John Cage Bubblegum

2007-12-15T22:52:00.001-05:00

The lorenzetti's

Ambrogio Lorenzetti

Younger brother of a painter Pietro Lorenzetti who was probably Ambrogio’s first teacher. In 1321 he moved to Florence to study Florentine art (Giotto and Arnolfo di Cambio). He entered ‘Arte dei Medici e Speziali’ in 1327. After the departure of Simone Martini to Avignon in 1336, Ambrogio established a ‘very florentine’ workshop in Siena. He died from a plague in 1348.

(Saint Mary Magdalena
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)

(Saint Francis
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)

(Saint Catherine
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)

(Saint Benedict
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)

LORENZETTI, Pietro

(b. 1290, Siena, d. 1348, Siena)

Pietro (circa 1280-1348) was the more traditional of the two brothers, showing harmony, refinement, and detail but also dramatic emotion. his work includes the altarpiece Madonna and Child with Saints (1320, Santa Maria Della Pieve, Arezzo), dramatic frescoes in the lower tower of San Francisco in Assisi and the calmer, later masterpiece the Birth of the Virgin(c. 1342, Opera del Duomo, Siena).

(Panoramic view of the frescoes
1320-40
Fresco
Lower Church, San Francesco, Assisi)

(View of the south transept
c. 1320
Fresco
Lower Church, San Francesco, Assisi)

2007-12-04T17:36:00.000-05:00

All city part 1 (1983)

part 2

2007-11-27T03:03:00.001-05:00

Visit the Official I Am Legend Website

2007-11-24T17:42:00.000-05:00

2007-11-20T23:50:00.000-05:00

We are Under Attack!
Fall isn't so much a season, as a schizophrenic roller coaster. We usually begin with an extension of summer, bright, hot and dry, and then one wake up to find cool breezes and a panoply of colors, as the trees turn every conceivable shade of yellow, gold, orange and red. Sadly, nature's kaleidoscope doesn't last long, and it's always routed by the same thing: the relentless march of grey, brooding skies and cold rain.

Dress brightly!

I know that you too have felt that cold, wet pall fall across the earth. We must face these hazy days as what they are: a war against good, color-loving people everywhere! Don't give in! With your help, we will face these agents of a monochrome world head-on. Get ready to make our stand against the seasonal-disaffective siege

Dennis Miller is the man

2007-10-24T20:38:00.000-05:00

2007-10-24T19:53:00.000-05:00

2007-10-24T19:50:00.000-05:00

2007-10-08T23:23:00.001-05:00

2007-10-04T02:54:00.000-05:00

Annie Oakley who believed that women should shoot as
good as a man demonstrates but a fraction of the stunts
that she could perform with a rifle. She was raised in
Ohio dirt poor and used to hunt to help her family pay
their bills. She wound up becoming an International Trick more
Shot. She even became friends with Sitting Bull! Sitting
Bull called her Annie Sure Shot.

Annie toured the world with the Buffalo Bill Show.

Historically speaking, Annie is probably the most
Celebrated Female Riflewoman in the world! Countless
plays and tv shows have featured Annie.

THE TERROR OF TINY TOWN
and HIGH PLAINS DRIFTER

Morality Play-notes Act and Morality

2007-10-04T00:43:00.000-05:00

10/3/2007:
The story is about an older man who is a historian and scholar interested in theater and medieval history- who is writing a Morality Play in present time. He is concerned that people have forgotten this style of play writing because most of the plays in this form were lost over the years. He wants to write a great play using the influence of the known Morality plays surviving-Everyman and some historical writings both plays and novels. He wants to use the dialect of the time of the plays and he wants it to be authentic. He is struggling because of he can’t grasp the authentic dialect and the true moral questions of these plays. He becomes obsessed with this time period and is so immersed that his social life is abandoned and he has turned to drinking and opium and delirium sets in. He cannot recognize the dream world from reality. While looking at old manuscripts, and in the influence of narcotic and absinth at his home late at night , he is visited by an illusion that he is in a 15th century market scene by the town hall. He is in a crowd of shoppers buying fish heads and cow tongues and livers. The smell is overpowering and making him dizzy. He hears the the market banter and the servants are busy shopping and bartering.Black cats and chickens are loose and kids are stealing some of the produce.

Amongst the madness, he is struggling to leave this pandemonium. He seems that he is not visible. He is unbalanced in these new surroundings and he is disoriented but fascinated by the environment. Everyone is busy and he may not be noticed. He eventually finds himself in the town square where he vaguely recognizes the architecture and clothing and dialect as those of the 1500s when the morality plays were most popular. He sees a commotion of people gathering. A very tall figure in a black cape with a mask and staff is seen and heard to be speaking loudly over the crowd. He is a barker introducing the traveling troupe of players who want to perform at twilight . “Hear ye, Shall you join us at twilight for Morality-Good versus Evil. Who shall prevail” Can you believe the good fortune. To see an actual morality play after all the research and work he has struggled to put together.

He wakes up to the sound of his phone and hears the answering machine and the voice of frustration that is his agent. This brings him back to reality but he feels that he should record the dream immediately. The agent reminds him of the past deadlines and the last advancement of money that has received. The publishers are losing patience. After recording all he can remember, he is again stuck with the problem of how to write the morality play. He dwells on the barker and in despair returns to the bottle. After passing out on the desk by the typewriter, he is again transported to the same town hall square. It is now twilight. People are starting to gather. There is a cleared stage area with torch lights , curtains and a barn. He hadn’t noticed the staging area previously. The barn had one side open and bales of hay were scattered. The crowd is getting restless. Babies are crying, dogs are loose and fighting.

2007-10-04T00:37:00.000-05:00

Julia, is this where you run is it my fault am i the reason you're gone expect one thing from you, and you fail time flies, when you're having fun but my clock stopped when my hand dropped from yours and you were gone expect one thing from you, the time you stole

2007-09-30T01:03:00.000-05:00

2007-09-26T21:28:00.000-05:00

From your lips darts loveliness, flowers from your face,
love fires from both your eyes, your hands shoot music's grace.
With your looks you rob my sight, my ears you stop with song.
The hunt will not last long and we shall be together forever long.

2007-09-19T17:44:00.000-05:00

Artist of the month of September (O.M.O project)

This Month's Featured Artist:

Walter Sickert

Walter Richard Sickert (May 30th, 1860 in Munich, Germany– January 22, 1942 in Bath,England) was an English impressionist patiner. Sickert was a cosmopolitan and eccentric who favoured ordinary people and urban scenes as his subjects.

Life and work:

His father Oswald was Danish-German and his mother Eleanor was the illegitimate daughter of astronomer Richard Sheepshanks. The young Walter was sent to King's College school, where he studied until the age of eighteen. Though he was the son and grandson of painters, he at first sought a career as an actor; he appeared in small parts in Sir Henry irving's company, before taking up the study of art as assistant to James McNeill Whistler. He later went to Paris and met Edgar Degas, whose innovative use of pictorial space and emphasis on drawing would have a powerful effect on Sickert's own work.

He developed a personal version of Impressionism, favouring somber colouration that is sometimes strikingly unnatural in effect. Following Degas' advice, Sickert painted in the studio, working from drawings and memory as an escape from "the tyranny of nature". Sickert's earliest major works were portrayals of scenes in London music halls, often depicted from complex and ambiguous points of view, so that the spatial relationship between the audience, performer and orchestra becomes confused, as figures gesture into space and others are reflected in mirrors. The isolated rhetorical gestures of singers and actors seem to reach out to no-one in particular, and audience members are portrayed stretching and peering to see things that lie beyond the visible space. This theme of confused or failed communication between people appears frequently in his art.

By emphasising the patterns of wallpaper and architectural decorations, Sickert created abstract decorative arabesques and flattened the three-dimensional space. His music hall pictures, like Degas' paintings of dancers and café-concert entertainers, connect the artificiality of art itself to the conventions of theatrical performance and painted backdrops. Many of these works were exhibited at the New English art club, a group of French-influenced realist artists with which Sickert was associated. At this period Sickert spent much of his time in France, especially in Dieppe where his mistress, and possibly his illegitimate son, lived.

Just before World War 1, he championed the avant-garde artists Lucien pissaro, Jacob Epstein, Augustus John and Wyndham lewis. At the same time he founded, with other artists, the Camden Town Group of British painters, named from the district of London in which he lived. This group had been meeting informally since 1905, but was officially established in 1911. It was influenced by Post-Impressionism and Expressionism, but concentrated on scenes of often drab suburban life; Sickert himself said he preferred the kitchen to the drawing room as a scene for paintings. Sickert regularly portrayed figures placed ambiguously on the borderland between respectability and poverty. From 1908-1912 and again from 1915-1918 Sickert was an influential teacher at Westminster school of art.

The Old Bedford Music Hall, circa 1885

In 1907 Sickert became interested in the "Camden town murder", the killing of a local prostitute. He painted several versions of a scene in which a heavy-set man sits in a despairing pose by a bed, while a plump naked woman lies on it. Sometimes he exhibited it with the title What shall we do for the rent? (implying that the man is sitting up worrying about debt while his wife sleeps), sometimes as The Camden Town murder (implying that the man has just killed the woman beside him). This play on multiple interpretations of the same scene was a development of the Victorian genre of the . These and other works were painted in heavy impasto and narrow tonal range. Many other obese nudes were painted at this time, in which the fleshiness of the figures is connected to the thickness of the paint, devices that were later adapted by Lucian Freud.

Walter Sickert, The Camden Town Murder, 1908

Sickert's interest in Victorian narrative genres also influenced his best known work Ennui, in which a couple in a dingy interior gaze abstractedly into empty space, as though they can no longer communicate with each other. In his later work Sickert adapted illustrations by Victorian artists such as Georgie Bowers and John Gilbert, taking the scenes out of context and painting them in poster-like colours so that the narrative and spatial intelligibility partly dissolved. He called these paintings his "Echoes". Sickert also executed a number of works in the 1930s based on news photographs, squared up for enlargement, with their pencil grids plainly visible in the finished paintings. Seen by many of his contemporaries as evidence of the artist's decline, these works are also the artist's most forward-looking, seeming to prefigure the practices of Chuck close and Gerhard Richard.

2007-09-17T23:06:00.000-05:00

Hey, meet me in St. Louis!

2007-09-17T20:56:00.000-05:00

2007-09-17T19:44:00.000-05:00

From the Pen of History

2007-09-16T00:16:00.000-05:00

The Tumultuous 15th Century
The 15th century provides us with many of our stock, childhood images of the "Middle Ages": the knight in shining armour, the joust, even elegant ladies in tall, pointed hats! Yet it is a paradox, for by this time, many of the hallmarks of medieval society had already faded and were being replaced by a culture associated with the Renaissance. Feudalism, that uniquely "medieval" political system, had effectively been dead for centuries. Medieval monarchs increasingly looked to develop effective, professional armies that could be more adaptive, better trained and able to stay longer in the field. At the same time that his employers were reexamining his role on the battlefield, the knight's newly completed harness was increasingly challenged by a combination of arms, in the form of pike, bow and gun, and they would soon unseat him from his place at the center of military society. Even the joust had become an increasingly artificial, international sport, rather than serious military training. Meanwhile, intrepid merchants became the new knighthood of Europe, seeking new wealth in Asia and Africa, and launching what has been called the "Age of Discovery".

The 15th century was a period of drama and elegance, as well as an idealized romanticizing of chivalric ideals. An illustration from Rene d'Anjou's "Book of Love". (1465)

In the year 1400, England and France were still locked in the Hundred Years War, and France was ruled by a mad king, with its worst defeats still yet to come. Emboldened by the weakening of the French monarchy, the powerful Dukes of Burgundy continued to grow more autonomous, building in all but name an independent kingdom, and a court that became the cultural center of northern Europe. In Iberia, the ancient Muslim culture of Al Andalus had been driven back by the Spanish kingdoms, until only the small kingdom of Granada remained, giving the Iberian Christians more time to war against themselves. Meanwhile, far to the east, the battle of Cross and Crescent was taking a very different course: the ancient Byzantine Empire was making its last stand against the inexorable advance of the Ottoman Turks. And through it all, the bankers and trading houses of Italy and the Hanseatic League grew ever wealthier.

By 1500, the "Middle Ages" as we think of them had been all but swept away. France had emerged victorious from the Hundred Years War and brought her rebellious duchies to heel, including Burgundy, making the monarchy stronger than it ever had before. England, on the other hand, and proceeded from the disastrous loss of her French territories into a bloody, thirty year long civil war, the War of the Roses, that saw the Plantagenets lose the crown of England after nearly three and a half centuries of unbroken rule. In 1453, Constantinople at last fell to the Turks, bringing to an end the last true survivor of the ancient Roman Empire. Meanwhile, the Spanish kingdoms of Castille and Aragon had driven out the last of the Muslim rulers, and had united into a single Spanish kingdom, creating what was soon to become a European superpower.

But during the intervening years of this century, European society would undergo far more change than just political upheaval. A new intellectual culture was brewing that would bring sweeping changes in art, science, fashion and a drive for exploration. The Renaissance was being born.
Humanism
It is often argued that the sweeping changes of the 1400s were driven first and foremost by a change in intellectual culture that returned to a reading of classical authors, put a new emphasis on secular topics and legitimized the striving for personal accomplishment. This new ideology was Humanism.

The Middle Ages had been dominated by the intellectual culture of Scholasticism, which focused on resolving contradictions between famous Classical authors. Over time, the commentaries by these later scholars would develop an authority almost equivalent to that of the original author, so that a trained scholar might say that he had studied Aristotle without ever having read an actual word written by Aristotle himself! In the late 14th century, however, a new intellectual movement began to take shape in northern Italy. Because of their mercantile dominance, the Italian cities had long since had a need for highly educated, literate men with secular backgrounds. Initially, such a clerk, notary or lawyer was known as a humanist if he was a student or teacher of Latin and Latin literature but was not a Churchman. These "humanist" scholars began to rediscover many Latin and Greek texts, particularly poetic, historical and rhetorical works that had been neglected or even oppressed by clerics. By the mid-fifteenth century, the philosophy of Humanism had come to describe the studia humanitatis - a complete curriculum of grammar, rhetoric, moral philosophy, poetry and history as learned from a direct study of Classical authors. Above all, these Humanists asserted that, as Man was created in the image of God, his unique ability to reason, appreciate beauty and to create and fashion objects was an inherently divine quality. As such, art and science were twin pillars that not only ennobled, but essentially sanctified man.

In the century that followed, Humanist political writers such as such as Niccolo Machiavelli and Thomas More would use the idea of Classical authors to criticize their governments, while new exposure to Plato would lead theologians such as Giordano Bruno and Martin Luther to challenge Church leaders not only politically and morally, but at the very philosophical underpinnings of their Aristotelian world view.

Art and Science

The Humanist worldview naturally intermingled Art and Science. Noted artists such as Leonardo da Vinci made observational drawings of anatomy and nature, while disciplines such as music and fencing were considered to be both a science and an art, as they were governed by certain undeniable physical laws of proportion and time, but were applied in a creative, ever-changing fashion. The most noted artistic change of the 15th century was the development towards a "realistic" sense of perspective. Masters such as Giotto di Bondone (1267-1337) had begun this process in the 14th century, but it did not achieve its full-flowering as a formal "technique" to be studied and used as a measurement of the artist's skill, until it became popularized by the architect-sculptors Filippo Brunelleschi (1377-1446) and Leon Battista Alberti (1404-1472). Once a quest for realism had begun in one artistic element, artists quickly began to apply it to others, such as light and shadow. Inspired by the Humanist fascination with beauty and nature, they sought to more carefully render natural elements, most specifically, the human form, and this was expressed in the peerless works of da Vinci and Raphael that appeared in the last decades of the century

Jan van Eyk's famous "The Arnolfini Portrait" (1434)

But the Italians had not cornered the market on artistic innovation, and under the patronage of the wealthy Burgundian Dukes, a new "natural" school developed in the Netherlands, building around the work of Jan van Eyck (1385 -1441), who is also credited with the introduction of oil paint and canvas.

The fusion of art and science was perhaps most felt in the world of architecture, which became influences by a rediscovery of the writings of the 1st century mathematician Vitruvius. The architectural revolution of the 15th century began when Filippo Brunelleschi built the dome of the Basilica di Santa Maria del Fiore in Florence (1419-1436). Based upon the famed Pantheon in Rome, it would be the first free-standing dome of any significant size built in Western Europe since the fall of the Roman Empire.

Brunelleschi's dome atop the Basilica di Santa Maria del Fiore (1419 - 36)

Throughout the century a vast array of other innovations and inventions, such as the printing press (1455), the woodcut (1400 - 1450), the harpsichord (c.1460), canal locks (1481), the distillation of malt into whiskey (c.1460). Yet the most significant development of the era was probably not any one discovery, but rather a process for discovery, based on empirical evidence. This method was the "scientific method" that has driven western science ever since.

Fashion

The fashion trends of the 1400s followed the same trend towards exuberant extremes reflected in the rest of society during this period. As the worst of the Black Death (1348 - 1350) lay long in the past, the changes in European society it had created included a tend towards greatly empowered, urban "middle classes". These tradesmen, guildsmen and merchant-princes were nowhere as powerful or influential as the Italian city-states, or the Flemish cities under the rule of the Dukes of Burgundy.

Duke Philip the Good of Burgundy and his court, in a miniature by Rogier van der Weyden (1477).

With England and France mired in the Hundred Years War and its aftermath and then the English Wars of the Roses through most of the century, the glittering, the fashion-conscious, and sharp-witted Duke Philip the Good (ruled 1419-1469) had turned Burgundy into an autonomous kingdom in all but name, and had used his control of the trading cities Holland and Flanders to the acquire the finest English wool, eastern silks and Italian fashions.

Meanwhile, in Italy the old nobility had long fallen to mercantile republics or military despots. In many cases, the latter simply assumed the old hereditary titles of marchese, count or duke, whether they came from old noble families or were upstarts raising themselves up as the new nobility. Desiring to establish their legitimacy, these despots sought to make their courts the envy of Europe. Those who embraced the new ideals of Humanism became great patrons of art, science and learning. The lord acquired renown as a man of culture, learning and wealth, gaining additional civil or military service from the courtier, while the courtier gained far more: stable financial support, prestige, and a chance to develop his work without having to fight against the pressure of daily life.

The elegant houppelande, first appearing in the late 14th century, would dominate the fashions of the nobility throughout the first half of the 15th century.

The end result was that, there was a class of wealthy commoners in the midst of these extravagant courts who had the wealth and connections to successfully mimic, and sometimes exceed, the fashions of the nobility, regardless of any sumptuary laws. This thereby prompted the nobility towards ever more elaborate and extravagant fashions themselves. It also led to the first real trend towards clear "national" variances in European fashions.

At end of the previous century, the voluminous houppelande had become a popular fashion for both men and women. The houppelande continued to be popular in Burgundian, French and English circles until well into the 1470s. Although it could be worn anywhere from floor to knee length, in all cases it became progressively more pleated, fitted with a high collar and tall, stuffed shoulders. At the same time, a counter-fashion was evolving in Italy and the south, as the old men's cotehardie became shorter and tighter, until it evolved into the revealing doublets and hose associated with the Italian Renaissance. Both houppelande and doublet would become popular throughout Europe, but with unique regional styles, such as the Italian fashion of wearing the doublet with a short, pleated tabard called the giornea, or the Burgundian fashion of the mid-century for the wealthiest of men to dress in solid black.

Feminine fashion went through its own evolution as well. The old cotehardie and sideless surcoat persisted through the early decades of the century, with the cutouts of the surcoat becoming progressively wider. However, it was again the late 14th century houppelande, fitted with a high collar and wide sleeves that was to influence feminine fashion throughout most of the century. By 1450, the northern Europe fashion had developed a low V-neck that revealed glimpses of the undergown below. The full, long sleeves continued to be worn, although they were increasingly more fitted with wide, turned-back cuffs. Meanwhile, in Italy, the low V-neck and scoop-neck of the early decades gave way to a neckline that was worn high in front with a lower V-neck at the back, often worn with a sleeveless tabard, or giornea. This evolution would lead towards a series of new fashions in the final decades of the century, including the first appearance of puffed and slashed sleeves that would last for two centuries.

Meanwhile, accessories assumed a new level of importance, particularly headwear. The old 14th century rolled chaperone evolved from a rolled-up hood into a unique, padded hat, hoods and turbans assumed new forms, and men's hats took on a variety of shapes, including some oddly familiar to modern eyes (one example looking much like the offspring of a derby and a ten-gallon hat!). But for the lady of means, the height of distinction was in multitude of headdresses that came in and out of fashion during the 1400s, many of which can only be best described as a Gothic arch on your head!

Throughout the High Middle Ages, Europeans had been looking for more effective trade routes into Asia. Ironically, the same Mongol invasions that had destabilized much of Eastern Europe in the 13th century also united great swathes of Asia under a single rule, allowing Europeans merchants, mostly Italians, to more easily travel into the Far East. The most famous voyager was of course Marco Polo, who traveled throughout the Asia from 1271 to 1295, and became a guest at the court of Kublai Khan. His journey recorded a Travels was read throughout Europe. Yet Polo's voyage had little immediate effect, for the collapse of the Mongol Empire, the devastation of the Black Death and the rise of the aggressive Ottoman Empire effectively destroyed any chance at Europeans increasing overland exploration or trade.

But Marco Polo was not forgotten, and entered a new period of fame in the 15th century Niccolo da Conti published an account of his travels to India and Southeast Asia in 1439. There was again an interest in new trade routes East, and this interest came none too soon, for with the fall of Constantinope in 1453, the old routes were now firmly under Ottoman control, and barred to Europeans. Fortunately, at the same time that a way around the Muslim lands of Asia Minor and North Africa were becoming viewed as crucial to European businessmen, the people of the Iberian peninsula had already begun developing the key to unlock the road East. This was the invention of new ships, the carrack and the caravel, "round ships" developed and influenced by North African models and better suited to open ocean voyage. At the same time, Humanist authors continued to rediscover classical accounts of geography and exploration, and became convinced that there was a way around Africa.

The 15th century saw the first swell of expeditions that would launch the "Age of Exploration", and it was the Portuguese who led the way. The first of these voyages was launched by the Prince Henry the Navigator (1394 - 1460). Sailing out into the open Atlantic, Henry discovered first the Madeira Islands in 1419 and the Azores in 1427, and quickly established colonies on both. From here he turned to West Africa, seeking a way to bypass the trans-Saharan trade routes in the hope of finding gold, slaves and the fabled Christian kingdom of Prester John. By the 1440s the Portuguese had pushed south of the desert and into the interior, and although they did not find Prester John, they found a vigorous trade in gold and slaves. But the crucial breakthrough came in 1487, when Bartolomeu Dias rounded the Cape of Good Hope and proved that access to the Indian Ocean was possible. Eleven years later, Vasco da Gama (1460 - 1524) successfully reached India.

The Spanish kingdoms had been slower to respond and now anxiously needed their own check on Portuguese domination of the African entire. With the union of Castille and Aragon, the newly united Spain suddenly had the resources to launch an expedition of its own, with the hope that a Genoese sailor was right that the African route to India could be by-passed entirely by sailing straight west across the Pacific Ocean. When Christopher Columbus (1451 - 1506) returned with claims of having reached "the Indies" it was unclear precisely where he had been and what he had found, but it was clear that he had been somewhere.

At the dawn of the 16th century, while the old maritime powers of Genoa and Venice continued to war with the Ottomans for control of the eastern Mediterranean, the Italian city-states braced themselves for foreign invasion, and the glory of the Burgundian court became the memory of the previous generation, a New World loomed and the balance of European power began to shift to the children of Iberia.

2007-09-13T11:25:00.000-05:00

2007-09-12T17:24:00.000-05:00

2007-09-12T13:45:00.000-05:00

CAPTAIN BEEFHEART - Hot Head (1980)

2007-09-12T13:42:00.000-05:00

Super Freego - Rock II

rare live performance from France's TV5 back in 1982.

2007-09-12T13:35:00.001-05:00

Gregorius: NMKY (Finnish YMCA cover)

R.I.P Lydia Tomkiw

2007-09-12T13:00:00.000-05:00

2007-09-12T12:34:00.000-05:00

"New processes are bound to be discovered. We are truly journeying into unknown territory."

Dr Cox dismissed worries that by adventuring into the unknown could even destroy the planet.

2007-07-19T00:55:00.000-05:00

2007-07-18T14:36:00.000-05:00

longjaw mudsnapper Rainbow fin Albacore slitherskin mackerel bristle whisker catfish

2007-06-30T20:48:00.000-05:00

Build it as a monument to that spirit which is yours - and could have been mine.

we’re alone here. Why don't you tell me what you think of me in any words you wish.
I exact no promises and impose no obligations. Incidentally, since it is of no importance to you, I love you.
I believe you.
I'm fighting you and shall fight you in every way I can.

2007-06-29T03:18:00.000-05:00

someday the sun will fall down.
and the waters will rise.
and the walls will fall down.
the hands that built them will at the cost of making love.
we shine the times and hide the trough.
we'll find a way to make it run.
we'll light a flame that says we are.
everyone you want doesn't want you back.
at the cost of making love.

MST3K - Space Mutiny

2007-06-27T02:52:00.001-05:00

2007-06-26T17:06:00.000-05:00

I'm not going to lie, your not escaping my mind, my thoughts of you are haunting me at my work and home, next to this pinata. I wanna
talk to you and kiss you like i would kiss a child alone stranded on a beach or a very large supermarket like Adams grocery, or Cosco.
i sit alone and stare from the other side of the room. im not going to lie your not escaping my mind. inside your work. your flirtation
and seduction doesn't foreshadow. i think your good. i think im good too and i need to talk. i need to kiss your face. Being In love like this
if it is love this feeling can't escape my mind im going to talk to you and kiss your face off. Its sort of a king thing. I'm not going to lie.

Casiotone for the Painfully Alone,

2007-06-07T03:32:00.001-05:00

Bat For Lashes - Whats a Girl To Do

2007-06-07T03:19:00.001-05:00

Bat For Lashes videocast

2007-06-07T03:18:00.001-05:00

2007-05-27T23:11:00.000-05:00

I am myself present I have arrived safe and I would like you would see what you could do for me I have done all circomstances would alow me which you now try what you con do answer this letter as soon as posabel direct your letter to larson-toich anders the post office That is my name no more at presant
the locals perceive me as the betrayer of lawn fertilizer and weed care.

Every one lookes on me like aA black snake send me an answer me as soon posable.

(initials unreadable)

Telegram for BHJ

Confidential and urgent

see by Woodstock papers of today received a letter from you of the times 3000 dollar column

A similar communication probably from the same pen was received by yours truly

a few days since, it contains a tissue of falsehoods & makes various threats I think it inadvisable that publicity should be given to such a production & should recommend that the production crew of the movie film should be advise not to publish that abomination.

(initials unreadable)

2007-05-26T16:30:00.001-05:00

2007-05-17T22:56:00.000-05:00

2007-05-17T21:16:00.000-05:00

Miracle and morality

Morality: "a play enforcing a moral truth or lesson by means of the speech and action of characters which are personified abstractions
-- figures representing vices and virtues, qualities of the human mind, or abstract conceptions in general"

These two names are used to designate the religious drama which developed among Christian nations at the end of the Middle Ages.
It should be noted that the word "mystery" has often been applied to all Christian dramas prior to the sixteenth century,
whereas it should be confined to those of the fifteenth century, which represent the great dramatic effort anterior to the Renaissance.
Before this period dramatic pieces were called "plays" or "miracles".
The embryonic representations, at first given in the interior of the churches, have been designated as liturgical dramas.

LITURGICAL DRAMA

The origin of the medieval drama was in religion.
It is true that the Church forbade the faithful during the early centuries to attend the licentious representations of decadent paganism.
But once this immoral theatre had disappeared, the Church allowed and itself contributed to the gradual development of a new drama,
which was not only moral, but also edifying and pious. On certain solemn feasts, such as Easter and Christmas the Office was interrupted,
and the priests represented, in the presence of those assisting, the religious event which was being celebrated. At first the text of this liturgical drama was very brief,
and was taken solely from the Gospel or the Office of the day. It was in prose and in Latin. But by degrees versification crept in.
The earliest of such dramatic "tropes" (q.v.) of the Easter service are from England and date from the tenth century.
Soon verse pervaded the entire drama, prose became the exception, and the vernacular appeared beside Latin.
Thus, in the French drama of the "Wise Virgins" (first half of the twelfth century), which does little more than depict the Gospel parable of the wise and foolish virgins,
the chorus employs Latin while Christ and the virgins use both Latin and French, and the angel speaks only in French.
When the vernacular had completely supplanted the Latin, and individual inventiveness had at the same time asserted itself,
the drama left the precincts of the Church and ceased to be liturgical without, however, losing its religious character.
This evolution seems to have been accomplished in the twelfth century. With the appearance of the vernacular a development of the drama along national lines became possible.
Let us first trace this development in France.

The earliest English Morality of which we hear is a play of the "Lord's Prayer" of the latter half of the fourteenth century "in which all manner of vices and sins were held up to scorn
and the virtues held up to praise". This play is lost, but it must have been much thought of, for a Guild was formed in York (where it was played) with the special object of maintaining it.
Also lost is another early and highly interesting Morality of the "Creed". The earliest complete Moral play extant,
leaving out the still earlier fragment of the "Pride of Life" (ed. Waterhouse, see below), is the "Castell of Perseverance",
3650 lines long, and written perhaps in the early fifteenth century. This "traces (to quote Mr. Pollard's skillful summary) the spiritual history of Humanum Genus
[Mankind or the typical man] from the day of his birth to his appearance at the Judgment Seat of God, personifying the foes by whom his pathway is beset,
the Guardian Angel by whose help he resists them, and the ordinances of Confession and Penance by which he is strengthened in his conflict". Dramatic power is shown in this Morality;
the plot forms a unity, and is developed in logical sequence. It must have been a thrilling moment for the audience when Humanum Genus after hearing the persuasive arguments of his Good and his Bad Angels, hesitates which to follow:

"Whom to folowe, wetyn I ne may;
I stonde in stodye, and gynne to rave;
I wolde be ryche in gret aray,
And fayn I wolde my sowle save
As wynde in water I wave.
Thou (to Bad Angel) woldyst to the world I me toke;
And he wold that I it forsoke.
Now so God me helpe, and the holy boke
I not (know not) wyche I may have."

The end of the fifteenth century a new kind of Morality play appeared.
In the earlier Moralities of which we have been speaking, time was not an object,
nor was there need to limit the number of actors, but little by little,
as performances began to take place indoors, in the hall of a king or a noble,
and as they passed into the hands of professional actors,
compression began to be necessary both in time and in the number of personages introduced.
The aim of the play, also, became gradually more secular. The result was a modified and shortened Morality known as an Interlude.

Act and miracle

14Th century, york, England

"Abraham and Isaac"

the four great cycles still extant and known as the Towneley
Coventry plays
Woodkirk, near Wakefield

the decline of morality play
The Reformation

The usual term for the religious movement which made its appearance in Western Europe in the sixteenth century,
and which, while ostensibly aiming at an internal renewal of the Church, really led to a great revolt against it,
and an abandonment of the principal Christian beliefs.

Nicholas Barber, a young monk who has forsaken his calling and joined an itinerant troupe of players that gets caught up in the real-life drama

Basic Outline:

The narrator Is watching the player troupe perform. He is an older man but one of the players is actually himself as a younger person.
He doesn't recognize this because all the players are in disguise wearing costumes, and masks. The audience does not see much of the narrator
and his surroundings: They come to know the narrator only through the tone of his narration. Because the narrative is made up largely of blocks
of dialogue exchanged, there is not a great deal of characterizing interaction. in the later narrative , the narrator provides more action
more setting, and more interaction. The narrator plays with the borderline between waking and sleeping. He does not know which state he is in
until he realizes that that he is in fact watching himself perform as a younger man. He reveals himself to be socially inept - easily surprised, easily terrified,
easily confused. Experiencing a medieval reality as a modern thinker and living in a modern reality. The audience has a sense of a world beyond the action itself
a medieval crowd sits nearby watching the player troupe occasionally booing and hissing like it is a pantomime.
There is a strange silence in between the narrator's lines, as if things are happening in the his imagination, which he believes at first. He is always alone but is visited
occasionally by hope. The audience should be constantly aware of his personality, his out-look, his state of mind, from beginning to end. There is a sense of personifications when
the player troupe appears, they seem obviously as figments of the narrator's imagination, that they fade away as fictional characters.
The narrator speaks as if he will see himself again as a young man but cannot because of his own weakness. this concludes on a note of happiness and virtue
implicitly promises that all will come right in the end. Instead the narrator hears that two days later he is dead foreseeing his own destiny. Which ever path he
is lead, whether its as a member of the troupe of players , or in the real-life drama that is his own life.
He learns that the painful truth is that he will not learn the truth. His fate is a never-ending repetition of his error at the end. He refuses to become involved in the real moral
questions. caught fast in a social and a logical trap which will never set him free.

2007-05-17T15:42:00.000-05:00

Psalm 45
Psalm 42
Bird Song
The Parade of the Mustard Seed

this music is recorded through a dodo feather liberally doused in infants blood and suspended approx. 200 feet above sea level. future projects will hopefully include guest freestyling from arthur conan doyle and raffles, the gentleman thief.

Rudy! The Man and His Dream

2007-05-14T22:54:00.001-05:00

Rudy Giuliani at CPAC

2007-05-14T22:43:00.001-05:00

2007-05-13T21:20:00.000-05:00

I pray you all give your audience,

And here this matter with reverence,

By figure a moral play-

The Summoning of Everyman called it is,

That of our lives and ending shows

How transitory we be all day.

This matter is wonderous precious,

But the intent of it is more gracious,

And sweet to bear away.

The story saith,-Man, in the beginning,

Look well, and take good heed to the ending,

Be you never so gay!

Ye think sin in the beginning full sweet,

Which in the end causeth thy soul to weep,

When the body lieth in clay.

Here shall you see how Fellowship and Jollity,

Both Strength, Pleasure, and Beauty,

Will fade from thee as flower in May.

For ye shall here, how our heavenly king

Calleth Everyman to a general reckoning:

2007-05-10T20:00:00.000-05:00

2007-05-10T19:55:00.000-05:00

THE Lord God looks down on Everyman from on high. He sees that Everyman in his seeking for riches and pleasure has forgotten God and He is much displeased. He calls His messenger, Death, and bids him take to Everyman the message that he must go on a long journey; that he must prepare to make his accounting before the Almighty God.

Everyman is loath to leave this earth. He pleads that that he is not ready and offers Death a thousand pounds if Death will reprieve him. Death refuses saying that all the riches in the world might be his if he were open to such bribes. Everyman next inquires if he will be allowed to return after he has rendered his account to Almighty God. Death assures him that from the place to which he is going there is no returning. At last, however, Death consents that Everyman may try to find someone to bear him company on the journey.

Everyman first approaches Fellowship who inquires the cause of his sadness. Fellowship protests that he will do anything for Everyman even to avenging a wrong done him at the risk of his own life. When, however, Everyman invites Fellowship to join him in the journey of Death, Fellowship promptly declines and hastens away.

Everyman next bethinks himself of his kinsmen. Some one of them he reasons will make the journey with him, for blood is thicker than water. When the kinsmen find, however, that it is for the journey from which there is no returning that Everyman desires companionship, they beg to be excused. Everyman approaches his Worldly Goods with no better fortune. They assure him that they could only bring him straightway to Hell.

At last he recalls his Good Deeds. She is so weak and helpless by means of Everyman's neglect that she cannot stand. Only after Everyman is taken to Confession and does penance for his sins does Good Deeds get strength enough to accompany him. Good Deeds and Knowledge advise him to take with him on the journey Discretion, Strength, and Beauty, and, as counselors, his Five Senses. Everyman receives the Last Sacrament and sets out on his journey with these companions. But when he actually reaches the grave, Beauty makes haste to depart and is promptly followed by Strength. At last only Knowledge and Good Deeds remain by his side. Good Deeds accompanies him to the Heavenly realm to plead his cause before his Maker, and Knowledge, remaining behind, hears the joyful songs of the angels.

2007-05-09T22:26:00.000-05:00

Officials
Police/Government/
Doctors&Coroners:

2007-05-09T22:19:00.000-05:00

Suspects:

2007-05-09T22:13:00.000-05:00

Canonical/ other alleged victims:

The Troubles of the day

2007-05-09T20:37:00.000-05:00

"I Pray you give your ears and eyes.
See Eden lost by Satan's lies..."

"I God, great in majesty
In whom no first or last can be
But ever was and aye shall be
Heaven and earth is made through me
At my bidding now be light..."

"Now man we make to our likeness
With breath and body him to bless
Over all beasts great and less
For to hold sway..."

"Ghostly paradise I was in
But thence I fell through my sin.
Earthly paradise by God's gift
Man and Woman dwell within.
I have tried all in vain
By my wiles to bring them pain..."

"If the world belonged to thee
Lord of all things wouldst thou be
Lord of life..."
"If the world belonged to me
Women all would ready be to harken to the Devil."

"Turning into the light I was dazzled and for some moments I could see nothing and the laughter sounded in my ears..."

2007-05-04T13:36:00.000-05:00

How a Man Shall be Armed at His Ease when He Shall Fight on Foot

The day that the appellant and defendant shall fight what they shall have with them in the field:

A tent must be put in the field.
Also a chair
Also a basin
Also vi loaves of bread
Also ii gallons of wine.
Also a mess of meaty flesh or fish
Also a board and a pair of trestles to set his meat and drink on.
And a board cloth
Also a knife for cutting his meat.
And a cup to drink of
Also a glass with a drink made
Also a dozen tresses of arming points.
Also a hammer and a nails and a bicorn
Also a dozen small nails
Also a spear a long sword, short sword and a dagger.
Also a kerchief to the visor of his bascinet.
Also a penant to bear in his hand of his avowed [patron saint].

2007-05-04T08:19:00.000-05:00

BARACK OBAMBA BA BA ABABA BA BA AB BA
MIGHT AS WELL HAVE EL SCHMOOCHIE UP THERE, MCLAWW MCLAWWW

"I don't oppose all wars. What I am opposed to is a dumb war. What I am opposed to is a rash war."

eL SCHMOOCHIE TRANSLATES: "MCcLAW MCLAWW. McCLAWW MCLAW MAHCLAW MCLAWHHSS mew mew."

"An ass, having put on the lion's skin, roamed about in the forest, and amused himself by frightening all the foolish animals he met with his wanderings."

2007-05-01T16:45:00.000-05:00

Artist of the month of May (O.M.O project)

Artist featured this month:
Peter Paul Rubens

(June 28, 1577 - May 30, 1640)

A diplomat best remembered as the most popular and prolific Flemish and European painter of the 17th Century. He was the proponent of an exuberant Baroque style which emphasized movement, color, and sensuality.

As many of his paintings feature full-figured, voluptuous women, the word "Rubenesque" (meaning plump or fleshy, yet not "fat," and used exclusively to describe women) is derived from his last name.

Still, his art was much more diverse than this. He painted numerous portraits and self-portraits, religious paintings, as well as landscapes and historical pieces. He designed tapestries and houses.

("Rubens and Isabella Brant in the Honeysuckle Bower", 1609-10. Alte Pinakothek, Munich.)

(Rubens, his wife Helena Fourment, and their son Peter Paul
c. 1639)

(Peter Paul Rubens,
St. Catherine, ca. 1620–21 etching)

("Two Satyrs"
1618-19)

2007-05-01T09:42:00.000-05:00

" it pays to wear the santa suit in summer."

2007-05-01T09:36:00.000-05:00

NYC section - Future Primitive - 1985

2007-05-01T09:28:00.001-05:00

2007-04-30T01:19:00.000-05:00

" Every one lookes on me like aA black snake send me an answer me as soon posable"

2007-04-30T01:07:00.000-05:00

2007-04-27T07:03:00.001-05:00

♥ DECEMBER = SEXY
Loyal and generous. Patriotic. Competitive
in everything. Active in games and interactions.
Impatient and hasty. Ambitious. Influential in
organizations. Fun to be with. Easy to talk to,
though hard to understand. Thinks far with vision,
yet complicated to know. Easily influenced by
kindness. Polite and soft-spoken. Having lots of
ideas. Sensitive. Active mind. Hesitating, tends to
delay. Choosy and always wants the best. repost this in 5 mins & you will find true love at 11:00 a.m

2007-04-24T00:36:00.001-05:00

elevators with green's and blue's

This time it was fast, met me at the Elevator all dressed in green's and blue's there he is hand shake do you remember me? of course how could i forget people rushing around i said i like to watch people hard at work but not this kind of work. scotch on the rocks make that a double next thing i know I'm in the recovery room this girl is a looker she wears the same green's but skips the blue's what was that mark on her neck my mother asks i didn't noticed only noticed her eyes and hands writing in a chart text book thick, goes to show I'm an important person with two teams of 10 and more each. im going to the "PICU" the other green and blue says he will be surprised to wake up surrounded by kids, but the greens and blues are nice there, at least nicer then most places, i tell her can't be as nice as you she giggles and touches my arm your sweet she says, we roll, clearance holds doors, i ask are we taking the Elevator, she says no the stairs.

Artist of the Month

2007-04-23T23:47:00.000-05:00

Each month i will pick an artist, Old Master's Only. part of the
"O.M.O Project" to learn and protect the history of art.

The Artist featured this month:
John Singleton Copley

(circa July 3, 1738 – September 9. 1815)
a Boston-born American artist of the colonial period, famous for his portraits of important figures in colonial New England, particularly men and women of the middle class. His portraits were innovative in that they tended to portray their subjects with artifacts that were indicative of their lives.

John Singleton Copley was the son of an Irish immigrant named Richard Copley and his wife Mary Singleton Copley. His parents owned and ran a tobacco shop in Boston. By 1748, Richard Copley had died, though the exact date of this is also unknown, but on May 22, 1748, Mary Copley married Peter Pelham, an engraver and teacher, and moved with her son to a quieter and more respectable part of Boston. John Singleton Copley was only about 13 years old in 1751 when his stepfather, Peter Pelham, died.

In 1774, Copley migrated to England to continue painting there. He moved on to Paris, Genoa before returning to London nine months later.
and Rome

He began to specialize in historical narrative scenes which are sometimes dismissed by critics as lacking the vibrancy of his earlier portraits and joined the influential artistic institution, The Royal Academy of Art. Copley demonstrated a genius, in both his American and British periods, for rendering surface textures and capturing emotional immediacy. He died in London in 1815.

The Boy with the Squirrel (1765)

Samuel Adams (1772)

Paul Revere (1770)

Mr. and Mrs. Thomas Mifflin (Sarah Morris) (1773)

Nicholas Boylston (1767)

Mrs John Winthrop (1773)

Watson and the Shark (1778)

Portrait of the Copley family (1776)

2007-04-23T21:37:00.000-05:00

A style of rock music that emerged in the late 1980's. It is characterized by complex, atypical rhythmic structures, stop/start dynamics and angular, dissonant riffs.

Whereas most rock music uses a basic 4/4 beat (however accented or syncopated),
math rock frequently uses odd-time meters such as 7/8, 11/8, or 13/8, or features constantly changing meters based on various groupings of 2 and 3. This rhythmic complexity, seen as "mathematical" in character by many listeners and critics, is what gives the genre its name. Musically, math rock derives from other rock genres, including rock, heavy metal, progressive rock, and punk rock

. Math rock often sounds familiar but somehow "off." It fits into those genres but is never a classic example.

While music that changes time signatures from section to section (as well as within sections) is by no means a new innovation (dating as far back as the late 15th century), math rock is the conscious application of this principle within the rock idiom.

Musicians who purposely turn to mathematics to find new creativity in their music are also classified math rockers. They manipulate, twist and syncopate to confuse, to delay, to create something that is a twist on rock, punk, or pop. Some math rock artists and fans refer condescendingly to rock bands who do not use complex meters as merely "4/4 bands."

Lyrics are generally not the focus of math rock; the voice is treated as just another sound in the mix. Often, lyrics are not overdubbed, and are positioned low in the mix, as in the recording style of Steve Albini. Many math rock groups are entirely instrumental such as the British group 65daysofstatic.

The term math rock has often been passed off as joke that has developed into what some believe is a musical style. An advocate of this is Matt Sweeney, singer with Chavez, who themselves were often linked to the math rock scene.

"It was invented by a friend of ours as a derogatory term for a band me and James (Lo) played in called Wider. But his whole joke is that he'd watch the song and not react at all, and then take out his calculator to figure out how good the song was. So he'd call it math rock, and it was a total diss, as it should be".

typical high school "math rock" geeks

math and music.
Some of you have been in this situation. A stranger at a party asks what you do. You reluctantly admit you're a mathematician, expecting one of the standard responses: "Oh! I hate math!" or "Oh! I was pretty good at math until...."
But instead, after a strained moment they say: "Oh! Do you play an instrument too? Isn't music really mathematical?"
I guess it's like meeting a Martian and asking them if they like Arizona: an attempt to humanize something alien and threatening. You may not have much in common, but at least you can chat about red rocks.
Of course there is something mathematical about music, and lots of mathematicians play music. I rarely think about music in a mathematical way. But I know they have something in common: the transcendent beauty of pure form.
Indeed, in the Middle Ages, music was part of a "quadrivium" of mathematical arts: arithmetic, geometry, music, and astronomy. These were studied after the "trivium" of grammar, rhetoric and logic. This is why mathematicians scorn a result as "trivial" when it's easy to see using straightforward logic. So when a result seems more profound, they should call it "quadrivial".
Try saying it sometime: "Cool! That's quadrivial!" It might catch on.

Real Philosophers vs. the Lovers of Sights and Sounds

2007-04-21T22:37:00.000-05:00

"Yeah, I wish that you had told me you had an appointment with your doctor at 4am because its safe to assume you lept out of my room through the window for some important obligation and not because you're weird."
I live on the ground floor, its easy to do that. no need to climb the sidings, no grip on those anyway, you would just fall and break something.

The blue's enter one after another covering their faces with text book thick charts asking questions when they already know the answers. I remember faces right when entering through the automated revolving doors that could fit 4 even 5 but i let people pass, wanting to be alone do not push on the glass, it will announce your faults and slow down, restart again in all taking 5 seconds of your time. As much time possible to waste before my inevitable fate that awaits. Those greens and blues work hard preparing as i wait and turn looking through a peep hole of glass almost a mirror seeing reflections of gown's and bandages. i can see them, uncovering their faces to say something amusing i wish i could be in their with them, i like being there during preparation's counting, and measuring, analyzing and anticipations. I ask the Blue if i can join them inside past these double doors, i imagine its just like on those television shows, i repeat the names, they laugh, ask me personal questions they know the answers already.

Dr. Jenkins: Have a good nap buddy.

The one blue asked what position he played, like i knew from just looking at him, i threw out some he repeated no to each with a chuckle. I threw out one last he answered yes. these questions i have for them they know the answers but i don't. quickly i feel cold then warm sensations in my left arm, Dr. Kramer just gave me a scotch on the rocks make that a double. i feel better more able to converse with the pretty Blue that works over head. its freezing in this room, must be below zero! im thinking to myself i want to stay awake as long as possible don't take deep breaths at first, don't let your brain receive that much oxygen. They force it on me like a bed ridden man needing to walk you can't save everyone, just save the ones wanting to be saved. if i was a bed ridden old man who's only excuse was im not up to getting out of bed for my physical therapy they would just let me be, considering that this was the last bed i would lay in before i leave this place. No Blue or Green would let that happen, they would get one of those in white over coats they call doctors to come and look at your chart text book thick flipping pages that don't interest them. as they exit they remember to use the hand sanitizer killing 99.9 percent of the most common germs on those pages. that chart passes many hands.

Dr. Jenkins: do you notice anything? i fixed it. great job, yeah? you can call me a life saver yea.

The Bed Ridden Man

"god please take me"
my neighbor separated by a thin curtain with patterns that match the walls repeats this when he's in pain, shouting Help when the Greens, skip the Blues don't respond fast enough. He's only asking them to switch channels on the television mounted on the wall above, Two Televisions next to each other facing in separate directions. I don't turn on the television once the whole time. I'd much rather read my medieval murder mystery then see the world events i like the idea of being out of touch much help with the push button device to my side, i press the little green button i can hear the gears turning and pulling liquids in the machine that makes beeps on occasion, i have to unhook myself when i get out of bed im not the bed ridden type like my neighbor. i take a peek, no wonder hes strapped down like he needs to be ridden. finally gets up to sit on the chair, only for a few moments then tells me to call the Green, which has become my job to press another button two buttons in total that becomes embedded , a routine not the routine i started out to believe in. the routine of going to school and drinking chai tea in the morning's moving up in rank. one thing i thought about most frequently was of particular people, they continued to relieve the nightmare's i was having. not being able to sleep, hearing groans and cries for help all throughout the night like i was in a moblie army surgical hospital. i could imagine thats what it would sound like. all kinds of medical issues. i could be labeled as on of those statistics, head wound, brain surgery, lets get out of this guys head before your sent home. you receive a notice that your going home right in the middle of being in this guys head.
get out of there now. drop your instruments just leave it as it is. let him walk around exposed let all that spinal fluid leak everywhere. people wont mind not one bit. even with half a brain she beats you in scrabble, "im sorry Ms. Walsh, "xerobatchulticism" isn't a word..." pulling the drain out feeling like you were hit by a water hydrin with kids playing, summer time on the streets of hells kitchen you ask the doctor what just hit me? just some spinal fluid leak, no worries. oh thanks for informing me. Okay I'm not worried.
when leaving my dad asked if i want to say good bye to my neighbor who yells out at night. i said sure, goodbye get well soon confused look on his face with no response i make it quick like if someone told you horrible news, not to drag it along in and out with it, my dad repeats his name to me, its okay, he is just know as my neighbor , the bed ridden man.

2007-04-21T19:57:00.000-05:00

funkier (8:51:16 PM): imma take a napp napp

MrryHillny (8:52:52 PM): nappy timeee

MrryHillny (8:53:00 PM): get your ghost busters blanket

MrryHillny (8:53:08 PM): blanky

MrryHillny (8:53:17 PM): and a kitty

MrryHillny (8:53:23 PM): warm milk

MrryHillny (8:54:00 PM): your glow-in-the-dark compass ring

MrryHillny (8:54:35 PM): check under the bed for the boogy man

MrryHillny (8:54:56 PM): have someone tuck you in tight

MrryHillny (8:55:13 PM): read you "The Dream Eater"

MrryHillny (8:55:47 PM): take your retainer out

MrryHillny (8:55:57 PM): and your glasses

MrryHillny (8:56:17 PM): wait!!!! you forgot to brush your teeth!!! and rinse out

MrryHillny (8:56:39 PM): Okay side side side side side...up down up down side side side side spit!

MrryHillny (8:56:59 PM): gargle gargle gargle gargle spit!

MrryHillny (8:57:42 PM): ahhhh nice clean fresh feeling. okay now repeat nap time procedure

Laurel and Hardy in The Tree in a Test Tube

2007-04-21T05:43:00.001-05:00

Laurel and Hardy - Shine On Harvest Moon

2007-04-21T05:22:00.001-05:00

"If I Loved You"

2007-04-21T05:06:00.001-05:00

"Carousel" -1956

2007-04-21T03:14:00.000-05:00

"This comes from dangling from the ceiling–
I'm goitered like a Lombard cat
(or wherever else their throats grow fat)–
it's my belly that's beyond concealing,
it hands beneath my chin like peeling.
My beard points skyward, I seem a bat
upon its back, I've breasts and splat!
On my face the paint's congealing.

Loins concertina'd in my gut,
I drop an arse as counterweight
and move without the help of eyes.

Like a skinned martyr I abut
on air, and, wrinkled, show my fat.
Bow-like, I strain toward the skies.

No wonder then I size
things crookedly; I'm on all fours.
Bent blowpipes send their darts off-course.

Defend my labor's cause,
good Giovanni, from all strictures:
I live in hell and paint its pictures."

Michelangelo Buonarroti

April showers brings May flowers.

2007-04-17T23:11:00.000-05:00

"I hate the way nobody ever looks at the road in old movies."

        "The rower's lunch".
  By Renoir.
  I paint one every year, for years now.
  The hardest is the eyes.

  Sometimes, they change their moods on purpose,
   when I'm not looking.

  -They look happy here.

   -They better be!
  This year, they had  hare with morel
   and waffles with jam for the children.

these ones don't have to worry about that!

         They died long time ago.
  But they'll never be forgotten.
  You know, that girl with the glass,
   maybe she's thinking about someone.

  -Somebody on the picture?
  -No.
  Rather a young man she saw some place else.
  She feels like they're the same, the two of 'em.
  -She prefers to imagine a relationship
with somebody who's away,

   than to create bonds with
   those who are there?

-So that's the one, there, the guy who raises his hand?
      -Yes.
      -Is she in love with him?
      -Yes.
      -The time has come for her to take some real risks.
      -Well yes, she's thinking about it. She's
thinking of a stratagem .
      -Yes, she likes stratagems, doesn't she !
      -Yes.
      She's a bit of a coward.
      That's why I have trouble with her eyes.

2007-04-12T00:40:00.000-05:00

Horse and i
What's a girl to do?

Joel Hodgson Stand Up Special

2007-04-08T18:02:00.001-05:00

Minnesota people rule

Johnny At The Fair

2007-04-08T17:30:00.001-05:00

Posture Pals

2007-04-08T17:16:00.001-05:00

2007-04-08T01:33:00.000-05:00

The question that really needs to be asks is:
"What is a question?".

Love Connection
Love Connection Pt. 2

Military art and Photography Pt. 1

2007-04-07T18:40:00.000-05:00

Colour Sergeant "Willie" McGregor of the Scots Fusilier Guards, photographed in 1856 after the Crimean War, wearing the post-war tunic but with his Crimean beard.

Paul Louis Narcisse Grolleron (1848-1901)

Grolleron preferred in his painting battle scenes, portraits of military men and genre scenes from the army life. Skilled and quick master plying the brush, Grolleron professed this genre of realism in painting, which in the XIX th century replaces photographic news reports from battlefields.

Artists paint portraits for families of fallen soldiers

05, 2006
Kaziah Hancock is a professional artist from Manti, Utah. She now devotes all of her work to painting portraits, for free, of U.S. military personnel killed in the Middle East.

Portrait of a Military Commander
1550-55

Captain Robert Orme
1756

edelweiss aka edel vice

2007-04-07T03:08:00.001-05:00

edee's favorite song

Always with the green lapels!

Marx Brothers Montage

2007-04-07T02:50:00.001-05:00

Lydia the Tattooed Lady

2007-04-07T02:40:00.001-05:00

Groucho Marx - Lydia the Tattooed Lady

2007-04-07T02:39:00.001-05:00

1971 Woody Allen Interview - Part 1/6 (Dick Cavett)

2007-04-07T02:27:00.001-05:00

1971 Woody Allen Interview - Part 2/6 (Dick Cavett)

2007-04-07T02:26:00.005-05:00

1971 Woody Allen Interview - Part 3/6 (Dick Cavett)

2007-04-07T02:26:00.003-05:00

1971 Woody Allen Interview - Part 4/6 (Dick Cavett)

2007-04-07T02:26:00.001-05:00

1971 Woody Allen Interview - Part 5/6 (Dick Cavett)

2007-04-07T02:25:00.003-05:00

1971 Woody Allen Interview - Part 6/6 (Dick Cavett)

2007-04-07T02:25:00.001-05:00

2007-04-04T00:58:00.000-05:00

HOLLY LIKES HER HOBBY!!!

2007-03-31T12:03:00.000-05:00

Camie Davis (b. 1977) received her Bachelor of Fine Arts degree in 2002 from Cornish College of the Arts with a double major in drawing and painting. During that time she also attended the Seattle Realist Academy of Art, studying anatomy and figure drawing under Geoffrey Lawrence. She moved to New York in 2003 to study with Jacob Collins at his Water Street Atelier for three years. While there she also studied with Michael Grimaldi, Tony Ryder, Travis Schlatt, and Dan Thompson. She is currently assistant teaching at the Water Street Atelier.

2007-03-31T11:55:00.000-05:00

2007-03-29T03:25:00.000-05:00

Full moon

is a lunar phases that occurs when the Moon is on the opposite side of the Earth from the Sun, and when the three celestial bodies are aligned as close as possible to straight line. At this time, as seen by viewers on Earth, the hemisphere of the Moon that is facing the Earth (the near side) is fully illuminated by the Sun and appears round. Only during a full moon is the opposite hemisphere of the Moon, which is not visible from Earth (the far side), completely unilluminated.

Animation of the Moon as it cycles through its phases. The apparent wobbling of the Moon is known as libration.

Composite image of the Moon as taken by the Galileo spacecraft on 7 December 1992. The color is 'enhanced' in the sense that the CCD camera is sensitive to near infrared wavelengths of light beyond human vision.

The phases of the Moon have been given the following names, which are listed in sequential order:

Dark Moon - Not visible
New Moon - Not visible, or traditionally, the first visible cresent of the Moon
Waxing Crescent Moon - Right 1-49% visible
First Quarter Moon - Right 50% visible
Waxing gibbous Moon - Right 51-99% visible
Full Moon - Fully visible
Waning gibbous Moon - Left 51-99% visible
Third Quarter Moon - Left 50% visible
Waning Crescent Moon - Left 1-49% visible
New Moon - Not visible

April 2nd :
Egg Moon
Pink Moon
Sprouting Grass Moon
Fish Moon
Seed Moon
Waking Moon

MST3K - The Final Sacrifice

2007-03-27T02:08:00.001-05:00

Zap Muthaf'in' Rowsdower!!!

MST3K short: Spring Fever

2007-03-27T01:25:00.001-05:00

MST3k - Grooming Short

2007-03-27T00:58:00.001-05:00

A History of Texas

2007-03-19T18:53:00.001-05:00

2007-03-19T17:38:00.000-05:00

FRIGGA AND FREYA

Germanic goddesses, traveling around and visiting houses, are chiefly thought of as mothers of the gods from whom the human race learned the affairs and arts of the household as well as of farming: spinning, weaving, sowing and harvesting. These labors bring peace and calm into the land and the memory of this persists in delightful traditions even more firmly than in wars and battles, which most goddesses, like women generally, avoid. But as some goddesses also take kindly to war, so do gods on the other hand favor peace and agriculture; and there arises an interchange of names or offices between the sexes.

Among the goddesses of the Norse religious system, of whom unequivocal traces are forthcoming in the rest of Teutondom, we first encounter Frigga, Odin's wife, and Freya, sister of the god Freyr, a pair easy to confound and often confounded because of the their similar names. The forms and even the meanings of the two names border closely on one another. Freya means the gay, joyful, dear, gracious goddess. Frigga, Wodan's wife, signifies the free, beautiful and amiable one. With the former is connected the general concept of Frau (woman, lady), with the latter that of fri (wife, mistress).

Frigga, as wife of the highest god, has rank before all other goddesses. She knows the destinies of men, is consulted by Odin, administers oaths; she superintends marriages and is entreated by the childless.

In some parts of northern England, in Yorkshire, especially Hallamshire, popular customs show remnants of the worship of Frigga. In the neighborhood of Dent, at certain seasons of the year, especially autumn, the country folk hold a procession and perform old dances, one called the giant's dance: the leading giant they name Woden, and his wife Frigga, the principal action of the play consisting in two swords being swung and clashed together about the neck of a boy without hurting him.

The distinct trace of the goddess in lower Saxony is worth noting where she is called Fru Freke by the people and appears in the roles which we allot to Frau Holle. Then in Westphalia, legend may derive the name of the old convent Freckenhorst, Frickenhorst, from a shepherd Frickio, to whom a light appeared in the night on the spot where the church was to be built; the name really points to a sacred hurst or grove of Frecka fem., or of Fricko masc., whose site Christianity was perhaps eager to appropriate.

A constellation of the heavens, Orion's belt, is called Fraggiar rockr after the highest goddess. But the constellation also means Mariarock, Marirock in Danish because Christians applied the old name to Mary the heavenly mother.

Freya, from whose name comes the sixth day of the week, is after, or alongside Frigga the most honored goddess, indeed her cult seems to have been even more widespread and important. She was married to a man called Odr, not a god, at least not included among the Aesir, but who forsook her and whom she, shedding tears, sought all over the world among alien peoples. Freya's tears were golden, gold is called after them, she herself is gratfagr, beautiful in weeping. In children's tales, pearls and flowers are shed with tears or laughter. But according to the oldest evidence, Freya appears warlike. She drives to the battlefield on a wagon drawn by two cats, just as Thor drives with two goats, and she shares with Odin in the slain. She is called supreme head of all Valkyries. As a consequence it seems a remarkable similarity that in legend from Christian times, besides Wodan, Holda or Berchta also take up unbaptized, dying children into their host, i.e., as pagan goddesses they take the souls of pagans.

Freya in her cat-drawn chariot; N.J.O. Blummer (1852).

Freya's dwelling is called Folkvangr, Folkwang, the fields on which hosts of the (dead?) folk gather. This possibly resembles St. Gertrud, whose minne is drunk for the souls of the departed; with Gertrud the souls of the dead are given hospitality the first night. Freya's hall is called Sessrymir, roomy in seats, taking up hosts of people. Dying women believe they come into her company after death. Thorgerd in Egils saga refuses earthly nourishment; she thinks to feast with Freya soon in the afterlife: "I have not had supper, and I will have none till I am with Freya". Yet love-songs please her too, and lovers do well to call upon her. Because the cat is sacred to her, as the wolf to Wodan, perhaps explains to us why this animal is regarded as the associate of night-hags and witches and is called Donneraas, Wetteraas (thunder carrion). If a bride goes to her wedding in good weather, then it is remarked: "She has fed the cat well," i.e. not offended the animal of the goddess of love.

According to the Edda, Freya owned a precious necklace. How she obtained the jewel from dwarfs, how it was cunningly robbed from her by Loki, is recorded in an original tale. When Freya snorts in rage, the necklace breaks off at her breast. When Thor, to get his hammer back, dresses up in Freya's garments, he does not forget to put on her famous necklace, Brisinga men ["necklace of the Brisings.]

Now this very trinket is evidently known to the Anglo-Saxon poet of Beowulf (line 1199); he names it Brosinga mene ["necklace of the Brosings"], without any allusion to the goddess. I would read "Brîsinga mene," and derive the word in general from a verb which is in MHG brîsen, breis (nodare, nodis constringere, Gr. kentein to pierce), namely, it was a chain strung together of bored links. The jewel is so closely interwoven with the myth of Freya, that from its mention in Anglo-Saxon poetry we may safely infer the familiarity of the Saxon race with the story itself.

2007-03-19T17:24:00.000-05:00

HISTORY
OF THE NORWEGIAN FOREST CAT

by Neil Gardner

The Norwegian Forest Cat is an ancient breed of cat, having changed little from it's origins in Norway. Over numerous centuries, the Norwegian Forest cat has evolved and adapted to survive in the sometimes hostile Scandinavian climate. During the winter it develops a dense undercoat to protect it from the cold, which supplements its long, often flowing, overcoat (called 'Guard hairs') that is course in texture and water repellent to further protect from the elements. It is a strong, muscular, heavily built cat, ideally suited to hunting in the wilderness and became a favourite as a farm cat in Norway (as you travel through Norway today, you will still see many a forest cat patrolling it's farmhouse territory). The NFO is also unique in the cat world since it will often been seen climb down headfirst. It's strength and agility is also well suited to climbing any surface, including a sheer rock face! It's Lynx ear tips, ear tufts, snowshoes (tufts of fur on the underside of the paws) and large size have been know to lead the NFO to be mistaken for a Lynx (although, in reality, it is MUCH smaller).

The NFO can authoritatively be traced back to the 1500s, but it's history is much longer than this. There are many references to large cats in Norse mythology, with descriptions that can only describe the NFO. These myths were developed from the storytelling and songs of great feats that were recounted around the 7th, 8th and 9th centuries). Freya, the Norse god of love, had a chariot that was drawn by two huge grey cats. It is likely that these cats were what we know today as blue, although accounts differ. Some believe that they were white, but this is likely to be a confusion caused by early Norse translations referring to 'large grey cats, covered in frost', this translating to white cats as the myths were passed from mouth to mouth (remember, these accounts were rarely written down, but passed from generation to generation by mouth. Most written accounts would not have appeared until the 15th century or so. In 'Nordiske Mytologi' it is written that when the giant Utgard-Loki challenged Thor, a great grey cat ran up across the floor. Thor put his hand under its belly, but no matter how much he tried, the cat arched its back, and he could do no more than make the cat lift one of its paws off the ground....

By the 20th century however, this magnificent cat was becoming a rarity and at risk of becoming extinct. During the mid 1930s, the Norwegians began to make plans to ensure the future of their national cat, and a few NFOs even appeared at cat shows during this time. Unfortunately, the outbreak of hostilities in Europe, in the form of WWII, put a stop to these activities, and the Norwegian Forest Cat once again became largely forgotten. It was not until the 1970s that the Norwegians once again recognised the risk to one of their national treasures, and once again a move was made to protect the NFO and a special breeding program was instigated. After much hard work in Norway, the Norwegian Forest cat was finally recognised as a distinct pedigree cat in 1977. Since then the breed has gone from strength to strength and is now extremely popular in many countries, particularly Scandinavia, where as many as 200 Norwegian Forest Cats can be seen at a cat show, often making it the largest single breed represented.

Biggles and Baggy

2007-03-19T15:41:00.003-05:00

Norwegian Forest Cat and Bombay Cat

2007-03-19T15:41:00.001-05:00

2007-03-16T14:09:00.000-05:00

Devil got my women
Fare Thee Well Blues
C.C. & O. Blues
C-h-i-c-k-e-n Spells Chicken
Thats No Way To Get Along

Harry Enfield - Women know your limits

2007-03-16T13:52:00.001-05:00

Harry Enfield - "L Is For Labour"

2007-03-16T13:49:00.001-05:00

Harry Enfield: Association Football

2007-03-16T13:48:00.001-05:00