Polazine!

Tonight I host the party at Ruff Club—celebrating the release of my new Polaroid Magazine... come party with us!

Available at these fine stores:
Opening Ceremony LA/NYC
Printed Matter, NYC
St. Marks Bookstore, NYC
John Connelly Presents, NYC
Collette, Paris
Hirmomi Yoshii, Tokyo
coming soon: Patricia Fields, NYC

Everything Is Gonna Be O.K.

R.I.P. Heath Ledger

I'm so sad... Heath was found dead in his NYC Apartment in Soho today around 3:30pm. The cause seems to be a drug overdose. He was only 28. 2008 is not off to a great start.

hugs

not

drugs

Towards a Metalanguage of E V I L, Part III

This is the final installment of Cady Noland's essay on the topic of psychopaths which first appeared in Balcon No. 4 (1989)—originally written in 1987. I had been looking for this text for years online with no luck and recently discovered it republished in Witness to Her Art (Edited by Rhea Anastas with Michael Brenson—CCS BARD). So, I decided to retype it here in three sections for TheBullet—making it more accessible and I cleaned up all of the typos too. I couldn't find Cady's original images that accompanied the text when it was first published—many of which were contemporaries of hers like, Steven Parrino, Sherrie Levine, and Barbara Kruger... I have included pieces by them along with other Googled images that I found. For those of you who are fans of Noland's work, I hope that you will enjoy reading it as much as I did and please forgive me Cady for 'stealing' your text... with great admiration, thank you.


In keeping with Kegan’s model, euphemistic meaning is foreign to the psychopath. In the movie STRANGERS ON A TRAIN, adapted from Patricia Highsmith’s novel, the semantic differences of two men are fought out in a life and death struggle. The first site for the collision of these two eras occurs on a train, where two strangers indicate there is someone whose neck they would like to wring. Where the meaning of the tennis player, a man who plays by the rules, is hypothetical in that it is an impulse tamed internally and vented in the symbolic world of words, the psychopath can only grapple with the logistic of how best to enact the murder, how to take it out of the world of the hypothetical and make it happen. The immature epistemological era, or the ruthless mechanism, is symbolically overcome in the film’s finale when the psychopath is crushed by a merry-go-round gone haywire, an allusion to his malignantly retarded development.


An aficionado of the manipulative character will notice that the potential to discover X at work is sometimes signaled by an almost imperceptible ‘off’ quality in a setting. In Hitchcock's film, FRENZY, this discoloration is visually realized in the slightly artificial red hair of the psychopathic killer, actor Barry Foster. If Y is a veteran of skirmishes with X, Y will learn to zero in on that which seems ‘off’, go over and over a sequence involving X until the tiny fissure, inconsistency, or flaw is uncovered which belies the humdrum believability of the scenario. In movies like Antonioni’s, BLOW UP, as well as in the film BLOW OUT, it is through the exhumation of photographic images and their repeated screening that Y searches for telling detail. Then it is possible to go back in reverse over the literal pattern of X’s machinations and his attempts at putting forth a bankrupt reality.

When Y has been able to distill the facts of X’s actions, the blueprint of X’s scheme crystallizes and the claustrophobic logic of it is a grim reminder of X’s pettiness—a determination to orchestrate and master people unfortunate enough to crosss X’s path, according to plan.


If Y is familiar with X, little misjudgments during his impersonation of human being become apparent. Particular expressions both verbal and visceral, which are meant to signify the various emotions, seem stilted or contrived. Cases where we have come to expect some affect, such as on the occasion of learning of a friend or relative’s death, X may inadvertently seem remote or cool. Other times, when X is playing at pouring out his heart, he may ‘pour it on too thick’, turning the performance into an unconvincing, maudlin sham.

There is a great deal of performance anxiety in X when he realizes that he may have failed to read the specifications of a situation accurately. When X is caught in a unconvincing display of feeling, and Y ‘calls him on it’, there may be an abrupt change in X’s affect, and perhaps in one of the few times X is ‘on the level’, a seething anger is unveiled, if even just for a telling moment or two. The psychopath is always wearing a mask except when openly aggressive. Oddly, in a psychological projection, the victim is a recipient of X’s rage during a transference in which he is seen as having been responsible for suppressing X’s true expression of himself and having expected him to ‘play the game’. In this case, the anger takes on a righteous affect.


In the psychological thriller, ignition points of volatile rage are indicated in the first cracks or fissures which appear in the intact surface of X. In the film PLAY MISTY FOR ME, the first crack in the psychopath’s façade is in her obscene hatred of strangers and innocent bystanders. In the film ALIENS the psychopathic innards escape and jump from host to host, bursting unexpectedly from their bodies. In the Robert Aldrich film, KISS ME DEADLY, the psychopathic presence is realized in the form of a ‘Pandora’s box’, which contains a vicious toxin.

Abrupt change in affect occurs as the performance fissure opens up—and it is the shocking inconsistency between inner and outer realities which is so horrifying to the actual or the dramaturgical audience.

In the recent film, THE STEPFATHER, the psychopath, in the guise of a real estate agent chats amiably with a psychiatrist who is pretending to be a house hunter, but who is there to gauge the mental health of the ‘real estate agent’. There is a tiny flaw in the performance of the psychiatrist, which in turn causes a major rent in that of the psychopath, who suddenly seizes a two-by-four and bashes the doctor in the face, in a kind of violent minuet of manners. This extreme interaction is a grotesque and overblown parody of getting to know someone, hyper-realized in the space of a few hysterical macromoments.


X may fashion an artifact called ‘the mirror device’ with which to manipulate Y. Using this device, X cynically fashions his tastes and judgments to accord with those of Y, thus winning Y’s trust and approbation. An alignment is formed under false pretenses, but Y, hopefully is none the wiser. Even while X is saying in effect, ‘me too, brother…’ X’s actual feelings are secreted from the interaction. X may not always mirror Y, but may instead mirror a role which is acceptable to Y. For example, X goes to Y’s door in the guise of an electrician come to fix some faulty wiring, when X is not, in fact an electrician. A fictive example of this occurs in LITTLE RED RIDING HOOD. Conning devices are tools. The degree of harm that they do, if any, depends upon the purpose for which they are instrumented. Where ‘the mirror device’ might be used by a parent to encourage a child, or by a psychiatrist as a therapeutic device, it is also used by ambitious students, known otherwise as ‘brown-nosers’ or ‘ass kissers’, who cynically reword the opinions of their teachers in their written and oral work. People also use the ‘mirror device’ to ‘pass’, as Erving Goffman points out. A high school girl may try to hide her intelligence and approximate a bubbly persona instead of going dateless. Goffman details many other versions of ‘passing’ in his book, STIGMA. ‘The mirror device’ is a tool with which to modify Y, and render him more pliable to X’s manipulations. Malignant use of ‘the mirror device’abounded in Nazi Germany. According to Hannah Arenht, one of the sights that struck Adolph Eichmann as being the most horrific was a perfect imitation of the Treblinka railway station. This imitation had been constructed for the express purpose of lulling prisoners into the mistaken impression that they had arrived at a safe and benign destination. The station had been built with patient attention to detail, with contrivances like signs and installations.


In order to function effectively, the rules of ‘the mirror device’ must be slavishly adhered to. Whatever the con, whatever structure it takes, there are particulars, details which make each one unique and have to be filled in along the way. These are the nuances and shadings of the individual con, and they affect the success or failure of the con. The less the variational detail is an index of X’s own preoccupations, the ore likely the con is to succeed. The more X is emotionally disengaged and remote from their interaction with Y, the more likely X is to get and maintain control of Y. ‘The mirror device’ is non-objectification of Y and features an excision of their fears and needs.

As a prelude to building a mirror device and animating it, X must first go on an information hunt. It is empirical findings which best serve his purpose here. The finding and manipulating of this data requires and extreme level of vigilance and dissociation.


If a mirror device is to be erected, there is homework to be done. The edifice of a persona that X must create should be an artifact based on deductions and inferences drawn from information collected about Y. This information might be obtained from records, charts, from Y’s friends and neighbors, or by trailing Y. If the information is to be obtained by open questioning, X might stage a mirror device to get it. For example, he might don a uniform of some sort to fabricate an official capacity. He might dress up as a nurse or a police officer. X might get a friend of Y’s or Y himself drunk or ‘stoned’ under the pretense of mutual relaxation and unfettered camaraderie. Whereas Y might expect X to take a breather from ‘the game’ after passing trough a saloon or dance hall door, X is a calculating machine whose function never slows or lapses. On Y’s side, a previously hostile world—one hostile to satisfying Y’s longings, now seems ready to hear about them. Unfortunately it is only X who is ready to hear them and unquestionably with ulterior purpose. In a state of inebriation, Y may provide all sorts of information unstintingly and with abandon about themselves or about any sport or subject that X steers the conversation towards. Seated with the now loquacious mark, X might certainly be drinking less that he lets on, but if X is a psychopath, there is reason to assume that this maniacal iron control dissipates under the influence.

In this day of abstinence, the AA or NA meeting may prove just as ripe environment for the stalking of information as a bar has in the past. The confessional imperative dominates in one as much as the other, and it is likely, in either case that many participants will relax and ‘open up’.


On a larger, corporate level, the information hunt is called market research. Factors gleaned from market research are weighed against one another in ways which ultimately have concrete effect on huge numbers of individuals. This use of this sort of information to malign effect is catalogued in Mark Dowie’s essay, PINTO MADNESS. In his book, THE FUNCTION OF SOCIAL CONFLICT, sociologist Lewis Coser describes how, in the latter part of this century, the function of the sociologist has come increasingly to be that of trouble-shooter or quasi-market research for corporations and institutions.


During an information hunt, X does well to locate Y’s polar passions. What Y most loves and hates, his greatest hope, his greatest fear. If X is a psychopath armed with this information, it may become the crux of a little game of reward and punishment that X sets up against Y for genuine or imagined transgressions.


Sometimes X’s work is performed on several levels at one time. A classic, if hackneyed example is that of the enterprising artist, X, inviting a rich patron, Y, to ‘come up and see my etchings’. Thus, while trying to enact a sale, he may also feed her a line about her appeal. Casting out several lines at once, seeing which might bite, X may reel in a line if the game seems to be elsewhere. Where an unofficial line cast by X was not openly or tacitly accepted by Y, X may disown a line by claiming that it was cast as a ‘joke’, and not in earnest. If Y is well accustomed to X throwing out several lines and then downing them at whim, Y may try to sidestep this attempted manipulation by refusing to acknowledge that X has cast out any line except the most manifest and official one.


In a multi-level or two-pronged rap X may maintain that there is an official line, that lines are a matter of interpretation and semantics. X may try to disavow that anything ever actually occurs, citing the instability and relativity of people’s perceptions of reality. In these cases, X is sometimes aptly called ‘shifty’, for the constantly shifting lines, creating new ones and disavowing old ones, according to what is momentarily advantageous to him. He is also called sleazy, insincere, opportunistic, corrupt and crooked. His type of talk might be called double-talk, hedging, or in some of its more benign manifestations, hinting or being indirect.

Just as sororities ‘rush’ potential recruits, X may try to over stimulate Y by creating a frantic climate, of a false crisis, which obviates the use of discretion or foresight on the part of Y when making a decision. X may ‘stall’ Y, in much the same way a politician might try to forestall a bill by filibustering.

Things which appear to be benign coincidence, but where X seems to gain a peculiar advantage, may be the product of X’s surreptitious plotting. X may deploy a series of devices to keep Y and a third party, or Z, from meeting—by stalling Y with prosaic catch-ups like the loss of keys, complaints of illness, running out of gas or other sudden, minor emergency.


There are times when X sees that the configuration of elements—be they persons, objects, or events, are in a pattern or environment hostile to the development of his program. X has two choices in this case: he may vacate the situation, or he can wait until shift occurs which makes the environment more adaptable to his plan. A change, however seemingly inconsequential to the outsider, might convince X to move.

Waiting for reconfiguration as a strategy has a relation to the decision to use shock therapy on a mental patient. Here, through the vehicle of electric shock it is hoped that some reconfiguration in the brain may chance to be therapeutic. The doctor, and certainly the patient, has little control over what this reconfiguration might be, but this is a strategy which counts on the luck and good fortune of the shuffle. If X is a psychopath, the one certain thing is that this relatively passive strategy, waiting for reconfiguration, will only be used if it is the last game in town.

THE BONSAI EFFECT (was added for the artist’s installation at Documenta IX, in 1992).

The game depends on investing in things which accrue in value, or in wasting things in an obvious way (but not at your own expense, only to exhibit a genuine surplus).


Minorities are kept busy by “impossible projects.” So committed and tricked into trying to “slay the mythical dragon,” they are effectively out of competition with genuine players in the game. Women are directed to battle and attack their faces and bodies, to struggle with nature and make absurd expenditures of time and money to achieve and maintain beauty. The narrative possibilities are severely foreshortened by the devastating rules. Beauty, if it ever existed, fades, ‘time marches on,’ and the body, like all matter decays. Blacks must try to be as white as possible, and they too must wage a war against their features. Skin whitening, hair straightening, ‘nose-jobs,’ manipulating hair into impossible shapes, dieting, all this pruning suggests that a minority often becomes their own personal bonsai plant…

Dedicated to Professor of Sociology Stephen N. Butler (presently at Earlham College, Richmond Indiana) with whom I studied on an undergraduate level, with affection, gratitude and admiration—the best teacher I ever had.

Xander's Got The Look

Fred

R.I.P. Brad Renfro

The Star of Bully passed away early today. He was only 25.

hugs

Beat That! 139 Late 20th Century Hot Wheels to Benefit K48...

Today I have archived my entire collection of 1990's Hot Wheels and listed them on eBay to help raise money for our next K48—issue No. 7. If you are an avid collector you might find some gems like the 1991 Zombot... or, maybe you have a little brother or nephew that would totally freak-out to have this awesome collection... either way, K48 would greatly appreciate your support! Happy bidding.

Index (all are in mint condition and come in original packaging):

1988 Hot Wheels Space Administration #245
1991 Radar Ranger #63
1991 Flashfire #140
1991 Recycling Truck #143
1991 VW Bug #171
1991 Dodge VIPER RT/10 (Gold Medal Speed) #210
1991 Zombot #224
1991 Mini Truck #231
1991 Oldsmobile Aurora #265 Police Car K-9 Unit
1991 '59 Cadillac #266
1991 Super Cannon #274
1992 Shadow Jet II #246
1992 Splittin' Image II #248
1994 Hot Hubs Series #1 of 4 Cyber Cruiser
1994 Hot Hubs Series #2 of 4 Vampyra
1994 Hot Hubs Series #3 of 4 Shadow Jet
1994 Dark Rider Series #2 of 4 Twin Mill II
1995 Aeroflash #444 "Colossal Cooling Louvers!"
1995 3-Window '34 #451 "Windowless in Back!"
1995 '65 Mustang Convertible #455
1995 Pontiac Banshee #457 "Based on the Prototype!"
1995 Speed Shark #458
1995 Enforcer #461 "Fully-Armed! Combat Ready!"
1995 Double Demon #477 "Never Rolls The Wrong Way!"
1995 Rocket Shot #491 "Detachable Rocket!"
1995 Skullrider #593
1995 GM Ultralite #594
1995 Pontiac Salsa #596
1995 Buick Wildcat #597
1995 Dark Rider Series II #2 of 4 Street Beast "Fins & Rocket Lamps!"
1995 Dark Rider Series II #4 of 4 Power Pistons "Opening Canopy!"
1995 Fast Food Series #2 of 4 Pasta Pipes "Oodles of Noodles All Over!"
1995 Mod Bod Series #1 of 4 Hummer "Groovy Graphics!"
1995 Model Series #4 of 12 SPEED-A-SAURUS (Green)
1995 Model Series #4 of 12 SPEED-A-SAURUS (Purple)
1995 Model Series #11 of 12 "Power Rocket"
1995 Race Team Series II #3 of 4 "Blown Engine!"
1995 Silver Series II #3 of 4 '57 Chevy "Big Blown Engine!"
1995 Space Series #1 of 4 Radar Ranger "Radar Dish Rotates!"
1995 Space Series #2 of 4 GM Lean Machine "Tinted Canopy!"
1995 Space Series #3 of 4 Alien "Space-Age Thrusters!"
1995 Space Series #4 of 4 Tredator "Robot Driver!"
1995 Splatter Paint Series #2 of 4 Side-Splitter "Body Lifts From Chassis & Classic Interior Detailing!"
1995 Sports Car Series #3 of 4 Shelby Cobra 427 S/C "Blown Race Engine!"
1995 Sports Car Series #4 of 4 Slam Dunk '59 Caddy "Classic Detailing!"
1996 Alien #2 of 4
1996 Baja Breaker #128 "Opening Hood!"
1996 Beach Blaster #528 "Rear Sunroof!"
1996 Biff! Bam! Boom! series #2 of 4 "Moneyed Madness!"
1996 Dealer's Choice Series #1 of 4 "A Real Wild Car(d)!"
1996 Dealer's Choice Series #2 of 4 "King of the Road!"
1996 Dealer's Choice Series #3 of 4 "Set The Pace With This Race Ace!"
1996 First Editions #3 of 12 1970 Charger Daytona "Premiere Collector's Model!"
1996 First Editions #9 of 12 Radio Flyer Wagon "Premiere Collector's Model!"
1996 First Editions #8 of 12 "Premire Collector's Model!"
1996 GMC Motor Home #524 "Fully Detailed Interior!"
1996 Heat Fleet Series #2 of 4 School Bus "Red-Hot Paint Job!"
1996 Neet Streeter #526 "Cool Hood Scoop!"
1996 Quick Silver Series #3 of 4 Ferrari 308 Tornado "Fast on Track!"
1996 Phantom Racer Series #1 of 4 Power Rocket "Opening Cockpit!"
1996 Phantom Racer Series #2 of 4 Power Pstons "See-Through Street Racer!"
1996 Phantom Racer Series #3 of 4 Power Pipes "Clearly One of the Hottest!"
1996 Phantom Racer Series #4 of 4 Road Rocket "Low-Slung Light Speeder!"
1996 Race Team Series III #1 of 4 Hummer
1996 Race Team Series III #3 of 4 3-Window '34 "Drag Strip Ready!"
1996 Rockin' Rods Series #1 of 4 Twang Thang "Guitar Car Style!"
1996 Rockin' Rods Series #2 of 4 "Put The Pedal To The Heavy Metal!" Ferrari 355
1996 Rockin' Rods Series #3 of 4 Turbo Flame "Red-Hot Rockin' Roller!"
1996 Rockin' Rods Series #4 of 4 Porsche 930 "Speed, Power & Ampli-tude!"
1996 Rodzilla! #323 Moveable head!
1996 Second Wind #527 "Open-Air-Speedster!"
1996 Speed Spray Series #4 of 4 Funny Car "Racer with Opening Body!"
1996 Spy Print Series #1 of 4 Stealth "Top Secret Spy Mission!"
1996 Spy Print Series #3 of 4 Sol-Aire CX4 "Expose The Truth!"
1996 Street Beast Series #4 of 4 "Outrun The Bird of Prey"
1996 White Ice Series #1 of 4 "Ghostly Cool Speed Seeker!"
1996 White Ice Series #2 of 4 "Winter White Racer!"
1996 White Ice Series #3 of 4 "Clearly Cool in White and Blue!"
1996 White Ice Series #4 of 4 "White Hot & Sleek!"
1997 Artistic License Series #2 of 4 '57 Chevy "Oh darling, I just know you can win the race!"
1997 Artistic License Series #4 of 4 1970 Plymouth Barracuda
1997 Baja Bug #835
1997 First Editions Series #1 of 12 Firebird Funny Car "Premiere Collector's Model!"
1997 First Editions Series #4 of 12 Saltflat Racer "Special Collector's Model!"
1997 First Editions Series #5 of 12 "Special Collector's Model!"
1997 First Editions Series #7 of 12 Way 2 Fast "Premiere Collector's Model!"
1997 First Editions Series #9 of 12 cars: Scorchin' Scooter
1997 First Editions Series #10 of 12 Mercedes C-Class "Premiere Collector's Model!"
1997 Flashfire #802
1997 Flyin' Aces Series #1 of 4 1970 Dodge Charger Daytona
1997 Lamborghini Countach #768
1997 Lamborghini Diablo #781
1997 Low 'N Cool Series #1 of 4 Mini Truck
1997 Mercedes 500 SL #815
1997 Sugar Rush Series #1 of 4 Mazda MX-5 Miata "Reese's Peanut Butter Cups!"
1997 Tattoo Machines Series #1 of 4 '57 T-Bird
1997 Tattoo Machines Series #2 of 4 '93 Camaro
1997 Tattoo Machines Series #3 of 4 "Stutz Blackhawk"
1997 Tattoo Machines Series #4 of 4 Corvette Stingray
1997 Techno Bits Series #3 of 4 Shadow Jet
1997 Techno Bits Series #4 of 4 Radar Ranger
1998 Firebird Funny Car #998
1998 Dodge Viper RT/10 #1006
1998 1970 Plymouth Barracuda #1035
1998 Buggin' Out Series #2 of 4 Shadow Jet II
1998 First Editions #1 of 40 Escort Rally "Premiere Collector's Model!"
1998 First Editions #5 of 40 Jaguar XK8 "Premiere Collector's Model!"
1998 First Editions #7 of 40 '32 Ford
1998 First Editions #8 of 40 '65 Impala Lowrider "Premiere Collector's Model"
1998 First Editions #9 of 40 '63 T-Bird #644
1998 First Editions #12 of 40 Lakester
1998 First Editions #13 of 40 Hot Seat
1998 First Editions #14 of 40 Ford GT-90
1998 First Editions #20 of 40 '40 Ford
1998 First Editions #21 of 40 Go Kart
1998 First Editions #22 of 40 Super Comp Dragster
1998 First Editions #23 of 40 Solar Eagle III
1998 First Editions #24 of 40 Tail Dragger
1998 First Editions #28 of 40 Chaparral 2
1998 First Editions #30 of 40 Sweet 16 II
1998 First Editions #34 of 40 AT-A-TUDE
1998 First Editions #35 of 40 Jaguar D-Type "Premiere Collector's Model!"
1998 First Editions #36 of 40 Whatta Drag
1998 First Editions #37 of 40 Express Lane
1998 First Editions #38 of 40 Cat-A-Pult
1998 First Editions #39 of 40 Fathom This
1998 First Editions #40 of 40 Double Vision
1998 Terrorific Series #2 of 4 Cat-A-Pult "Hunchback of Los Angeles!"
1999 First Editions #4 of 26 1970 Chevelle SS
1999 First Editions #12 of 26 Track T
1999 First Editions #13 of 26 Popcycle
1999 First Editions #18 of 26 Turbolence

Fact or Friction

I spent this past weekend down in Philly hanging out with Ruba & Geir and Co.—they curated this awesome show at Vox Populi. Below are just some random photos that I took on my trip and of the show. Philly is only 2 hours and $20 from NYC (that's cheaper than a cab to Astoria from The Cock!). It's a fun trip and they got the best Philly Cheese Steaks at Shanks in South Philly where Rocky is from. I also saw an awesome William Kentridge show at the Philadelphia Museum of Art and there is a small but totally fun artist community down there causin some trouble... overall, I think Philly rocks!

The Young & The Restless: 2008 is Gonna Be Gr8!

Letting go of 2007…

What a krazy year: a tornado touched down in Brooklyn, America is totally bored with Iraq, one meltdown after-the-next, and so many awesome people are like dead…

Gone but not forgotten:

R.I.P. Anna Nicole Smith.
Ike beat Tina Turner.
R.I.P. Brook A$tor - 105!
The Queen of Mean—Leona Helmsley—stone cold dead in her 1.4 MILLON DOLLAR mausoleum. Boris Yeltsin liked to drink—a lot. R.I.P. The rad existentialist filmmaker, Ingmar Bergman. Designing for White Women, Liz Claiborne—supposedly, Liz appeared on Oprah claiming that she was a devil worshipper and her company logo was some kind of satanic symbol and she donated some of her profits to some satanic organization… Oprah—who was wearing a Liz Claiborne dress wasn’t havin it and left the studio and returned wearing a bathrobe and said, “I’m never wearing one of your dresses again!” Liz announced that she doesn’t design clothes for black women cuz “their hips are too big.”
As purty as a Lady Bird.
R.I.Pavarotti—Hi-C!
R.I.P. The Legendary Mime: Marcel Marceau.
Is Fidel Castro dead yet?
God Bless her: Tammy Faye R.I.P.
Two awesome authors, Kurt Vonnegut and Norman Mailer: Why Are We at War? “Because democracy is noble, it is always endangered. Nobility, indeed, is always in danger. Democracy is perishable. I think the natural government for most people, given the uglier depths of human nature, is fascism. Fascism is more of a natural state than democracy. To assume blithely that we can export democracy into any country we choose can serve para-doxically to encourage more fascism at home and abroad.” R.I.P.

Meltdowns:
It’s Britney Bitch! Shaved heads are def back in. Gimme more babies!
Anna Nicole went down the rabbit hole.
Get well soon Lindsay.
David Hasselhoff got messy.
Boy George—Do you really want to hurt me?
Owen Wilson—we all loose it sometimes.

OJ is an even bigger mess.
Paris is burning—out.
NASA was like a total drunkin’ jealous computer space station sabotaging mess.
Wall Street guys getting drunk and naked doing keg stands is what I’m talking about.





My new year’s resolution: def letting go… Beam me up! Scotty

Wishing you all a healthy and wealthy 2008!

Best in Showpic 2007

I like the overall composition and the abstract blackout shapes and like how they relate to the line of the alarm clock and how it comes out kinda near the curve of the model's back and beautiful buttocks. The horizontal lines of the blinds in the upper right hand corner contrast nicely with the blue paisley comforter. The overall mood and color scheme is soothing and the even skin tone gets it all going for me... bravo—well done dude.

Santa's DUI

hope you kidz had and awezum x-mess... poor santa got busted!