Sunday – 13 February 2011
It’s my sister, Rana’s, birthday:
So far, today has been rather quiet and lazy. I slept in, which was quite the treat.
Yesterday, I headed over to Dr. Volt’s Comic Connection to play HeroClix with a few of the guys. We wound up playing a 3-on-3 game, themed “Science vs. Magic.” Chris, Andrew and I played figures with the “Mystical” and “Psychic” keywords, while Jeremiah and the two Johns played “Science,” “Robot” and “Armor” keyworded figures. It was a good game. We beat science to a pulp… with the very notable exception of Jeremiah’s Dr. Manhattan figure.
After I got home, SaraRules! and I ate dinner and watched The Hurt Locker and Iron Man. We’d not seen The Hurt Locker before. It was a very good and well-done movie; it was easy to see why the Academy lavished so much attention on it last year. And, Iron Man – which was SaraRules!’ choice, not mine by the way- well, that was just fun.
Chew on This: Food for Thought – Black History Month
Today’s personality is Wynton Marsalis:
Wynton Learson Marsalis is a trumpeter, composer, bandleader, music educator, and Artistic Director of Jazz at Lincoln Center. Marsalis has promoted the appreciation of Classical and Jazz music often to young audiences. Marsalis has been awarded nine Grammys in both genres, and was awarded the first Pulitzer Prize for Music for a jazz recording.
Wynton was born in New Orleans, Louisiana to Dolores and Ellis Marsalis, the second of six sons. At an early age he exhibited an aptitude for music. At age eight, Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by banjoist Danny Barker, and at 14, he performed with the New Orleans Philharmonic. During high school, Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with a local funk band, the Creators.
At age 17, Wynton was the youngest musician admitted to Tanglewood’s Berkshire Music Center, where he won the school’s Harvey Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979, and picked up gigs around town. In 1980, Wynton joined the Jazz Messengers led by Art Blakey. In the years that followed, Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends.
In 1987, Wynton Marsalis co-founded a jazz program at Lincoln Center. In July 1996, Jazz at Lincoln Center was installed as new constituent of Lincoln Center. In October 2004, Marsalis opened Frederick P. Rose Hall, the world’s first institution for jazz containing three performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Wynton presently serves as Artistic Director for Jazz at Lincoln Center and Music Director for the Jazz at Lincoln Center Orchestra.
Friday – 11 February 2011
It’s Friday. Granted, it’s my “on” Friday, but it’s still the end of the work week.
Last night, SaraRules and I attended a performance of Never Fight a Shark in Water, a one-man play based on the experiences of Gregory Bright, a man who served 271/2 years in prison for a second-degree murder charge that he didn’t commit. The play, starring Charles Holt, gave a time-compressed view of Mr. Bright’s ordeal, from his arrest to his emancipation. Mr. Holt gave a very powerful and emotional performance… despite what had to be one of the worst audiences that I’ve been part of:
People wandered in, not quietly, ten to fifteen minutes after the play had started;
One woman’s daughter was restless – and very vocal about it – throughout the performance;
One man shouted down at Mr. Holt not smoke; he lit and took two or three drags off two (2) cigarettes over the course of the two-hour performance, both of which were extinguished within a minute or two of lighting them. The smoking of both cigarettes was integral to each part of the story. To his credit, Mr. Holt queried the audience and offered to not smoke – the audience response was overwhelmingly in favor of continuing.
People got up, leaving and returning to the theatre, mid-performance… again, not quietly.
After the performance, there was a brief Q&A panel session, led by KUER’s Jennifer Napier-Pierce, with Gregory Bright, Charles Holt and a professor whose name eludes me. There were some rather good questions posed by the audience, including:
Q: How long did it take for you to let go of your anger?
A: “Five or six years.”
Q: You taught yourself to read while in prison and spent so much time reading legal documents to help in securing your freedom; do you read, now, just for enjoyment?
A: “When I learned to read, I read everything: George Orwell… Plato… comic books. Reading was such a great thing! I still read… I just don’t have as much time to do it.”
Mr. Bright was very candid and open in his responses. Even when asked about his former love, who – after 23 years of visits – told him that she’d married someone else, he said that she had been a major force in his life and that she remains a very good friend today.
In all, it was a very good way to spend the evening. If you have a chance to catch a performance of Never Fight a Shark in Water, you should do so.
Chew on This: Food for Thought – Black History Month
Today’s personality is Eartha Kitt:
Eartha Mae Kitt was an American actress, singer and cabaret star. She was perhaps best known for her highly distinctive singing style and her 1953 hit Christmas song “Santa Baby”.
Kitt began her career as a member of the Katherine Dunham Company in 1943 and remained a member of the troupe until 1948. A talented singer with a distinctive voice, her hits include “Let’s Do It”, “Champagne Taste”, “C’est si bon”, “Just an Old Fashioned Girl”, “Monotonous”, “Je cherche un homme”, “Love for Sale”, “I’d Rather Be Burned as a Witch”, “Uska Dara”, “Mink, Schmink”, “Under the Bridges of Paris”, and her most recognizable hit, “Santa Baby”, which was released in 1953. Kitt’s unique style was enhanced as she became fluent in the French language during her years performing in Europe.
Throughout the rest of the 1950s and early 1960s, Kitt would record, work in film, television and nightclubs, and return to the Broadway stage in “Mrs. Patterson” during the 1954-55 season, “Shinbone Alley” in 1957, and the short-lived “Jolly’s Progress” in 1959.[9] In 1964, Kitt helped open the Circle Star Theater in San Carlos, California. Also in the 1960s, the television series Batman featured her as Catwoman after Julie Newmar left the role.
In 1968, during the administration of President Lyndon B. Johnson, Kitt encountered a substantial professional setback after she made anti-war statements during a White House luncheon.The public reaction to Kitt’s statements was extreme, both pro and con. Publicly ostracized in the US, she devoted her energies to performances in Europe and Asia.
During that time, cultural references to her grew, including outside the United States, such as the well-known Monty Python sketch “The Cycling Tour”, where an amnesiac believes he is first Clodagh Rodgers, then Trotsky and finally Kitt (while performing to an enthusiastic crowd in Moscow). She returned to New York in a triumphant turn in the Broadway spectacle Timbuktu! (a version of the perennial Kismet set in Africa) in 1978.
Ms. Kitt became a vocal advocate for homosexual rights and publicly supported same-sex marriage, which she believed to be a civil right. She had been quoted as saying: “I support it [gay marriage] because we’re asking for the same thing. If I have a partner and something happens to me, I want that partner to enjoy the benefits of what we have reaped together. It’s a civil-rights thing, isn’t it?”
Kitt died from colon cancer on Christmas Day, 2008 at her Weston, Connecticut, home.
After the “less-than-ideal-to-me” X3: X-Men United, I have been… skeptical… in my attitude towards this summer’s X-Men: First Class. Until this appeared yesterday:
I stopped at Pin-up Girl on the way back from lunch. Kendra (the on-duty barista) and I were a little more than “mildly” shocked to learn that Christy (another barista) had NO idea who James Brown was.
Tuesday – 08 February 2011
It’s a sunny day in the valley. That is in stark contrast to the snow that fell yesterday afternoon and last night. Although, on the “plus” side: The air is clean(er) and you can see across the valley:
Last night, SaraRules! and I had a Date Night Adventure! It was really just supposed to be dinner and a concert, but the first half turned into something of an ordeal. Shortly after last month’s Preservation Hall Jazz Band concert, we learned that Wynton Marsalis and the Jazz at Lincoln Center Orchestra was going to be performing.
So, we decided to go and celebrate Valentine’s Day a little early.
This came under the heading of “Good Theory.”
“Practical Application” went a little something like this:
We drove to the University of Utah campus and found parking. We walked down to 13th East, as we had planned to eat at Aristo’s, a restaurant that SaraRules! had heard was good and wanted to try. We walked in to find they had at least a 45-minute wait. No good.
We walked next door to Indochine, a Vietnamese restaurant. The restaurant was fairly packed and there wasn’t anyone at the front counter. Again, no good.
We headed over to Market Street Broiler… and were met with people walking out, saying that they’d lost some power – the block across the street had a complete power outage – and were closing. *sigh* We were starting to see a pattern and it wasn’t good.
We then walked back down to B&D Burger. We were at the “beggars can’t be choosers” point of the evening and we were also running out of time. It was 6:30 PM when we walked in and the concert started at 7:30. Fortunately, we were only a five-minute walk from the hall. SaraRules!, in her near-infinite wisdom, suggested that we grab what looked like the last available table before we ordered. (Very good call on her part.) We stood in line for about 10 minutes, as the place was full of people – like us – who were unable to get into the other restaurants. We ordered and we sat down and waited.
6:50…
7:00…
7:05…
Around this time, SaraRules! went up “to have words” with the young lady at the counter. Granted, the place was full and the cook – the sole cook – was busy, but apparently the cashier had an “Oh, well…” attitude about the whole affair. And, at no point did anyone call in additional help to cover the rush.
7:15…
SaraRules! went back to the counter to get our order “to go.” Many other patrons had just decided to leave, without getting their orders AND without demanding refunds. (SaraRules! told me later that the cashiers were like “Hey… more money for us!” about those customers.) Contrast that attitude with this, taken from the back of the customer survey card:
We got our food about 7:25 PM. We hurried back to the car – we couldn’t exactly take our dinner into Kingsbury Hall – dropped off the boxes, took our gyros with us and ate them as we headed to the hall.
Fortunately, the performance started a few minutes late. I literally sat down a couple of seconds before the orchestra started playing.
It was a fantastic performance. One expects excellence when listening to Wynton Marsalis play. It was great to see… um, hear… that he surrounded himself with phenomenal talent, as well. It was an amazing show. There was no band leader/conductor. In fact, Wynton Marsalis wasn’t even front and center; he played on the third row, with the rest of the trumpeters. Mr. Marsalis even explained, between a couple of the pieces, why we saw the band talking amongst themselves during the performance: It was to decide who was going to solo or be featured in some pieces. On the fly. They played for about an hour-and-a-half and came back for an amazing encore. It was a great way to cap off an evening that began less-than-auspiciously.
Chew on This: Food for Thought – Black History Month
Today, let’s take a look at the Harlem Renaissance.
The Harlem Renaissance was a cultural movement that spanned the 1920s and 1930s. At the time, it was known as the “New Negro Movement”, named after the 1925 anthology by Alain Locke. Though it was centered in the Harlem neighborhood of New York City, many French-speaking black writers from African and Caribbean colonies who lived in Paris were also influenced by the Harlem Renaissance.
The Harlem Renaissance is unofficially recognized to have spanned from about 1919 until the early or mid 1930s. Many of its ideas lived on much longer. The zenith of this “flowering of Negro literature”, as James Weldon Johnson preferred to call the Harlem Renaissance, was placed between 1924 (the year that Opportunity: A Journal of Negro Life hosted a party for black writers where many white publishers were in attendance) and 1929 (the year of the stock market crash and the beginning of the Great Depression).
The Harlem Renaissance grew out of the changes that had taken place in the African American community since the abolition of slavery. These accelerated as a consequence of World War I and the great social and cultural changes in early 20th century United States. Industrialization was attracting people to cities from rural areas and gave rise to a new mass culture. Contributing factors leading to the Harlem Renaissance were the Great Migration of African Americans to northern cities, which concentrated ambitious people in places where they could encourage each other, and the First World War, which had created new industrial work opportunities for tens of thousands of people. Factors leading to the decline of this era include the Great Depression.
Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New Negro, who through intellect and production of literature, art, and music could challenge the pervading racism and stereotypes to promote progressive or socialist politics, and racial andsocial integration. The creation of art and literature would serve to “uplift” the race.
There would be no uniting form singularly characterizing the art that emerged out of the Harlem Renaissance. Rather, it encompassed a wide variety of cultural elements and styles, including a Pan-Africanist perspective, “high-culture” and “low-culture” or “low-life,” from the traditional form of music to the blues and jazz, traditional and new experimental forms in literature such as modernism and the new form of jazz poetry. This duality meant that numerous African-American artists came into conflict with conservatives in the black intelligentsia, who took issue with certain depictions of black life.
Some common themes represented during the Harlem Renaissance were the influence of the experience of slavery and emerging African-American folk traditions on black identity, the effects of institutional racism, the dilemmas inherent in performing and writing for elite white audiences, and the question of how to convey the experience of modern black life in the urban North.
The progress—both symbolic and real—during this period, became a point of reference from which the African-American community gained a spirit of self-determination that provided a growing sense of both Black urbanity and Black militancy as well as a foundation for the community to build upon for the Civil Rights struggles in the 1950s and 1960s.
Stray Toasters
Since we were heading out for Date Night – and since we were going to an event – I decided to wear my black suit, a white shirt and my African masks tie. While standing in line to get dinner, a woman (who was obviously aware of the concert) came up to me and asked,”Are you playing tonight?”
*sigh*
That’s right, lady. I’m a black guy in a suit and tie near the university campus. I, obviously, must be playing in the concert.
I simply told her, “No, I’m not.” My second – and, unfortunately, much-delayed – thought was to tell her “Yes, I’ll be playing trombone.”
If you haven’t taken a look at Google’s home page (“Google classic,” that is), check it out.
Last night, Mary and Matt came over for dinner. SaraRules! made breaded pecan chicken strips, scalloped potatoes and a zucchini/squash mix for dinner. Mary and May brought a cake for dessert. Dinner, the company and the conversation were all very good. After our company left, I finished reading this week’s four-color haul and played a little (a very little) DCUO before calling it a day.
Chew on This: Food for Thought – Black History Month Since it’s the weekend, and it’s going to be “a little” busy, you’re getting THREE entries:
Dorothy Jean Dandridge was an American actress and popular singer, and was the first African-American to be nominated for an Academy Award for Best Actress.
She performed as a vocalist in venues such as the Cotton Club and the Apollo Theater. In 1954, she was nominated for an Academy Award for Best Actress and a BAFTA Award for Best Actress in a Leading Role for Carmen Jones. By 1956, still under contract to Fox, Dandridge hadn’t made any films since Carmen Jones. Fox still believed that Dorothy was a star, but just didn’t know how to promote her. One of the head chiefs at Fox once said “She’s a star, but we don’t have any films to put her in or leading men to cast her opposite.”
In 1957 Dorothy’s luck came back when Darryl F. Zanuck cast Dandridge as Margot, a restless young Indian woman, in his controversial film version of, Island in the Sun, co-starring stars such as Joan Fontaine, James Mason, Harry Belafonte, Joan Collins, Michael Rennie, and Stephen Boyd. This film was a success which brought Dandridge back to the public eye. Determined to reinvent her career, she decided to wait on Fox to call for her to make a film.
In 1959, Columbia Pictures cast Dorothy in the lead role of Bess in Porgy and Bess; Dorothy was again nominated for a award, this time for a Golden Globe Award for Best Actress – Motion Picture Musical or Comedy. Dorothy was again eager to see if she was to win the award, but she once again lost. A few weeks later Dorothy was released from her 20th Century Fox contract.
Dandridge was married and divorced twice, first to dancer and entertainer Harold Nicholas (the father of her daughter, Harolyn Suzanne) and then to Jack Denison. Dandridge died of an accidental drug overdose, at the age of 42.
Ralph Ellison, named after Ralph Waldo Emerson, was born in Oklahoma City, Oklahoma to Lewis Alfred Ellison and Ida Millsap.In 1933, Ellison entered the Tuskegee Instituteon a scholarship to study music. Tuskegee’s music department was perhaps the most renowned department at the school, headed by the conductor William L. Dawson. While he studied music primarily in his classes, he spent increasing amounts of time in the library, reading up on modernist classics.
During World War II, Ellison joined the Merchant Marine, and in 1946 he married his second wife, Fanny McConnell. She worked as a photographer to help sustain Ellison. From 1947 to 1951 he earned some money writing book reviews, but spent most of his time working on Invisible Man. Fanny also helped type Ellison’s longhand text and assisted her husband in editing the typescript as it progressed.
Published in 1952, Invisible Man explores the theme of man’s search for his identity and place in society, as seen from the perspective of an unnamed black man in the New York City of the 1930s. In contrast to his contemporaries such as Richard Wright and James Baldwin, Ellison created characters that are dispassionate, educated, articulate and self-aware. Through the protagonist, Ellison explores the contrasts between the Northern and Southern varieties of racism and their alienating effect. The narrator is “invisible” in a figurative sense, in that “people refuse to see” him, and also experiences a kind of dissociation. The novel, with its treatment of taboo issues such as incest, won the National Book Award in 1953.
In 1964, Ellison published Shadow and Act, a collection of essays, and began to teach at Rutgers University and Yale University, while continuing to work on his novel. The following year, a survey of 200 prominent literary figures was released that proclaimed Invisible Man the most important novel since World War II.
Ralph Ellison died on April 16, 1994 of pancreatic cancer, and was buried at Trinity Church Cemeteryin the Washington Heights neighborhood of New York City.
Ella Jane Fitzgerald, also known as the “First Lady of Song” and “Lady Ella,” was an American jazz and song vocalist.
Fitzgerald was born in Newport News, Virginia. In her youth Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer Connee Boswell, later saying, “My mother brought home one of her records, and I fell in love with it….I tried so hard to sound just like her.”
She made her singing debut at 17 on November 21, 1934 at the Apollo Theater in Harlem, New York. She pulled in a weekly audience at the Apollo and won the opportunity to compete in one of the earliest of its famous “Amateur Nights”. She had originally intended to go on stage and dance but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead in the style of Connee Boswell. She sang Boswell’s “Judy” and “The Object of My Affection,” a song recorded by the Boswell Sisters, and won the first prize of $25.00.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb here. Webb had already hired singer Charlie Linton to work with the band and was, The New York Times later wrote, “reluctant to sign her….because she was gawky and unkempt, a diamond in the rough.” Webb offered her the opportunity to test with his band when they played a dance at Yale University.
She began singing regularly with Webb’s Orchestra through 1935 at Harlem’s Savoy Ballroom. Fitzgerald recorded several hit songs with them, including “Love and Kisses” and “(If You Can’t Sing It) You’ll Have to Swing It (Mr. Paganini)”. But it was her 1938 version of the nursery rhyme, “A-Tisket, A-Tasket”, a song she co-wrote, that brought her wide public acclaim.
With Decca’s Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz, and appeared regularly in his Jazz at the Philharmonic (JATP) concerts. Fitzgerald’s relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels. Fitzgerald left Decca and Granz, now her manager, created Verve Records around her. Fitzgerald later described the period as strategically crucial, saying, “I had gotten to the point where I was only singing be-bop. I thought be-bop was ‘it,’ and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman….felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life.” Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight multi-album Songbook sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Fitzgerald’s song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience.
Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.Miss Fitzgerald was generous throughout her career, and in 1993, she established the Charitable Foundation that bears her name: The Ella Fitzgerald Charitable Foundation, which continues to help the disadvantaged through grants and donation of new books to at-risk children.
Stray Toasters
MarknTyme sent me a link to an article about a “skin gun,” used as a treatment for burn victims. The accompanying video isn’t for the squeamish… but the results are rather impressive.
Tuesday – 01 February 2011 It’s another sunny, but cold, day in Paradise.
Today not only marks the beginning of a new month, but also the start of Black History Month. (More on this below.)
Last night, SaraRules! and I had a fairly quiet night. We had dinner at the local Cafe Zupas, then we did a little errand-running before locking the world outside our door. We even managed to watch an episode of NCIS from the DVR. After that, I played a little DCUO before heading to bed. As a test, I fired up City of Heroes; I wanted to see how it looked with the graphics settings dialed up. The visuals were good, but the framerate was… less than fluid, which I found disappointing, when juxtaposed with DCUO. Maybe I need to tweak a few more settings in CoH to increase the framerate. *shrug*
Chew on This: Food for Thought
As mentioned above, today is the beginning of Black History Month. As with last year, I think that I’ll do another “ABCs of Black History” this year. We’ll start with Dr. Ralph Abernathy:
Abernathy, the grandson of a slave, was born in Linden, Alabama (March 11, 1926). Ordained a Baptist minister in 1948, he studied at Alabama State College and Atlanta University. Abernathy met Martin Luther King in the early 1950’s, when the two were ministers of congregations in Montgomery, Alabama. They became widely known after the success of the Montgomery Bus Boycotts in 1955-56.
In 1957, King and Abernathy formed the Southern Christian Leadership Conference (SCLC), with King as President and Abernathy as Secretary-Treasurer. After King’s assassination in 1968, Abernathy assumed the presidency, leading the Poor People’s Campaign later that year. Abernathy also presided over SCLC’s Operation Breadbasket, which used economic pressure against companies that did not provide equal opportunities to blacks. In 1977, he resigned from the SCLC to run unsuccessfully for Andrew Young’s Atlanta seat in the US House of Representatives.
After the election, he served as pastor of the West Hunter Street Baptist Church in Atlanta. A year before his death, he published his autobiography, entitled And The Walls Came Tumbling Down.
Monday – 31 January 2011
Another week begins. And this one starts with Mother Nature’s frozen, mocking laughter blanketing the valley. That’s okay. It’s warm in the office.
Yesterday was a lazy day. SaraRules! and I lounged about the house all day. We filled a little bit of the afternoon catching up on a couple episodes of Young Justice. After that, I tinkered with my new game PC for a bit. DC Universe Online was still locking up at random, making it… difficult (read: “damned near impossible”)… to play. *sigh* I headed to the local Best Buy to put a hypothesis to test: Maybe using an off-board graphics card in the system would help. I picked up an new nVidia card (GeForce 210) to be tested out after dinner.
We went up to the in-laws’ for dinner and to watch the Pro Bowl. I’m not sure if it is because of the new schedule or the changes in rules, but the game just wasn’t “good.” Sure, it was football… kind of… but, the AFC just didn’t seem to have their usual fire or passion. It looked like they were just “there.” It was disappointing. I’m glad that it wasn’t the last game of the season this year. We turned from the game at halftime to watch RED, which the in-laws hadn’t seen; it was also far more entertaining than the game.
Back at home, SaraRules! and I started watching last week’s Fringe. Until the recording just went blank. Laptop to the rescue! I hooked up the BlacBook to the TV, surfed to Fox.com and finished the episode. After that, SaraRules! called it a night, while I installed the new video card…
…and, lo and behold, it worked! I logged into DCUO and played for about an hour. It didn’t cut out once. It’s a beautiful-looking game. The texture maps and environments look really nice. And, I also appreciated the fact that I didn’t have to run everywhere to get around, working my way up to Hover, the second-most useless superower (See: “Adventures of a Novice Hero,” in this post); I picked Flight as a travel power to start and it was immediately available.
I just ran across this, from an old post, while looking up the “Hover” reference above:
Juan: Shall we dine? Squee: NO! NOOO!! I don’t wanna eat the toasty souls of the damned!! Pepito: I thought we were having Stove Top? I want none of this soul-toast. Mother: Souls? What are they talking about? I didn’t cook any souls, Juan. Juan: Ah, darling, there’s something I’ve been meaning to tell you. You see, I am Satan. Mother: Hmmm… That explains the basement. But… I’ve always been such a good Christian woman. Juan/Satan: Well… then let’s both be thankful for irony. So, Todd, my son tells me you wish to join my soulless army of darkness? Squee: No, but once I wanted to be a giant monster.
I’ve long thought that Closer and Come Together should be able to combine, fairly easily, in a remix. This morning, I discovered that someone had made that remix (NSFW… just for the record):
