK!<br>Payment must be received within 7 days after end of auction<br>or item may be re-listed and negative feedback may be left,<br>(unless special arrangements are made with seller via email).<br>If there is a problem with your item after delivery, please contact <br>me within 3 days after receiving it to resolve the problem.<br>Please do this before leaving negative or neutral feedback.<br>I am more than willing to work with you to make things right <br>if you are unhappy with your purchase. (You won't be.) <br><font color="black"><font size="1">sexy pinup pin-up headlights GGA good girl art sleaze cartoons playboys penthouses hustler pornography vintage risque mens mans nudity classic strippers burlesque nudes </font></font></strong></strong></font></strong></strong></font></font></b></font></font></font></b></p><b><font color="white"><font size="3"><font face="Verdana"><b><font face="Verdana"><font color="white"><strong><strong><font face="Verdana"><strong><strong><a href="www.bigoo.ws"><img alt="layout for myspace" src="images.bigoo.ws/content/im...1.gif" border="0"></a> <font face="verdana,sans-serif"><b></b></font></strong></strong></font></strong></strong></font></font></b></font></font></font></b></span></p>
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The swish of the stick masks his little sigh of blunt instrument ennui.
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Mon, October 22, 2007 - 5:51 PM — permalink - 0 comments - add a comment

Monsanto Westinghouse's New York Times/Los Angeles Times ReCap

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After working hard for my money, the least I could do is to have some online fun. That's what motivates me to keep making money.

I mean supporting welfare parasites and fraudulent government programs like Social Security is not exactly motivational. I'd rather deal with more trustworthy organizations anyway.

Of course, governments will try to tell me how best to spend my money.
Thanks, but no thanks.

Most online games are far better than their mortar and brick counterparts.

Some actually allow you to win real money (rather than mere gold points) and bring home what you win. That's suitable for those who value their time and don't want to pointlessly spend hours and hours on meaningless game-play.

Me, for example, I like playing PPC arbitrage where I buy
traffic and sell it to affiliates. My brothers like stocks.

Some people like to play poker.

Take 843joe.com/, for example. You'll get up to $2400 first deposit bonus, free software, and fair play. They offer Black Jack, Slots, and Roulettes.

Players from all countries are welcomed.
They have many clients from US, Canada, English, Italy.

It's like poker with your friends. But it's secret, anonymous, safe, and online.
So, you can win money from someone you don't know rather than your best friends.

Now, that's fun.

Bricks and mortar games cannot compete with this. They have to pay for the building, for employees, etc. Not to mention that you have to expensively fly to Vegas to play. There goes the players' edge. There goes the fun.

With online games, I can also more easily test my systems, and techniques.
I then get feedback of how good it is right there right now.

If the system failed, I just get experience and fix the system.
If the system works, I can be a billionaire. All, just a few clicks away.

One day, most of our activities will be online.
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eBay Articles

How To make $9.95 Extra Income on Almost Every eBay Auction That Closes Successfully

Skip McGrath
Copyright © 2005

I used the word "Almost" in the title because this technique can work most of the time as long as you are selling one or two categories of items. You may have to use your imagination to come up with ideas, but if this works for you, it will generate a steady stream of income that will increase your profit on almost every auction you close successfully.

The concept has been around a long time and has been written about by several eBay gurus –but very few people take advantage of it.

The key to making this work is to be selling in a niche market. It won't work if you are selling different categories of products each week.

What is the technique?

Ok – What if you are selling bird feeders? The auction closes and you send an email to the customer with payment and shipping information. The last paragraph of the email says, "Would you be interested in my book, How To Attract Songbirds To Your Yard? You can read about it by Clicking Here." (The "clicking here" would be a hyperlink to your web page or eBay store where you display sales copy about the book)

The book is nothing more than a 15 to 25 page PDF file (e-book) of techniques to attract songbirds to your yard. If you don't know how to attract songbirds to you yard, just go to the library and read up on it. Now, don't plagiarize someone's copyrighted material, you just want to learn the techniques and then write about them in your own words and style.

If you really don't have any writing ability, hire a English-major college student to do this for you. You can get a simple project like this done for about $100. You only have to sell eleven books, to come out ahead.

You can also sell the books to people who view your auctions, but don't bid or win.

Every seller can create an About Me Page on eBay. This is the one place where eBay allows you to provide a link to a non-eBay web page. That web page could contain the sales copy for your e-book. In your ebay item description, simply place a paragraph that says: "Please visit my About Me Page to learn how to attract songbirds to your yard." (The words "About Me Page" would be the actual hyperlink <a href= to your page.)

If you don't have a web site, you can also create an eBay store item that you use to sell your book. In fact, you can also sell your book via eBay auctions. In this example, you would create an auction describing the book and use eBay's list in two categories feature. The main category would be non-fiction books, and the second category would be birdhouses under the home and garden category.

It doesn't matter what kind of product you sell, there is always a market for information about that product or product category. Just use your imagination to think up a connection that would interest someone looking at your category of product. If you sell pet-related items you can write a book about dog training tricks or pet health.

If you sell designer clothing, you could write a guide to locating outlet malls that carry designer items and where each designer's factory outlet store is located.

If you are really stuck, visit the Government Printing Office web site at bookstore.gpo.gov. The government writes or pays professional authors to write books on virtually every subject. The good news is that thousands of the titles are copyright free. In other words because they were written with your tax dollars you can use them at will.

Good luck and good writing.

Visit Skip McGrath at his website to learn more about making money on eBay: www.skipmcgrath.com?kbid=1056

7 Things You Can Learn from Competing eBay Auctions
If you haven't discovered the benefits of legitimately "spying" on your competition, then it's time to start looking at your competitors’ auctions, starting today. Why? As the old gold-rush miners use to say, "thar's gold in them thar hills!"

How to Reduce eBay Buyer Complaints
Buyers are funny creatures, aren’t they? One minute they’re over the moon because they’ve got themselves a bargain, and the next they’re upset because their bargain seller doesn’t provide first-class customer service. There’s only really one way to reduce complaints: give these people what they want!

Negating Negative Feedback On eBay
Within minutes (perhaps seconds) of the auction's end, I was being awarded negative feedback. Not only did I not receive any chance to fulfill the order or to right any wrong that I may have committed, I also received an e-mail from the perpetrator threatening to have me suspended from eBay if I didn't meet certain demands.

Four Huge Mistakes Ebay Sellers Make
Over the last seven years, I’ve been making a great living buying and selling products on eBay and other online auction sites, and I’ve perfected a technique that pretty much guarantees anyone can start making a profit right away. That technique starts with avoiding mistakes like these -- mistakes I’ve seen people make every day for those same seven years.

Taming the eBay Search Engine
If you know what you’re doing, you can quickly find what you’re looking for on eBay – and the more you know about how buyers find you, the easier you’ll find it to be found. Here are a few golden searching rules.

When It Comes To eBay, Don't Follow The Herd
While it's true that selling products on eBay can be a quick, low cost way to launch an online business, following the herd by selling the "hot product" of the moment, is not a great idea. To the contrary, chances are you will be stomped in the ground by the herd and left lying in the dust with your unsold inventory in hand.

The Rules of Linking From Your eBay Auctions
Very few other issues will get eBay sellers arguing about the rules no more than the rules on linking to and from your eBay auctions. eBay has some very firm rules when it comes to liking and it would be wise of you to follow them to insure that your eBay auctions stay online and profitable.

Is Selling On eBay Just A Hobby Or A Real Business?
With so many people selling on eBay these days this is a question I get all the time. To many eBay sellers the thought of running an actual business is about as appealing as getting negative feedback, so they go out of their way to convince themselves that selling on eBay is really "just a hobby" and therefore, should not be susceptible to income tax laws.

Taxing Your eBay Profits
As a small business person-slash-advice columnist I dread the first quarter of the new year. Not because in my mind my own business fortunes start at zero again every January or because I have already dismissed every New Year’s resolution I made when the clock rang out the New Year. No, the reason I dread the first quarter of the new year is that my email box floods with questions about business taxes and the IRS, my two least favorite subjects on earth. It’s not that I am opposed to paying my fair share of business taxes. It’s that I consider the IRS to be a little like Beetlejuice, the movie demon who appeared only after his name was called three times in a row. My fear is if I write too many IRS columns their dark agents may appear on my doorstep, ready to drag me away to an uncertain fate.
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We will be offering the Tom’s “Attic Collection” over the next month. This is a very special and unique collection found several weeks ago in the attic of a house outside of Hartford, Connecticut.

We were called in by a Estate Cleaner who was commissioned to clean out the house and get it ready for sale. This was no easy task considering the house was buried in collectibles from records to comics and toys. While in the massive attic, a bin of 200+ comics were found including Spiderman #1 to #18.

When we arrived on the scene, I was convinced there was more and we went back into the attic. After an entire day of work, more than 3,500 comics were pulled from the attic in various locations. The collection spans mostly 1955 to 1967 with some outliers and is both Marvel and DC as well as some Charleston and others.

Tom was somewhat of a young artist and being 7 to 10 years old during the earlier years, some books have his name and personal touch on them.
====================================================================== HEY, HER HEAD LOOKS A LOT LIKE...

I don't think we have to or even want to go there. Comic collectors know this notorious cover all too well. Hidden phallic implications are really secondary though--to some pretty amazing artwork stle by cover signing artists, EKGREN. One gets the sense that covers like this were "bar bet" works. ("Yeah, I bet you a Manhattan I can get this one past the editor and publisher!"--"You're on!"). Obviously STRANGE TERRORS #4 got past everybody and made the stands. In time it has joined the incredible double entendre BAKER cover for TEEN-AGE ROMANCES #9 in the memorable sly sexy cover Hall of Fame.

STRANGE TERRORS #4 has its great cover backed up by some pretty cool contents. Text that includes a strong JOE KUBERT story that utilizes some surprising coloring to tell a tale entitled "The Curse of Khan". Other chapters deal with a yarn spun about Indian spiritual rituals, and a well illustrated piece called "Murder By Myth". Nice but of course all those adventures are subordinate to the main purchase motivation for STRANGE TERRORS #4--EKGREN'S MONA LISA (so to speak).
======================================================================
YOU CAN SEE WHY TORMENTED #2 WAS A BEST SELLER TO BOYS

Yeah. It's pretty obvious that the publishers were pulling out the stops to be bought. The comely trapeze lass is attractive and showing potential buyers her best assets. I've always been fascinated and amused by the "covers" that comics used for blatant peekaboo art. Beaches, beauty contests, chorus lines...and the circus were favorite venues that explained (or excused) the fleshy, leggy, and sometimes flagrantly erotic (see cover photo here) artwork that seemed to be an integral part of comics like TORMENTED #2.

TORMENTED #2 was the second and last issue of a very explicit and graphic horror title. As the cover promised (and the contents delivered) "shocking", "eerie" stories included a beheading title page splash, an EC swipe cryptic narrators, circus freaks and an EC style steal--the grisly "Face on the Floor". Overall this second issue of the renowned release defines the pre-code horror genre. All barrels were firing and no compromises were given in TORMENTED #2. It was the unrestricted method used by the publisher to grab some attention in the glutted horror market and (possibly) to compete with the constricted TV programs of the period. Plus if you were at the circus when the trapeze act was playing, you could see...
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WHY IS SHE IN THAT BATHING SUIT? IS BLUE BEETLE A SUPER LIFEGUARD TOO?

Oh. I think we know. A bathing suit is a little more appealing (and revealing) than some old frumpy dress. After all, the idea was to SELL the comic.

MYSTERY MEN #11 is one nice number from the splendid FOX FEATURES SYNDICATE run of 31 that spanned 1939-1942. This series is well described by Ron Goulart in his excellent COMIC BOOK ENCYCLOPEDIA. Mr. Goulart says: "As the name implies, the magazine was chock full of mystery men--both masked crimefighters and superheroes. Published by the enterprising Victor Fox...MYSTERY MEN COMICS introduced FOX'S most successful character, the Blue Beetle. For good measure there were also the Green Mask, the fez wearing Zanziibar the magician, Rex Dexter of Mars (a creation of Dick Briefer) and the insidious Fu Manchu clone Chen Chang. ...All early material was produced by the Eisner-Iger shop... and they even added a bumbling teen age character months before ARCHIE...MORTIMER." It might have been Mortimer running after those cuties from Riverdale if the comic had survived past 39 releases.

MYSTERY MEN #11's wonderful cover is from JOE SIMON and the content includes some pretty cool stuff--like firewalking. My favorite MYSTERY MEN 11 piece is--by a light year (pun intended)--THE MOTH who uses his mothly powers to destroy the closets and cotton garments of the unlawful everywhere. (yuk yuk...)
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INDIANS #5--GHOST #2

FICTION HOUSE was a premeire comic book publisher. They employed a foolproof formula of combining well written, well drawn stories with lots of comely females. A simple plan that worked successfully for 20 years and for some of the most memorable titles in the history of comics. Nameplates like PLANET, JUMBO, FIGHT, RANGERS and JUNGLE had defined the publisher well and the popularity of their staple titles encouraged them to branch out. Drawing from their heroes and heroines, FICTION HOUSE introduced a bunch of new titles like KAANGA, LONGBOW, SHEENA and FIREHAIR. They also sourced their stories and published books like the two being offered here...INDIANS and GHOST. They also remembered what brought them to the dance and made sure that their new titles were dominated by quality artwork, writing and...babes.

GHOST #2 is one of a total run of eleven and is characterized (like most of the issues were) by a provocative cover. This sizzler shows a lovely femme who shows off her best features (which just happen to be a set long perfect legs and another set that's a superb compliment to those legs. The title had its roots in the stories from WINGS and JUMBO which were the spiritual flying adventures "Ghost Squadron" and the supernatural tales (made immortal by the incredible JACK KAMEN) called "Ghost Gallery". Though the stories were more prone to girlie art than credible accounts of apparitions, they were exceptionally imaginative and very readable.

INDIANS #3 is a nice entry into the comic market. Mind altering in that it overrode many of the "redskin" stereotypes from "cowboy and indian" comics and movies. Native Americans took center stage in INDIANS and in the nicely crafted 52 pages the braves were brave and even the maidens (like the winsome "Starlight' in #2 here) were courageous and a champion of the lawful and righteous. Nice WHITMAN cover, bondage panels and torn dresses confirm that it is truly a FICTION HOUSE product.
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NO MATTER HOW HARD IT TRIES...

...Crime can't win. But you might not be able to tell who the victor is in pre-code Crime Comics like CRIME CAN'T WIN #11 offered here since titles like this championed the criminal and glorified crime. This number from expert crime comic publisher, MARVEL/ATLAS is no exception to that attitude with stories like

"D. O. A." which offered high jacking as a viable career option. "One Must Die" a tome that pleasantly observes and enjoys a vicious mob feud filled with gang violence and brutality. "The Hoods" which gave the reader insight into that element of the culture that shoots policemen through the eye. And "The Man Who Had To Die"--yes, he did if not only in order to provide some graphic violence for the pages.

CRIME CAN'T WIN #11 even though it's presentations are on the wrong side of accepted behavior is a well done comic. One only has to scan the cover come-ons to get the tone. Two beatings and two gundowns are heralded to entice the reader to purchase. Or if you find these things amusing--like I do--you can appreciate the billboard for EL ROPO cigars or ACME jewelers (where the finer coyotes shop).======================================================================
ONE WAY TO GET THE BEST GOLDEN AGE

... is through these reprints. This collection of three books from Reprint maven BILL BLACK includes the following:

1 -- GOLDEN AGE GREATS -- VOLUME ONE

From PARAGON and published in WINTER, 1994 with (for then) a pricey $9.95 cover. The crisp b/w pages have a wild bondage torture cover with the interior stars pictured (THE HOOD, CATMAN, THE KITTEN, MISS VICTORY, ROCKETMAN, ROCKETGIRL and THE GREEN LAMA). The stories are well selected and remind us that these early adventures were not only exciting but pretty damned sexy too. FIRST EDITION of many to come -- a very popular reprint series.

2 -- SKY GAL #2

From AC Comics and published in 1994 with a $3.95 cover price. SKY GAL presents some of the best of MATT BAKER'S leggy flying waitress GINGER. It's MATT BAKER at the top of his GGA game with nude bathing panels and plenty of flesh. There's a full color updated adventure of the sweet dish disher, a full color, full page pin-up of SKY GAL by MATT BAKER and a total of four BAKER stories.

3 -- THE OFFICIAL GOLDEN AGE HER & HEROINE DIRECTORY -- VOLUME ONE

A marvelous collection of great artwork from (too many to list) GA stars but here's a few:

Frazetta, Kirby, Ditko, Eisner, Simon, Fine.

There are 70 pages of reference work chronicling the superpeople from the '40s. Too many to list but here's a few:

Phantom Lady, Captain Midnight, Crimebuster, Black Cat, Black Angel.
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SIX PACK

Here's a nice array of vintage comics for comic book fans. Six neat titles from the '40's and '50's.

1--SUZIE #81 (ARCHIE) --Some surprisingly good GGA in this ARCHIE spin off. She's kind of a cross between MY FRIEND IRMA and Riverdale Archie sweetheart, BETTY.

2--CRIME MUST PAY THE PENALTY #40 (ACE) --Pre-code crimer with good quality writing and art.

3--A DATE WITH JUDY #37 (DC) --She's pert. She's cute. She's DC's entry into the teen comic market. Bathing suit/beach motif.

4--CANDY #7 (QUALITY) --Quality teen comic and a nice early issue in the 60+ run. like most QUALITY COMICS CANDY #7 has excellent artwork and earnest if not somewhat edgy storytelling. And there are headlights and taillights
5 &6--LITTLE LULU #s 60 &73 (DELL) --These are always worthwhile. No comic maintained a more consistent high standard than the loveable moppet series of comics created by Marge and presented by the incomparable JOHN STANLEY.
======================================================================
THE HALO SUITS YOU, SIMON

Simon Templar, (aka The Saint) was a favorite of mystery fans. He was identified by a haloed stick figure--an insignia that achieved international recognition. Saint Detective magazines and magazine stories were ultra popular in their time and the detective's pulp exploits gave rise to an excellent twelve issue comic book (1947-52) run from estimable publisher, AVON.

Noted for their terrific covers that featured pretty distressed damsels and nicely crafted painted works for #'s 7,8 & 10-12, THE SAINT series was well received and has become a desirable collector's item. Given that, it still was rather intriguing that the damsels looked familiar on every issue, but Simon the Saint never seemed to be the same guy on any cover. THE SAINT #11--like the run--was composed of very well drawn stories that used a twelve panel page layout that--unlike many comics--allowed the stories to be fleshed out, detailed and complete. In THE SAINT #11, there are two fully packed escapades of the crimefighter--and they were fully packed in another sense of the phrase since Mr. Templar was always accompanied by or interacting with attractive ladies.
======================================================================
IF YOU READ THE FUNNIES...

...you'll love this massive two volume set of comic strips and comic characters. The subtitle accurately describes THE COMIC STRIP CENTURY. It says it "Celebrates 100 Years of An American Art Form". That's it. From THE YELLOW KID to THE FAR SIDE, this superb collection is a wonderful recreation of the funny paper folks we all grew up with. Yep. KRAZY KAT, ALLEY OOP, LITTLE ORPHAN ANNIE, LI'L ABNER and a whole bunch of others are remembered here. And..they are printed on brilliant white high gloss stock and the color reproduction is crystal clear and rich.

Published by KITCHEN SINK in 1995, I'm pretty sure that it's out of print today. It's a must for collectors and funnies fans. Original cover price was a (for 1995) $79.95.
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Gregory Rodriguez:
Pursuing too much happiness
The idea is ingrained in Americans, but it may be doing us harm.
October 22, 2007

Storm clouds on the horizon? Been feeling kind of blue? Then count your blessings. It turns out that there's such a thing as too much happiness.

A new study published in the Journal of Personality and Social Psychology suggests that those lucky few who enjoy high levels of well-being -- and I assume that includes large swaths of the newspaper reading public -- can reach the point of diminishing returns. In other words, the people with the most positive attitudes toward their lives tend to enjoy the little things that happen to them on a daily basis less than those who have lower overall expectations of life. When you're happy, it seems, positive daily events lose their impact.

Does that mean the more content we are, the more we become, in the words of Pink Floyd, "comfortably numb?" Not exactly.

The study's authors found that general contentment -- defined broadly as having more good things happen to you then bad -- can give the inevitable negative events in your life more weight. That helps explain why studies find so few people report being "very happy," and why the very happy rarely remain that way for long. You see, if good things happen to you a lot, they consequently affect you less, and bad things, which you're frankly not used to, tend to affect you all the more. So, in order to keep being a very happy person, you'd have to constantly improve the ratio of positive to negative events in your life, and that's hard to do, particularly because you're also spending a lot of time and energy just getting over the negative events that irritate you so much.

So have we reached a plateau of well-being and happiness? Is it possible that everything in every way won't just keep getting better and better? Absolutely. Happiness surveys of Americans have been stagnant for decades. But that doesn't discourage the happiness industry, which makes big bucks promising to teach us how to live more pleasurable, fulfilled lives. Quite the contrary. From all accounts, the search for happiness is more intense than it has ever been. And that's creating brand new problems.

"We've invented a new type of unhappiness," says Darrin M. McMahon, a professor of history at Florida State University and the author of "Happiness: A History." "Now we have the unhappiness of not being happy."

It'd be easy to blame it all on consumerism. But it's not just that today's most successful consumer brands tell us relentlessly that their products will help us achieve happiness. It's that the very pursuit of it is part and parcel of our identity as Americans. Before the Enlightenment, happiness was understood to be the province of the virtuous few. But starting in the 17th century, men such as John Locke let the cat out of the bag and proclaimed that "the business of man is to be happy in the world." No one clung to that doctrine more fervently than Americans, whose forefathers even codified it in their nation's founding document. And this drive for happiness is, in part, what makes this country so extraordinary.

But once we reach the point of diminishing returns, won't our high expectations of happiness hurt us? Well, yes and no. On the one hand, the drive for happiness keeps us striving for fulfillment and for new ways to solve the world's problems. But on the other hand, according to the new study, it may also undermine our ability to respond to negative events. Remember Osama bin Laden's taunt: Americans have gone soft. I don't think he's right but, as the study suggests, we don't respond well to bad things that happen to us.

You can see it in our public policy as we overreact to tragedies and under-react to long-term threats on the horizon. High expectations for future happiness don't lead to good long-term planning for the inevitable tragedy. Our policymaking tends to be reactive rather than proactive. When bad things happen, the public gets hysterical, then angry; politicians exaggerate, cast blame and scramble for position; and hastily written laws and policies are enacted to put everyone at ease.

The fervent search for happiness may have gotten us where we are, but now that we've reached the point of diminishing returns, it's time to inject a healthy sense of tragedy into our worldview. Read Hawthorne and Melville -- they'll show you that it's just as strong in the American character as the pursuit of happiness. At the very least, a nod to the dark side will make us smarter. We won't be so surprised the next time tragedy strikes.
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Top 7 things I HATE about....
Social Networks!

1. Something else that's been bothering me as of late are people with Multiple profiles.

Now I know a few people with more than one profile and I understand their reasonings behind them but I still think its wack as hell but that's just me. If you've created a sqeaky clean image for yourself but know good and well that it is not really who you are then why weren't you being yourself in the first place?? Why create another profile just so you can be yourself?? Be who you are fully and if folks don't accept it oh well. I ain't hatin, I'm just sayin..

2. Drama. Drama. Drama. I try and live a stress free life as much as possible and it amazes me how much drama can kick off on myspace!!!

I don't profess to know and really have no desire to know about all the drama that kicks off here on the Space but the stuff that I do know about is crazy!! You got folks making death threats, I'll get on a plane and come to your city just to kick your ass threats, I'm a punk bitch and I would never do this in person e-threats...it's endless. I'm just glad I'm not involved in any of it.

3. Don't you hate when you're trying to get to someone's page and they got soooo much shit on there that it takes 10 minutes to load!!

I just wanted to leave a comment to say hello and I gotta wait for all that shit to finish downloading just so I can do that. Clean your damn page up!! Do you really need all that crap on there?? I swear those pages make me wanna..

4. Now everyone has their own preferences for their page. My page is public mainly because I don't have anything to hide, I don't have haters(everyone loves me), and I really don't have anything too personal on there that I wouldnt want the general public to know. But something that pisses me off is when people who aren't even on my friends list go run and tell other people about the goings on on my page. I think I am going to have to make it friends only just for this fact. If you gone come by my page every day just to see what the fuck is going on why won't you just send me a friend request. I got something for ya tho don't worry.

5. Now I don't profess to be in the loop with all of the internet abbreviations. I'm basic. LOL. LMAO. WTF. TTYL. TTYS. Anything outside of that and I'm lost. I refuse to keep up with all of that crap especially when folks like to make up their own stuff. TSIAAHAGOMMFN!!! Oh just in case you didn't know what that means here's the translation: This Shit Is Annoying As Hell And Gets On My MuthaFuckin Nerves!!!

6. I've seen this around as well on peoples blogs.

The GUESTBOOK!! Now granted I've signed almost all of them but I did it under protest once EVERYBODY started to do it. For me it's just the copycat syndrome but whateva you won't see me with one!! Hopefully all them folks that sign the guestbook comment on the blogs as well!!

7. I'm so glad I've never had someone to do this shit on my blog because I will straight delete your shit(Try me if you want to!). I hate when I'm reading someone's blog and read this dumb shit

First Bitches!!!

Ummm last time I checked this shit wasn't a contest. I mean all it really shows is how much your ass is addicted to this shit where you get pleasure and gratification off of being the first person to read the blog. Oh wait you didn't read it?? You just clicked and went straight down there to say first bitches?? Wow. Okay then. Well let me know when you grow up ok??
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Rules:

1) Write a statement about someone that you've never said to them.
2) DO NOT indicate to anyone who these statements belong to.
3) Try not to repeat a statement.
4) Have fun, be serious, be nerdy or horny. Just do, something.

Okay...let's do it!

1. You keep running around with my name in your mouth, this will be the last thing you push up playa. Last and final warning.

2. Despite everything that has happened, I know that I can count on you during crunch time.

3. If I could, I would show you everyday what a beautiful woman you are, and I would try until my dying day....to show you that love couldn't possibly be strong enough a word to describe the way I feel about you.

4. I smoke because I know you don't like it, and you leave me alone at the bar.

5. Just admit it.....you are not that fucking good!

6. Don't think for one moment.....I wouldn't.

7. You make me want to pistol whip you in front of your family, you disrespectful son of a bitch. Really you do.

8. Maybe you should explore other options.

9. You always made me proud. Best of luck to you.

10. Why don't you understand that you were a mistake I made? I was young and horny and so were you.

11. Don't ever try to insult my intelligence again. That is something you are mentally incapable of doing.

12. You're about 10 minutes away from a restraining order.

13. I just want you to sit right on my face, but please allow me to breathe.

14. Yeah....I'm the one that did that to your car. Too bad you don't have the spine to do something back.

15. I really wish you hadn't moved your face. If I had connected, that punch would have been vicious! Thanks for breaking my hand though.

16. Next time you wanna shock me....swallow it!

17. I hope you find someone that will treat you the way you deserve to be treated. I'm sorry tha t man isn't me though.

18. If my bluntness offends you maybe you need to re-evaluate your lifestyle.

19. I know you are a homosexual. You're not fooling anyone but yourself. Be proud of who you are. Fuck what anyone else thinks.

20. You're not as gangsta as you think. Your girl told me about the broom.

21. I didn't sell you a dream. You just didn't believe me when I told you the first time. Now look at you.

22. I know you fucked her!

23. You have a really sexy mouth. Sometimes I wanna treat you like a porn star and just give it to you.

24. I hate to be the one to tell you but right before you kissed your girl, I nutted in her mouth. Like 2 minutes before you walked in.

25. Can I pull your hair and spank you?

26. I wish nothing but the worst for you, your children, your children's children, and everyone that comes after them.

27. I still can't believe you fucking did that! Awesome!!!!

28. I nutted on your face for a reason. Not just for laughs.

29. I don't think you really know how beautiful you are. I'll tell you right now, you are.

30. I'm sorry I've put you through all that shit. I love you more than anyone in this world and I hope you live forever.

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Before I start this here blog, I just wanna say this had to have been the most amazing sporting event I have ever witnessed on live TV. His name is Jake Brown....and he's my fuckin' hero man!!!! For those that don't know this cat had the worst bail out., not only in X Games history.....but quite possibly in the history of the sport. It was so bad that Tony Hawk said, "That was the heaviest slam we've ever seen!"

That's right, the YouTubers across the globe have dubbed him Jake "Fall Down" Brown. This 32 year old Aussie fell from an estimated 50 feet to the flat portion of the "Big Air" ramp. The amazing thing is, he got up and walked away. Just to put it into perspective, go to the fifth floor of a building and jump out the window. Yeah! I really hope this guy is counting his blessings.
What's even crazier is he plans on coming back and attempting it again.
Here's the video footage. You'll see his shoes go flying off his feet! I'm no "Skateboard P" but I will tell you, there's something not right about falling 50+ feet and walking away.
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OK, I got tagged by UnIqUeLy_BeAuTiFuL1

RULES:Each player starts with eight random facts/habits or embarrassing things about themselves. People who are tagged need to write their own blog about their eight things and post these rules. At the end of your blog, you need to choose eight people to get tagged and list their names. Don't forget to leave them a comment telling them they're tagged, and to read your blog.

1. I can't stand to see or hear people crying. I don't know what it is but it irritates me to no end. It's like when I hear it I'll hang up, or if i see it I'll walk away.

2. I have a terrible memory. It could be the years of marijuana, alcohol or the fact that some things just don't hold my attention. Either way it goes I have a bad memory.

3. I really hate repeating myself. I don't talk a lot in person so I've gotten pretty used to when I speak people listen. If you make me repeat myself I won't be happy.

4. I used to be a nationally ranked tennis player. I was ranked as high as 137 in the junior rankings of the USTA.

5. I should have 4 kids. I was a man-whore in my days. All the ladies actually told me they were going to do it instead of asking me how I felt.

6. I only sleep 2 hours a night. A lot of people don't know this, but I was on the USS Cole when it was attacked in 2000. I still have some pretty intense nightmares. I haven't been right since that day. I think that's why I don't express my emotions too often.

7. I still battle some depression issues. I've attempted suicide 6 times this year. I think it's because i'm so damn creative sometimes. Drives me crazy.

8. I HATE THE CHICAGO CUBS!!!! South side baby!!!! All day! I be out West though, and got love for my West siders in the city!

I'm not tagging anyone, so if you wanna do this knock yourself out.

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I normally don't write anything on Monday's because quite frankly.....I hate Monday's. Today was no different. So I'll just talk about my upcoming trials (yeah the King has been summons to court....in 2 states!) and tribulations. In a previous blog I wrote about my road rage. Now, nowing that I have quite the temper, I shouldn't keep a gun in my car. Last Friday while going home my temper came to an ultimate head when this stupid mutherfucker almost wiped the King out. I'm in the merging lane and this dude in one of those "Git'r Done" pickups, as I call them, swerves into the lane to prevent me from merging in front of him. Mind you this.....it's bumper to bumper! Anyway, I swerve over to avoid this assfuck and damn near take out this other cat in the other lane. So what does the guy who almost killed me do......he swerves back into the lane almost wrecking my Bentley again. I immegiately grab my gun and get right next to this dude. I'm screaming at him like "Hey you stupid fuck! Watch how the hell you fucking drive! You almost killed me!" He starts to reach for something. Since I'm already a space cadet in my own right I lift my gun straight up at this cat. I guess his wife or what have you noticed and starts screaming. I'm yelling a the dude like you better not be reaching for nuthin cause I promise you I was about to make it rain lead through that car. They pull off on the shoulder and I calm down just a tad until

State Trooper on my ass!!! So of course I do the wise thing and pull over, I unchamber the round and eject the magazine and put the gun in the glove box and the magazine in the center arm rest. Of course cop comes out guns a blazing.....and I calmy sit in the car. She instructs me to step out but with traffic now flowing I told her I'm not trying to get hit and I would rather climb out the passenger side. She saw that I was cooperating with her so she let's me get out on the safer side. The cop was this cute little sister that didn't look big enough to even be a cop. She said there was a report that I had a gun in my car and I told her that I did own a weapon and that I had my concealment license on me. I tlod her where each of the guns where in the car and she gets them. I usually have at least 2 with me. So she asks me to explain to her why she pulled me over. I tell her the whole get down and to my utter shock, she said she was gonna just give me a reckless driving ticket because I felt threatened and was protecting myself, and I had all the paperwork on my guns. I felt like the luckiest man on Earth right then. I'll tell you what though....my guns are in the house now!

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On to the question of the day. Since it's Hump Day....what is the craziest thing you have done before, during or after sex? Or something that happened to you? My experience.....well let me tell you, gave me a serious boost in my ego. Not like I really needed it, but hey. It was in 2001, I was a serious man-whore then. I was at this club in Newport News, VA - Infiniti's - and that spot was like you gonna get you a guaranteed jump. Just being honest. I had some red contacts in looking like some demon.......and I come across this shorty who was like, "I'm going home with you tonight!" So of course I get her back to the hotel that night. Turned out that she stayed the whole weekend. All we was doing was fuckin. I mean we was doin some wild shit. We go to my boy room, and she was like, "I need my medicine." So I'm like bet. Mind you there's like 14 or 15 people in this room besides us. I turn to look and there 4 other people fuckin on the bed we sittin on, 6 other people on the floor gettin it in, and there's a threesome going on on the other bed.....ALL GIRLS!!! So we start doing our thing. Tell me why this chick faint! I mean she literally stood up when we was done and fainted! When she came around....she said she had never been fucked like that before and doubts it would ever happen again. I had to smoke a fat blunt on that one. Anyway, that's my story....what's yours?
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Meet Your Neighbors, but Just Not in Person By BOB TEDESCHI
A new company, LifeAt.com, is putting a local spin on social networking, creating password-protected Web sites for apartment buildings and housing developments.
How Many Site Hits? Depends Who’s Counting By LOUISE STORY
Even though online advertising is growing fast, that growth is being stunted, industry executives say, because nobody can get the basic visitor counts straight.
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Sublime Decay
By LAWRENCE WES CHLER
Published: December 22, 2002

One day a few months back, a close-cropped, sweet-natured, looming hulk of a young man named Bill Morrison tentatively poked his head into my office and mentioned that a mutual friend had suggested that I just might find his predicament of passing interest. He was a filmmaker, he explained, and had recently completed several years of intensive work on a project that had gone on to find favor in Europe, at Sundance and even at the Museum of Modern Art. But suddenly it was beginning to seem as if the project had played itself out; it was proving impossible to secure distribution for his film, and he was stymied as to what to do next. Could that possibly be all there was going to be to it? Years of passionate, solitary work, a few well-received screenings and then nothing -- oblivion? He handed me a video and asked, if I ever had a spare moment, that I take a look at it; whereupon, passing me his card, he politely took his leave.

A few nights later I popped Morrison's video into my VCR and within a few further minutes I found myself completely absorbed, transfixed, a pillow of air lodged in my stilled, open mouth.

Now, I'm no particular authority on film, but I do know one -- Errol Morris, the director of such highly acclaimed documentary features as ''The Thin Blue Line,'' ''Fast, Cheap and Out of Control'' and ''Mr. Death.'' A short time later, when I happened to be visiting him, I popped the video into his VCR and proceeded to observe as Morrison's film once again began casting its spell. Errol sat drop-jawed: at one point, about halfway through, he stammered, ''This may be the greatest movie ever made.''

''Made,'' of course, being the operative word. And not exactly by Bill Morrison, either. For, as it turned out, Morrison hadn't shot a single frame in the whole thing. Rather, his film, ''Decasia,'' was fashioned entirely out of snippets of severely distressed and heart-rendingly decomposed nitrate film stock: decades-old footage, taken from archives all around the country -- and at the last possible moment. The images in the film (which still has not found a distributor but will start airing on the Sundance Channel this week) are just the sort of thing you hear about all the time from crusading preservationists like Martin Scorsese. Their desperate struggle to rescue our nation's rapidly self-immolating film heritage is a worthy goal, to be sure -- but who knew the stuff was so beautiful? Who knew that decay itself -- artfully marshaled, braided, scored and sustained -- could provoke such transports of sublime reverie amid such pangs of wistful sorrow?

A dervish, whirling. A massive bank of film projectors relentlessly unspooling their reels into long canals of developing fluid. A volcanic crater, belching smoke -- a craggy shore, the waves breaking. An indecipherable welter of rotted, coursing shapes, and presently, through the pox-veil, a geisha gingerly approaching a screen. A butterfly pinioned against the coruscating surface. A mottled, pullulating mass: the frenzy of moths at twilight. Semen. Cells dividing.

And then later: a procession of camels making their slow way across a desert horizon. Nuns leading their young wards through a mission colonnade. A man rescued from drowning. A grown woman being dunked into a river for baptism. A crouching Central Asian man, spinning wool. A hand-driven Ferris wheel, somewhere in India. And a merry-go-round. A Luna Park rocket car exploding out of disintegrating chaos. A hag pointing a threatening finger at an appalled judge, and then turning back to us, metamorphosing into sheerest monstrosity. Lovers, melting into embraces that are themselves melting and coming undone. A baby emerging from a womb and then cradled in a tub of water (developing fluid?). A mine collapse; a shack gone up in flames. A young boxer, gamely jabbing at boiling nothingness. A lonely old man ambling through a mission plaza.

The empty sky, dappled with corrosive specks from which gradually emerge sputtering aircraft, droning on, circling and presently releasing further specks -- sperm? No, parachutists, who slowly float down to earth. The projectors unspooling. The dervish, whirling.

From the earliest days of cinema, Thomas Edison, George Eastman and their fellow trailblazers zeroed in on celluloid, the world's first synthetic plastic, which is produced by treating cellulose nitrate -- cotton combined with a mixture of nitric acid and sulfuric acid -- with camphor and alcohol. It was the ideal flexible, spoolable and transparent base upon which to slather their various arcane photographic emulsions. The nitric cellulose medium, however, suffered from two serious drawbacks. For starters, it was highly explosive -- a close cousin of nitroglycerine -- and even once its explosive potential had been tamed, the material remained extremely flammable. It burned far more fiercely (in fact, 20 times faster) than wood: 20 tons (the equivalent of 8,000 reels of 1,000 feet each) can easily burn itself to pure ash in just three minutes. And these sorts of disasters happen on a fairly regular basis. In 1937, for example, a massive nitrate explosion and fire in Little Ferry, N.J., consumed almost all of the silent films ever produced by the Fox Film Corporation. Similar calamities, in 1977 and 1978, at the National Archives film depository in Suitland, Md., took out the preponderance of the Universal newsreel legacy.

But for all their momentary drama, such catastrophes pale in comparison to the slower-motion conflagration afflicting virtually all nitrate film stock (and nitrate film stock was the medium for most filmmaking until the 1950's). Because it is chemically unstable, cellulose nitrate film stock begins decomposing the moment it is manufactured, a process that accelerates with the passage of time. (Vast expanses of our nation's film stock has been wrested from nature, and nature wants that film stock back.) The silver image -- the singularly rich and deep and luminous image that is the glory of nitrate projection -- undergoes a brownish discoloration; the emulsion becomes sticky, exuding a brown frothing foam (known to conservators, quaintly, as honey) and provoking a pungent odor (''the smell of dirty laundry,'' as one conservator delicately parsed the matter for me). Soon the plastic depolymerizes and the entire film reel begins to congeal (moving from a ''doughnut'' into its final ''hockey puck'' phase), after which the brittle mass disintegrates further into an acrid, reddish powder, which is extremely combustible (and has been known to spontaneously ignite at ambient temperatures as low as 105 degrees).

All of this is inevitable -- it cannot be avoided (although as conservators now realize, the processes of decomposition can be significantly forestalled if the archives are maintained at low temperatures and low humidity). Sooner or later -- and generally speaking, far sooner than we would like -- all nitrate films crumble into dust.

It's not a pretty picture -- and one that in fact has already been estimated to have cost the nation's archives more than half of the 21,000 feature films produced before 1950. The great and marvelously sexy 20's film icon Colleen Moore, for example, was fated to outlive most of her films -- and such seminal performances as Greta Garbo's in ''Divine Woman'' and Theda Bara's in ''Cleopatra'' have been relegated to powder, smoke and rumor. They are presumed to exist no more.

And yet -- and this was to be Bill Morrison's key discovery -- for all the sorry ugliness of the situation, the actual pictures that this relentless disintegration was producing could be more than just pretty. Sometimes, indeed, they were ravishingly, achingly beautiful.

Bill Morrison was born in 1965 into a middle-class household -- his father a lawyer, his mother a schoolteacher -- in the Hyde Park-Kenwood area, the integrated neighborhood girdling the University of Chicago and itself surrounded by severely impoverished, deeply segregated ghettos. The youngest of four and the only boy, he was doted upon, though he was somewhat isolated and self-contained. He was particularly fond of his grandfather, who rode the rails and explored the West as a youth, occasionally boxing for money. ''I had an entirely blessed upbringing,'' Morrison says, ''such that the seemingly dour nature of much of the art it subsequently engendered is all but inexplicable to me. People who've seen my work usually expect to meet someone in his 60's, all nostalgic for the 19th century and obsessed with death and decay; when they do meet me, they're surprised to find me quite a bit younger, of fairly good humor and not overly concerned with death at all.''

With death, maybe not -- but certainly with decay. From his earliest days, Morrison reports, he reveled in the splendors of the urban detritus all about him, enchanted by vistas others found ugly or mundane. He loped about, lollygagging, lost in thought.

Fast-forward through college at Cooper Union, where he majored in both painting and film animation, and after that a productive collaboration with New York's avant-garde Ridge Theater, where he became the resident short-film backdrop creator, in which capacity he began haunting musty film archives all around the country in search of raw footage. Then, about three years ago, Morrison attended the first annual Orphan Film Symposium in Columbia, S.C., a gathering of similarly obsessed aficionados of antiquarian film. Columbia, as it turned out, is home to a veritable trove of decomposing Fox Movietone newsreels, and it was here that Morrison first began thinking about film decay itself as a possible subject and, more than that, as the raw material for a future project.

As it happened, just around that time, a composer named Michael Gordon (a founding member of the Bang on a Can collective, with which Morrison had already had occasion to work on several Ridge Theater productions) was preparing to work on a major orchestral piece for the Basel Sinfonietta to be premiered as part of European Music Month in the fall of 2001. Gordon was in some ways Morrison's acoustic twin, entranced by traces of decay and decomposition in music itself. He was fascinated by the slightly-out-of-tune and yet more so by the more-out-of-tune-yet, and likewise by rhythmic distortions and distress. ''I am attracted by something really pretty that's at the same time really ugly,'' he recently said to me, ''so that you hear the pretty and you hear the ugly. In my own work I aim for an effect of sweet and sour -- to be able to evoke the sweetness through the sour. I like things a little dirty, I like to take something really beautiful and to mess it up a bit.''

Gordon approached the Ridge Theater, and soon after, he and Morrison embarked on a cinematic-symphonic collaboration, invoking the model of ''Fantasia,'' only this time, keying to themes of decay and dilapidation. Morrison already had many images to work with from his time in the Fox archive in Columbia. ''I managed to dig up the nuns with their wards at their Arizona mission that very first day, along with that footage of a boxer'' (shades of his beloved grandfather). ''The boxer footage in particular was unbelievably evocative: the guy -- according to the reel's label, his name was Ritchie -- had clearly been jabbing at a punching bag, only for some reason the chemical content of the bag imagery had deteriorated far in advance of the rest of the frame, so that it looked for all the world as if Ritchie were engaged in a desperate struggle with the roiling abyss itself.''

He kept returning to Columbia, and after digging through the archives for more than 100 hours, he managed to excavate footage (including the camel caravan, the Indian Ferris wheel, the Central Asian wool-spinner, the planes and the parachutists and an uncanny sequence of a high diver hoisting herself up a silhouetted ladder that itself looks like a strip of film) that would come to comprise 36 minutes, a good half of the eventual completed film.

He also ventured out to the Wright-Patterson Air Force Base outside Dayton, Ohio, where the Library of Congress houses its phenomenal (and phenomenally volatile) nitrate-film collections. Here Morrison tracked down the silent melodrama footage of the judge and the harridan, the waves breaking on the shore and the solitary man traipsing across the mission plaza (further shades of his grandfather). ''It was a bit of a challenge,'' Morrison concedes. ''After all, I was looking for the stuff most archivists tend to hide.'' But he gradually got the archivists to warm to his daffy quest. ''Many visitors are amazed at the sorts of decay you come upon around here,'' Kenneth Weissman, the head of the Library of Congress's Dayton operation, subsequently told me with a sardonic drawl. ''But few seem to enjoy it as much as Bill.''

In addition, the Museum of Modern Art in New York, an avid collector of much of Morrison's work at the Ridge Theater, granted him unprecedented access to their film vaults.

''I wasn't just looking for instances of decayed film,'' Morrison recalls of his two-year excavation. ''Rather, I was seeking out instances of decay set against a narrative backdrop, for example, of valiant struggle, or thwarted love, or birth, or submersion, or rescue, or one of the other themes I was trying to interweave. And never complete decay: I was always seeking out instances where the image was still putting up a struggle, fighting off the inexorability of its demise but not yet having succumbed. And things could get very frustrating. Sometimes I'd come upon instances of spectacular decay but the underlying image was of no particular interest. Worse was when there was a great evocative image but no decay.''

And now fast-forward again, past further years of dusty, musty labor to the revelatory intertwining of Morrison's images to synthesized approximations of Gordon's score; and then onto a triumphant premiere of their combined piece in Basel in 2001; and further weeks in the editing room as Morrison honed his procession of images to Gordon's now, at long last, orchestrally recorded score; and past Sundance and onto the New York premiere of the completed film on the very last day of screenings at the Modern's vaunted Titus 1 auditorium last spring before it was closed for renovation, where it was shown along with an exquisitely well preserved silver print of ''Casablanca.''

After one of those screenings, an audience member contacted Morrison by e-mail (at www.decasia.com): ''Congratulations! You have created the first post-postmodern film.'' Morrison rolled his eyes as he told me the story.

And yet, in a strange way, the guy was onto something. Because for all its antique sources and resonances, ''Decasia'' is a film absolutely of the moment. In fact, it couldn't have been made a minute sooner: it took precisely this long for time to exert its magnificently inspired ravages upon the source material. This is what this stuff looks like today -- and now here it is, preserved for all eternity.

''Oh, yeah?'' Morrison shot back, smiling, when I tried this notion out on him. ''Just wait a few years.''

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Consumed
The Cult of Gocco

By ROB WALKER
Published: October 21, 2007

More from Rob Walker at his blog, murketing.com/journal/.

Several years ago, Shu-Ju Wang began teaching classes in Portland, Ore., to people — mostly older women and serious crafter types — interested in learning how to use a screen-printing system called Gocco. Print Gocco devices were once popular in Japan, but their chief function as a tool for making greeting cards was long ago usurped by the home computer, and this bit of passed-by technology was obscure and hard to find in the United States. But interest in Wang’s classes has remained strong, and in fact she says that her students have lately included more younger women and, in the most recent round, even guys. Turns out that Print Gocco is both better known and somehow cooler than it has ever been here. And this is almost certainly because in late 2005, the Riso Kagaku Corporation, now an international and largely digital business, announced that Gocco was dead.

It was this surprise announcement that inspired Jill Bliss to start a Web site called Save Gocco, which became a centerpiece of a product-fandom community (or at least a cult). Bliss, who used a Gocco machine she bought on eBay in her handmade stationery business, Blissen, says she threw together the site “on a whim.” She handed out some press packets at the Bazaar Bizarre craft fair in Los Angeles, and soon SaveGocco.com became ground zero of Gocco-withdrawal angst. The site ultimately collected more than a thousand names of enthusiasts, in a show of strength that the signers hoped might inspire some entity to start making the product again. It also carried news of Gocco art shows that started to pop up, and it listed retail resources. Wang says interest in the process among artists and crafters was already gaining momentum when word got out that the device was going to disappear. “Then there was just this urgency,” she recalls, “to find a Gocco.”

As this suggests, the save-Gocco effort was led by artists who used it, or wanted to. Certainly artists have been attracted to arcane or toylike tools before, but previous examples — like the Diana camera from the ’60s or Pixelvision camcorders from the ’80s — appealed in part because the results looked markedly different. In this case, Gocco is simply a convenient alternative to messier and more complicated traditional screen printing. By combining the image-exposure step and the printing step in one relatively compact unit, the Gocco process is remarkably fast and takes up little space.

But the hubbub helped raise the profile of Gocco not just among people who make things by hand but also among people who like to buy such things. In fact, design-product blogs like Poppytalk and Design*Sponge regularly promote Gocco-ed stuff. This is interesting, given that Bliss and Wang agree that it’s pretty hard to tell the difference between a Gocco print and a regular screen print. For artists, that’s the whole point (same results, easier process), but for buyers, it means the Gocco attraction is a little abstract. Possibly they like the idea of a more intimate relationship between artist and creation as a result of the hands-on Gocco process. Possibly they like the idea of saving an endangered tool. Possibly they have simply seen the word mentioned and assume that what’s unusual is good. In the past, Bliss never bothered to identify her Gocco-made work. “But I think now there’s a certain cachet to buying a Gocco-made print,” she says.

The combined interest of makers and shoppers has had results. Earlier this year, the online retailer Paper Source — which sold Goccos for years before the drought — managed to obtain some batches by working with retail contacts in Japan. These promptly sold out. Next month, Paper Source expects to get one more shipment (most of it spoken for) and, maybe, some word about Gocco’s fate — which is much less certain than it was when Riso made that announcement back in 2005.

David Murphy, vice president for marketing for Riso’s subsidiary in North and South America, says the company’s decision to stop making the devices was simply a practical strategic matter: its sales were essentially a rounding error to a multinational with revenues in the hundreds of millions of dollars. But the company has taken notice of the Save Gocco constituency: it still manufactures Gocco screens, inks and other supplies and is now at least considering how the device might live on. “The market uproar has caused us to re-evaluate the product,” Murphy says cautiously. “It’s not dead, and it’s not alive. It’s in something of a contemplation stage.” The Save Gocco crowd hasn’t won yet, then, but it has certainly made a comatose technology seem healthier than it has been in years.

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Finding Historical Loops, and Opening Them
By MATT HABER
Published: March 5, 2006

For nearly 25 years, Lawrence Weschler has been collecting what he calls convergences, tearing out images from magazines, advertising and newspapers that recall works of art or nature or even science.

What differentiates his juxtapositions from the “A Looks Like B” school of cultural criticism (see Birth, Separated at), is that rather than close a loop, in his new book, “Everything That Rises” (McSweeney’s), a collection of dozens of these pairings, Mr. Weschler seeks to open it. “The convergence is like the rhyme,” he said recently in his art and ephemera-crammed office in the New York Institute for the Humanities, which he directs. “But then you’ve got to write the poem about it. The thing that makes it sing is the cascading of possible meanings.”

He first saw the photograph, above right, of firefighters at ground zero in a gallery show of Joel Meyerowitz’s work. It might not have put the average viewer in mind of a Civil War-era image, but nearly imperceptible cues — the placement of the flag, the position of the photographer — reminded Mr. Wechsler of a Civil War image, below, from 1861 of Union Army engineers (the photographer is unknown). Two photos speaking across generations. A rhyme — and a convergence — were born.

Related
Directions: They Don't Even Stand to the Right (March 5, 2006)
The Conversation: Go Ahead, Turn That Thing On (March 5, 2006)
Playing Politics With The Remote Control (March 5, 2006)
Directions: The Professor and the Chanteuse (March 5, 2006)
Directions: The Few, the Proud, the Ensemble (March 5, 2006)
Directions: The 60th Brick in His Wall (March 5, 2006)

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Uptown Girl
By BY ADRIAN NICOLE LEBLANC
Published: February 1, 2004

IT seems significant that on one of my first outings to the South Bronx, I couldn't find my way back home. I lived in Chelsea then, and I was still new to New York. I worked days as an editor at Seventeen magazine and did my freelance reporting at night. The Village Voice had assigned me a piece on drug dealers' girlfriends. I borrowed a friend's clunking car to take some of the girls clubbing. Entering a pool hall on the Grand Concourse, I had my first experience of being frisked. It was after 4 A.M. when I dropped off the last girl. The rain dumped down.

Back then, in the early 90's, the South Bronx still seemed to me like the iconic ghetto it was purported to be; that night, as I drove up and down its desolate boulevards, the shapes of the ordinary world disappeared. All I saw beyond the fogging windshield was threat. No hint of the pace of well-lit, clipped Manhattan. Rain slashed the signs of unfamiliar streets. Elevated subway tracks loomed overhead. At a gas station, I anxiously left the car to ask directions, but my questions got drowned out by the pleas of the Indian attendant, barricaded in behind his bars, urgently waving me, please, away.

My own fear increased with the resulting chill. Eventually, I was flying by the Whitestone Cinema, headed east. Blessedly, I spotted the ''New England Thruway'' sign, a friendly highway green.

Originally, I come from Leominster, in northern Massachusetts. Absurdly, I seriously considered driving the four hours home. In a panic, one reverts to what one knows. At least from Leominster, I knew my way back to New York. What I wouldn't realize for another decade was that the homecoming would ultimately occur the other way around: the pull of the Bronx, and the connection to the family I found there, not the fear of it, would carry me home to my blood family.

Only now, a year after its publication, is the full meaning of the title of my first book, ''Random Family,'' revealing itself to me. The book documents more than a decade in the life of one extended family from the South Bronx. Had I been asked midway through the reporting what the title meant, I might have answered, ''The families my subjects inherited and those they chose'' or ''The family that teenagers create among their friends.''

But from where I stand now, I'd say that a sense of belonging can also spring from a geographical affinity, the comfort we feel in places both known and discovered or, in some cases, the places that are within us even before we arrive, their streets coursing through our personal histories.

MY strongest early memories of my father involve him driving away. Off he'd go, in the orange pumpkin, our nickname for the rust-colored American Ambassador supplied by the union when he left a chemical factory job and turned to organizing full time. My father drove to faraway destinations -- Pittsburgh, Akron, Detroit -- and returned with exotic tales infused with the urgency of the mundane world, compelling stories about regular people struggling to make ends meet.

Once we spent a family holiday at a roadside Ramada Inn in Delaware. While my mother sunned by the pool, I trailed Edie, an elderly maid whose gentle presence made my father's hotel room a home. Edie let me refill the vending machine with miniature toothbrushes, their silver tubes of toothpaste as slim and shiny as smelts. She let me push her tidy hallway cart. In the sweet-smelling laundry closet, which doubled as her office, we counted her tips.

As I was growing up, my mother liked to tell me that every woman needs an education and a car. (The education was something no one could ever take away from you, while a car could take you away from anywhere you suddenly didn't want to be.) After high school, I was always driving away -- for college, for graduate school, on assignment, back to my apartment in New York.

Like my father's, my visits home were brief; I was using my education the way I was supposed to, to escape the working class that my ambitious mother had found herself trapped in. She devoted her life to making my escape possible, struggling to balance her love without letting me feel entirely at home. But if I wanted to succeed -- whatever that meant -- I couldn't stop moving. Irrationally, I worried that if I ever slowed down, or slipped up, I'd somehow end up on my father's old slot on the assembly line.

When I started my reporting in the Bronx, however, suddenly I was like my father with his union: I knew that this was the work I wanted to do. I felt a sense of purpose, energized and fully alive. The work drew on my deepest self, yet, unlike the elite worlds to which my education exposed me, didn't require that I bury my working-class alliances.

In fact, those initial nights of reporting -- listening to music and watching the girls dress up to go dancing, hanging out in front of bodegas and in courtyards and on stoops, driving around as they shouted out of the car to the windows of the boys they liked -- took me back to an earlier time. It was a lot like my teenage years with my hometown friends, aimless and open-ended, not about the things we didn't have, or some distant future, but about the vitality and wonder of the life that was already ours, and within our reach.

It turns out I wasn't the first of my relatives to do time in the Bronx. Not long after I began serious work on my book, I called my mother from the pay phone of a cafe in the Italian neighborhood of Belmont. ''I don't know why,'' I told her, ''I feel so at home here.'' I supposed it was the familiarity of the Italians on Arthur Avenue. My mother neglected to mention that her parents had lived there for a decade before moving to Leominster, where, not long after, my grandfather died. It would be years before an uncle, in an emotional moment after a family funeral, confessed that the greatest love story in my family's history had taken place in that neighborhood - perhaps the site of the loss of promise the most painful to bear.

My mother's father rented a room as a boarder from my grandmother's older sister, who had come from a neighboring village in Italy. He saw my grandmother's photograph, and they started corresponding; he dictated his letters because he didn't know how to write. Eventually, he helped pay her passage; her younger brother, Orazio, escorted her. There was a swoon after the first kiss in Central Park, another legendary kiss in the stairwell of the sister's house.

Six months later, on Oct. 8, 1905, the Rev. Thomas T. Lynch officiated at the marriage at St. Elizabeth's Roman Catholic Church in Washington Heights. My grandmother liked to tell my mother how she looked like a princess that day, dressed in white, perched atop a carriage driven by six white horses that delivered her to the church. She was adorned in jewelry, including a gold chain that my grandfather had given her and a bracelet, etched with a delicate scroll. Over her heart, she pinned a bird with four tiny pearls, two on each wing, and a ruby balanced on its beak.

It was a hopeful beginning, but things got harder quickly. As my grandmother began having children, nine in all, my grandfather took whatever work he could find -- lighting lamps, maintenance, delivering coal. For a time, he was a superintendent in a building in Belmont, just two blocks away from Thorpe house, the homeless shelter on Crotona Avenue where, 90 years later, I would be spending my weekends and nights.

By then, I'd met Lolli, the young woman who would become one of my primary subjects (and who is identified as Coco in my book). In the restroom at Seventeen, I'd slip out of my black blazer and miniskirt at the end of my work day and put on a T-shirt and jeans. We happily explored her Bronx streets, pointing out our favorites among the trays of gold medallions and door-knocker earrings in the jewelry shops on Fordham Road; admiring the dusty baby shower cakes decorated with miniature pacifiers in the window of the cuchifrito-bakery on Burnside Avenue; watching the bright fake fish that paddled spastic laps in a plastic aquarium at the dollar store.

On Mount Hope Place, where her first love had lived before he went to prison, Lolli showed me the graffiti heart she'd etched into the wall of a stairwell where they used to kiss. One Sunday morning, on Tremont Avenue, we waved to a young bride and groom gleefully shouting from the sun roof of a white stretch limousine.

I gradually realized, however, that Lolli had never ventured the few blocks from her Puerto Rican neighborhood to the Italian section. So one afternoon, when her 3-year-old daughter was hungry, I suggested lunch on Arthur Avenue. I was slowly becoming a familiar face on the street; the bakery clerk nodded hello, and the butcher at the Arthur Avenue Market tutored me about what to look for in a proper cut of beef.

Lolli was uncharacteristically reluctant as we stepped into a coffee shop where I'd been a few times. Helping her daughter climb onto a stool, she stood behind her, pressing her pregnant belly against the little girl's back so she wouldn't topple off. We waited while the waitress chatted with a customer at the far end of the counter. I asked for menus. It was 11 A.M. The short order cook was flipping eggs on the grill. From the opposite end of the room, without looking in our direction, the waitress said, ''Kitchen's closed.''

IN the meantime, I had moved to SoHo. I didn't find it an easy fit. On weekends, when it teemed with shoppers buying things I could never afford, I'd linger around the corner of Something Special, Lenny Cecere's small store on Macdougal, just to hear the banter of Italian men. On the rare days I didn't go to the Bronx, I'd head out to Coney Island, to stroll on the boardwalk among the old Russians, or to Bensonhurst, to eat panelle at Joe's of Avenue U. My apartment was rent-stabilized, so I couldn't think of leaving permanently, but it was more like a hotel than a home.

The parts of the Bronx that I was getting to know didn't require the same stretching. Uptown, on the sidewalk, in the Laundromat, at the Western Union office, my movements came naturally. What became taxing were the transitions.

I remember the day I realized that I had to leave my Midtown job. I'd spent a spate of nights out reporting in the Soundview projects, where the elevator doors rattled and ached, and that tired morning I was struck by the silence of my ascent at Seventeen. The bell for my floor gently sounded, and I stepped noiselessly off the elevator onto the red carpet that led to my office. I no longer knew what I was doing there.

Whenever I was downtown, which was less and less, I felt that life was elsewhere. Uptown, I was learning to surrender to the slower rhythms of my subjects' days. Ordinary acts absorbed me utterly. Even the most mundane things -- children playing, a trip to the grocery store, watching an old dog sleeping -- gave me a sense of discovery. After all, I was supposed to spend hours hanging out, observing. I started to crave the street. On the best days, I was keenly aware of the sensory environment but unaware of myself. I knew I was in precisely the right place, at the right time. Doing my work meant remaining still.

Like that of a child shuttling between divorced parents, my behavior changed with my surroundings: at a welfare office in the Bronx, I could be endlessly patient, numbed. Yet if I had to wait in line at the Gourmet Garage, I became irritable. Increasingly at ease in the places most white New Yorkers thought of as impossibly dangerous, I'd tense up at book parties and gallery openings. I preferred to brave the stairwell in a housing project than walk into a roof-top party. A college friend, now a psychologist, declared me counter-phobic. Possibly true, but what good do labels do?

But the greatest threat to my reporting wasn't the danger, which was erratic and unusual, but the frustrations and despair, which were relentless, pervading every task of daily life. In the Bronx, survival regularly felt impossible, escape unimaginable. Even hope became a risk.

Back in SoHo, I slept, a lot. I'm generally an early morning person, but I came to love the bed. I'd sleep a solid 12 hours after a prison visit, a whole day after a weekend in Lolli's mother's courtyard. One afternoon, one of the girls from the Bronx called to wake me; I used to be prompt, calling up to their windows, waking them. Now, I was late, I answered the telephone cranky. ''You sound like my mother,'' she said critically.

Poverty is a climate. Within a few years, I had adapted to its weather's unpredictability: I stopped believing that institutions functioned in any reliable or useful fashion. I would be surprised, delighted, when anything went smoothly. I developed a sense of humor. I stopped wearing black, started wearing fuchsia. I became an optimist, and a fatalist. I cared more about my sex appeal. My downtown friends commented that I'd become more defensive, suspicious and sarcastic. My uptown friends told me I needed to gain weight and relax.

Surely some of this was a result of my immersion in my subjects' world, my experience of their profound economic and physical vulnerability. I wish I'd been strong enough to move to the Bronx and live in the spaces that, for 24 hours a day, filled my head.

MY own family's crisis took me back to Leominster; my father was found to have cancer. During the 18 months that I cared for my him, my city life receded; my hometown roots were renewed. Over the phone, my downtown friends expressed their worries about me: I needed to rest, I needed to eat, I needed to get back to New York. My Bronx friends told me to stay strong, to fight the terror, to try to make my father laugh, to fill the house with children. They'd shown me what my Italian ancestors had buried in their stoic formality. When it's not possible to protect the people you love and make things better, you grab onto the good moments when you can.

A Bronx friend, who had survived a spinal injury, coached my father through a similar trauma and gave me indispensable caretaking advice. Another friend, who worked as a home health aide, prepared me for what to expect as my father moved closer to death. Lolli and her children came to visit. (''You mad skinny,'' said her 9-year-old, taking in my father. ''That's for sure,'' my father said.) As I watched Lolli holding my father's bony hand, I felt the reconnection of something broken running through my life. When my father passed, Lolli's mother told me to take care of my own. ''Your mother's the only one you've got,'' she said.

Not so long ago, I returned to New York and reintroduced myself to my apartment and my neighborhood. I walked to the Angelika, became a morning regular at Once Upon a Tart, swam laps at a nearby pool. Photographs got framed, dinners cooked, walls painted. I moved into my place, then I got restless again. Nights, I reported a story about a rapper and drug dealer who lived in Bedford-Stuyvesant. I was back at work. Absorbed, I watched him get his weekly trim among the men debating politics at his barbershop. Sitting in the passenger seat of his S.U.V., flying down the low Brooklyn streets, windows open, his music blasting, looking out at the new neighborhood, I felt life pouring over me.

To be where I am is to accept where I came from, to be both a visitor and an escapee. Maybe always-leaving is my closest kinship, but I've learned to claim the life I live here, wherever that may be. The open invitation is what I cherish most about my work in this city -- the righteousness of my ignorance, the job of getting lost again and again.

Adrian Nicole LeBlanc is the author of ''Random Family: Love, Drugs, Trouble, and Coming of Age in the Bronx,'' which will be published in paperback this month by Scribner.
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Buyers Pounce as Homes Go on the Block By JOHN LELAND
For some investors, the misery of subprime loans, exploding adjustable rate mortgages and slumping sales mean one thing: opportunity.
"It's a symptom of the foreclosure crisis. And it's a cause for concern that through this auction, areas that are already hit by the foreclosure crisis will now be hit by investors who are buying up properties to rent them out, which makes neighborhoods less stable than owner-occupied housing."
JIM DAVNIE, a Minnesota state representative, at an auction of foreclosed properties in Minnesota.

Clashing visions of 'Paradise' By Richard Fausset
The fantastical work of the Rev. Howard Finster, a folk artist who's been called the 'Andy Warhol of the South,' is at the heart of cultural tug of war in rural Georgia.

Traveling, only the connection is remote By Marjorie Miller
In an era of cellphones and the Internet, few areas of the world qualify as secluded, as long as a BlackBerry can get a signal.

Libraries Shun Deals to Place Books on Web By KATIE HAFNER
Several major libraries have rebuffed offers from Google and Microsoft, instead signing on with a nonprofit effort.

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Perry aims to go over well abroad
Writer-actor-director wants to shatter the stereotype that African American-themed films don't click overseas.
By Lorenza Muñoz, Los Angeles Times Staff Writer
October 22, 2007

Tyler Perry debunked the Hollywood myth that movies and television shows about family, relationships and God were too narrow and folksy to resonate with a large audience.

His latest film, "Tyler Perry's Why Did I Get Married?" has pulled in nearly $40 million in only two weeks and outdid such films as George Clooney's "Michael Clayton" in its opening weekend.

But can Perry take on the rest of the world? The Atlanta-based writer-actor-director wants to build an international following, shattering a Hollywood stereotype that African American-themed movies have little currency abroad.

He's taking a page from the global success stories of such stars as Will Smith and Denzel Washington and the gospel-inspired play "Mama I Want to Sing!" which has toured the world for more than a decade.

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Niall Ferguson:
One strike, Iran could be out
October 22, 2007

Of all the columns I've written for this newspaper over the last couple of years, none has elicited a more heated response than the one published in January 2006 about the Great War of 2007. Indeed, it still gets quoted back at me more than a year and a half later.

The column was written in the style of a future historian looking back on a war that I imagined breaking out this year. My point was that if a major war were to break out in 2007, future historians would not have far to look to find its origins.

My imaginary war began in the Middle East and lasted four years. With the benefit of hindsight, the historian of the future would be able to list its causes as (a) competition for the region's abundant reserves of fossil fuels, (b) demographic pressures arising from the region's high birthrates, (c) the growth of radical Islamism and (d) the determination of Iran to acquire nuclear weapons.

My nightmare scenario involved a nuclear exchange between Iran and Israel in August. You may have noticed that this didn't happen. However, the point of the column was not to make a prophecy. No one has the power to predict the future because (as I frequently remind my history students) there is no such thing as the future, singular -- only futures, plural.

My aim in writing the column was not to soothsay but to alert readers to the seriousness of the threat posed by Iran's nuclear program -- and to persuade them that the United States should do something to stop it. True, after all that has gone wrong in Iraq, Americans are scarcely eager for another preventive war to stop another rogue regime from owning yet more weapons of mass destruction that don't currently exist. It's easy to imagine the international uproar that would ensue in the event of U.S. air strikes. It's also easy to imagine the havoc that might be wreaked by Iranian-sponsored terrorists in Iraq by way of retaliation. So it's very tempting to hope for a purely diplomatic solution.

Yet the reality is that the chances of such an outcome are dwindling fast, precisely because other permanent members of the U.N. Security Council are ruling out the use of force -- and without the threat of force, diplomacy seldom works. Six days ago, Russian President Vladimir V. Putin went to Iran for an amicable meeting with President Mahmoud Ahmadinejad. Putin says he sees "no evidence" that Iran is trying to build nuclear weapons. On his return to Moscow, he explicitly repudiated what he called "a policy of threats, various sanctions or power politics."

The new British prime minister, Gordon Brown, also seems less likely to support American preemption than his predecessor was in the case of Iraq. That leaves China, which remains an enigma on the Iranian question, and France, whose hawkish new president finds himself distracted by the worst kind of domestic crisis: a divorce.

By contrast, Washington's most reliable ally in the Middle East, Israel, recently demonstrated the ease with which a modern air force can destroy a suspected nuclear facility. Not only was last month's attack on a site in northeastern Syria carried out without Israeli losses, there was no retaliation on the part of Damascus. Memo from Ehud Olmert to George W. Bush: You can do this, and do it with impunity.

The big question of 2007 therefore remains: Will he do it?

With every passing day, the president attracts less media coverage, while the contenders to succeed him attract more. Yet Bush made news last week with his observation at a White House news conference that "if you're interested in avoiding World War III, it seems like you ought to be interested in preventing them [the Iranians] from having the knowledge necessary to make a nuclear weapon." That would seem to suggest that he is ready to use military force against Iran if he sees the alternative as mere appeasement. One eminent expert on nuclear warfare told me last week that he still puts the probability of air strikes on Iran as high as 30%.

In domestic politics, it's always a good idea to follow the money. When it comes to grand strategy, however, you need to follow the navy -- to be precise, the aircraft carriers that would be the launching platforms for any major air offensive against Iran's nuclear facilities. To do this, you don't need to be very skilled at espionage. The U.S. Navy makes the information freely available at www.gonavy.jp/CVLocation.htmlor in the "Around the Navy" column published each week in the Navy Times.

The U.S. has 11 active aircraft carriers. Of these, the Kitty Hawk is in port in Japan. The Nimitz and Reagan are in San Diego. The Washington is in Norfolk, Va. The Lincoln and Stennis are in Washington state. And the Eisenhower, Vinson, Roosevelt and Truman are undergoing various sorts of refitting and maintenance checks in the vicinity of "WestLant" (Navy-speak for the western Atlantic). Only one -- the Enterprise -- is in the Persian Gulf.

At present, then, talk of World War III seems to be mere saber-rattling, not serious strategy. U.S. aircraft carriers can move fast, it's true. The Lincoln's top speed is in excess of 30 knots (30 nautical miles per hour). And it, along with the Truman, Eisenhower and Nimitz, are said to be "surge ready." But take a look at the map. It's a very long way from San Diego to the Strait of Hormuz. Even from Norfolk, it takes 17.5 days for an aircraft carrier group to reach Bahrain. If you were Ahmadinejad, how worried would you be?

As for me, I am jumping ship. This is my last weekly column on these pages. But remember when the Great Gulf War does finally come: You read about it here first.

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A Once and Future Nation
By ROGER COHEN
Published: October 22, 2007

QALAT, Afghanistan - Once upon a time there was a country, more a space than a nation, landlocked, mountainous, impoverished and windblown.

There resided many peoples, including Pashtuns and Tajiks and Uzbeks and Turkmen, and a new tribe called the Americans.

They had come, the Americans, after 30 years of bloodshed, to bring peace to this land called Afghanistan. But what did they know — what could they know — of life behind burkas, or on the other side of mud walls, or inside minds made mad by war?

Past goat herds and yellowing almond trees, the helmeted Americans drove armored Humvees. Beside lurching stacks of battered tires children gathered in villages and, unlike those in another broken land called Iraq, they smiled and waved.

The Americans talked about empowering Afghans. Sometimes they took to Blackhawk choppers and swooped along the dun-colored river beds and sent goats scurrying for cover.

The 26,000 U.S. troops meant well. They wielded billions of dollars. They calculated “metrics” of progress. They had learned, to their cost, how this faraway place — invaded and used and at last abandoned to pile rubble upon rubble — could nurture danger.

Not only was it once home to the American-financed Islamists who humbled the Soviet empire. It also housed their jihadist offspring, who, like sorcerers’ apprentices, turned on a distracted sponsor and brought the dust of two fallen towers to Manhattan.

To help forge a better Afghanistan — or merely an Afghanistan — the Americans involved their NATO friends. An alliance forged to defend the West against the Soviets was transformed into an agent of democratic change in southwest Asia.

How strange! The enemy now was Taliban Islamofascists rather than Kremlin totalitarians. On a hillside in south-eastern Afghanistan rose “Camp Dracula,” a garrison of 700 Romanian soldiers on this NATO mission.

It would take a great fabulist to make up such stories. Yet they wrote themselves after reports that the cold war’s conclusion marked the end of history proved greatly exaggerated.

And so, one recent morning, Lt. Col. James Bramble, a reservist from El Paso, Tex., with a job there as a pharmaceuticals executive, found himself visiting the Romanian forces and then going to the nearby village of Morad Khan Kalay.

Nations are built one village at a time. Or so Colonel Bramble has come to believe. He is a thoughtful man, commanding a NATO provincial reconstruction team, one of 25 across the country, at a base in Qalat, between Kandahar and Kabul. His team is supposed to deliver the development and good governance that will marginalize the Taliban.

That’s the theory. The practice looks like this. Seven armored U.S. Humvees form a “perimeter” on the edge of the village and newly trained members of the Afghan police — the “Afghan face” on this mission — are dispatched to bring out village elders.

Looking apprehensive, the Afghans appear swathed in robes and headgear whose bold colors mock dreary U.S. Army camouflage. Staff Sgt. Marco Villalta, of San Mateo, Calif., steps forward: “We would like to ask you some questions about your village.”

The following is elicited: There are 300 families using 25 wells. Their irrigation ditches get washed away in winter. A small bridge keeps collapsing. They send their children to a school in nearby Shajoy, but it’s often closed because of Taliban threats to teachers.

Sergeant Villalta takes notes. “We’ll share this information with the governor and make sure that something is done.”

“No! No!,” says Sardar Mohammed. “We don’t trust the governor. If he gets food, he gives it to 10 families. He puts money in his pocket. We trust you more than him. Bring aid directly to us.”

Bramble’s view is that the governor is as good as officials get around here. The U.S. officer, like his country and NATO, is caught in the hall of mirrors of contested nation-building. The exchange at the village has traversed cultures, civilizations and centuries. For Western soldiers trained to kill, and now in the business of hoisting an Islamic country from nothing as fighting continues, that’s challenging.

Still, Bramble thinks this first contact will lead to others and perhaps he can arrange for the bridge to be bolstered soon. Another community will be brought around in “the good war” against death-to-the-West Islamists.

This process will be very slow. The West’s stomach for investing blood and treasure here for another decade is unclear. But I see no alternative if Afghanistan is to move from its destructive gyre and the global threat that brings.

The children’s smiles suggest hope still flickers. To lose Afghanistan by way of smile-free Iraq — and do so on the border of a turbulent nuclear-armed Pakistan — would be a terrible betrayal and an unacceptable risk.

That, alas, is no fairy tale.
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A Two-Cigarette Society

By DAVID G. ADAMS
Published: October 22, 2007

WHEN it comes to the health of our children, two cigarettes may be better than one. Young smokers who begin their habit with nicotine-laden cigarettes need a cigarette that will not leave them to later fight the ravages of addiction.

Experts tell us that teenagers often begin smoking to copy their peers and others whom they see smoking. As adults, however, they continue smoking largely because of the addictive qualities of nicotine. (Ninety percent of smokers regret having begun smoking and most make efforts to stop.) This means that in the absence of addictive levels of nicotine in their cigarettes, most young smokers would ultimately quit.

A two-cigarette strategy would prohibit young smokers from buying addictive cigarettes. The tobacco industry is capable of producing cigarettes that are virtually free of nicotine, and regulators could develop clear standards for non-addictive cigarettes. (Disclosure: My law firm represents tobacco companies, but I have recused myself from that work.)

The age to purchase addictive cigarettes might be set at 21. Better yet, sales of addictive cigarettes could be restricted to individuals born 19 or more years before the two-cigarette strategy was put into effect. Under this approach, 18-year-olds who start smoking non-addictive cigarettes would be prohibited from switching to addictive cigarettes even after they turned 21. In addition, a higher federal excise tax on addictive cigarettes than on non-addictive cigarettes would create a financial incentive for smokers of all ages, including scofflaw adolescents, to select non-addictive cigarettes.

Granted, a two-cigarette policy would not be a panacea. It would not end smoking, it would not give us safer cigarettes, and it would not undo the addiction that grips the current generation of smokers.

The Institute of Medicine, a unit of the National Academy of Sciences, has called for a gradual reduction of the nicotine content in all cigarettes to non-addictive levels (an approach I proposed 13 years ago when I worked at the Food and Drug Administration). But it would take decades to eliminate addictive cigarettes from the market. While a worthy strategy for eliminating addiction many years from now, a gradual approach would still permit the addiction of the next generation of smokers.

Decades of addiction will mean disease and death for millions of our children. If we can prevent addiction at the outset, we shouldn’t waste another day.

David G. Adams, a lawyer, was the director of the policy staff at the Food and Drug Administration from 1992 to 1994.
===========================================
Mon, October 22, 2007 - 8:56 AM — permalink - 0 comments - add a comment

Monsanto Westinghouses's New York Times & Los Angeles Times ReCaps

===========================================
mashups
1. A plus D – Bootie Intro

2. DJ Moule – Black Sabotage (Beastie Boys vs. Led Zeppelin) - Paris, France

3. DJ M.I.F. – Tricky Sandman (Run-DMC vs. Metallica) - Denmark

4. DJ Jay-R – Sweet Sovereign (Lady Sovereign vs. Eurythmics vs. Shiny Grey) - Oakland, USA

5. Divide & Kreate – Temperaturized (Sean Paul vs. Yaz) - Stockholm, Sweden

6. Party Ben – Hung Up On Soul (Death Cab For Cutie vs. Madonna) - San Francisco, USA

7. A plus D – Love Will Tear You Apart (She Wants Originality) (She Wants Revenge vs. Joy Division vs. Bauhaus) - San Francisco, USA

8. A plus D – Sexy Peek-A-Boo (Justin Timberlake vs. Siouxsie & the Banshees) - San Francisco, USA

9. Arty Fufkin – Crazy Logic (Gnarls Barkley vs. Supertramp vs. Rockwell) - Melbourne, Australia

10. Max Entropy – Short Skirt, London Bridge (Fergie vs. Cake) - Philadelphia, USA

11. DJ Axel – Real Back Poppin' (Cheryl Lynn vs. Fat Joe vs. Nelly) - Los Angeles, USA

12. A plus D – Beethoven's Fifth Gold Digger (Kanye West vs. Beethoven vs. Walter Murphy) - San Francisco, USA

13. team9 – The Money Song (Hard-Fi vs. Red Hot Chili Peppers vs. Flying Lizards vs. Abba vs. Jay-Z) - Perth, Australia

14. Go Home Productions – Don't Hold Back, Sweet Jane (Chemical Brothers vs. Velvet Underground vs. U2 vs. Sugababes vs. MARRS) - Watford, UK

15. DJ Topcat – Dec. 4th, Oh What A Night (Jay-Z vs. Frankie Valli & the Four Seasons) - Seattle, USA

16. DJ Topcat – The Safety Booty (Bubba Sparxxx vs. Men Without Hats) - Seattle, USA

17. Pilchard – Fox Problems (Jimi Hendrix vs. Jimi Bo Horne vs. Eric B & Rakim) - Royal Berkshire, UK

18. Lenlow – Work It Out (Beyonce vs. Dave Matthews vs. Jurassic 5 vs. Deee-Lite) - Boston, USA

19. Victor Menegaux – Going Back To Dani (Notorious B.I.G. vs. Red Hot Chili Peppers) - Seattle, USA

20. The Kleptones – Careless Or Dead (Bon Jovi vs. George Michael) - Brighton, UK

21. Divide & Kreate – Always With You (Willie Nelson vs. U2 vs. MARRS) - Stockholm, Sweden

BONUS TRACKS
Here are more of our favorite mashups from 2006 that didn't quite fit into the 78-minute continuous mix, but we wanted you to have them. For your downloading pleasure, right-click and "save as."

Earworm – Over the Confluence of Giants (Under The Influence of Giants vs. Steely Dan vs. Queen vs. Steve Miller vs. David Bowie vs. Common) - San Francisco, USA

DJ Zebra – Ya Bossy (Kelis vs. Rachid Taha) - Paris, France

Tripp – Super Freaks On Film (Rick James vs. Duran Duran) - Santa Cruz, USA

Matt Hite – Step To Silence (Coolio vs. INXS vs. Ciara vs. Depeche Mode vs. Survivor vs. Blondie vs. Chemical Brothers) - San Francisco, USA

Disfunctional DJ – You're The One That I Want In The Next Episode (Olivia Newton-John & John Travolta vs. Dr. Dre & Snoop Dogg) - The Netherlands

Voicedude – Dead Or Aguilera (Christina Aguilera vs. Dead Or Alive) - Orange County, USA

Aber N. Stein - Gimme Some Supermassive Green Onions (Muse vs. Booker T & the MGs vs. Spinal Tap) - Toronto, Canada

Party Ben - Confused Tobaco Rump (Bonde do Role vs. New Order vs. Spank Rock) - San Francisco, USA

Oli Clifford – Bum Breath (Destiny's Child vs. Arctic Monkeys) - Birmingham, UK

Victor Menegaux – Easy Maneater (Nelly Furtado vs. Phil Collins) - Seattle, USA

BOOTLEGGER LINKS
A plus D ... DJ Moule ... DJ M.I.F. ... Jay-R ... Divide & Kreate
Party Ben ... Arty Fufkin ... Max Entropy ... DJ Axel ... team9
Go Home Productions ... DJ Topcat ... Pilchard ... Lenlow ... Tripp
Victor Menegaux ... The Kleptones ... Earworm ... DJ Zebra
Matt Hite ... DJ John ... Oli Clifford ... Voicedude ...
Disfunctional DJ ... Aber N. Stein

BOOTIE LINKS

A PLUS D
DJs Adrian and the Mysterious D are the creators and masterminds behind Bootie.
They also create their own mashups under the moniker A plus D

GET YOUR
BOOTLEG ON
Created by McSleazy, this is the granddaddy of bootleg/mashup message boards



Salon Comics Directory
==========


Tom the Dancing Bug by Ruben Bolling

The K Chronicles by Keith Knight

Story Minute by Carol Lay

This Modern World by Tom Tomorrow

Story Minute by Carol Lay


Good times for Dilbert
The world's best-loved cartoon engineer gets off on the tight job market, while his creator, Scott Adams, talks about Zippergate and the enduring stupidity of humankind.

Tijuana Bibles
Those Dirty Little Comics: By Art Spiegelman.
The introduction to 'Tijuana Bibles: Art and Wit in America's Forbidden Funnies, 1930s-1950s.'

Duty-Free Art
Jesse Helms thinks artists must be socially responsible. So do many of the shocking artists he reviles. They're all wrong.

===
Arts & Life

October 21, 2007

Chinese museums exhibit candor

In China's Sichuan province, a complex of new, privately owned museums dedicated to the Cultural Revolution (1969-76), the War of Resistance against the Japanese (1937-45) and 20th century Chinese folk culture reflects increasing openness about the way recent history is viewed in China. Fan Jianchuan, a Chinese industrialist and Communist Party member, collected 2 million historical artifacts displayed in 25 galleries, including a Gallery of Women's Tiny Shoes on foot-binding and a kitschy Cultural Revolution Porcelain Art Gallery. Noteworthy are displays on the role America played in the Sino-Japanese War and the Plaza of Handprints of 3,000 Soldiers, a rare recognition that Nationalist soldiers as well as Communists gave their lives in the long struggle to liberate China from the Japanese. The Jianchuan Museum Cluster is about 20 miles west of the city of Chengdu, in the town of Anren; www.jc-museum.cn.

--

Bound for glory

Martin Gray, the photographer and anthropologist behind "Sacred Earth: Places of Peace and Power," has spent more than 20 years shooting hundreds of sacred sites around the world. He created www.sacredsites.com to share his work, and now he's given us this 276-page coffee-table tome. Many of the hundreds of color images in it are arresting and inspiring, although not every reader will be ready to swallow all the high-flown, semi-scientific prose about how these places differ from the rest of workaday Earth. (I could have used more information about exactly how and when he made some of these striking pictures, but there's none of that.) Ah, well. It should be enough to see these places, to learn a little about them, to be reminded how they have inspired humans to all sorts of actions, including raising the megalithic stones of Stenness, Scotland, and sculpting the boulders at Kalasasaya Temple in Tiwanacu, Bolivia. The book, $35, is from Sterling Publishing, www.sterlingpublishing.com.

* fraywatch
A list of grievances against current movie offerings.

* today's pictures
Makeup!

* chatterbox
Lynne Cheney and the anxiety of influence.

* history lesson
The Rockefellers and class warfare.

* low concept
Happy birthday, Jean-Claude Van Damme!

* philanthropy
A special issue on philanthropy.

* philanthropy
Which microlender makes best use of my $20?
* philanthropy
Since he fell in love with the Bronx during a visit in 2005, Venezuelan President Hugo Chávez has been funneling millions of dollars to the area through Citgo PETROLEum.
* philanthropy
Why big donors back Teach for America.

* philanthropy
Compete for capital!

* culturebox
The trouble with indie rock.

* culturebox
What's wrong with The Office and how to fix it.

* movies
Reese Witherspoon in Rendition, reviewed.

* dialogues
Debating The Year of Living Biblically.

* books
Steven Pinker's The Stuff of Thought.

* art
A history of the American snapshot.

* dvd extras
Plagues and Pleasures on the Salton Sea, reviewed.

* music box
The German emo boys are coming!

* television
Terrorism plus slackerism equals Chuck.

* poem
"Failure"

* fighting words
The Nobel committee gets it right, for once.

* recycled
Is Radiohead screwing over its fans with low-quality MP3s?

* family
Why don't parents like to play with their kids?

* dear prudence
Advice on manners and morals.

* explainer
Where did Pamela Anderson find a fake wedding cake?

* television
A Shot at Love With Tila Tequila.

* Introducing "Interviews 50 Cents."


Andy Warhol’s films, in retrospective at the Museum of the Moving Image, are records of a world in which an artist worked, played and built his identity.

What Do You Do After Nothing?
No, Jerry Seinfeld hasn’t been idle; he’s been as busy as a ... well, you know.


Judge a book not by its cover, author or store position
but by its track record and the writer's motivation, experts say.



Business & Tech

THE CONSCIENCE OF A LIBERAL
Paul Krugman is a justly renowned professor of economics and international affairs at Princeton University. His abundant accolades include the John Bates Clark Medal, awarded biannually to an outstanding economist under the age of 40 — a distinction said to be predictive of, and perhaps even more prestigious than, receipt of the Nobel in economic science. His twice-weekly column in The New York Times routinely and authoritatively demystifies complex economic arcana.

And yet maybe Krugman is not really an economist — at least not according to the definition offered more than a century ago by Francis Amasa Walker, the first president of the American Economic Association, who wrote that laissez-faire “was not made the test of economic orthodoxy, merely. It was used to decide whether a man were an economist at all.”

Most modern economists continue to celebrate Walker’s orthodoxy, and behind it, the classical doctrines of Adam Smith, whose fabled “invisible hand” regularly works wonders of production, distribution, innovation and efficiency, provided it is kept free of the meddlesome “nanny state.” Against the constant threat of encroachment from that benighted quarter the free-market faithful are ever vigilant.

Krugman will have none of this — well, very little of it (he won the Clark Medal for work demonstrating the limitations, but not the total illogic, of free trade). Where the orthodox see nothing but market miracles, he sees many a market failure. And where they detect the invisible hand, he finds manipulation by the richest Americans to rig the game in their favor.

In our time, Krugman argues, the malefactors of megawealth have triumphed. He recites the now-familiar data that the wealthiest 0.01 percent of Americans are seven times richer than they were three decades ago, while the inflation-adjusted income of most American households has barely nudged upward. Chief executives who typically earned 30 times more than their average employee in the 1970s now take home more than 300 times as much. The American plutocracy, Krugman concludes, “have become rich enough to buy themselves a party” — and readers are left in no doubt which party we’re talking about.

But Krugman the anti-economist does not believe that growing economic inequality incubated modern political conservatism. In his view, the “arrow of causation” points the other way: political change, cunningly engineered by “radicals of the right,” has spawned egregious economic disparity, as well as a toxic level of partisanship. Ever the iconoclast, Krugman says “this strongly suggests that institutions, norms and the political environment matter a lot more for the distribution of income — and that the impersonal market forces matter less — than Economics 101 might lead you to believe.” In short, it’s the politics, stupid.

The bulk of this book consists of a historical explanation for how this sorry state of affairs came to be. It’s a story that is as factually shaky as it is narratively simplified. (Kansas, whatever its other crimes and misdemeanors, is not customarily regarded as the birthplace of Prohibition; the Voting Rights Act passed in 1965, not 1964.) History according to Krugman goes something like this: the nation suffered through a “Long Gilded Age” of let-’er-rip, dog-eat-dog capitalism until the New Deal created a new social order characterized by income-leveling taxes, job security, strong labor unions, a prosperous middle class, bipartisan solidarity and general social bliss. Krugman invokes that post-World War II “paradise lost” in his first paragraph, and his yearning to restore that Edenic moment informs all the pages that follow.

But as the story unfolds, serpents slither into the garden, in the form of pesky “movement conservatives.” Those upstarts set out in the 1960s to exploit racial tensions, national security anxieties and volatile value-laden matters like abortion, school prayer and gay rights “to change the subject away from bread and butter issues.” By century’s end they had managed to fasten upon their hapless fellow citizens “a second Gilded Age” in which inequality is on the rise and even the modest American version of the welfare state that the New Deal put in place is in danger of being dismantled.

For this dismal state of affairs the Democratic Party is held to be blameless. Never mind the Democrats’ embrace of inherently divisive identity politics, or Democratic condescension toward the ungrammatical yokels who consider their spiritual and moral commitments no less important than the minimum wage or the Endangered Species Act, nor even the Democrats’ vulnerable post-Vietnam record on national security. As Krugman sees it, the modern Republican Party has been taken over by radicals. “There hasn’t been any corresponding radicalization of the Democratic Party, so the right-wing takeover of the G.O.P. is the underlying cause of today’s bitter partisanship.” No two to tango for him. The ascendancy of modern conservatism is “an almost embarrassingly simple story,” he says, and race is the key. “Much of the whole phenomenon can be summed up in just five words: Southern whites started voting Republican. ... End of story.”

A fuller and more nuanced story might at least gesture toward the role that environmental and natural-resource issues have played in making red-state country out of the interior West, not to mention the unsettling effects of the “value issues” on voters well beyond Dixie. And as for national security — well, as Krugman sees things, it was not Democratic bungling in the Iranian hostage crisis or humiliation in Somalia or feeble responses to the first bombing attack on the World Trade Center or the assault on the U.S.S. Cole, but the runaway popularity of the Rambo films (I’m not making this up) that hoodwinked the public into believing that the party of Carter and Clinton (not to mention McGovern and Kucinich) might not be the most steadfast guardian of the Republic’s safety.

For all that he inveighs against the evils of partisanship, Krugman astonishingly concludes by repudiating the chimera of “bipartisan compromise” and declaring that “to be a progressive, then, means being a partisan — at least for now.” Indeed, at times he seems more intent on settling his neocon adversaries’ hash than on advancing solutions to vexed policy issues. “Yes, Virginia, there is a vast right-wing conspiracy,” he writes, a sentence that both stylistically and substantively says much about the shortcomings of this book.

That assorted wing nuts have pretty much managed to hijack the Republican Party in recent years is scarcely in doubt. That the market is at least occasionally fallible is also not at issue. Nor is it deniable that the New Deal rendered the lives of millions of Americans more secure, and that they have become markedly less so in recent decades. A tidal wave of risk-shifting — from defined-benefit to defined-contribution retirement plans, and from employer-financed to individually-paid health care insurance, to cite but two examples — has set millions of American families anxiously adrift on a sea of uncertainty. Krugman’s chapter on the imperative need for health care reform is the best in this book, a rueful reminder of the kind of skilled and accessible economic analysis of which he is capable, and how little of it is on display here. Like the rants of Rush Limbaugh or the films of Michael Moore, Krugman’s shrill polemic may hearten the faithful, but it will do little to persuade the unconvinced or to advance the national discussion of the important issues it addresses. It may even deepen the very partisan divide he denounces. Where is the distinguished economist when we need him?

-
EVERYBODY'S BUSINESS
The Gloomsayers Should Look Up
This country does not look like a country in economic trouble.
DEALBOOK
Real Losses Have Nothing to Do With Money
The human beings behind the business headlines can sometimes become lost.

* moneybox
Is nuclear power's comeback for real?

* the dismal science
Will customers pay more to do good?

* moneybox
The Spinal Tap economy.

* technology
What's the future of iTunes?

* moneybox
The subprime collapse didn't bother the Bush administration, until Paulson's pals began whimpering.

* ad report card
A disgusting new All-Bran ad.

* the undercover economist
Do magicians "own" their tricks?

* moneybox
Why are the wealthy abandoning the Republicans?

* the browser
Does Google know too much about us?

* moneybox
Banks that say "sorry," and the investors who love them too much.

* moneybox
How Wal-Mart and the government are killing the incandescent light bulb.

* moneybox
Is the ethanol boom going bust?

* technology
Unlocking Apple's iPhone is legal, ethical, and just plain fun.

* the dismal science
The tyranny of the market.

* moneybox
Why European banks were the big losers in the U.S. subprime meltdown.

* gaming
Halo 3, reviewed.

* moneybox
Why won't the government admit that inflation is rising?

* the undercover economist
The obscure game-theory problem that explains why rich countries are rich.

* the chat room
Reihan Salam talks with readers about Facebook etiquette and managing online friendships.

* technology
Why have municipal Wi-Fi networks been such a flop?

* moneybox
Hollywood's alarming obsession with hedge funds.

* explainer
What does the weakening of the dollar mean for me?

* technology
The Facebook commandments.


In Search of Wireless Wiggle Room
Will the F.C.C. open new doors to spectrum access?

What’s Russian for ‘Hacker’?
A formula for Web schemes: a lot of mathematicians, a lax legal system and Western targets.

What to Do About Pixels of Hate
Jihadi Web sites may be useful for terrorists, but they are also helping terror fighters.


Style & Shopping

_____Luxxcorp is opening U.S. stores. 'Bout Time!
The search for the ultimate snoring remedy.
Emily Yoffe talks with readers about trampy 'tween styles.
Backpacks you and your first-grader will love.
Shopping for clothes that will—and won't!—make your daughter look like a tramp.
Reusable water bottles you'll actually want to use.
Are some white folk superior to others?
To The Hospital On Heelys, the sneakers with wheels.
Kiddie pools your children will drown in.
How Life-Hackers conquered the world.
Gun Club targets the best water guns.
A brief history of the bikini.
Finding the best portable beach chair.
Sussing out the best hang-over removers.
Which House music cranks up the heat?
Elegy for the tie clip.
How Poiret freed men from the corset.
We wade through the software manuals so you don't have to.
Which pig iron can conquer my hardware needs?
Can American Apparel breach the Chinese Wall?
The rise of shmatte chic.
R.I.P. Forth & Towne
Which Oscar dresses were Aqua?
This Kevlar coat could save American fashion.
A field guide to young American killionaires.
Fashion Week: accessories hell.
Digital projectors worth the Xenon.
Which book outshines the others?
_____Nicky Hilton's Chick Count

PARTY CONFIDENTIAL:
The Belle of the Bash - "MR. THING."
Can a man be too well dressed?

===========================================
George Lucas is repackaging “The Young Indiana Jones Chronicles.”
The Indiana Jones adventure George Lucas is most proud of
is a short-lived TV series from the early '90s.

By Geoff Boucher, Los Angeles Times Staff Writer
October 21, 2007

SKYWALKER RANCH, MARIN COUNTY -- There may be nothing that George Lucas enjoys more than watching someone's jaw drop in an expression of marvel. That explains the existence of this leafy 5,200-acre retreat, which has a hilltop observatory, a vineyard (the grapes are trucked over to Francis Ford Coppola's winery) and its own fire department, which presumably blares heroic scores by John Williams on its way to brush fires.

And then there's his stunning collection of pop-culture artifacts. The man who once aspired to be an anthropologist now has a personal Smithsonian of sorts here in Marin County. In the Victorian-style main house, for instance, you can find Charlie Chaplin's cane and slightly dimpled bowler sharing a bookcase with the badges worn by the Keystone Kops. Norman Rockwell paintings hang on the walls and Rudolph Valentino's whip is perched on a shelf near the parlor. Remember how hard it was for Indiana Jones to track down the Ark of the Covenant and the Holy Grail? Now they're safe and sound here in an immaculate warehouse along with R2-D2 and C-3PO, all museum pieces in a museum that never opens to the public.

But the loneliest artifact of Skywalker Ranch -- or, to be more precise, the most underappreciated treasure that belongs to Lucas -- is the one that could be seen a few weeks ago flickering on the screen of the plush theater inside the main house. When Lucas spoke of it, he even sounded a bit like an archaeologist cradling a long-lost relic.

"We have another chance to let the world see it," he said, "and that's exciting for me."

The artifact in need of rescue is an early 1990s television series, "The Young Indiana Jones Chronicles," which is, by the stellar standards of the 63-year-old filmmaker's career, a beautiful loser. It was also, he says, "the single most fun I ever had with any project." For both of those reasons, he is back for more.

Over the past four years, Lucas and Paramount Home Video have pumped millions of dollars into reframing "Young Indiana" as a lavish, three-volume library of DVDs with a staggering number of extras, including 94 highly polished documentaries on famous people and moments in history. That grand content and the packaging and marketing commitment to the project are the sort you might expect for an anniversary reissue of "Gone With the Wind," not a show that was dropped by ABC after two seasons and moved on to the smaller stage of the Family Channel.

From a distance, the reverential treatment of "Young Indiana" might look like pure Lucas overkill. But to the filmmaker who changed the course of American cinema by creating his own universe, all of it is the logical conclusion of a project he considers one of his great achievements.

"Believe it or not, I've never been that involved in making commercial product, that is just not what I do," said Lucas, whose "Star Wars" films have a global box office gross of $4.3 billion. "What I do is get an idea of something I want to do, and I do it. It's about coming up with a great idea . . . in terms of the commercial [risks], I knew I was breaking all the rules."

Lucas said he won as soon as he persuaded Paramount and ABC to let him make "Young Indiana," which was filmed in unprecedented ways.

"They let me do it and do it in the way I wanted to do it," he said. "The main thing I was really after was to see how many shows I could get done before they woke up and said enough is enough. And, you know, we managed to get 44 hours of material out there. I felt grateful I got as much done as I did."

Critics and cultural observers were grateful too. "By far," the New York Times weighed in, "the most impressively mounted weekly show on television." Time said no show had "more ambition or style," and the Wall Street Journal said it raised the standards of television production to "the caliber of theatrical film." James Michener expressed awe and called the series a "daring venture," and Bill Moyers wistfully wished that the series would be "my grandson's companion far into the 21st century." Industry peers embraced it as well, handing the show 11 Emmy Awards. Looking back too, the show was a gathering point for an impressive amount of talent, both on-screen and off, with actors such as Max von Sydow, Catherine Zeta-Jones and Daniel Craig passing through its stories and directors such as Mike Newell working with writers like Frank Darabont.

But the ratings revealed that the show was more respected than loved. Lucas, always savvy to the desires of a mass audience, understood the problem; he had given the world the Indiana Jones he wanted, not the one they wanted. In 1993, talking to the The Times about the show's decline, he sounded weary. "It didn't matter how many times I said it was a coming-of-age series about a young boy's exploration of history," he said, "people still expected to see that rolling boulder."

Things 'you just can't do'

"YOUNG INDIANA" alternately presented the hero as a boy of about 9 (portrayed by Corey Carrier) and a young man between 16 and 19 (Sean Patrick Flanery), which, Lucas said with a bit of pride, is another "thing you just can't do on television" if you're following the rules.

The pace and tone of the episodes jumped around in a jolting way too; some were funny, others scary, some action-packed and others wistful and at times a bit windy. In each episode, the hero meets a key historical figure and learns a valuable lesson. His travels put him next to Ernest Hemingway and Franz Kafka, Woodrow Wilson and Ho Chi Minh, Sidney Bechet and George Gershwin, Mata Hari and Al Capone. "He is," Lucas said, "sort of like Forrest Gump with a whip."

Lucas came to "Young Indiana" with a vision that was more heart-warming than it was heart-pounding. Like Walt Disney decades before, Lucas saw a chance to reach into the living rooms of America with something that aspired to be both wholesome and thoughtful and educational between the chase scenes.

That's one reason Lucas has always described "Young Indiana Jones" as an "old-fashioned television show," a term that must have landed with quite the thud during concept discussions at ABC. But "Young Indiana" also came with the promise of visual innovation (it was a pioneer in digital production for television) and an outlandish production plan that now seems like a mix between Phileas Fogg and "The Amazing Race."

Lucas basically sent a 29-member film crew across 35 countries to use exotic locales as backdrops, which put them at the mercy of armed bandits, snakes, storms, dysentery, customs agents and crocodiles. Meanwhile, like some old newspaper tycoon monitoring a distant war, the impresario waited in Marin, where he watched the fruits of their labor and answered with dispatches regarding the next day's story and mission.

The film crew was led by Rick McCallum (who would go on to be producer of the second trilogy of "Star Wars" films), who compares his hearty team to "the French Foreign Legion with camera equipment" and said their mission was "a great adventure none of them will ever forget, and one that ended a few marriages and started a few others."

Directors who worked on the series included Newell, Terry Jones, David Hare and Bille August.

On-screen, Vanessa Redgrave and Christopher Lee were among the veterans who joined the expeditionary project, while a number of new faces appeared and later went on to bigger things, among them Zeta-Jones, who portrayed a belly-dancing spy when Indy meets T.E. Lawrence, and Tony winner Jeffrey Wright, who blows the horn as Bechet. McCallum said he especially remembers a performance by Elizabeth Hurley, who played the daughter of a London suffragette.

"She just lit up, it was amazing to see her in that performance," McCallum said during an interview at the ranch. "There were so many shows where we caught people at interesting points in their careers, and there was a sense that we were doing something very different and important."

And, at times, dangerous. While traveling in Kenya, a raiding party descended on the crew's encampment looking for the weapons they had heard firing. "They had real guns, ours were plastic," McCallum said. "But they didn't get it, they took them anyway. They thought there was just some new kind of American gun, real lightweight and made of plastic instead of metal. No one got hurt, that's the good news."

The show itself, though, didn't have that same knack for survival. The network likely contributed to the downfall by moving it around to different nights and, at one point, putting it opposite "Seinfeld." (Lucas said it was "common sense" that the show should have been on Sunday nights, like "Disney did it" years ago.)

The adult Indy is back too

IN the films, which began with "Raiders" in 1981, Indiana Jones was, of course, portrayed by Harrison Ford, who as the adventurer-archeologist was a charming blend of minor scoundrel and major scholar. Ford is reprising his most famous role for "Indiana Jones and the Kingdom of the Crystal Skull," the fourth film in the franchise, which just wrapped shooting in Los Angeles and is due in theaters next year. Lucas is executive producer and has a "story by" credit. The screenplay is by David Koepp; Steven Spielberg is directing.

"It went amazing, I'm thrilled with it and the look of it and what Steven was able to do to capture that time -- it's set in the 1950s -- and we were very happy with the story," Lucas said. "It had to be a great story or we weren't going to do the movie. I mean, nobody involved needed the money."

That may sound a bit brassy, but really it speaks to the patience of Lucas. It's been 18 years since the last Indiana Jones film, and Lucas was willing to bide his time. That seems to apply to the television show as well. He said the notion of creating a massive history lesson wrapped inside an adventure series was the plan all along for "Young Indiana Jones," it just took this long to deliver it in the way he deemed worthy. "That was actually the original idea when I started the whole thing, and it's just taken me this long to get it all done," he said with a chuckle. "It's a lot of hours of material, and it was expensive and hard and, of course, it was something that the industry wasn't interested in."

Lucas is his own industry, however, and his interest and budget appear to be boundless. Back in Modesto, young George had a solitary word printed next to his high school yearbook photo: "History." The avid scholar in him is still alive and well. Last week, he got "The Adventures of Young Indiana Jones: Volume 1" ($117.99, in stores Tuesday) and its 12 discs.
The Wizard of Skywalker Ranch was mightily pleased.

The best part of the DVD series may be the new documentaries (there are 38 in Volume 1), which were led by CBS News veteran David Schneider. They are replete with rare photos and footage, as well as new contextual interviews with notable names such as Henry Kissinger, Gloria Steinem, Martin Scorsese, Colin Powell and Deepak Chopra. In a Skywalker Ranch screening room, Schneider gave a preview of one documentary, a biography of Paul Robeson that gave a measured but poignant account of his rise in American consciousness as a star of stage and screen and the dismantling of his life after he became a target of the anti-communist movement in America.

"Our goal was to tell the stories of history but also capture the drama of these lives, which sometimes is missing from documentaries," Schneider said. He talked in awe about lives that zigzagged between triumph and ignominy and how moments of serendipity and awful luck changed the course of nations. "There's incredible drama if you treat these as stories waiting to be told."

One core mission that Lucas gave Schneider was to make sure the documentaries would have a shelf life, that they were constructed in a way that would make them hold the attention of a student sitting in a classroom in 2020 or beyond.

That makes sense for a man who knows artifacts don't become less valuable as the years pass, nor do they suffer if they were underappreciated at first. The filmmaker laughed out loud as he imitated one of the naysayer opinions that confronted his young fedora-wearing hero in the 1990s. "The show, well, it's about history," he said in a mock voice dripping with disdain, "and, you know, forget that."

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On Oct. 21, 1879, Thomas "THE WIZARD OF MENLO PARK" Edison
invented a workable electric light at his laboratory in Menlo Park, N.J.
============================================
Film comedies no laughing matter for actresses
Female roles nowadays are either so bland as to be invisible or missing altogether.
The careers of blowup dolls have more upside.
Spears gets a new lease, Malibu style
By Ruth Ryon
Britney Spears . . . again?
===========================================
Audio and Photos: Sure Shot
Whatever any of us does individually matters a tiny bit. But when leaders change the rules, you get scale change across the whole marketplace.
===========================================
A political meltdown in Pakistan, where Al Qaeda, the Taliban, and nuclear weapons are all in play, could be a disaster for the Bush administration.-
The Iran’s nuclear envoy resigned, signaling that Iran may have closed the door to a possible negotiated settlement.-
Syria has closed its borders to Iraqis and imposed new visa rules that will legally require 1.5 million Iraqis currently in Syria to return to Iraq.
A Counter History
Will there ever be room again for an old-style, family-run Jewish deli?
===========================================
His Meteoric Days Gone, Quiet Dean Leads Party
Cougars, Archers, Snipers
Why rely on a candidate’s beliefs if you can break down the country into microconstituencies and then devise policies to appeal to them?
==========================================================
THE ABSTINENCE TEACHER
==========================================================

By Tom Perrotta.

True Believers

By LIESL SCHILLINGER
Published: October 21, 2007

Children, even good children, hide some part of their private lives from their parents; and parents, having been young and furtive themselves, remember the impulse. So when Ruth Ramsey, the divorced 41-year-old mother who is the protagonist of Tom Perrotta’s new novel, “The Abstinence Teacher,” learns that her teenage daughter, Eliza (who could be a grumpy, pimply poster child for “The Awkward Years”), has concealed a book from her, she’s not surprised. “She must have kept it hidden in a drawer or under a mattress,” she reflects — just as she herself once hid books like “The Godfather” and “The Happy Hooker.” But the book Eliza has been keeping under wraps is not a pulp fiction fable of vice and libertinage: it’s the Bible. And Eliza has yet another secret to spring on her mother: she and her little sister, Maggie, want to start going to church. To Ruth, a tolerant, progressive sex-ed teacher, her daughters’ embrace of “Goody Two-Shoes Christianity” comes as a slap in the face. “I don’t think you’re a born-again, fundamentalist, evangelical, nut-job Christian,” she tells Eliza, not imagining she would disagree. “I believe in God,” Eliza stubbornly replies. “And I believe that Jesus is His only son, and that He died on the cross for my sins.”

Ruth is a protective mother and wants a say in whom her daughters choose for friends. But can a parent tell her kids she thinks Jesus is a bad influence and retain the moral high ground?

Tom Perrotta is a truth-telling, unshowy chronicler of modern-day America: the strong, silent type on paper. Readers are most aware of his books that became hit movies — the black comedy “Election,” about a high school teacher who coaxes a shy jock to run for school president against a sexually predatory alpha girl; and the wistful romance “Little Children,” about a lonely man and woman, both married to others, both parents of toddlers, who slip into a love affair. But Perrotta’s unmassaged realism runs through all of his writing — from “Bad Haircut: Stories of the Seventies,” a coming-of-age collection so alive in detail that you can practically touch the tube socks and pastel tuxes; to his first novel, “The Wishbones,” about a small-time rocker with wedding jitters; to “Joe College,” a novel about a working-class kid from Jersey who reinvents himself at Yale, callously breaking ties with his girlfriend back home. Perrotta is a master of the lump-in-the-throat reversal, as in his story “Snowman,” when a pack of tough kids smash a giant snowman to punish an “enemy,” then realize, “wild with remorse,” that it was made for their target’s congenitally impaired kid brother. Usually, when you ask yourself, “What would a Perrotta character do?” you know the answer: he’d do the familiar, guiltily compromised, self-interested thing that any normal guy would do ... and you understand him, even if you don’t applaud him.

But the male lead of “The Abstinence Teacher” — the tacit lead, that is — is not one of Perrotta’s normal guys: it’s Jesus, who has come to visit the town of Stonewood Heights, and apparently means to stay. Stonewood Heights, a “well-to-do Northeastern suburb, not liberal by any means, but not especially conservative, either,” could be any of Perrotta’s traditional cruising strips, with its schools, malls, streets and sports fields. This time, however, he sets his cast of flawed parents and un-airbrushed kids against the stained-glass background of muscular Christianity on the march. A new church, the Tabernacle of the Gospel Truth, has come to town, bent on ridding the community of “all manner of godlessness and moral decay,” and the first weed their scythe of righteousness mows down is Ruth Ramsey’s ninth-grade sex-ed class. After a churchgoing snitch reports her teacher’s blasé endorsement of oral sex to her parents, the school forces Ruth to push an abstinence agenda, something she regards as “a farce, an attack on sexuality itself, nothing more than officially sanctioned ignorance.” Other secular-minded townspeople are slow to catch on, but to Ruth, who is on the crusade’s firing line, watching the Tabernacle’s influence spread feels like “living in a horror movie. ... ‘The Invasion of the Body Snatchers,’ or something. You never knew who they were going to get to next.”

For the purposes of the narrative, Christ’s spokesman takes the form of a divorced dad named Tim Mason, a Tabernacle congregant who was booted out of his marriage after an “epic coke binge” that “ultimately brought him face-to-face with his Savior.” Mason clings to his newfound belief as if it were a life preserver. (His mother accuses him of “using Jesus like a substitute for drugs, like methadone.”) To keep close to his daughter, Abby, who lives with her remarried, irreligious
mother, Mason coaches fifth-grade girls’ soccer; Ruth’s daughter Maggie is his star player. After an emotional match, in a transport of spiritual fervor, Mason leads his team in prayer — enraging his ex-wife and Ruth, and setting off a holy war among the soccer moms and dads of Stonewood Heights.

The conflicts Perrotta invents here feel both instantly recognizable and queerly portentous, calling to mind dystopic science fictions from “Body Snatchers,” to Ira Levin’s “Stepford Wives,” to Ray Bradbury’s “Martian Chronicles.” As in the Bradbury story “Dark They Were, and Golden-Eyed,” in which an Earth family, resettled on Mars, slowly acquires alien customs and language, the characters in “The Abstinence Teacher” shift uneasily between two tongues: the unscripted cadences of ordinary speech and the exalted language of sin, salvation and belief. On one page, Mason dreams of taking his daughter to the Tabernacle: “What a pleasure it would be, walking into church with his little girl,” he thinks, “to stand beside her as she listened to God’s word.” But the wrench comes further on, in a rough moment any divorced father — whatever his faith — might feel, as he lingers with his child in the car, the motor idling, before returning her to her mother. “It was a way of prolonging their time together,” Perrotta writes: “as if his custodial rights didn’t officially come to an end until he shut off his ignition.”

In Perrotta’s fearful new world, religion injects uncomfortable ironies into lives that have already yawed off-kilter. A mother tells her born-again son: “Please don’t talk to me about Jesus. I feel like I don’t know you anymore.” A pious wife tries to cure her husband’s lack of interest in her by studying a book called “Hot Christian Sex: The Godly Way to Spice Up Your Marriage.” (Alas, naught availeth.) And, in a scene that could have come from Bradbury’s “Fahrenheit 451,” a troubled Best Buy clerk named Dennis, stirred to action by the Bible, goes on a rampage, lobbing printers through the air, deploring “the sinful works of man,” and shouting “Whore!” and “Abomination!” as he hurls a boombox into a plasma TV playing “Lara Croft: Tomb Raider.” The scene appears in flashback; it’s the epiphany that led the clerk to create the Tabernacle, to reinvent himself as Pastor Dennis and to embark on a new career as a fisher of men, rather than a seller of electronics.

What does the author think of Pastor Dennis and his flock? As in Orhan Pamuk’s “Snow,” a novel that devotes hundreds of pages to a heated battle between religious fanatics and educated secularists in a Turkish town without explicitly taking sides, Perrotta does not spell it out. Instead, he gives space and speeches to proselytizers and scoffers alike, letting readers form their own conclusions. Religion is no less controversial a subject to weave into fiction in this country than it is in Turkey. In any case, Perrotta has never been one to cast stones.
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Related Books: A Writer’s Search for the Sex in Abstinence (October 14, 2007)
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Making peace with Americans
Beneath the ominous calm that has settled,
uncertainty and hopelessness.=====================================
Where did Mexicans come from?
They have a choice of 'origin myths'
-- one a tale of betrayal, another a story of beauty
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