Having to wait (and wait and wait and wait) for something you know is gonna happen is a complete waste of frikkin' time, isn't it Joe...
In the second Democrat debate last year, Former Vice President Joe Biden asked California senator Kamala Harris to "Take it easy on me, kid." She didn't. She even called him a racist - ohmyfuckin'Godyerkiddin'right?
Let's not forget the shiningest moment for Joe that night - At the end of his closing remarks, he asked viewers to, "Go to JOE 30330 and help me in this fight."
It turns out the Democratic front-runner had confused the URL for his campaign website -joebiden.com with the short code used to sign up for his campaign's texts. But even that wasn't quite right. Minutes after the debate, his campaign issued a tweet inviting people to text the word "JOIN" (not JOE) to the number 30330.
Although his gaffs are now legendary, he'll still probably end up getting elected President.
What a fucked up world we live in these days.
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At 110 years old, Louisiana native Lawrence Brooks is
the oldest living veteran of WWII.
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In the first debate last June, Kamala Harris challenged Biden on issues like immigration and school busing.
Harris drew on her childhood growing up in Berkeley, sharing her experience being part of the second class of students who integrated public schools in the Berkeley Unified School District.
She shared the anecdote as part of a critique of Biden touting his work with segregationists in the 1970s and his refusal to support the Department of Education's plan to support school busing to help public schools integrate. "There was a little girl in California who was bussed to school. That little girl was me," Harris said during her critique of Biden.
Biden said that Harris' comments were a "mischaracterization of his positions across the board." "I did not praise racists.
If we want to have this campaign litigated on who supports civil rights or not, I'm happy to do that," he said. "I was a public defender, I didn't become a prosecutor." HUH?
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This picture, from the Imperial War Museum in London shows the Royal Navy battleship HMS Howe. She is passing through the Suez Canal in 1944 on her way to the Pacific Ocean theater of combat, where she served as the flagship of Admiral Sir Bruce Fraser during the Okinawa campaign and the final months of World War II. The felucca in front of her uses a design that probably dates back to the Exodus, if not before . . . an interesting contrast in technologies.
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Love him or hate him,
this is pretty damn funny.
Get one here for a friend or co-worker:
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The story behind what was
a great rock & roll magazine - CREEM
The wonderful new documentary Creem: America’s Only Rock ’n’ Roll Magazine starts with a surprising testimony: Ted Nugent, the 71-year-old rock-star guitarist, recaps the fondly remembered but now defunct publication, saying “The pages were so full of folly. Superfluous, heady, hippie, non-musical folly.” He’s absolutely right — and choosing the term “non-musical” shows he’s got a precise understanding of the difference between an art form and its journalism. But the surprise is that his statement appears at all — let alone up front — because Nugent, a politically conservative rocker, is usually ignored or ridiculed by the partisan mainstream media.
Give credit to writer-director Scott Crawford and the Creem-magazine veterans Jaan Uhelszki (producer, co-writer), Susan Whitall, and others for caring as much about putting the publication’s history on film as they do about getting it right. For most of them, Creem magazine was their life’s work, and as fellow Michiganders, their sensitivity to historical, cultural truth prevents them from canceling Nugent. They know that “The Motor City Madman” (who wailed the rowdy, impolite hits “Cat Scratch Fever” and “Stranglehold”) was as much a part of the unique Midwestern social environment that created Creem magazine as the journal itself was the actual work of publisher Barry Kramer and the band of young upstart Detroiters he gathered round.
Nugent’s attitude keeps the doc’s nostalgia in check, and the other, native Michigan interviewees whom Creem either employed or wrote about (Alice Cooper, Mitch Ryder, Paul Stanley of KISS, Joan Jett, Suzi Quatro, Wayne Kramer, Cameron Crowe), attest to a white, working-class ethos that challenges the smugness of today’s mainstream progressive media. And though that culture comes from the now-discredited roots of American experience, this doc always, sensibly, respects its “folly.”
Creem began publication a year after the more famous Rolling Stone magazine. “It was an ‘F*** you’ to Rolling Stone,” recalls one vet, citing how Jann Wenner named his rag after the Rolling Stones while Barry Kramer chose the British band Cream. Kramer’s obvious, juvenile slang isn’t spelled out, but it was part of what Whitall recalls as the “little kid getting away with things” temperament. Former editor Dave Marsh recollects “You’ve got half-grown children and a few really infantile adults.” This gang produced more than a rock ’n’ roll chronicle, as Rolling Stone claimed to be; it recorded a genuine off-beat, national youth history.
Rising from the turmoil of the late Sixties — not from the snobbish, designer-drug Berkeley–Bay Area like Rolling Stone — Creem expressed the ambitions of working-class, glue-sniffing rebels, children of autoworkers, with crude but authentic wit. “We were professionally young, but we were gifted,” Uhelszki states without bragging.
Another Creem team member gets political: When the reality of racism exploded on the streets of Detroit with the rebellion of August of ’67, a kind of myth exploded with it. There was a cultural crack, and that crack went right down the dinner table. Fathers were angry at their sons because their sons couldn’t justify the war in Vietnam, mothers were angry with their daughters because they wanted to run around without their brassieres. And they all want to go around and see the MC5, Iggy Pop, and all these wild rock ’n’ roll acts.
Then, when Creem moves its office from post-riot Detroit, a staffer admits, “We moved out with the white flight to the boonies.”
Creem: America's Only Rock 'N' Roll Magazine - Official Trailer
But that’s it for the sociology. The doc concentrates on personality details. The nose-thumbing, druggy attitude of writer Lester Bangs (a Southern California outsider who was sentimentalized by Philip Seymour Hoffman in Almost Famous) vied with Dave Marsh’s local, naïve, stormy-petral radicalism. Crawford examines their contrasting, self-made legends and balances that with unavoidable disses (Village Voice veteran Robert Christgau’s jab: “One of Wenner’s worst weaknesses is that he likes to hang out with the stars and therefore there was a lot of bullshit in there”). These observations pertain to the nature of journalism’s contemporary crisis, in which professional arrogance has warped professional responsibility. Personal bias is the new credo.
This egotistical cynicism goes against true rock-’n’-roll liberalism, the politically incorrect free-spiritedness that Nugent expresses but that establishment elites seek to own and control. Crawford glances over Detroit’s alternative press history and the development of counterculture journalism, from John Sinclair’s The Fifth Estate to The South End to The Sun. But there’s a telling contrast between West Coast writer Ann Powers’s pigeon-holing of Creem’s distaff writers (“the women had to be subversive”) and a close view of the classic article “I Dreamed I Was Onstage with KISS in My Maidenform Bra.” Uhelszki, who wrote it, makes a definitive defense: “It was a boys’ magazine; it was meant for teenage boys. Was it offensive? It was the ’70s. There weren’t the same filters there are now. Kill me.”
Creem suspended publication in 1989, but this doc preserves what changed when the counterculture became mainstream culture. Former editor Billy Altman reminisces, “We thought heavily about stuff, but when it came to articulating it, we wanted to sound like a snot-nosed kid.” Punk-magazine publisher John Holmstrom salutes Creem’s influence and idiosyncrasy, saying it was America’s only rock ’n’ roll periodical: “Rolling Stone wanted to be about movies and culture, and especially about” — Holmstrom holds his nose — “politics.”
It’s a perfect dismissal of Rolling Stone, corporate journalism’s decline, and the grasp for cultural power that was latent in the alternative press. Any help we can get to understand today’s conspiratorial media is welcome. This week, that comes from the legacy of Creem magazine.
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I left the lights on at the house last night.
Can you figure out which one it is?
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This is Lyudmila Pavlichenko. Soviet Sniper During World War II.
Credited With 309 Kills, She Is Regarded As
The Most Successful Female Sniper In History.
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These are good sweat socks -
Find 'em for yourself here:
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Looking for a good
soft-sided range bag?
Comes in black or tan - the link is the black one.
This may be perfect for you - take a look:
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A park near my house. The Spanish Moss is so fuckin' cool lookin'...
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Dominican Republic-Haiti border. One country protects its forests, the other cuts them.
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This is Monterosso al Mare - one of the five towns of the area called Cinque Terre in Italy. I've been here - it IS this crazy during the summer.
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The Sun, seen through a UV lens.
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Abandoned Soviet space shuttles in Kazakhstan.
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At $ 149.00 for the 20 volt set,
this is one helluva great deal.
Even Nemo would have to agree.
See it for yourself here:
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And all that being said, I'll leave you with this:
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Want to find something nice
for your wife or girlfriend?
for your wife or girlfriend?
Even better - let them get something nice for themselves...
My wife's jewelry is now available on Etsy. It's really nice stuff and the prices include free shipping to almost anywhere!
See some for yourself here:
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