Look What I Found…
I was looking for a video of a mechanical procedure and other things popped up…
I was looking for a video of a mechanical procedure and other things popped up…
Apropos of not much, really, I just wanted to mention Tactical Hermit’s brief summation of the fire-bombings of Dresden and Tokyo towards the end of WW2, both events the impetus of a great deal of Allied angst and self-recrimination even today. Doubtless historians, scholars, and pundits will be arguing the same unanswerable questions from now until Doomsday: Were the bombings ineffectual, perhaps even pointless and unnecessary? Can we ever truly know if they hastened the final collapse of Nazi Germany and Imperial Japan by so much as a single minute? Should they be thought of as simply part and parcel of modern warfare, albeit profoundly regrettable? Or were they in fact atrocities, crimes against humanity perpetrated by unfeeling monsters against blameless civilians?
The reason I bring all this up tonight is nothing so weighty as all that, thank merciful Heaven. See, it just so happens that, thanks to Amazon’s Kindle Unlimited, I have on my sail foam a seriously gripping historical-fiction novel in ePub format titled The Air Raid Killer (Max Heller, Dresden Detective Book 1). It’s one hell of a page-turner, as author Frank Goldammer’s Detective Heller doggedly pursues a mad, quasi-human serial killer through the dead, burned-out streets of once-beautiful Dresden just before, during, and after the city’s immolation and utter destruction by several thousand RAF/USAAF HE and incendiary bombs.
Steve Anderson’s translation is absolutely flawless—not often the case with ePubs, alas. In the usual run of things, the editing and/or conversion from dead tree to ePub is so godawful it can be an active nuisance, yanking you right up out of the story by your ears to leave you staring blankly at the nearest wall. You can but shake your head in sorrow, anger, and confusion, hoping against hope that whoever committed this heinous crime against lit’ratchure wasn’t getting paid for the job. Oughta be in jail, more like.
Didn’t realize it until just now, but there’s a sequel to ARK. Yclept A Thousand Devils, Book 2 features Max Heller plying his trade in the same locality two (2) years after his hometown’s nightmarish destruction. Gonna have to add that ‘un to the ol’ KU library toot sweet and give it a look-see, soonest.
The making of a masterpiece.
“Absence of Malice” and Why Some Movies Are Timeless
When a great satire is made, one that touches on themes that are endemic and universal to the worlds of which they make fun, what happens is that reality keeps coming back around and making those movies relevant all over again. Our tragicomic withdrawal from Afghanistan echoed the futility of the daily lives of the drafted surgeons of the 4077th Mobile Army Surgical Hospital (M*A*S*H). Our seemingly aimless and ineffective attempts to counter Putin in the Ukraine can sometimes make us believe that nothing much has changed in the halls of the Pentagon since Buck Turgidson, President Muffley and General Ripper hammed it up in Dr. Strangelove’s “War Room.” And “The Player” and “Network” so perfectly skewer Hollywood and the News Media that all these years later, they remind us that almost nothing about those industries has changed over the ensuing decades.But it’s not only comedies and satires that can achieve this kind of cultural resonance… history rhymes, if it does not repeat, as they say, and so dramatic thrillers like “Serpico”, “All The President’s Men”, “Three Days of the Condor”, “Taxi Driver” and “Death Wish” also seem more relevant than ever, these days.
In the same vein, Sydney Pollack’s 1981 masterpiece “Absence of Malice” is one of those movies that perfectly skewers its subject, an unholy alliance between the press and the very government the press is meant to hold in check. It is so well done, that the drama is timeless. A movie that seems more prescient now, than it did when it was made.
The opening credits of “Malice” show us a full edition of a local Miami newspaper being written, typeset and printed. As the paper evolves into its final form, the headlines tell us that a powerful union boss has been missing for six months and is presumed dead, and that the Justice Department, the Miami PD and the DA are under trememdous pressure to solve the case.
Post credits we meet the Federal Prosecutor in charge of that case, Elliot Rosen (Bob Balaban), who has decided that a successful liquor wholesaler named Michael Gallagher, played by Paul Newman who was still one of the best looking men in the world even at age 56, must himself be involved in the disappearance in some way. Rosen doesn’t believe this because of any evidence he’s collected, he has none at all, but because Gallagher’s deceased father was affiliated with the local anti-union mob and so, therefore, his son must also be “connected”… quod erat demonstrandum.
Later, when the Miami Dade DA asks him which crime Gallagher is suspected of committing, Rosen answers “what’s the difference?”
“So you’re squeezing him?” asks the DA.
“You got somebody better?” is Rosen’s chilling response.
Unfortunately for Rosen, the US Consitution exists, and he cannot arrest Gallagher, put him in a deep dark hole, and sweat it out of him. So, he decides to put public pressure on the businessman in hopes he will break. To do this, he targets a young cub reporter named Megan Carter, played by Sally Field, as his weapon of choice. He leaks the existence of his “investigation” to Carter who writes an article that comes up just short of accusing Gallagher of the crime, an inferred accusation which Rosen knows will embarrass the man and destroy both his social standing in Miami as well as his business… eggs, meet omelette.
By now this should all be starting to sound very familiar.
Certainly it should be to attentive CF Lifers, mainly because of this clip featuring the incomparable Wilford Brimley.
I’ve run it here again and again, and watched it even more times, and it ain’t never getting old.
Lakeside Joe posts the renowned Dave Brubeck chestnut, “Take Five,” the one and only hit record I know of written in 5/4 time. Joe calls it an “enduring classic,” and that it most certainly is. Reminded me of another good ‘un I’ve been hearing of late on the local jazz station I resort to when the Wokesterism and PC horseshit ceaselessly pissed out by my usual classical station starts to work my last nerve.
Great melody, bangin’ arrangement, and the brass and wind sections are dialed in tighter’n Dick’s hat band: enduring classic? I’d say so, yeah.
As Stephen says: it’s official, America is great again.
Carl’s Jr. Super Bowl ad brings back bikini-clad burger models after yearslong clampdown https://t.co/O85LRstFhY pic.twitter.com/37y3haRBLC
— New York Post (@nypost)
The absolute best fast-food burgers in the business, Hi-C orange, plus TITTIES! I ask you, what’s not to like here?
In the course of a phone confab with my friend Don just now, for some strange reason the hoary old English limerick that begins “In days of old/when knights were bold…” came up. The version I’ve always known best runs thusly:
In days of old, when knights were bold
And condoms not invented
We wrapped a sock around our cock
And babies were prevented.
Now tell me that ain’t just hi-larious, I triple dog dare ya.
Anyhoo, this memory inspired me to do a Luxxle search for the opening line after I’d hung up, seeing as how I knew there was any number of different iterations of this bit of bawdy doggerel. And sure enough.
In days of old when knights were bold
And women weren’t invented,
They all drilled holes in telegraph poles,
and came away contented.
And:
In days of old when knights were bold
and toilets weren’t invented,
they laid their load upon the road
and walked away contented!
And:
In days of old
When men were bold
And paper not invented
They wiped their ass
With blades of grass
And walked away contented.
Last but by no means least:
In days of old, when knights were bold,
And girls were not particular
You’d line them all against the wall
And screw them perpendicular
What can one say but: heh. I do love me some lit’ratchure, I truly, truly do.
I’m sure there are many other versions of this classic floating around out there; if you know any, please feel free to share ‘em with us in the comments section. Lord knows that, in these parlous times, we could all use a good laugh any time we can get one.
Update! Upon further reflection it occurred to me that, as fodder for public-restroom graffiti goes, the fine old poesy above ranks right up there with a couple of stellar examples I ran across in a Chapel Hill dive bar the band was playing at long ago, scrawled at eyeball-height above the lone urinal. To wit:
Flush twice—it’s a long way to Taco Bell
And then another, older but still legible graffito:
Why change Dicks in the middle of a screw? Vote for Nixon in ’72!
Good stuff, no? Then there was a pre-Innarnuts listicle enlivening the green room of CLT’s Park Elevator before it went the way of all nightclub flesh, which started off thusly:
REASONS WHY THE INDIGO GIRLS SUCK
- They aren’t really indigo
- They aren’t really girls
- Off limits pussy pie
The above listicle items were added to by various Sharpie-wielding band members over time until finally, two (2) entire walls were covered by ‘em, transforming the ever-expanding list from the ordinary misspelled, punctuation-bereft, and ungrammatical semi-bon mots into a bona fide epic of rowdy witticism. Sadly, the first three are all I can remember now, but I do know the BPs laughed ourselves dizzy the first time we saw it, and raced in to check for new additions each and every time we played the joint ever after; it quickly became our first order of business before we loaded in, set up, and sound-checked, even.
I know the Indigo Girls gigged there at least once before the decrepit Park Elevator building was torn down and replaced by a yuppie-puppie pancake house or million-dollar condos or some such shite, so presumably they must’ve seen the backhanded tribute at some point. Who knows, they may have even added to it themselves—provided that the Girls (not! NOT!!) could’ve scraped up even a facsimile of a sense of humor between them, that is. Never met ‘em myself, so I won’t speculate on how likely that might be.
Park Elevator also happens to be the place where I rode my stripped down, straight-piped, apehanger-bedecked 1971 FLH through the low freight-loading entrance and right onto the stage at the beginning of our set, parking up next to my guitar amp. My friend Joe followed me in on his hot-rod Sportster, parking over on Stage Left opposite my Shovelhead; both bikes were custom-painted white and had been thoroughly shined up beforehand so that they gleamed and glittered beautifully under the multi-colored stage lighting.
Who was it we were opening for that night—the Cramps, maybe? Somebody else? Or were the BPs headlining the show? Ahh, the hell with it; doesn’t matter now, it’s over and done with. The one thing I’m confident of is that nobody who was there to witness our spectacular stunt-entrance has forgotten it, nor will they.
Backstory of how the deal went down: upon arriving at Park Elevator I approached the owner, Tim, to inform him of my nefarious plans and also to confirm that the jerry-built PE stage could handle a total of approximately 1500 pounds of extra weight without collapsing and killing us all. Tim grinned sheepishly, shrugged, and replied, “I dunno; it’s up to you, man, I’m cool with it!” Which noncommittal response put before me a question I’d asked myself time and again before doing another reckless, risky, and altogether foolish thing: What would Jerry Lee Lewis do?
There was but one answer to that, which was clear as a mountain spring. So I fired that bitch up (kick only, natch), muscled the 20-inch apes (on five-inch straight risers) down and back enough to JUST clear the freight-ramp door at Stage Left, and rode on in—so far so good, no problem. Shut the low-slung Shovel down, gently leaned it onto the kickstand, dismounted, strapped on the git-fiddle, slashed that almighty first-position A chord, let that mutha ring until the tormented Marshall amp screamed in razor-edged agonies of feedback, and may the revels commence, baby!
And the rest, as they say, is rock and roll history. A pic of the ol’ gal as she was in days of yore:
As with guitars, amps, cars, and women, I never could seem to keep a bike around for more than four-five years max before losing interest and offloading it. The 71 FL, though, was special: I held onto that one for ten (10) years before dumping her and moving on. A whole lotta years, a whole lotta miles, a whole lotta smiles, two (2) girlfriends, and I don’t even know how many cars, guitars, and amplifiers over that unusually lengthy (for me) period.
Those ten glorious years saw:
Three (3) custom paintjobs
Five (5) sets of exhausts, the uncontested champeen of which was an HD two-into-one system featuring no-shit tuned headers—the stock factory system for one (1) year on certain late-70s FX models, a rara avis greatly prized among Those Who Know. Ugly as sin, excessively heavy, too quiet for comfort, that rig nonetheless made my Milwaukee Marauder run like a raped ape after me and Goose punched holes in the big, clunky baffle it came with, a mod which increases exhaust-gas flow while still retaining the back pressure highway and byway cruiser machines require to operate at peak efficiency all day. There’s a reason, after all, why HD straight-pipe exhausts are pretty much universally known as “drag pipes,” even amongst non-biker types who have never swung a leg over a Hog in their lives and know precious little and care even less about ’em: it’s because drag pipes only work well on actual dragsters that run at full-throttle all the time, for short but exhilarating bursts down a stick-straight quarter- or eighth-mile strip
Five (5) sets of handlebars/risers: buckhorns on pullbacks, drag bars, 16″ apes, 20” apes, these wide-ass dresser longhorns I could only put up with for a cpl-three months
A full-custom suicide shift designed, built, and installed by me and Goose; unavailable at any price back then, now offered by several aftermarket manufacturers
Two (2) primary drives, enclosed chain and open belt
Six (6) seats, with and without sissy-bar, from a horrible solo seat on springs to the near-perfect Mustang pillow-seat shown above
Four (4) detachable saddlebag sets, one a rare factory Sportster arrangement; two throwover leather bag sets, one all fringed and fancy, one plain-Jane; lastly, the fiberglass bags shown above, a set of aftermarket el-cheapos
As the above partial list shows, I expended a great amount of time and effort on re-imagining, customizing, and re-working that faithful, rock-solid murdersickle into various guises. All part of the fun of Harley-Davidson ownership—actually, one of the primary reasons crusty old gearheads like me get addicted to the blasted things.
Updated update! After extensive digging, I eventually managed to unearth a pic showing the OEM 2-into-1 exhaust I waxed rhapsodic about earlier.
1978 FXS Lowrider, that would be, a very well preserved example of a long-dead breed. Look close and you’ll see the points (!) cover proudly sports the Number One-American flag insignia from the AMF (Annoying Manufacturing Flaw) era.
Simple, rugged, uncompromising: to me, this is simply what a Harley Davidson motorcycle looks like. Not anymore, unfortunately. Check out the official H-D website and you’ll find page after tiresome page of bland, cookie-cutter mundanities that bear no resemblance whatsoever to the straightforward, classic machines of yesteryear, which I think is a crying shame.
Yes, they leaked oil. Yes, they vibrated so bad they could make your hands go numb and shake your teeth loose on a long trip. Yes, they were so slow they could barely get out of their own way. Yes, they were heavy pigs. Yes, the inferior clutch, four-speed tranny, long-throw shifter, and loosey-goosey shift linkage could make changing gears a hit or miss proposition sometimes. Yes, the suspension, handling, and brakes were a good bit shy of adequate. What of it? All those shortcomings could be addressed with a little backyard wrenching and some high-performance components, which even back then were readily available.
No self-respecting biker I’ve known would think having to work on his own bike so as to get everything dialed in to his personal satisfaction to be a bridge too far. Hell, invite your bros and their ol’ ladies over and have ‘em bring a case or three of cold beer along, crank up some slammin’ tunes on the jambox, and have yourselves a blast. Far from being any kind of deal-breaker, it’s an integral part of the biker lifestyle.
See what I mean about that exhaust, though? Pretty it ain’t, but it performed superbly, at least on my FLH. Looks as if Harley-D went for Function and said straight to hell with Form on those babies. Note how the rear pipe curls around the nose-cone cover like a snake, which is what it took to make tuned headers out of the system. Tuned headers, for anyone who doesn’t know, are basically just header pipes of equal length and diameter, see. After the first foot, foot and a half from the manifold clamp, the rest doesn’t matter. Rare as hen’s teeth back in the 70s and 80s, 2-into-1 exhausts with tuned headers for Harleys are common as dirt nowadays—you can’t take two steps without tripping over the aftermarket ones, for Big Twins and Sporties alike.
Schwingin’, mufuggiz.
Why don’t cars have hood ornaments anymore?
Safety, aerodynamics, and style all played a factor
LACK of style, more like. Truth to tell, the reason cars don’t have hood ornaments anymore is because, in the final analysis, nondescript modern-day plastic eggmobiles don’t deserve ‘em. Anyways. Onwards.
Hood ornaments started as a disguise for homely radiator caps more than a century ago. Once upon a time, radiator caps were featured on the outside of the car so drivers could keep an eye on the coolant water vapor temperature. Those caps weren’t particularly fetching as a design feature, so automakers started getting creative by adding “car mascots.”
Early cars were not equipped with coolant temperature gauges. One enterprising company created the Moto-Meter, a temperature gauge mounted on the radiator. As manufacturers began to incorporate coolant temperature gauges, the Moto-Meter disappeared, but the hood ornament remained for some brands.
Today, only a few high-end manufacturers still offer these gorgeous hood jewelry, like Rolls-Royce and Bentley. What happened to these mobile works of art?
The Safety Nazis got ‘em, like most everything else in American life that had class, style, and a certain je ne sais quoi about ‘em. But like I said, ya want a hood ornament, here’s ya a gottdamn hood ornament, bub.
That there chrome spear is from Christiana’s old 56 Fairlane Town Sedan*, which she lovingly called “Lainie,” for reasons which should be obvious.
* NOMENCLATURE NOTE: For the non-Ford-geeks out there, if any: Town Sedan=4-door, Club Sedan=2-door—or, as my old 54-55-56-Ford guru and mentor Don Stickler liked to say of the Town Sedans, you can always tell ‘em when you see ‘em because they had, and I quote, “too many doors.” Pic of mine and C’s beloved rides parked up side by side and nose to tail at the Diamond:
Photo snapped not long after I’d sold my 56 (at left) to a CFD-firefighter pal of mine, Chuckie Inman’s older brother, who yanked the grill (beat all to hell and gone, rusty AF to boot) and hood (which was the wrong damned one, from an earlier model of unknown provenance, so never really fit right anyhow) off altogether and mounted dual-quad Holly carbs atop an Edelbrock manifold because hey, why not? He’s incorrigible like that.
My beautymous Fairlane Club ran the grand old 292 Y Block mill, whereas Christiana’s had a nice little 289 tucked in betwixt the fender walls—a very common, easy-peasy mod with these cars (you don’t even need to change the motor mounts; just find yourself a Pony-car engine somewhere, drop ‘er into the bay, and bolt ‘er right up). Somebody had caught wise to that little swaperoo long before the black Townie had become the apple of my late wife’s eye. How we got her old Ford down from NYC is a heck of a story in its own right, gotta remember to tell youse guys all about it here someday.
Bought my 56 off a guy just across the Alabama line from Jawja—the very first exit, IIRC—who had been Pro-Street drag racing it; when I went to check the sled out, ol’ boy had to remove the fuel cell from the trunk and re-install the boring old stock gas tank while I sat on a tree stump outside his backyard garage/shop and waited, the agreed-upon purchase price of all of 2 grand cash money burning a hole in my pocket the whole time.
Once the fuel-storage issue was resolved I jumped behind the wheel, fired her up, and cruised that classy old girl all the way back to CLT (what, five hours? Six, maybe?) with nary a single hiccup the entire trip. She ran like a sewing machine ever afterwards, nary a smidgeon of trouble did she ever give me.
Well, excepting the time one of the control-arms tore loose from the rusted-out front crossmember and drove itself several inches into the soft, muddy ground at the Harley shop, et-up crossmembers being another well known and all too common fact of 56 Fairlane life. This was due to a piss-poor factory design that had the radiator-overflow outlet pissing directly down onto said crossmember and then just sitting there in a puddle, gnawing away at the metal.
Me and my friend Calvin dealt with that minor nuisance using some square stock culled from the H-D shop scrap-metal pile. We cut said scrap-steel down and welded it into a reasonable facsimile thereof; painted our handiwork in multiple coats of rattlecan Krylon black; and finally welded the whole sordid mess to the frame using Mark 1-Mod 0 eyeball measurements.
Which improvisational scrounging/fabrication/installation project, I freely admit, was not just one hundred percent straight and/or perfectly aligned when we were done. The car kinda crabbed down the road, like a small plane trying to land in a strong crosswind does. Not that it bothered my jerry-riggin’ ass none; I assure you I was NOT dissuaded in the slightest, and happily drove the auty-mobile for many more years having to rassle that huge steering wheel to and fro all the while so as to keep it between the ditches. Of course, I bolted up a custom Bettie Page suicide-knob of my own devising to help out, which I wound up getting a lot of use out of.
You know what Mike’s Iron Law #187 says, folks: whatever the headache, issue, or obstacle may be, there’s ALWAYS a workaround, and any real, true-blue American is ALWAYS gonna find it. Far as I’m concerned, that can-do, never say die spirit is a huuuuge part of what made America great to begin with.
(Original article via Insty)
Update! Seeing as how I’m sitting around doing a whole lot of nothing much tonight, might as well tell the gripping tale of how Christiana’s Lainie made her way down to her new NC home after we got hitched and set up housekeeping together.
Lainie’s prior residence was out in Old Tappan, NJ, in the attached one-space garage of my mother-in-law Xenia’s palatial abode there. Before Christiana acquired her, some previous owner had reupholstered the interior, re-carpeted her, did the engine-swap or had it done, replaced the suspect crossmember and re-routed the radiator overflow outlet, and had the car painted. All in all, though the paint had lost its luster and faded down to almost a matte black, she ran and drove just fine. Every other week C would go out and visit her mom, take the Fairlane out and tool around a bit, wash it, etc. There was a trustworthy auto-repair shop a few blocks away where she’d take the car for regular oil changes and such-like maintenance.
When we got married, the question arose of how we were gonna bring Lainie down to live with us. Although I offered, driving a 1956 Ford twelve (12) hours to Charlotte from NJ was simply out of the question. Christiana did some checking around and found a local auto-transport outfit who would ship the car to their Pineville facility at a not-quite-ghastly rate, whereupon we could come pick it up at our leisure and drive her to her/our new home.
Which is what we did. Somehow, though, once we’d gotten Lainie into the roomy two-car garage at our house, she seemed to fall into something of a snit, stubbornly refusing to start even though she’d made it home just fine from Pineville only a cpl-three weeks before. It was a mystery; after taking several stabs at trying to see what was up, I finally threw my hands up in disgust and walked away.
To this day I still feel guilty about that; Christiana never stopped imploring me to please, please, pretty please get her Fairlane back up and running again, but what with one thing and another—working at the Harley shop, touring with the band, mowing the damned lawn, etc etc etc I never made time to walk downstairs to the garage and just do it.
And then she was gone from me, her beloved Ford still stone-dead out in the damned garage while I sat upstairs doing my utmost to drink myself to death so I might rejoin the love of my life wherever her spirit may have fled before it was too late.
It still haunts me. I would sit at the bar in Snug Harbor and weep loudly and inconsolably, slamming drink after drink, my friends Ned and Jason on either side of me, their arms wrapped tight around me trying to protect me from myself as best they could. They were de facto bodyguards; on the not-infrequent occasions that some unknowing bar patron would ask just what the hell was wrong with me anyway, Ned and Jase would run them off immediately with a no-nonsense snarl, leaving no room for error in anybody’s mind.
The pain of losing Christiana, stupendous as it already was, was compounded by the anguish of knowing that the one thing my beautiful wife had ever asked me to do for her I had foolishly not done. I had let this wonderful woman down for no good reason; I knew I had, and it was too late now to make it up to her. To this very day I still have nightmares about it.
I couldn’t bring myself to ride my prized 06 Sportster anymore; I no longer gave a tinker’s damn about any of the things that had always made life worth living. I could hardly even go into the garage at all; Her Car was in there, and I hadn’t the intestinal fortitude to so much as look at poor Lainie now.
Until one balmy, mid-summer Friday afternoon, my dear friend Joe Lemyre piloted his own Harley Big Twin down from Boone, got all up in my grill, and snapped me the fuck out of it.
First off, Joe informed me in no uncertain terms that tonight I WOULD swing a leg over the Sporty and go riding with him, if only a short putt through the neighborhood. After we’d done that, got back to my place, and un-assed our respective scoots, he laid holt of my wrist with a grizzly-bear grip, dragged me over to dusty, slack-tired, cobwebbed-over Lainie and told me that tomorrow, come Hell or high water, we WOULD turn to, get cracking, and put her back on the road again. No matter what it took, how long it took, or how much it cost, it by God WOULD get done.
And damned if we didn’t do it. Took several months of wrenching, replacing worn-out or broken parts, draining the tank and replacing the smelly near-varnish with fresh gas. We installed new plugs, plug wires, and a Mallory electronic distributor. We borrowed a brand-spanking-new, high-buck Quicksilver 4-barrel from a friend and took the battered, clogged Motorcraft one-lunger off, wrapped it in red shop rags, and shoved it to the back of my workbench to await further developments. We Windexed the filmed-over glass; we wiped down the vinyl seats; we re-inflated the sagging tires to spec.
When we finally did coax Lainie into coughing, farting, sputtering life again at last, the cheers, shouts, and raucous laughter which erupted from the five or six of us in the garage that night rang in my ears no less gloriously than the sound of choirs of angels singing. As she gradually settled down to a smooth, loping idle there wasn’t a dry eye to be seen, nothing but happy smiles on every grease-smudged face.
And that’s another thing I will never, ever forget.
Yeah, any yay-hoo wants to tell me that internal combustion engines don’t have souls is gonna have to go peddle that horseshit someplace else, sorry. Ain’t no market for it here.
Couldn’t top El Gato Malo’s title for this little slice of utter genius, so I just swiped it.
Sorry ‘bout giving Memezapoppin’ a miss this week, gang, but after receiving a whole slew of truly toothsome T-day-related memes this past week via a private arch-con email list I’m a proud member of—which boasts a solid line-up of some of the most trusted names in ReichWingNaziDeathBeast© blogdom—I thought I’d use some of ‘em for my regularly-scheduled Friday Substack thang, which will be up in a trice.
Don’t hate me ‘cause I’m beautiful, y’all.
Update! As diligent CF watchers have no doubt gathered already from the Donnybrook update above, she’s up and running as promised.
Well whaddya know, maybe Woke really IS dead after all.
Apple just released the ad of the year. I would have never expected such a pro-family ad to come from this company.
Watch. Try not to cry… pic.twitter.com/2Yh7yCoodj
— Dinesh D’Souza (@DineshDSouza)
When the Superdooperdoublesecretultraüberlibs at Apple release an ad as White family-positive as this—not a jot or tittle of mockery, sarcasm, or sneering; no thinly-veiled insinuations of LiterallyHitlerGenocideNaziSupremacissism in sight—something’s going on out there.
Steve Jobs must be spinning in his grave. Which, just this once, is by no means a bad thing.
If you’re any kind of Star Trek fan at all, you’re gonna find this one…AWESOME.
A bit under eight minutes of unalloyed beauty, wonder, and joy, that’s what. Involving as it does the Genesis planet of fame and legend, I have to wonder what this might set the stage for, Trek-wise.
(Via Ed Driscoll)
Well whaddyaknow about that. I like Hegspeth even more now than I did; clearly, he’s my kind of guy.
BCE sez:
Seems that Hagspeth was a Rakkasan (the tat in the lower right corner in the regimental crest)
Never met him (to my memory) but it seems we were in a LOT of the same areas around the same time, to include Gitmo
Again: whaddya know about that. Where the post title came from: Skin Art, now sadly defunct. When I lapse into another of my maudlin reminiscences of the bygone days when I was “working for the magazines,” Skin Art was one of said mags.
EXTRANEOUS INSIDE-BASEBALL ADDENDUM: SA, which my boss-lady Chris proudly deemed our best and most praiseworthy publication, was put out by the likewise defunct Art & Ink Publications. Our other titles were my treasured Outlaw Biker ragazine, a labor of love for me and Chris on which I was tasked not just with ad design and layout duties but also cover design/layout now and again, as well as occasional feature articles covering full-custom Harley chops, bobjobs, and sundry uncategorizable oddities; your better class of independent shops and/or wrenches; biker events, runs, and other gatherings; and last but not least, the regular “Leatherballs” column (see the nav-bar link up top for my L-balls archive*). Additionally, we did Tattoos For Men; Tattoos For Women; and the outrageous, calculatedly offensive, disturbingly popular, and habitually pornographic Tabu Tattoo.
Tucked in a closet or under the bed someplace, I still have a big box jam-full of photos that people had sent in hoping to be run in one or the other of our mags, a great many of those pics featuring nekkid or practically nekkid women, in settings and poses that ran the gamut from “quite alluring” to “ unintentionally comical” to “what the fuuuu…?!?” A woefully high percentage of said hopefuls were uglier’n a mud fence, displaying all the sex appeal of a steaming, fresh-dropped hog turd. From the pics, you could see that these unfortunates were hard-bitten, slovenly, hatchet-faced slatterns with reek of cheap booze, BO, and broken dreams practically wafting up off the pic in an eye-tearing, all-hands olfactory assault. In Raymond Chandler’s concise, unforgettable sum-up: too much makeup on too many miles.
On the other hand, though, many of those half-clad aspiring biker-zine models were legitimately smokin’ hot, against every expectation of us office-drones slaving thanklessly away under the A&I lash.
Ahh, but the unsolicited submissions with Tabue Tetoooz Crayola’d illegibly in large, wobbly block print across the front of a ragged, worn-soft Manila envelope—no return address, because what mentally semi-sound person possessed of the smallest smidgeon of taste, discernment, self-respect, and functional eyesight would want the horrible things back, fer gawd’s sake?—were really something else again, I gotta say.
See, our production schedule required each individual staffer to upload one (1) set of the InDesign/Distiller PDF page layouts he’d been assigned to create to the printing company, with all the hi-res photos for said pages in their own separate IMGS folder (all covers were created in Illustrator, don’t know why). The uploading deadline was each and every Thursday afternoon by 2PM; on weeks the four-issues-yearly (the others were six) OB was due we doubled up, basically, kiting two (2) completed magazines off to the printers—which, surprisingly enough, there were only three of nationwide, by the by. IIRC, the one we used was way out in the untracked wilderness of Ohio or Nebraska or Indiana or some other such Godforsaken backwater.
Biker, as the boss always called it, was pretty much mine and Chris’s baby, with Jeff standing by to lend a hand as needed. Job assignments for the four mainstream, non-emetic tattoo mags were divided between the staff, said assignments written up by Chris in a four-cell table sketched up for that specific purpose, printed via the office inkjet, then distributed to the worker bees on Monday morning. When Tabu week rolled around the impending ordeal (permanently assigned to moi shortly after I started at A&I) of wading through the most recent soul-blighting submissions imbued me with a queasy combination of dread, disgust, and morbid fascination.
The five (5) members of Team A&I being the stout, indomitable sorts we were, the crew never flinched nor faltered underTabu’s unholy menace no matter what. We laughed; we cried; we jokingly mimed puking into the steel wastebaskets beside our desks; the most revolting pics were passed around amongst ourselves for the requisite snickering, mockery, and marveling at—yet somehow, some way, we persevered; we got through our shared travail more or less unscathed. We stood manfully up (okay, okay, two (2) of our number—my comely, smart-alecky, unpretentiously sexy, and staggeringly intelligent platonic GF Joy and of course our bold, fun-loving, über-competent and -professional boss-lady Chris—were of the vaginal/fallopian/uterine persuasion) to the most putrid profanations, perfidies, and provocations the Tabu freaky-deaks could hurl our way, and still we prevailed. Vidi, retchi, vici.
Thinking back on those splendid days, “the magazines” was just about the best job I ever had: tons of fun; engaging; unfailingly interesting; personable, supportive, cheerful co-workers and boss. Sure, it could be trying at times; making deadline every Thursday could be stressful, and A&I’s owner was an avaricious, conniving thief, a lecherous old sleazebag, and a consummate prick on his infrequent trips from his Miami abode to visit the office. Nonetheless, the bottom-line fact is that there was never a dull moment at A&I. I miss it terribly.
* As I like to tell folks, my one and only stab at real-deal, no-shit journalism was/is the “Myrtle Beach Goodbye” article linked under the Leatherballs heading; for that one, I made phone calls and interviewed several players both major and minor behind the tragic cancellation of the H-D Dealers Association’s annual spring rally—all of whom either agreed to be quoted on a strictly anonymous basis or flatly declined to be quoted at all, for reasons I felt were entirely understandable once I’d interviewed them, especially Myrtle Beach’s mayor, city councilmen, and several restaurant/bar/retail shop owners; gathered all the facts, details, and undisclosed motives I could; formed my own original conclusions via a careful, impartial analysis of the information gleaned from two (2) weeks of diligent sleuthing; wrote, re-wrote, and edited my reportage; published the fruits of my labor in OB, and hey presto: JOURNALISM!
Low-mileage creampuff, only ever driven by Webb Pierce’s sainted mother from Pasadena to church on Sundays, never driven above 30 mph, engine oil change every 500 miles whether it needed one or not.
According to commenter greg over at Phil and CedrQ’s hang, this righteous lead sled was designed and built by the justly famous Nudie Cohn, he of Nudie suit fame. If you click on over to the ‘Nuckles joint, you’ll also see a cpl-three memes which will be showing up in tonight’s Eyrie meme post, if my internet connection will ever stabilize long enough for me to upload and post the damned thing. It’s gotten so dicey around here Intarwebs-wise that in the last two days, I’ve burned through almost all of my high-speed data allotment using the phone for a hotspot.
Re my opening used-car salesman schpiel above, here’s the video backstory for Webb’s baby.
LOVE that song, it’s one of my all-time favorites. Go Granny go Granny go Granny GO!
Via my brother-from-another-mother BCE, this one should fit the bill. A preface, from Big Country himself.
Mongolian throat singing with metal and traditional Mongolian musical instruments… and another side note: The two string ‘guitar’ is a morin khuur which is the national instrument of Mongolia and is known as the “horse-headed fiddle”… in a few of their videos, you can plainly see the Swastika imbedded in the neck as it was originally intended to be, but freaks out the left so badly…
These guys are as awesome as you can imagine live as well. Funniest thing: NONE of them speak any English except the lead singer who’s main phrase was “FUCK YEEEEEAH!!!” which was hysterical…
He ain’t lying about all that, friends, as you can see.
More, from the “About” page of this downright frightening musical ensemble’s official website.
In 2019, an NPR story put a spotlight on “a band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing,” accurately highlighting the cultural importance and unique musical identity of THE HU. Founded in 2016 in Ulaanbaatar, Mongolia, THE HU, Gala, Jaya, Temka, and Enkush, are a modern rock group rooted in the tradition of their homeland. The band’s two most popular videos, “Yuve Yuve” and “Wolf Totem,” were produced by the band’s producer Dashka. The band’s name translates to the Mongolian root word for human being, and their unique approach blends instruments like the Morin Khuur (horsehead fiddle), Tovshuur (Mongolian guitar), Tumur Khuur (jaw harp) and throat singing withcontemporary sounds, creating a unique sonic profile that they call “Hunnu Rock.”
Their debut album, 2019 ‘s The Gereg, debuted at #1 on the World Album and Top New Artist Charts. With it, the band have accumulated over 250 million combined streams and video views to date and have received critical acclaim from the likes of Billboard, NPR, GQ, The Guardian, The Independent, Revolver, and even Sir Elton John himself.
Proving their global appeal, THE HU have sold out venues across the world in North America, Europe, Asia, and Australia, with scheduled festival appearances at Coachella, Lollapalooza, Download Festival, and more, creating a community of fans from all walks of life. They quickly grabbed the attention of the industry, leading to collaborations with Jacoby Shaddix of Papa Roach and Lzzy Hale of Halestorm. And most recently, the band received praise from fans and critics for their Mongolian rendition of Metallica’s “Sad But True,” which Metallica picked up on and invited them to record ‘Through The Never’ for their Metallica Blacklist album released in 2021 alongside other high-profile guest artists like Miley Cyrus, Chris Stapleton, Phoebe Bridgers, J Balvin, St. Vincent, and so many more. The band has also explored eclectic ways to reach audiences with their sound, most notably writing and recording music for EA Games’ Star Wars Jedi: Fallen Order.
The aforementioned Metallica cover is pretty awesome as well, but what really struck me most of all wasn’t so much the music but the gracious, becomingly humble acknowledgement at the end of the YT vid:
Like millions of people around the world, Metallica has been a huge influence and inspiration for us as music fans and musicians. We admire their 40 years of relentless touring and the timeless, unique music they have created. It is a great honor to show them our respect and gratitude by recording a version of “Sad But True” in our language and in the style of the HU.
Well, you can’t say fairer than that. And all’s well as ends better, as my old Gaffer liked to say, bless him.
Update! Dagnabbit, don’t know how, but this gin-yoo-wine CF institution almost got by me this year.
Ahh, the wonderful old chestnut from Jumpin’ Gene Simmons—no, not THAT Gene Simmons, the earlier, funnier one. I’ve run his version of “Haunted House” every Halloween on Ye Aulde Colde Furye Blogge for more years than I care to remember; it mortifies me to think that this year I durn near forgot. Thankfully, though, this tired old brain came through for us ere the end.
MORTIFIES, get me? A-HENH!
Updated update! What the hell, a backgrounder on Temüjin, a/k/a Genghis the Khan seems apropos.
Genghis Khan (born Temüjin; c. 1162 – August 1227), also known as Chinggis Khan, was the founder and first khan of the Mongol Empire. After spending most of his life uniting the Mongol tribes, he launched a series of military campaigns, conquering large parts of China and Central Asia.
Born between 1155 and 1167 and given the name Temüjin, he was the eldest child of Yesugei, a Mongol chieftain of the Borjigin clan, and his wife Hö’elün. When Temüjin was eight, his father died and his family was abandoned by its tribe. Reduced to near-poverty, Temüjin killed his older half-brother to secure his familial position. His charismatic personality helped to attract his first followers and to form alliances with two prominent steppe leaders named Jamukha and Toghrul; they worked together to retrieve Temüjin’s newlywed wife Börte, who had been kidnapped by raiders. As his reputation grew, his relationship with Jamukha deteriorated into open warfare. Temüjin was badly defeated in c. 1187, and may have spent the following years as a subject of the Jin dynasty; upon reemerging in 1196, he swiftly began gaining power. Toghrul came to view Temüjin as a threat and launched a surprise attack on him in 1203. Temüjin retreated, then regrouped and overpowered Toghrul; after defeating the Naiman tribe and executing Jamukha, he was left as the sole ruler on the Mongolian steppe.
As it happens, the vast empire established by the great Genghis Khan remains the largest of all time, by a broad margin. The Brits, the Spaniards, the Dutch? Stop it already, you make me laugh.
The Mongol Empire of the 13th and 14th centuries was the largest contiguous empire in history. Originating in present-day Mongolia in East Asia, the Mongol Empire at its height stretched from the Sea of Japan to parts of Eastern Europe, extending northward into parts of the Arctic; eastward and southward into parts of the Indian subcontinent, mounted invasions of Southeast Asia, and conquered the Iranian Plateau; and reached westward as far as the Levant and the Carpathian Mountains.
The Mongol Empire emerged from the unification of several nomadic tribes in the Mongol heartland under the leadership of Temüjin, known by the more famous title of Genghis Khan (c. 1162 – 1227), whom a council proclaimed as the ruler of all Mongols in 1206. The empire grew rapidly under his rule and that of his descendants, who sent out invading armies in every direction. The vast transcontinental empire connected the East with the West, and the Pacific to the Mediterranean, in an enforced Pax Mongolica, allowing the exchange of trade, technologies, commodities, and ideologies across Eurasia.
The empire began to split due to wars over succession, as the grandchildren of Genghis Khan disputed whether the royal line should follow from his son and initial heir Ögedei or from one of his other sons, such as Tolui, Chagatai, or Jochi. The Toluids prevailed after a bloody purge of Ögedeid and Chagatayid factions, but disputes continued among the descendants of Tolui. The conflict over whether the Mongol Empire would adopt a sedentary, cosmopolitan lifestyle or stick to its nomadic, steppe-based way of life was a major factor in the breakup.
After Möngke Khan died (1259), rival kurultai councils simultaneously elected different successors, the brothers Ariq Böke and Kublai Khan, who fought each other in the Toluid Civil War (1260–1264) and also dealt with challenges from the descendants of other sons of Genghis. Kublai successfully took power, but war ensued as he sought unsuccessfully to regain control of the Chagatayid and Ögedeid families. By the time of Kublai’s death in 1294, the Mongol Empire had fractured into four separate khanates or empires, each pursuing its own interests and objectives: the Golden Horde khanate in the northwest, the Chagatai Khanate in Central Asia, the Ilkhanate in Iran, and the Yuan dynasty in China, based in modern-day Beijing. In 1304, during the reign of Temür, the three western khanates accepted the suzerainty of the Yuan dynasty.
The Kubla Khan mentioned above is the self-same fellow written of by Samuel Taylor Coleridge, if I remember right. No less exalted a literary personage than the incomparable Rudyard Kipling memorialized Coleridge’s short pome thusly: “Remember that in all the millions permitted there are no more than five—five little lines—of which one can say: ‘These are the pure Magic. These are the clear vision. The rest is only poetry’.”
I shan’t argue. I still remember—having been brought up in the long-gone days when the government schools were in fact schools and not indoctrination centers and therefore still bothered to teach their young charges about the foundation-stones of Western arts and letters such as Sam Coleridge and Rudyard Kipling, to name but two—the opening couplet of Coleridge’s opium-fueled flight of fancy:
In Xanadu did Kubla Khan
A stately pleasure-dome decree…
Meh, that stuff’s old as dirt, older than that musty, dusty, rusty US Constitution thingamabobber, if such a thing is possible. Probably isn’t even an XboX version of it available, I betcher. I mean, seriously, dude: “Xanadu”? “Kubla Whatsit”? “Damsels with dulcimers,” whatever those might be, sitting around drunk off their asses on “the milk of Paradise,” all that other horsepuckey? SNOOZAPALOOZA!!!
Never having been all that big on horror movies, I surprised myself when Bram Stoker’s Dracula became one of my all-time favorite films after I first saw it. Propelled by gifted thespian Gary Oldman’s marvelously creepy yet also unexpectedly sympathetic turn as Count Dracul, Coppola’s take on Stoker’s classic vampire tale provides an object lesson in how movies ought to be made. Atmospherics, acting, script, cinematography, SFX, set design, eye of newt, wing of bat, toe of frog—every last ingredient that goes into the cauldron to brew up a genuinely unforgettable cinematic experience is included here.
Plus, in the “Dracula’s brides” scene, TITTIES! Okay, nightmarish blood drinking ghoulie-girl titties, sure. But still. Hey, I ain’t complaining; whatever they’re attached to, it’s always nice to see a comely set. Which, y’know, these most definitely are.
I ran across a full-length, free version of the film on YewToob, and in the course of re-watching a little of it there’s one particular scene that, unfortunately, stands out as being of extraordinary relevance today. Judge for yourself why I say so.
“They’re perfectly nutritious”—sounds familiar, don’t it? Even after more than two decades, Renfield’s deranged blandishment is still as fresh and current as tomorrow’s headlines. As a YT commenter notes, Tom Waits doesn’t act much, but when he does, he’s amazing. SO: you vill eat zee bugs, eh? Yeah, NO. Just look how well that worked out for Mr Renfield, the poor schlemiel.
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ProPol: Professional Politician
Vichy GOPe: Putative "Republicans" who talk a great game but never can seem to find a hill they consider worth dying on; Quislings, Petains, Benedicts, backstabbers, fake phony frauds
Fake Phony Fraud(s), S'faccim: two excellent descriptors coined by the late great WABC host Bob Grant which are interchangeable, both meaning as they do pretty much the same thing
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