You Probably Think This Song is About You

Adam Phillips
look up reviews for London Review of Books
and comparisons of his books?
and in the news

-There has been plenty of good poetry after Auschwitz.
Adorno: “To write poetry after Auschwitz is barbaric."

If you've got such a problem with a single author getting disproportionately praised in the press for an effort that, while good, is not unequalled, then why are you reading Jason's site, of all things?
» by Anil on Aug 07, 2002 to kottke.org/02/08/what-dave-eggers-is-up-to

got there via ggl for loretta lux (looking for a new yorker review but ah I guess what there was was a photographic essay) which took me to
The Best Links 2004 (kottke.org) : In lieu of a book or magazine compilation of the best writing of 2004, here are some of the best things I linked to in the past year. The list consists mostly of magazine and newspaper articles with a few other types of media sprinkled in and is more objective than my favorite weblogs of 2004 list.

John Lennon's 11 life-epiphanies (Nwswk-list)
May 1968: While wife Cynthia is away in Greece, John invites Japanese artist Yoko Ono to his suburban London estate. The couple spend the night assembling a sound collage in his studio. They finish at dawn—and have sex for the first time. "I had no doubt," Lennon will later say, "I'd met The One."

Scan me -rwx
the words we speak (and write)
have rhythms that express
our inner states

you bet

JOHNNY CASH
tennessean.com - The multifaceted Man in Black - Saturday, 09/13/03
J.R. Cash born in Kingsland, Ark. on Feb. 26, 1932.
To his parents, and on his birth certificate, he was J.R. Cash.
He graduated HS 1950, moved to Michigan to work in an automobile plant, then joined the Air Force. The military refused to accept ''J.R.'' as a first name, and he became ''John R. Cash.''
During basic training in Texas, he met a high school senior named Vivian Liberto. Upon his 1954 discharge, Mr. Cash moved to Memphis, married Liberto, worked as a door-to-door appliance salesman, enrolled at the Keegan School of Broadcasting and put together an upstart country group to help him become a gospel singer. ''Sun Records was between my house and the broadcasting school,'' Mr. Cash told journalist Peter Guralnick. Sun owner/producer Sam Phillips, a rock 'n' roll pioneer whose records with Elvis Presley were making pop inroads, had no use for a gospel artist. Cash went back to the studio with his Tennessee Two (guitarist Luther Perkins and bass man Marshall Grant) with homesick train song Hey Porter! and Folsom Prison Blues, a song that borrowed liberally from Gordon Jenkins' Crescent City Blues recording (Jenkins successfully sued Mr. Cash, citing similar words and an identical melody, in the late 1960s).
Phillips charged Mr. Cash to write ''an uptempo weeper love song,'' and he filled the order with Cry! Cry! Cry!, which would be paired with Hey Porter! as Mr. Cash's first single, released 1955.
''Musicians scoffed, but Cash and the Tennessee Two possessed the quality that had been lacking in country music since Hank Williams [1923-1953] died -- originality,'' wrote Colin Escott and Martin Hawkins in Good Rockin' Tonight: Sun Records and the Birth of Rock 'n' Roll.
In January 1956, Mr. Cash followed the tradition of Elvis Presley and Hank Williams by joining the Louisiana Hayride radio show. Six months later, he was given a slot on the Grand Ole Opry. Opry star Carl Smith introduced Mr. Cash by calling him ''the brightest rising star in the country music of America.''
That December, Mr. Cash again made headlines when he and Presley were photographed with Jerry Lee Lewis and Carl Perkins during a Sun session. That photograph is said to capture ''The Million Dollar Quartet.''
...
On New Year's Day 1959, Mr. Cash's travels took him to San Quentin prison, where he played a concert for the inmates. Eleven years later, the performer would record a live album at San Quentin, but this initial appearance was notable in that one of the prisoners was future country legend Merle Haggard.

Johnny Cash: An American Original Returns good article.
By Anthony DeCurtis - Reprinted from NewYorkTimes.com - February 24, 2002
Earlier this month saw the release of The Essential Johnny Cash, a superb two-disc collection that also includes eight of the legendary tracks (like I Walk the Line and Big River) Mr. Cash recorded between 1955 and 1958 for the influential Sun label, where Elvis Presley also established his career.
Tuesday marks Mr. Cash's 70th birthday, and to commemorate that event, Columbia/Legacy has begun an extensive reissue campaign that draws on the dozens of albums Mr. Cash recorded for Columbia between 1958 and 1993.
Since he left Columbia in 1993, Mr. Cash has made three albums with the producer Rick Rubin that are regarded as among his finest. They are notable both for their austere sound emphasizing the gravitas of Mr. Cash's incomparable voice — and the boldness of their song selection. On those records, Mr. Cash has performed versions of his own songs, traditional ballads, spirituals and material written by artists as varied as Beck, Glenn Danzig, Neil Diamond and Nick Cave. “When I signed with Rick's label about 10 years ago,” Mr. Cash recalled, “I asked him what he would do with me that nobody else had done. He said, `I would like for you to sit in front of a microphone with your guitar and sing every song you want to record.' I said: `Whoa, that's a tall order. There are lots of songs over the years that I've wanted to do.' He said, `Well, those are the ones that I want to hear.' ” The two men are now collaborating on a fourth album, which they plan to release later this year. “The songs are coming from every direction,” Mr. Cash said of his forthcoming album. “I've written two or three new ones, and I recorded a Sting song called I Hung My Head. I've recorded a Marty Robbins song called Big Iron. I'm recording The First Time Ever I Saw Your Face, that Roberta Flack song. And I'm recording Hurt by Nine Inch Nails.” One of the more ominous characters on the contemporary music scene, Trent Reznor of Nine Inch Nails can be seen as one of Mr. Cash's many unruly progeny. That notion brings Mr. Cash delight. “When I heard that song, I thought, `That sounds like something I could have written in the 60's,' ” he said of Hurt. “There's more heart, soul and pain in that song than any I've heard in a long time.”
What have I become, my sweetest friend? Everyone I know - goes away - in the end
If I could start again a million miles away I would keep myself I would find a way
so there you go. (my reason.)

Freakwater Dancing Under Water -Rereleased in 1997, Freakwater's 1991 full-length debut shows a band that's enthralled by country's dark, dismal, and austere acoustic tradition, but one that's bold enough to forge a new dirt path.

thinking of I Still Miss Someone -writ by Johnny Cash- to You're Still On My Mind -George Jones (but writ by Luke McDaniels~) here covered by Freakwater. and George Jones also did? Just One More:

Put the bottle on the table Let it stay there til I'm not able to see her face in every place that I go
I've been sitting here so long Just remembering that you are gone
Well one more drink of wine, then if you're still on my mind
One drink, just one more, and then another

Long Black Veil by Lefty Frizzell (1959)
- - - - Long Black Veil by Joan Baez (1963)
- - - - Long Black Veil by The Kingston Trio (1963)
- - - - Long Black Veil by Faron Young (1964)
- - - - Long Black Veil by Roy Drusky (May 1964)
- - - - Long Black Veil by Bobby Bare (September 1964)
- - - - Long Black Veil by Johnny Cash (February 1965)
- - - - Long Black Veil by The Band (1968)
- - - - Long Black Veil by New Riders of the Purple Sage (1972)
- - - - Long Black Veil by Marianne Faithfull (1984)
- - - - Long Black Veil by Nick Cave & The Bad Seeds (August 8, 1986)
- - - - Long Black Veil by The Seldom Scene (1990)
- - - - Long Black Veil by Jerry Garcia, David Grisman, Tony Rice (April 25, 2000)

Original music by Marijohn Wilkin Original lyrics by Danny Dill

Cover Hierarchy at Second Hand Songs (click any of these links) - nicely done site.

Maybe the only way to play Cash adequately is to be, on the surface, all wrong for the part. Phoenix, with his narrow shoulders and lithe build, is the wrong body type to play Cash -- even the young Cash. And he bravely sings Cash's songs himself, in a voice that gamely struts the territory and yet has one crucial, unforgivable drawback: It just isn't Cash's.
But this is a remarkable performance, not because Phoenix pulls off, or even attempts, an approximation of Cash but because he manages to embody the spirit of Cash. ...
Witherspoon has taken far too many roles that allow her to coast on her tart cuteness ; this is the first one she's had in years that seems to have genuinely challenged her. Witherspoon's Carter meets Phoenix's Cash in an impressionistic middle ground that has some resemblance to reality, without feeling like a desperate attempt to re-create it.

Johnny Cash rose out of the genre to become something more than a country singer - a genuine American icon. With a voice like a rumbling volcano, Cash found success with early hits such as I Walk The Line and Ring Of Fire. He toured with Elvis at the birth of rock and roll, hobnobbed with Dylan in the 60s and spent a few years in the commercial wilderness in the 70s before his rebirth in the '90s with his Rick Rubin produced set of albums. Even up until his death in 2003, aged 71, Johnny Cash remained an icon of individualism and rebellious artistic spirit, sticking it to the man like no other artist in history. tiscali.co.uk-johnnycashbio

John's first wife Vivien (Ginnifer Goodwin) — “a wonderful lady” who “went through a lot of hell with him,” in the recollection of Cash's buddy George Jones — is reduced to a small-minded sort with selfish middle-class dreams. Vivien and John's daughter Kathy Cash told AP this week: “That's not true. She loved his career and was proud of him until he started taking drugs and stopped coming home.” The screenwriters probably didn't mean to demean her; they just needed to show a failed marriage before the perfect one comes along. The rules of movie romance forbid a hero from having two true loves. But the subsidiary conventions finally don't matter. This is a solo dirge that becomes a love-song duet. And as such it's as down-home and true as the image of John and June singing their hearts out for their fans and themselves — a destiny to which she was born, and he was fated. TIME.com: A Phoenix in the Ring of Fire

I keep a close watch on this heart of mine... I walk the line.

I hear the train acomin it's rollin round the bend
and I ain't seen the sun shine since I don't know when
I'm stuck in Folsom Prison and time keeps draggin on

http://johnnycash.com/
http://www.walkthelinethemovie.com/

books to get...

Pacific Comics Club Presents
Krazy and Ignatz Daily Strips 1/1/1921 - 12/31/1921
Krazy & Ignatz 1922 Volume 2
we special ordered these for a customer as isbn 999014219x and 9990142203 from PACICC - received exactly 2 wks from date of s.o. cost 19.95 (selling for 24.95) shall I s.o. for me? very nice: square, satisfying heft. the first one is yellowish with purple and grey circle-pictures of krazycat and ignatzmouse. the second is black with 6 panels of yellow moon over yellow field against which cat walks, -pow-, mouse laughs, and officer pup comes after him...

and when I next make purchase from semcoop: T.S.Eliot The Voice of the Poet. 19.95, 0739315358.

on why GglBse is a really big deal- this is a post on the site *michael parekh on IT* . seems difficult to navigate. so much on the page? and the 'permalink' for each post is only at the bottom of it; the title is not linked. so, for ease, see also: 8/7 on tagging, 10/25 on pc mag's review of web 2.0 tagging services, 10/28 on promoting web 2.0 services, 10/30 on web 2.0 service that thrill.
meanwhile: Google Base provides some structure to the basic Google Search. Not too much like a traditional directory, but just enough for the item to be discoverable by the same basic "type it in a search box and go" approach that most of us are already addicted to. And the directory doesn't look like a directory...you don't get to it in a hierarchichal fashion, but directly via the search box. The directory innards are hidden in what is now being called a "database" and a "classifieds" engine.
//Here's Google's own description of what it is by the way: ...a place where you can easily submit all types of online and offline content that we'll host and make searchable online.
-What kind of information can I submit?
Remember, our goal is to organize the world's information and make it universally useful and accessible, and "the world's information" certainly includes almost anything you might wish to contribute. We encourage you to submit your item, whether it's your store inventory, collection of original poetry, or research paper on cancer receptors. //

+11/22 Exploring GglBse's info-architecture (blog via Willison) : how deeply Google has embraced standard information architecture concepts and trends. We have categories, facets, tags. doesn't like that ggle's tags ("labels") are not social. It is in keeping with the Google way to dream up a generic global classified (& other content) service. And also to think that it does not need a local / social component.

also 11/22, and related: eBay implements simple search expansion-by-contraction (37S-vshort via Willison) : eBay does a nice job helping you compare similar searches with different numbers of words. This sort of reminds me of 37betterGoogle.

ah ha: It really is too bad that the recaplets go to internet heaven when the full recap goes up because the last couple of recaplets are pure art.
this was a google whack = the only result for: television.without.pity recaplets.go recap

Weep a tear forTelevision without Pity - medialifemagazine 2002.

Founded in 1999 and originally called Mighty Big TV, TWoP carries the tagline: "Spare the snark, spoil the networks." oh I just got my mind around this by actually thinking the original and understanding that the syntax = 'IF you spare the rod, you spoil the child."
It is unique among fan sites in that it manages to be both obsessively devoted to and unfailingly sarcastic towards the shows it follows. right.
For the mildly addicted, there’s a “recaplet” of each episode posted a day or two after it airs. For the hard-core fans, there are nine- and 10-page recaps that often recount dialogue verbatim. but does the recaplet go Away? And the mighty popular message boards make for fun reading, too.
Incidentally, TWoP is one of the few sites that epitomizes the oft-invoked but seldom achieved ideal of community that was going to make the web so different from other media not that long ago.

recaplet of gilmore 6.9 The Prodigcal Daughter Returns
(at TWoP do the recaplets remain accessible after the full recap goes up? seems not )
http://www.televisionwithoutpity.com/story.cgi?show=25&story=8528
oh this is by Wing Chun, maybe thinks more like me than Al Lowe:
Now, even though Rory has sent out (by her own estimation) 125,000 résumés for journalism jobs, she decides the best course of action is to start harassing the one guy who was nice to her and doesn't have work, stalking him at the office and making me cringe and writhe at how inappropriate and awful she's being. yes
To my absolute horror -- and in a terrible blow to reality -- Rory's stunningly unprofessional behaviour is rewarded with a job at the paper. She calls Lorelai from her car to give her all the good news -- that she's also going back to Yale, magically, now that the term is almost over, in a highly unlikely negotiation wisely kept offscreen --.
------------------
I liked: Sookie said "Yes it was" when Jackson reacted to Lorelai and Luke's fighting with the question "Was it because I brought up the wine rub?". I liked that Sookie did not sound sarcastic. Lorelai said "Welcome to Wisteria Lane, you drama queen! Wrap yourself in a towel and trip over a hedge on your way out", sat in Luke's lap at his place above the diner when they made up, told mom "No, you didn't lose Rory like you lost me. Rory was never supposed to be there ... etc..." and as she walks out "And you didn't lose me." That was the more emotional scene even than the reunion w/ Rory, who tells her mom she loves her and Lorelai says "kid you have no idea."
---
good, someone who is with me: in the forum, FrancesHouseman- The scene in the plane made me cry more than Rory's coming home. Kelly Bishop is simply amazing and her acting was stunning. I hope that future episodes deal with how much Rory has hurt her.
and another: LG and KB knocked that scene out of the ballpark. They are so great together and the story of Lorelai/Emily is just so much more compelling to me than Lorelai/Rory. It's real, it's organic, it's believable.
and and:
-Lorelai/Emily scene? Best scene of the entire episode. KB and LG are ridiculously talented. It's scenes like that that make me love this show.
-I'm still not happy. Rory fixes running away from her mother by running away from her grandparents. At first, I was hoping that somehwere off-camera, Rory told her Grandmother that she moved out, but when Emily confirned that Rory pulled the same stunt she did on Lorelai, I was just done with the whole thing. (oh so that's what rory did to emily... but here's the point:) I did, however, enjoy Lorelai's "You didn't lose me."
-Lorelai/Emily scene? Best scene of the entire episode. KB and LG are ridiculously talented. It's scenes like that that make me love this show.
- LG is kicking ass with her acting in these emotional scenes, and being a way bigger person than she is often given credit for. absolutely.
-Ok. I fully, completely wholeheartedly believe that this show is never ever good in one isolated episode. yes, interesting. But can I just say... its all Lauren Graham. Thats why this works. The scene with Rory at the end. Lauren sold it. Hugging her tightly like that was all she ( and we) had wanted for months. She sold me. Alexis just hung there like a doll saying in baby voice "i'm so sorry" It ruined it for me to look at Rory, but Lauren made Lorelai look like a Mom who got her whole world back.

november ides

November:
salon on critics James Wood and Dale Peck (against the maximalist postmodern fiction),steph's voicesrising,
October: AT&T, my use of librarything social data, sistertravelpants, gilmore girls, boston legal, googlebase, flock, my use of delicious, antm, moos, dove beauty, grease 2, Nyr on graphic novels...

September:
Kinsey, TWoP/TVgasm, plasticbag on brave new people-owned media, my librarything tags, You Can Count on Me, my librarything tags, kate moss, google and yahoo over years and the cabal, Lenovo, Milliondollarhomepage, fametracker, Michael Douglas v Richard Gere, phone cooking eggs, Motorola A630, exbiblio, visual information (dialect survey maps, letter pairs analysis), warrenellis.com, rw and onion new orleans, julian dibbell's my tiny life, 6fu, hurricane, misc links...

August:
glassdog, birds, suck (salon), 100blogs100days, everybody dies - six feet under finale, metafilter, boston globe on what makes people gay, cervantes of the new meium is rw, the long tail, webshots v flickr, delicious, memepool, peter lunenfeld infotechnodemo, mcsweeneys titles - name that humor, venganza open letter (fsm), consonants spelling, firefox tabbed browsing...

and then the August ides ... into the glory days ...

It is Peck who hasn't been invited to the wine-and-cheese party, and while you can't blame him for resenting this (he's only human), it's impossible to extract the resentment from his criticism of their books without the whole fabric unraveling. His afterword, in which he claims to be fighting for the liberation of contemporary fiction from its disastrous enthrallment to the modernist model epitomized by James Joyce's "Ulysses," is just silly bravado (and I write this as someone who thinks such a liberation wouldn't be a bad idea).
too bad, I liked Sith Boom Bah so.
Laura Miller, quite good.

Critics have not hesitated to point out that Peck's "I'm only beating you for your own good" stance resonates creepily with his autobiographical writings about his abusive father.
But Peck isn't merely a bully, and he certainly isn't stupid. Whatever authority others invest in him as an occasional reviewer at the New Republic, he still feels like an outsider, and with cause. He is a gay man from a working-class background and, perhaps hardest of all, a minor novelist, well acquainted with the business end of a stinging review. When he isn't hopelessly enmeshed in his own tangled motivations, he can be an astute and even sensitive critic. His essay on Kurt Vonnegut, one of only two approving pieces in the otherwise aptly titled "Hatchet Jobs," is moving and rather brave; for a critic so intent on demonstrating his own intellect and discrimination, it takes some guts to embrace an author often written off as middlebrow.
Most of the essays lack that kind of courage or clarity, however. Whatever flashes of wit and perception Peck shows, and notwithstanding the extensive knowledge of English grammar and nonreproductive sexual practices he makes a point of showing off whenever possible, the emotional tone here is petulant and muddled.

In the best fiction, Wood argues, the author submerges himself utterly in his characters, so that no image or idea surfaces in the text that would not occur naturally to them.
well that is interesting. sure there is something to say for that: makes integrity more likely? Integrity, what have you.
--so George Eliot in Middlemarch, Wood, would you say her pronouncements are authorial insertions? (vs: could be considered to touch the consciousness of the character we are with?)--
I guess though that we don't need just one kind of fiction. one kind of story! for goodness' sake. why not have a voice that is not that of one of the presented characters? (well because the author is a pompous food snob who offends - right - but otherwise).
these critics who say Aesthetics Aesthetics There is Only the One G-d. (Beauty).
Wood: "The only success is aesthetic, and the 'culture' will never validate aesthetic success, will never 'engage' with that."
Even Curtis White trying to say something positive about What Is Art. sounds...? well, what are they talking about? I guess that's my dislike for the b-g words Beauty Power -? Justice is ok, seems to mean. so... they sound snobby I guess, without sounding sharp. Curtis White when he's sharp well I don't mind if he is harsh. Anger I like. I don't like what?

the topic: James Wood is the most admired literary critic at work today, and Dale Peck is the most reviled. Yet they share the same loathing, for a type of fiction that Wood calls "hysterical realism" and that Peck labels "recherché postmodernism." Most people who follow contemporary fiction can confidently name some books that fall into this category and can tell you what they're like: They're big, they're full of information, ideas and stylistic riffs; they have eventful plots that transpire on what's often called a "broad social canvas"; they experiment with form and voice; they're overtly (or maybe just overly) smart.

Maximalism, to use this genre's most reactionary name, turns out to be a lot less uniform than minimalism. //Once upon a time -- about 15 or 20 years ago, to be precise -- when people complained about contemporary fiction, they complained about minimalism. The quintessential minimalist work was a short story written in austere, emotionally muted prose. It described a scene of domestic despair or disconnection fully understood by its protagonist only in a closing moment of bleak epiphany. It was written by Raymond Carver or Ann Beattie or an acolyte thereof, and edited by Gordon Lish. It was published in the New Yorker. //

If minimalism's paterfamilias is indisputably Raymond Carver, maximalism's is Don DeLillo -- unless it's Thomas Pynchon. (DeLillo is the star that some younger maximalists claim to steer by, but the less solemn Pynchon seems the better fit.) The novelists usually rounded up in this group include Rick Moody, Jonathan Franzen (who wrote a famous 1996 essay on the "social novel" for Harper's Magazine), Colson Whitehead, Jeffrey Eugenides, Dave Eggers, Richard Powers, Jonathan Lethem, Zadie Smith and, especially, David Foster Wallace. well I like Colson Whitehead, sincerely, I think. does he have claim to be outstanding from this list?
and I enjoyed White Noise and The Corrections, but they certainly fit this description and I don't know that I like the authors. smart though.

In a way, these are indeed "social" novels, not because of their content or style but because what connects them is their audience. The same people tend to like them all; it is a society of shared taste (edu), a genre consolidated less by the books themselves than by their fans' sense of what kind of novel they want. A lot of these fans are critics, and this is in part because novels of ideas make critics feel clever and useful -- there's so much to explain! -- see Sideways, you are the schmoo guy who makes pronouncements about wine (food snobbery! the anti-me)and, as Wood is fond of pointing out, they have essayistic passages, such as Wallace's self-contained digression on videophones in "Infinite Jest." oh you did like his essayistic didn't you.

The war for the soul of literature [Salon, best of, 2004] Two critics, one revered and the other almost universally reviled, protest that the literary world has been taken over by big, bad, "ambitious" novels. By Laura Miller she's very good isn't she-
The line between the amusingly clever and the too clever, between the interesting description and the egregious info-dump, can only be plotted subjectively. Criticism's task is to articulate that subjectivity so that even those who don't share it can see it in three dimensions. see R it's not peculiar to me to want the articulation in order to see. (to better see ot to see what you do not share in seeing)
Wood does this beautifully, he erects a critical structure that's undeniably coherent; you can walk in and have a look around. It's just that once you get inside, the accommodations turn out to be pretty Spartan and the window shades are always pulled down.
With Dale Peck, we're talking about subjectivity of an entirely different order. ah dale peck glory days my early feeling of good writing to be found on the web, via arts&letters, rh noted Peck's arcticle on Star Wars -Sith Boom Bah - see below the bottom beginning of this blog. He is notorious for commencing his reviews with rhetorical detonations ("Rick Moody is the worst writer of his generation" being the most famous example).

voicesrising.blogspot.com

notwithstanding.

Capitalism -As If The World Matters- seems to be available only from Earthscan Shop. 1844071928. Hardback £18.99. Publication date November 2005. All royalties from the sales of Capitalism As If The World Matters are being paid to Forum for the Future to support its ongoing work. ah does appear in AZ-uk. but not in Semcoop.com though have I not seen this cover in our store? (same image elsewhere, the planet on black?)

wow this is nicely done, I really like the blue text for emphasis, and ohmy! Barbara Bush :
from Editor & Publisher.com:" 'Almost everyone I’ve talked to says we're going to move to Houston.'"Then she added: 'What I’m hearing which is sort of scary is they all want to stay in Texas. Everyone is so overwhelmed by the hospitality." 'And so many of the people in the arena here, you know, were underprivileged anyway, so this--this (she chuckles slightly) is working very well for them.' " posted by steph at riseup at 11:28 AM Sept 9 2005
me really 11/15 am but to group on the page-

Best of Salon

In honor of our 10th anniversary this month, Salon is scouring our archives for the best stories we've published. Every day for 10 days, we will be highlighting one year's worth of memorable pieces.
Best of Salon: 1995-1996 From hackers and the giant squid to George Sanders and O.J. Simpson, a potpourri of memorable pieces from our first year. - 11/05/05 -
Best of Salon: 1997 Vampires! Women's ways of bullying! Sleazy tricks of pornmeisters! Cintra at the Kentucky Derby! A wild ride through Salon's 1997 archives.
Best of Salon: 1998 From Ken Starr and Henry Hyde to fetish nation and J.Lo's butt, a look back at a tumultuous year.
Best of Salon: 1999 From Ruth Shalit's takedown of advertising follies to David Gates' "Breaking Up With the Beats" to James Poniewozik's Media Circus columns, Salon partied like it was 1999.
Best of Salon: 2000 Salon greeted the millennium by exposing the White House's prime-time propaganda campaign -- and licking doorknobs in Gary Bauer's presidential campaign headquarters.
Best of Salon: 2001 Our fearless coverage of 9/11 ranged from Ground Zero to Afghanistan. We explained "Mulholland Drive," exposed Silicon Valley and asked if Bush was a chimp.
Best of Salon: 2002 We introduced the metrosexual and warned of the dangers of touch-screen voting. Plus: 40 must-see movies, and the kitschification of 9/11
Best of Salon: 2003 The Iraq war begins: Phillip Robertson crosses the Tigris by raft, Jen Banbury reports on Abu Ghraib, and Michelle Goldberg covers the new antiwar movement.
Best of Salon: 2004 Gay couples tie the knot in San Francisco, we're still at war in Iraq, and George W. Bush is reelected.

while I

-----ENTHUSIASM IS WHAT YOU LACK.

-Don't Say You Didn't Mean It.

-Ark Shaw Kalepsie Vonog.
--Orange Plum Banana Kiwi.

(How can it be irony when it's exactly what you mean?)

see. to delete... I want to take all that I do not like from closet and throw away.
these socks: too itchy. this shirt: too whatever. keep only what does not bother me.
and then, oh the constructive part is harder: launder, fold, organize in a useful way into the drawers of the dresser I now have.
go purchase cotton socks.
go get contact lens to wear in my eyes. eyse.

need music and a sister-friend. how rarely do I not prefer quiet.

fantasies of the apartment with the washer and dryer in a little room and then a main area & bedroom carpeted and a clean kitchen and an electric purple fireplace with a mantle above to sit on and sidewalk halfview windows.

so, on wednesday was it? I wanted to delete some of the too cute from katecutrer, and I did, but first posted it with same dates and times in newly created ofachildpretending (little green on my mind). and today I went into that template to at least modify some of the more egregious default settings. ie deleted the Google and EditMe links. not against them putting those as placeholders though. and am typing now to note:
-FIND in IE can find text (eg"Edit") within the template, in the code. Mozilla's FIND apparently does not search in the template box.
-I deleted 2 or 3 coded statements about "border" under heading, with the desired recult that the box around childpretending disappeared.

fame someway someday SEARCH. clicked results:
Fame Songs - 8:17pm www.geocities.com/TelevisionCity/­Satellite/1314/fsongs5.htm

fame nicole holly SEARCH. clicked results:
Fame (1982 TV series) - Wikipedia, the free encyclopedia - 8:16pm
www.jumptheshark.com/­f/fame.htm - 8:16pm
http://www.geocities.com/TelevisionCity/Satellite/1314/quotes.ht ... - 8:16pm
http://www.geocities.com/TelevisionCity/Satellite/1314/ftrans.ht ... - 8:16pm

from Google-personalized search history. bcs I hardly use that, and did think to search here dlww for FAME, remembering evening when I found sites for my old favorite tv show after placing memory of singing SomeDaySomeWay.

pleasantly surprised last week by the announcement of a book deal for Bobby Henderson, the founder of the Church of the Flying Spaghetti Monster, the centerpiece of an alternative 'intelligent design' theory which, he petitioned the Kansas Board of Education, deserved equal time in classrooms: 'one third time for Intelligent Design, one third time for Flying Spaghetti Monsterism, and one third time for logical conjecture based on overwhelming observable evidence.' nice. mediabistro
Villard bought up an FSM book which they'll be rushing into stores next Feburary. Feburary.
listed at AZ - Bobby Henderson
and at his now fancier site:
The FSM's hobbies include flying through the universe, touching things with his noodly appendage and pissing off proponents of intelligent design creation theories. He could be defeated by common sense or acceptance of basic scientific principles, if only either of those things existed." here

Graph of suicides by location off the Golden Gate Bridge.
k: This is a fascinating graph. More overall deaths on the SF half than the Marin half and way more on the bay side. A lot of people walked pretty far before jumping. And lightpost 69...it looks to be about halfway between the towers...lots of symbolism there for the jumpers.
SF Gate: Multimedia (image)
http://sfgate.com/cgi-bin/object/article?f=/c/a/2005/10/30/MNG2NFF7KI1.DTL&o=2 : the sad tally
oh-

"...all my friends who I consider to be really great cartoonists, we're all trying to aim at basically the same thing, which is an ever closer representation of what it feels like to be alive."
Chris Ware interview in the Guardian