Tuesday, October 27, 2009

Art of Madmen and Convicts

When 25 year old artist Richard Dadd traveled through the Holy land and  Egypt on a cruise with a patron, he suffered from a series of debilitating headaches which he claimed were caused by sunstroke.
It soon became apparent that something was very wrong in Dadd's head. The artist began suffering from paranoid delusions, in particular, that he was a decendant of the Egyptian god Osiris, and that the god was compelling him to battle with the devil himself. After being sent back to England, Dadd's father, who had begun to notice odd behavior in Richard's brother as well took Richard to a doctor, who proclaimed him mentally ill. (Remember, this is the Victorian Period. "Madness" is a valid diagnosis)
Unsure of how to proceed, Richard's father travelled with his son on holiday. Richard promised to share his thoughts with his father and instead murdered him with a razor and fled to France. Even in his flight, Dadd attacked his fellow passengers, perhaps thinking that they too were agents of the devil.
Dadd was spared a trial. He confessed to the murder of his father and was forcibly committed to Bethlehem Hospita (AKA Bedlam) indefinitely.
Up until the mid 19th century, Bedlam was open to the paying public as a freakshow backslash prison. Visitors could agitate the prisoners and watch them fight like bugs in a jar. By nearly all accounts, the asylum was every bit as hellish as the slang-term derived from its name indicates. Dadd was lucky enough to get in just as Bedlam was remaking its image as a more "patient oriented" establishment. He was allowed to continue painting. Dadd captured fellow inmates, scenes from Shakespeare, and minutely detailed obsessively intricate images of faeries. His most famous work is Faerie Feller's Master Stroke: a  mob of fairies intertwined with foliage in a scene that can only have been created by a talented man with waaaay too much time on his hands. He worked on the painting for over nine years, using a magnifying glass to paint the details.
Then, Queen wrote a song about it, which is, of course, the highest apex to which an artist can aspire.
My favourite of Dadd's works online is a Sketch of an Idea for Crazy Jane, which is inspired by a poem by Yeats about an older woman's justification for her sexuality. Dadd's model for Jane is a fellow inmate: a crossdressing man. Dadd's inner turmoil and struggles with his own mental demons are apparent in his work. Jane is beautiful, haunting, and oddly tortured. She's trapped.  His Walpurgis Night needs no analysis.  In Dadd's other work, faces are oddly distorted, and eerie details grab the corner of your eyes which are focused on the normal victorian subjects of a woman and her child or a Biblical scene.
Now, I'm going to venture into fuzzy headed liberal territory here and propose that when art is created by the most despicable members of our society, people whose crimes we cannot overlook and whose crimes colour any other thoughts on their lives, it gives us a window past the damage that they have inflicted on society. Art reminds us of the humanity of the inhuman. Or at least allows us to empathize with their extreme boredom.
Prison artists in the US are sometimes participants in rehabilitation programs that encourage arts and crafts among inmates. The ones I find interesting are the ones who create art out of hoarded prison supllies, making papier mache out of wet toilet paper and bread, and elaborate sculptures out of matchsticks and cigarette wrappers. A characteristic of this art is that it's painstakingly detailed: a testament to the obsessions of men and women who have nothing else to do and are desperate to take their minds off of their situation.
Another great link on prison art is here: this one even details the extraction of pigments from objects aquired in prisons in order to paint.

Sunday, October 25, 2009

By popular request, A Hand at Cards

Game made is my favourite chapter of Tale of Two Cities -- there really aren't any illustrations of that one besides the one I've posted, but Gina has requested Hand at Cards, and I've found a few illustrations from that chapter, which are displayed below. Yeah, I know, it's not popular request so much if there's only one request, but if you commented, maybe *your* requests would be featured as well!


At the beginning of the chapter A Hand at Cards, Miss Pross and Jerry Cruncher walk into a bar...(insert bad punchline here). Actually, they meet two people whom they have not seen in a long time--a spy named John Barsad (whom we have seen before as a witness against Charles Darnay in the earlier part of the book) who also happens to be Miss Pross' prodigal brother, Solomon.
They also meet Sydney Carton, who has made his way to Paris for unknown reasons. Sydney Carton, having a keen memory for faces knows exactly who John Barsad is. Illustration by Rene ben Sussan from the Heritage Edition.



Sydney Carton blackmails John Barsad, whom he has seen at court in England and known as a spy. Carton has also seen Barsad acting as a turnkey at the prison La Force--his history as a spy for the English Aristocracy will doom him if the French Revolutionaries ever discover it. Jerry Cruncher, meanwhile has just made a startling connection, causing his hair to stand on end in a disturbing manner.  This illustrator is uncredited in the editions in which I have seen his illustrations. This set of illustrations is pretty common and I've seen it a lot in Brittish editions from the early 20th and late 19th century.

Saturday, September 26, 2009

Further Pictures from A Tale of Two Cities

As promised, here are the rest of the images scanned from my antique copies of Tale of Two Cities. Enjoy!

Lucie is forced to testify against Darnay, her future husband at his capitol trial in London. Her distress is noted by Sydney Carton who is assistant to Charles' defense lawyer, Stryver.
This for me is one of the iconic pictures of Lucie. I think that Raphaelo Busoni, who illustrated the Junior Illustrated Classics edition of Tale of Two Cities (which sadly went out of print after my childhood)  depicts a Lucie as both thoughtful and lovely. His faces tend to be rather angular and squarish, which makes his Lucie slightly different than the other ones I've seen. Apparently Busoni's Lucie also likes the colour blue. I find it kind of a fun coincidence that one of Lucie's paralells, the seamstress is wearing bright blue in Busoni's final scene.

*Everyone* illustrates this scene.  The revolutionaries sharpen their knives outside of the window of the closed Paris branch of Telson's Bank. The Manettes and Lorry are living upstairs and their window overlooks the crazed mob preparing to slaughter the prisoners of La Force. The massacre of these prisoners is a real event during which many royalists were tortured and murdered--dragged out into the streets by the mob. Princess Lamballe was brutally killed and beheaded. Her head was paraded on a pike before the window of her best friend...Marie Antoinette. This picture, of all of the grindstone scenes captures the hellishness and drunken action of this scene the best. The sociopathic behaviour of the mob and their devilish glee imbues this depiction. I don't know the illustrator...they aren't credited in the frontspiece of the book. This illustrator's images were in many of the turn of the century copies of TOTC, but his illustrations are fairly rare in modern versions.

Here's another one by the same illustrator. This scene isn't terribly commonly illustrated, but it's one of my favourites. Doctor Manette's sanity is finally broken as his past tragedy is dragged out in a very public  and devastating way in order to condemn his son in law whom he loves.
Sydney Carton supports him--he too is undergoing a metamorphosis. Sydney Carton's facade of insolence and carelessness is falling away, revealing a gentle and broken but intelligent  and pragmatic man who is committed to his own redemption.

Charles Darnay has been reduced to a frightened and desperate shell as he counts the hours until his death and tries to detach himself from his memories of Lucie and their daughter.
This painting by Harvey Dunn captures Charles' heartbreaking fall into helplessness (While is double assumes a position of power and control). Charles looks like a frightened animal.  Harvey Dunn is a fairly well known Western artist. Tale of Two Cities is quite a departure from his usual work. He does the best work when illustrating the peasant scenes, and he definitely seems to prefer these.  A few of his scenes, including the scene of the last chapter are rendered fairly awkwardly and in garish colours. I find this picture of Charles haunting, though.


This picture is from the Heritage Edition, and is by Rene Ben-Susan, a fairly well-known French illustrator. I find myself getting more and more fond of Ben-Susan's illustrations. He's drawn a small vignette at the beginning of each chapter , so the size of this picture on your screen is about the size of the picture in real life. I enjoy the illustrator's stylized profiles and head-on perspectives, and how he draws the details of the clothing with as few lines as possible.
This is Sydney Carton speaking with the diabolical wood-sawyer, who ironically encourages him to go watch the work of the guillotine as a spectator. With amazing restraint, Carton carries on a brief, morbid conversation with the wood-sawyer about how many pipes the wood-sawyer can smoke until the executions of dozens of people is finished. This desensitization to the brutaility of the terror contrasts with the following scene where Carton prepares for his own death.

Sydney Carton rides to his death at the guilotine with a young French seamstress who has been wrongly convicted of plotting against the republic.  They find comfort and solace in each-other to the end.
This depiction by A. Dixon is almost ethereal. The seamstress is both beautiful and sad, and the light outlines around both of their faces is either ghostly or angelic.
This is my favourite TOTC illustration.



And, on a slightly lighter note, I leave you with this one by an unknown illustrator. This has to be the most badass Sydney Carton ever. They're only executing him because he's *letting* them. He could seriously WTFPWN both of these pansies at any time.

Friday, September 25, 2009

Ancient Egyptian Topics for Kids


I've been asked by a friend to provide information on Ancient Egypt for an elementary school class. Since I can't be there in person, I decided to write some little blurbs on topics that elementary kids might be interested in and provide lots of nice colour pictures to go with them. (Because *I* like big coloured pictures).
Pets in Ancient Egypt
The Egyptians kept many animals as pets, but their favourites were the same as ours. The
Egyptians loved their cats and dogs. Egyptian dogs looked a lot like greyhounds. They had long noses and skinny bodies, but unlike Greyhounds, they had short little tails that curled up over their backs. The Ancient Egyptians gave their dogs names that are very similar to our dog names. One man had a dog named Abutiw (ah-boo-tee-you), which may mean "One Who Barks"

or "Barky". Abutiw would bark at people who approached the pharaoh. The pharaoh thought that this was funny, so he gave the Abutiw the title "King's Bodyguard", which was usually reserved
for people. When the dog died, the king ordered tomb built for him and provided the money to have him mummified! The king wanted Barky to bark at Pharaoh's enemies in the afterlife! The picture is of a man named Khui (koo-ee) and his dog, Iupu (ee-yoo-poo).
Cats were common pets, too, and the Egyptians were among the first people to have cats as pets.


We now think that Egyptian cats were the descendants of several types of African wildcats that still live in Egypt today. (One of these wildcats is in the picture at left) Egyptians generally didn't name their cats. They called their cats Pa-miw if a boy or Ta-miwt if a girl: Mr. Cat and Miss Cat. The one exception to this is one man who had a cat named Nedjem...or "Sweetie". He had a picture of his cat carved in the wall of his tomb so that Nedjem could be in the afterlife with him. Notice that the word for cat sounds a lot like the sound that cats make:"Miw".
The Egyptians may not have named their cats but they did name humans after cats! A very common girls' name in later Egyptian history was "Ta-Miwt!"

One prince loved his pet cat so much that he had a special sarcophagus made for her when she died. The sarcophagus has a picture of his cat, Ta-Miwt looking her very best with a scarf tied around her neck, and sitting in front of a plate of offerings, just like a person would. On the ends of the sarcophagus were pictures of the goddesses Isis and Neb-het (Nephthys) along with a prayer asking that the goddesses protect Ta-Miwt in the afterlife.

Note that the Egyptians didn't really worship cats as gods. They had several goddesses who had
catlike qualities and were associated with cats. Cats were sacred symbols of those goddesses, kind of like doves are symbols of peace or the Holy Ghost in Christianity. We don't worship doves, but we have a respect for them in our culture because they represent peace. The most famous cat goddess is Bastet. Bastet was the goddess of joy, fun, and music, but also a goddess of motherhood. She represented everything nice about the mother goddess, Mut. Cats were also sacred to Mafdet, Pakhet, and Sekhmet, who are all goddesses of the desert and also of sickness. They represent the cruel and unforgiving side of nature. Pakhet's name means "She who scratches."
The Egyptians kept monkeys as pets, and also horses. One princess was even buried with a baby gazelle...apparently her pet!

Egyptian Religion and Death
The Egyptian civilization lasted nearly 3,000 years. That's twice as long as the Romans lasted, and 4 times as long as the classic Mayan empire existed. The Kings who built the pyramids would have been just as ancient to King Tut as King Arthur is to us!
Over this time, Egyptian religion maintained the same gods and goddesses, but their roles changed over time. Egyptian religion was very complicated because it helped to keep the country united. The king had to make gods of southern Egypt and gods of Northern Egypt equally happy. At the center of the Ancient Egyptian gods was the great-grandson of the sun god, Horus. He had gods that were from both the north of Egypt and the South of Egypt in his family.

Horus was represented as a falcon or sometimes a man with the head of a falcon. The king was his spirit on earth. This is how the king stayed in charge of the nobles and priests; when you
come down to it you do not argue with a god!
When the king died, he would travel through the underworld, meeting gods and goddesses who would help him, and various demons and trickster spirits who would try to confuse him and make him lose his way. Finally, he would climb a great ladder into the sky to join his great-grandfather Ra in a boat, and together they would sail the sun accross the sky in the daytime, and through the underworld at night. Some people think of pyramids as a staircase that the king's spirit could climb in order to get to the sun-boat. In the time of the pyramids, when normal people and nobles died, they would just be citizens in the King's afterlife.
As time went on, the king lost a little bit of power, and ordinary people decided that instead of just being subjects of the king in the afterlife, they too could journey through the underworld and up into the sky to join Ra in the sun-boat.
Some people started to beleive that instead of sailing in the sun boat, they would be farmers in the fields of Osiris, who was the King of the underworld. Since the afterlife is no fun if you have to work, they had little figures made to do farm work for them. Some egyptians were buried with a figure, or Shabti, for every day of the year!
People who could afford it started building themselves lavish tombs and were buried with
models of things that they would like to have in the afterlife and belongings that they'd like to take with them. We know a lot about how people were fed and where they got their clothing from these models which show entire shops filled with people and tiny goods. To the left is a model of a butcher's shop that's about the size of a fruit-crate. You can see the butchers slaughtering the cows. One man walks through the door. Is that a duck in his hands?
Cuts of meat hang from the ceiling in the back with hides that would then be made into leather.
The ordinary Egyptians have left us lots of evidence that they cared more about the gods of everyday life than the gods that helped the king rule politically. The god Bes was a dwarf with a beard. He and the goddess Taweret, a hippopotamus, and later the goddess Bastet protected mothers and children from sickness and snakebites. Bastet and Hathor were goddesses of drinking and merrymaking...of music and art. Thoth and Seshat were deities of writing and building. Making an offering to the goddess Sakhmet could prevent you from getting the plague or starving if you were sent out into the desert to mine or explore.

Hint: if you ever have to make Sakhmet* happy, she likes beer a lot. In Egyptian mythology, the sun-god Ra decided that he thought humanity was evil. He ordered Sakhmet to destroy all humans. Sakhmet went crazy--she's a cat, She likes to hunt -- and killed so many people that Ra
regretted ordering that everyone be killed. He told Sakhmet to stop now, but she refused. She

was enjoying hunting humans! Not knowing what to do to make Sakhmet stop, Ra consulted with the other gods and they came up with a plan. Together with the surviving humans, they made gallons and gallons of beer and mixed it with red ochre, a mineral that ladies used to make their lips red. It looked like blood. They put the beer in a place where Sakhmet could find it. When Sakhmet came to the city to destroy it and its inhabitants, she found troughs and troughs of red liquid. Thinking that it was blood, she started to lap and drink it..and drink...and drink....and drink..........and drink until she got so sleepy and drunk from the beer that she fell over.
When she woke up, she had forgotten why she was killing people, and Ra managed to persuade her to stop.
Humanity was saved!
Added to the gods that we've talked about already were special gods and goddesses that were only worshiped in particular cities.
The Egyptians believed in magic and sorcery--that a sorcerer who disliked someone could make a crocodile out of wax and bring that crocodile to life to eat his enemies. A hairclip shaped like a fish could protect a child from drowning. In the age of the pyramids, people were even worried that the animals depicted in hieroglyphs could come to life. Sometimes, artists who carved hieroglyphs would cut a line through them to "kill" them and keep them from becoming real.

Mummies
Before the pyramids were built, the Egyptians buried most people in the ground or in small flat tombs called "mastabas" which means "bench" in Arabic, which is the language the Egyptians speak today. They reminded modern Egyptians of benches. A normal person would be buried

with some jars of beer and some small pottery dishes for food in the afterlife and placed unwrapped in the ground. Eventually, someone figured out that if you place a body in the dry sands of Egypt, sometimes it will dry up and survive. At first the Egyptians didn't know why certain bodies survived, but their religion taught that in order for a person to enter the underworld, that person's spirit, called a "ba" must come back and reunite with the body. The picture on the left is a what the Egyptians thought the Ba of Queen Nefertari looked like. The Egyptians wondered how a person's spirit could recognize their body if that person's body was a skeleton? It became
important for them to figure out a way to replicate what the sand did naturally. They started wrapping bodies in river reeds or cloth, and placing them in rock tombs only to discover that the bodies would start to decompose.
So, the Egyptians tried doing the same thing that the sand did. They dried out the body to preserve it. The art of mummification survived up until around year zero and then, as people started to convert to Christianity, they started to see mummification as a barbaric thing of the past. Gradually, the practice died out around 500 CE. The practice survived for nearly 2000 years, and this is roughly how they did it.
Making a Mummy
When a person died, they would be taken to the embalmer's tent, where their relatives could pick out a mummy-case for them. A scribe would write the person's name on the mummy-case amidst the prayers and wishes for a good afterlife. The mummy cases to the right belong to the wife of the chief artist in the valley of the kings. Her name was Iineferty.

The embalmers would then make a cut in the person's stomach and remove all of their organs, but they would save the liver, the intestines, the stomach and the lungs, and mummify those
seperately. They didn't know what the organs were used for, but they knew that they were important and that a person might need them in the next world. After mummifying the organs, they would wrap them and put them in special jars so that the person could get them back when their spirit reunited with their body. After removing the organs, the embalmers would remove
the brain by inserting a hook into the nose and pulling the brain out with the hook. They would throw the brain away, because they didn't think it did anything...the Egyptians believed that you
thought and felt with your heart.
They would be very careful to keep the heart, which they also mummified seperately. The embalmers would then wash the body and perfume it with spices and oils. Then, they would fill the inside of the body with a salt called natron which they wrapped into small cloth packets. They would bury the body in natron and allow it to dry out for several months.
When the body was through drying, the embalmers would remove all of the natron packets and return the heart to the body. They would sew up the incision through which the organs were removed and put a wax or gold plate over the suture to protect the body. Then, they would try to repair any damage that had occurred during the drying and make the person look as nice as they could for the afterlife. One man was fitted for a metal toe because he had lost his in life. Pharaoh Rameses II's nose lost some of its shape when he was drying out, so the embalmers
gave him a very aristocratic nose by stuffing his nose with peppercorns. A queen had her cheeks made plumper with linnen inserted beneath her skin, and an old woman had long black hair extensions woven into her gray hair.
A priest would pour black pitch over the body because it was believed to help preserve the body and because black was also the colour of fertile planting soil--good luck for rebirth into the afterlife. The embalmers would wrap the body in layers and layers of linen that was probably gathered by the mummy's relatives--bedsheets, old clothing, hand-me-downs--all were used to wrap the body. Priests would insert protective amulets into the wrappings and smear pitch over them. Finally, the mummy was covered with a clean sheet and placed in its coffin. The organs were wrapped in linen and placed in special jars that had pictures of either the dead person or protective gods on top. A priest would then perform spells and rituals over the coffin to enable the mummy to come back to life in the afterlife and to be able to speak and eat the offerings that were given to it. The picture below is of a canopic jar belonging to a noblewoman.
The mummy, the canopic jars with the organs inside, and some of the person's belongings were

then placed in a tomb, sometimes with other mummies. The coffin was painted with gods and goddesses that the person might meet in the afterlife as well as prayers and good wishes and spells that the person may need to make a safe journey to Osiris' fields. Some coffins even had a map of the underworld painted on the inside! The dead person's relatives would accompany them to the tomb and have a great feast outside of the tomb in honor of the dead person--and to say goodbye. They would wear necklaces and headbands made of flower petals sewn onto paper, and when the feast was finished, they would leave the remains of the feast and their flower-necklaces at the tomb. A priest would sweep out any foot-tracks that were in the tomb and the tomb would be sealed, hopefully forever.
If you want to see some natron filled embalming packets, some linen, a bed on which the mummy was placed for ceremonies, and some coffins that were never used in a burial, check out this site on the recently discovered tomb KV63 in the Valley of the Kings.

Hieroglyphs
The Ancient Egyptian language was written in hieroglyphs: letters that look like pictures. The pictures don't always mean what they depict. For example, a glyph that shows a picture of a mouth sometimes means "mouth", and sometimes means "r". Some Egyptian letters represent sounds instead of single alphabet letters: for example, a picture of a fish represents the sound "in".
The Egyptians combined these pictures to make words. They were more concerned about making their writing look pretty than good spelling! They also didn't write vowels! They assumed that if you knew the Egyptian language you would be able to figure out what the word was by the words around it.  This makes it very hard to tell the difference between some words. For example, if we were to write like the Egyptians, we would spell both "cat" and "cut" like "ct". How could we tell the difference? Well, we could look at the surrounding sentence, we could make a guess. My ct's name is Fluffy. Well, most people don't name a "cut" so we can assume that here, "ct" is "cat". The Egyptian scribes came up with another really clever way to tell the difference between words that were spelled alike. They put a picture at the end of the word to remind you of its meaning. 
In our case, after the word "Ct", we could put a picture of a cat to indicate that this "Ct" spells "cat". After the other "ct", we could put a picture of a pair of scissors so that people could tell that *this* "ct" meant "cut".
Here are some hieroglyphs and words in Ancient Egyptian. You should know that the Egyptians today don't speak Ancient Egyptian anymore. They speak Arabic. They also don't write in hieroglyphs. Hieroglyphs were used for about 3,000 years though, and there are many words in our language that are loan words from Ancient Egyptian. For example, the name Susan is from the Ancient Egyptian name Seshen, which meant "lotus flower".
See if you can write a sentence in Ancient Egyptian with the words below!


*In some stories, the bloodthirsty goddess is Hathor.

Monday, September 21, 2009

Pictures for a Thousand Words (Pictures from Dickens' Tale of Two Cities)

I am scanning my vintage copies of Tale of Two Cities so I can let them go to other owners for the move. It's truly fascinating to see so many different interpretations of the same subject. Her are some favourites.
1) From the Folio Edition, Illustrated by Richard Sharpe. I'm in love with the almost fantastical take on historical clothing in these, and the exaggerated facial expressions. Think this is my favourite set of TOTC illustrations. This is Sydney Carton, working late into the night to research cases for Stryver, his employer. Stryver is a blustering and argumentative man, which serves him well in the courtroom, but he is not able to analyze evidence for a case. This is a task at which his schoolmate, Sydney Carton excels. Carton's work makes Stryver's reputation and fortune, but his own life is lost in drink and self-loathing.








2)Don't know what to think of this one by Tom Fogherty from People from Dickens. This is, of course, Sydney Carton confessing his love to a rather uncomfortable looking Lucie Manette. She is rather uncomfortable in the scene. She's never felt at ease with him, and he knows it, but he opens himself to her completely. On one hand, I like the colour of this image. On the other hand, the Victorian-ness of it makes me a tad queasy.




3) The Revolutionaries torture and hang a farmer generale at the beginning of the revolution. He has told the peasants that they are to eat grass if they hunger. The impoverished suburb of Saint Antoinne has its revenge on him at the storming of the Bastille. When they finally kill him it is written as a mercy. This rather graphic depiction captures the horror of the moment, and the dichotomy in the book between empathy for the peasants and horror at their increasing violence. It is by Rowland Wheelwright.










4) Madame Defarge is described as a Tigress of a woman, attractive in a wild and fiery sense. She is the antithesis of Lucie Manette. Though their families have both been ruined by the excesses and sadism of the aristocracy, Lucie overcomes this through her love for her mentally broken father. Madame Defarge is consumed by her desire to avenge her murdered and violated siblings. She knits the names of those whom she will denounce to the revolution. Most illustrators draw Madame Defarge as an ogress, ignoring that the text describes her as attractive. Gedo does not in this illustration, but he does not capture her ferocity.







6) Miss Pross is Lucie's nurse, and she and a family friend, Mr. Lorry are left in charge of her mentally unstable father while Lucie is on her honeymoon. Doctor Manette again lapses into madness upon learning that his new son in law is the scion of the aristocratic family that imprisoned him in the Bastille for eighteen years. Doctor Manette falls back on the one thing his jailors would allow him: a humble cobbler's bench and shoemaking tools. These tools kept him linked to reality for two decades in solitary confinement, and so he resorts to them when he feels himself losing sanity. Upon his recovery, Miss Pross and Lorry destroy his shoemaking tools in hopes that their absence will prevent his future detatchment. This scene is illustrated a lot, but It's one of my favourite representations of Miss Pross. By F. M. Blakie.





More to come....

Wednesday, September 9, 2009

What is this feeling in my cold, dead heart?

Could it be President Obama Speechifying?
The last few weeks have made me a cynic. I can't turn on the radio, tv, or look at the internet without reading yet one more story of rampant incompetence and flaming dumbassosity.
( Way to think that's mis-spelled, OSX! You know why? It's because I MADE IT UP! Right click, add to Dictionary. Dumbassosity.) \
From the "just phone it in" attitude of the clemency panel for Texas' death row inmates (Which is vying for a place in the "banality of evil" hall of fame.) to the r-tard who called into KGO Talk Radio to explain that he didn't let his kid listen to the Obama Speech to schoolkids because "encouraging them to go to college gives them false hope when there's no guarantee of success if you have a degree", to the scores of even bigger idiots who didn't let their kids listen and forced their schools to hand out a GODDAMNED WAVER so that parents could give their permission to hear THE PRESIDENT OF THE UNITED STATES speak (Because, you know, he's a Commie and a Nazi, and fuck it, let's just be honest, he's the Antichrist) , It's raining fools!
Anyway, listening to the speech was like a little ray of sunshine piercing through my cynicism. Yes, this country can produce powerful people who are not complete morons. Warm fuzzy feelings. His words were like a knife cutting through bullshit.
He also said something that made me a little weak in the knees, and that is that he'd listen to well-thought-out ideas no matter where they came from...the door is open.
So there's a challenge for the republicans. Come up with a workable plan. Don't just complain that no one is listening to you, because the intelligent public IS listening, and we aren't hearing anything other than bitching and moaning.
Come up with a workable plan, and you have a seat at the table. It's no guarantee you'll win the debate. If you lose, you need to prove you can take it like gentlemen...not toddlers. And you need to prove you can compromise. Do you see what a mess California is? It's because none of the reps on either side will budge on anything. Any debate is reduced to meaningless catchphrases.

"2 teach is 2 touch a life 4evar: GO UNIONS!", "No new taxes", "Save the trees!", "Everything can be solved with a tax cut!!!!", "Not in my backyard!" , "COMMIE!" , "Asshole!", "Hippie", "corporate shill!", "Nazi!","Think of the children!" , "babykillers!"

At this point, one of the parties lays down on the floor and starts screaming and pounding their fists, and that's one more day that went by where we didn't have a damn state budget... but I digress.
This country needs healthcare reform, and if you don't think so, you're a tool and people were wrong to elect you because you certainly aren't doing your job to represent them. If you don't have anything to bring to the table, shut the hell up. No one wants to have dinner with a whiner. If you do, those of us who want our future to be hinged on something other than gut feelings will pay attention.

Friday, August 7, 2009

EA Marketing Does Ethically Reprehensible Things....Again.

Dante's Inferno & the Sexist Marketing Campaign
This bullshit floored me. OMG. How did someone NOT catch that this was crazy sexist, offensive, and nearly criminal before it got out the door? Before it got anywhere near the door? When it got sent out as a marketing email? What is HR doing? Smoking? Probably defending the company's SUV sport-star schmoozemobile from punk employees who write "wash me" in the dust on the window. Perhaps they need to refocus their efforts. The funny thing is that heads are probably going to roll over this, but probably would have gotten kudos for great work had there not been an outcry. Only a sin if you get caught. You know?
I'm now convinced that Ethical Dubiousness is the rule, not the exception for marketing everywhere, and that I was naive to think otherwise.
Brass Knuckles Against the Law (EA)
Way to Offend the Christians (EA)
Blogger Previews (EA)
And the Non-EA example I stumbled upon:
Wyeth Pays for Ghostwriting in Medical Journals