Two years after Bachelor No. 2, Aimee Mann released her second album on her Superego label, 2002’s Lost in Space. The record is unofficially a concept album exploring self-destructive behavior of all sorts — the perfect Christmas gift for your favorite messed-up friend.

Typical lyric: “Get out while you can, baby, I’m pouring quicksand and sinking is all I had planned.” And: “You paint a lovely picture but reality intrudes with a message for you… and it’s real bad news.” And: “Nothing fuels a good flirtation like need and anger and desperation.”

But despite the downbeat subject matter, Lost in Space is a terrific sounding album and the favorite of many Aimee Mann fans. I rank it a bit below Bachelor No. 2 because it lacks that album’s variety but it’s certainly a worthy achievement.

Today’s Song of the Day, ‘It’s Not,’ is the final track on the album and maybe the most depressing. It ties together a lot of the album’s themes and imagery, including a reference to the title song, and ends on a seriously downbeat note: “I believe it’s you who could make it better… though it’s not.” Not only is this person caught in a downward spiral, she is clinging to the false hope of redemption on the way down. Yikes.

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I’m in a weird mood today, I feel more artsy. Like Im proud of my differences. It’s a good thing, just today feels like I fit in, but I don’t. It’s like i dong know of I’m happy or not, I’m comfortable right now that I’ve adapted to my new college life style, but at what cost. Am I losing the actor that I am? I need to be more excentic maybe? I’m not sad or upset I just feel pretty good. Must be the Christmas season, it dose things to you makes you feel the world. Everyone know the feeling. Just pure joy at it’s best. It’s nice but not much to report on today. Me and brandi have been The best, I just hope i don’t drive her away with my constant doatiing or my love for her. I’m okay, maybe I’m anticipating something great? I don’t know just it’s feels like a good day to be alive.

Stranger Danger

Spiralling costs and declining ratings were blamed for the cancellation of the show, but you’ve got to wonder where the money went. It certainly wasn’t spent on special effects, costumes or mediation.  Dr Zachary Smith and the robot (Bob May – the man inside the Robot) had started out as friends to begin with – but, by the time the series eventually ended the older actor would not let the younger actor into his dressing room – no doubt a case of Stranger Danger! Danger!

DIE HIGHLIGHTS DES TAGES:

Da gestern eine neue Folge DIE SUPERNANNY im Free-TV lief, finden wir sie heute kostenlos im Web. >> Die Supernanny online gucken >> Klick hier

Und noch ne Dokusoap. RAUS AUS DEN SCHULDEN hat ebenso wie die Nanny eine neue Folge im Internet zu bieten. >> Raus aus den Schulden online gucken >> Klick hier

UPDATES VOM 11.11.:

Es gibt ein paar neue Filme, die ihr euch kostenlos und legal online angucken könnt, und zwar:

- AMERICAN HISTORY X

- B. MONKEY

- DAS KONDOM DES GRAUENS

- DIE NACKTE WAHRHEIT ÜBER MÄNNER UND FRAUEN

- LOST IN SPACE

- WACHGEKÜSST

Alle sind unter “Filme” zu finden.

Wir wünschen euch viel Spaß beim Stöbern auf unseren Seiten und beim Gucken von tollen Serien, Shows und Cartoons im Web.

Continuing this blog’s fiftieth-anniversary coverage of The Twilight Zone, I turn your attention to one Archible Ernest “Buck” Houghton, Jr., the producer of the series’ first three seasons.  On September 25 and 26, 1998, I spoke to Houghton on the phone for some time, on the subject The Twilight Zone and also about his work in television before and after that series.  At the time, Houghton’s non-Zone career had not been documented very well, apart from a few paragraphs in Marc Scott Zicree’s Twilight Zone Companion.

For some reason that I can no longer remember, the Houghton interviews were not recorded.   But I took good notes, and I offer a summary of them below, in the hope that a few of these tidbits may not have not been captured elsewhere.

*

The earliest TV project that Houghton mentioned was the Schlitz Playhouse, which he worked on in 1951-1952.  Houghton did not discuss many of his other fifties shows, which include China Smith and Man With a Camera.  But he did cite Wire Service as his favorite of his pre-Twilight Zone shows, because its hour-long format permitted more elaborate storytelling.

Houghton told me that William Self, who had been his boss on Schlitz and had developed the Twilight Zone pilot for CBS, hired him to produce the series.  Houghton screened the pilot and read some early scripts before he met Rod Serling for the first time.  Houghton stood 6’3” tall, and during their first encounter, Serling asked, “Don’t they have any short producers?”

I asked Houghton briefly about some of the other major Twilight Zone contributors as well.  He felt that George Clayton was “as crazy as a march hair” and recalled that the underrated Montgomery Pittman was physically heavyset and “very social . . . a good storyteller.”  Of the Twilight Zone directors, Houghton liked to assign “character-driven” scripts to Douglas Heyes, and to use Don Medford for episodes that were heavy on “action, action!”  As most fans consider John Brahm’s brooding imagery a perfect fit for The Twilight Zone, I was surprised to learn that Houghton valued the German emigre mainly for his efficiency.  Brahm could be counted on to bring his Twilight Zones in on schedule.

Houghton explained that he left The Twilight Zone at the end of its third season because of the lengthy arguments about extending the series to an hour-long format.  Houghton did not approve of the change.  He left the series and accepted an offer as a sort of producer-at-large at Dick Powell’s Four Star Productions.

Houghton’s timing was bad, and his experience at Four Star disastrous.  He got along with Powell, but fought with the executive in charge of business affairs for the company.  (Houghton could not remember the man’s name, but it was probably Thomas J. McDermott.)  The problem was that Powell was dying of cancer; he would expire on January 2, 1963, one day before the hour-long version of The Twilight Zone debuted on CBS.  During Powell’s illness, Four Star Productions fell into chaos.  It was top-heavy with executives and contracted talent, and light on new projects to which they could apply themselves.  This was year that then-collaborators Sam Peckinpah and Bruce Geller spent playing cards in their office, and the season when Christopher Knopf, the co-creator of Big Valley, traded his interest in the show to get out of his Four Star contract.  Houghton emerged with only a single credit to show for his year at Four Star.  He produced an unsold pilot called Adamsburg, USA, which was broadcast as one of the final segments of The Dick Powell Show under the title “The Old Man and the City.”

Houghton told me that Rod Serling wanted him to return to produce the final season of The Twilight Zone, but that the network overruled him.  (At the time, CBS had an inside man, former network executive Bert Granet, in place to oversee Serling’s anthology.)  Instead, Houghton moved from Four Star back to MGM to produce The Richard Boone Show for the 1963-1964 season.  He was working on the same backlot that was still home to The Twilight Zone, and using in for Richard Boone just as expertly as he had on Serling’s series.

The Richard Boone Show was an ambitious attempt at creating a modern repertory theater on television.  It was home to two giants, Boone and story editor Clifford Odets.  Houghton was brought in by both of them together, although (like nearly everyone else in Hollywood) he soon clashed with Boone.  Houghton found the actor autocratic, and felt that Boone thought he should’ve been a bigger star (and a star in movies, not television).  Like Powell, Clifford Odets would pass away just months after Houghton went to work for him.  According to Houghton, the famed playwright found that he disliked story editing and ended up concentrating almost entirely on the two original scripts he wrote for the series.

For the next two decades, Houghton passed through a number of well-known shows without finding a permanent home.  Houghton labored briefly on Lost in Space, but (like nearly everyone else in Hollywood) he disliked its executive producer, Irwin Allen.  He spent a few months commuting between Los Angeles and the Tucson location of High Chaparral, which NBC hired him to produce on the theory that Chaparral’s creator, David Dortort, would spread himself too thin between the series.  NBC was wrong, and Houghton moved on.  Later he spent a half-season on Harry O and a full season producing Hawaii Five-O.  Houghton left that series because (like nearly everyone else in Hollywood) he couldn’t get along with Jack Lord.  A few made-for-television movies rounded out Houghton’s producing career.

*

There’s a reason why I called Buck Houghton in 1998.  Together with a friend and fellow historian, Stuart Galbraith IV, I had come up with the idea of staging a sort of Twilight Zone reunion.  We would invite some of the show’s surviving creative team to lunch, record the proceedings, and write them up as a feature for some film or science fiction magazine. 

For obvious reasons, Houghton was first on our list of guests to approach, and I’ll never forget his response.  Politely, Houghton declined our invitation, and when I pressed for a reason he said that he would “prefer to remember everyone as they were then.”  Then he added something even more touching: that he would be willing to participate anyway, if it would help my career as a freelance writer.

Naturally, I couldn’t accept Houghton’s generous offer on those terms, and without his involvement our reunion idea fizzled out.  Only nine months later, in May 1999, Houghton died, and his obituaries recorded a laundry list of ailments as the cause.  (Variety reported “complications from emphysema and ALS.”)  If Houghton, who said nothing to me about his failing health, was willing to battle those illnesses just to help out a stranger, then he had to have been one very classy guy.  I’m sorry we never met for that lunch.

The new version of V is designed to be a reboot, but tacking on the conventions of our current TV landscape calls attention to the familiarity of the concept. Of course a little of this is part-and-parcel of being a remake, and thus unavoidable, however, everything that is being ladled on top is also all too familiar. V feels like we’ve seen it all before because we have seen it all before. Literally.

This time around, the idea is, when 21st-century aliens invade, they will not come as warriors, but rather as marketing agents. They will invade via advertising, with pamphlets, white teeth, long legs and tight butts. And a subtle message of inclusiveness and the common good. Heck, the Visitors were even offering “universal health care” — red meat for TV talking head Chad Decker (Scott Wolf), if only he hadn’t compromised his morals in exchange for ratings. Blast!

 

It was clever to cast Morena Baccarin (ex-Inara, FIREFLY/Serenity) as Anna, the beautiful public face of the Visitors; Baccarin also played Adria, the beautiful public face of the invading Ori cult on STARGATE SG-1. And, well, the Visitors are practically setting themselves up as a cult, to the point of recruiting confused young people. Getting Laura Vandervoort, whose big break came playing the alien Supergirl…er, Kara on SMALLVILLE, for Lisa was another sly casting move, as was bringing aboard Joel Gretsch (as Father Jack), who knows a thing or two about alien abduction after starring on THE 4400. Oh, Alan Tudyk used to play Wash alongside Baccarin on FIREFLY. Gee, one begins to understand why everything feels familiar, even without seeing ALIEN NATION before or District 9 this summer.

Of course, that could be due to the clichés in the plotline: Morris Chestnut played a man with a mysterious past that comes back to haunt him just as he’s about to propose. And the FBI office investigating the case has a mole tipping off the bad guys, so our heroine — played by Elizabeth Mitchell, who has loads of science-fiction cred herself, thanks to her much-admired run as LOST’s Juliet — has to act as a lone wolf. That is, when she isn’t playing heroic single mom to surly teen Tyler, who has the requisite doofus best friend and a thing for comely newcomer Lisa. Zzzz… 

 

It will be interesting to see if the “resistance fighters” of the original production are treated like “terrorists” in the reimagining. Mitchell’s FBI agent was tracking a terrorist cell that turned out to be manned by V sleepers. Add terror to the idea that the aliens have been hiding among us for years using cloned human skin as masks, and the Cold War-era “They could be anywhere, they could be anyone”vibe might get a modern spin.

 

Chad was told, “Compromising one’s principles for the greater good is not a shameful act. It is a noble one.” So if you want to watch V as currently constituted, then that’s fine. It’s diverting enough. But don’t delude yourself into thinking it’s for the greater good; it’s actually more of a lowest common denominator. 

 

Contrast all this with STARGATE UNIVERSE, which takes some familiar ideas (It’s basically STARGATE crossed with STAR TREK: VOYAGER and a dash of LOST IN SPACE) and mashes them up into something greater than the sum of its parts. All SGU did was add a bunch of interesting character conflict, and really think about its premise; what’s really powerful and interesting about it? Then the-powers-that-be wrote good stories around those characters and ideas. Simple, right?

 

Simple as A-B-C. But can ABC pull it off with V?

A picture from June 15, 2009

So baby kiss me like a drug, like a respirator
And let me fall into the dream of the astronaut
Where I get lost in space that goes on forever
And you make all the rest just an afterthought
And I believe it’s you who could make it better
Though it’s not.

- It’s Not, Aimee Mann

(Bessa R, Color Skopar 35mm f/2.5, Superia 200)

Roger Corman’s ‘A Bucket of Blood’ movie poster

A Bucket of Blood is a 1959 comedy horror film directed by Roger Corman and starring Dick Miller. The film, produced on a $50,000 budget, was shot in five days, and shares many of the low-budget filmmaking aesthetics commonly associated with Corman’s work. Written by Charles B. Griffith, the film is a dark comic satire about a socially awkward young busboy at a Bohemian café who is acclaimed as a brilliant sculptor when he accidentally kills his landlady’s cat and covers its body in clay to hide the evidence. When he is pressured to create similar work, he becomes murderous.

A Bucket of Blood was the first of three collaborations between Corman and Griffith in the comedy genre, followed by The Little Shop of Horrors and Creature from the Haunted Sea. Corman had made no previous attempt at the genre, although past and future Corman productions in other genres incorporated comedic elements. The film works as a satire not only of Corman’s own films, but also of the art world and teen films of the 1950s. The plot has similarities to Mystery of the Wax Museum (1933). However, by setting the story in the Beat milieu of 1950s Southern California, Corman creates an entirely different mood from the earlier film.

A Bucket of Blood was remade in 1995 as a made-for-television film for the Showtime network. The character name of Walter Paisley has been adapted by actor Dick Miller as an in-joke in productions such as The Howling and Shake, Rattle and Rock!, which credit otherwise unrelated characters played by Miller under the character name.

Dick Miller in a scene from Roger Corman's 'A Bucket of Blood'

One night after hearing the words of Maxwell H. Brock (Julian Burton), a poet who performs at a café called The Yellow Door, socially awkward busboy Walter Paisley (Dick Miller) returns home to attempt to create a sculpture, in the face of Carla (Barboura Morris), a girl frequently hanging out where he works that he has a crush on. As much as he tries, he cannot form the clay to resemble a human face. He stops when he hears the meowing of Frankie, the cat owned by his inquisitive landlady, Mrs. Surchart (Myrtle Vail), who has somehow gotten himself stuck in Walter’s wall. Walter attempts to get Frankie out using a knife, but accidentally kills Frankie when he sticks the knife into his wall. Disgusted with himself, Walter cries himself to sleep and hears the poetry of Brock pour through his tormented mind, giving him a radical inspiration. Instead of giving Frankie a proper burial, Walter covers the cat in clay, even leaving the knife stuck in it.

Barboura Morris

The next morning, Walter shows the cat to Carla and his boss Leonard (Antony Carbone). Though Leonard is dismissive of the oddly morbid piece, Carla is enthusiastic about the work, and the piece goes on display in the café, where Walter gets newfound respect from the beatniks and poets who hang out in the café. He is approached by an adoring fan, Naolia (Jhean Burton), who gives him a vial of heroin to remember her by. Not knowing what it is, he sticks it in his pocket, and is followed home by Lou Raby (Bert Convy), an undercover cop. Lou attempts to intimidate him into confessing being a narcotics mule by brandishing his gun. When Lou attempts to arrest Walter, Walter in a blind panic accidentally smashes his frying pan into Lou’s head. The fracas alerts his landlady and Walter fast talks her out of the apartment as he tearfully tries to hide the body. Meanwhile, Walter’s boss finds out the secret behind Walter’s “Dead Cat” piece. The next morning, Walter uneasily works while plainclothes police case the coffeehouse, much to the chagrin of the stoners and barflies. Leonard starts sarcastically praising Walter until Carla and the others come to his defense. Walter haltingly tells them he has a whole new piece, which he calls “Murdered Man.” Knowing Walter’s secret, Leonard is horrified. While attempting to call the police, Leonard is approached by an art collector who offers him $500 for “Dead Cat,” and so, he hangs up the phone. Both Leonard and Carla come with Walter as he unveils his latest work and are simultaneously amazed and appalled at the sight of it. Walter is very uneasy as well but his mood improves as Carla critiques it as “hideous and eloquent” and deserving of a public exhibition. Leonard is aghast at the idea, even as he realizes the potential for wealth if he plays this right. He and Carla quarrel over giving Walter a show, a prospect that delights the simpleton, especially as Leonard gives him a paltry cash advance to keep quiet. Once they leave, Walter gleefully shows off the statue to his horrified landlady.

The next night, Walter is treated like a king by pretty much everyone, except for Alice (Judy Bamber), who has been out of town for the last few nights. Despite being pinup gorgeous and pop-culturally savvy for the time, it is clear she is not very much liked. Seeing Walter at the table with Brock, she wonders what the busboy is doing sitting with them. As Brock explains that a great artist is in their midst, Alice goes mercenary and preens a bit at Walter, declaring her fee outright. Leonard tries to interdict any notion of him doing more figure work, even despite Carla’s insistence. The stoners put their two cents in and eventually the bristling Alice escalates the conversation into an argument that seriously angers Walter and he leaves in a huff.

scene from Roger Corman’s ‘A Bucket of Blood’

Walter later follows her home, trying to apologize and getting the door slammed in his face. His reaction is one of seething rage but he calms down and persists, explaining that he wants her to be his model and is willing to pay her price. At that notion, she is all ears and eager to work. At Walter’s apartment, Alice strips nude off camera, and poses in a chair. Walter suggests she put back on her scarf and, in a pretense of adjusting it to look right, uses it to strangle her. The latest work is brought to Brock’s house, where the gang is gathered for a sumptuous organic breakfast. Once unveiled, the statue of Alice renders them awestruck and Carla is so pleased that she kisses Walter on the lips. Brock is so impressed, he throws a party at the Yellow Door in Walter’s honor. Costumed as a carnival fool, Walter is wined and dined to excess. Leonard keeps an eye on him, worried that he will make some mistake that will blow this deal. Brock composes a poem especially for Walter that provides him more twisted inspiration.

In the middle of 1959, American International Pictures approached Roger Corman to direct a horror film, but only gave Corman a $50,000 budget, and a five-day shooting schedule. Corman accepted the challenge, but was uninterested in producing a straightfoward horror film. Corman and screenwriter Charles B. Griffith developed the idea for producing a satirical black comedy horror film about the beatnik culture. Corman and Griffith proceeded to research the film at various coffeehouses along the Sunset Strip, developing the film’s plot structure by the evening’s end, partially basing the film’s story upon Mystery of the Wax Museum.

The film was shot under the title The Living Dead. According to actor Antony Carbone, “[The production] had a kind of spirit of ‘having fun,’ and I think [Corman] realized that while making the film. And I feel it helped him in other films he made, like [The Little Shop of Horrors]—he carried that Bucket of Blood ‘idea’ into that next film.” Actor Dick Miller was unhappy with the film’s low production values. Miller is quoted by Beverly Gray as stating that “If they’d had more money to put into the production so we didn’t have to use mannequins for the statues, if we didn’t have to shoot the last scene with me hanging with just some gray makeup on because they didn’t have time to put the plaster on me, this could have been a very classic little film. The story was good, the acting was good, the humor in it was good, the timing was right, everything about it was right—-but they didn’t have any money for production values, and it suffered.”

American International Pictures’ theatrical marketing campaign emphasized the comedic aspects of the film’s plot, proclaiming that the audience would be “sick, sick, sick—from laughing!” The film’s poster consists of a series of comic strip panels humorously hinting at the film’s horror content. When Corman found that the film “worked well,” he continued to direct two more comedic films scripted by Griffith, The Little Shop of Horrors, a farce, and Creature from the Haunted Sea, a parody of the monster movie genre.

The film is in the public domain and has been widely distributed on home video from various companies. The film’s negative was acquired by MGM Home Entertainment upon the company’s purchase of Orion Pictures, which had owned the AIP catalog. MGM released A Bucket of Blood on VHS and DVD in 2000. MGM re-released the film as part of a box set with seven other Corman productions in 2007. However, the box set featured the same menus and transfer as MGM’s previous edition of the film.

Cast – in credits order  (verified as complete)
  Dick Miller … Walter Paisley
  Barboura Morris … Carla
  Antony Carbone … Leonard de Santis
  Julian Burton … Maxwell H. Brock
  Ed Nelson … Art Lacroix
  John Brinkley … Will
  John Shaner … Oscar
  Judy Bamber … Alice
  Myrtle Damerel … Mrs. Swickert
  Burt Convy … Lou Raby

Bob Mark was the makeup artist for the film. He also did the makeup for many, many films and TV shows like Lost in Space, Angel and the Badman and Rio Grande

Source(s): Wikipedia, IMDB

is it perchance shaped like this…?

I know I know… its been months now, the DVD full series box set has been released, and we’re still pissed off at Ron Moore about the season finale. Syfy has been all up in the internet’s shit “asking viewers” what their next reboot space opera should be. “Caprica” looks kind of stupid, and “The Plan” didn’t even make it to prime time. It seems depressing that the next way to get our fix is waiting around for the Syfy channel to steal another idea from the past and turn it into “As the World Turns…. IN SPAAAAACE!”

But low! What is this on the horizon dear readers?! Its ok! We don’t have to wait for Syfy to rip off our parent’s childhoods in order to get our fix!

So last week the pilot of of “Stargate: Universe” (henceforth referred to as SGU), premiered to an anxious and hesitant audience. While it was generating great buzz from younger audiences who are just getting into the world of Sci Fi (as compared to SyFy), older and more familiar generations were predominantly hesitant. Another Stargate? Really? I’m sure Richard Dean Anderson wants to retire now to a grand house made out of dental floss, a piece of chewing gum and a roll of tin foil.

“Stargate SG-1″ is an absolutely lovely show that premiered back in the late 1990s and was immediately a science fiction classic. It combined slight campiness of Star Trek TOS with all the new CG technology that was available back in 1997 (the hayday of awesome ratio of effects to actual set). Add that with a great original idea and fantastic world building, Stargate was a great show that appealed to all audiences. I myself as a youngling would dash home from church to watch the newest episode with my little sister every Sunday. Starting as a “planet of the week” kind of mentality, it seemed like the show would last forever.

And it did.

The villains got stupid, the writers were trying a little too hard to push the series forward and Amanda Tapping got old and not so much with the sexy anymore. Super sad, I know. Eventually they replaced the cast with the cast of Farscape and got cancelled. While this was going on, in 2004 Stargate Atlantis was created. It received good ratings from a small majority and due to lack of original programing on Syfy, it managed to last 5  seasons before it too was  cancelled. So with this in mind, many fans were questionable about yet another Stargate series.

Ladies, I am here to tell you though, SGU is a fabulous combination of “Battlestar Galatica”, “Lost in Space”  and the original “Stargate SG-1″. Pulling fantastically from the history of the series so far and the original world building, SGU is able to combine the darkness/drama that Battlestar brought to the screen and the “Lost in Space” typed story line. The stargate itself, the iris, the tech, all this reminds us of the old show we love, while each character comes through with baggage and their own secrets, soon to be elaborated on in future episodes. All of this while being lost deep in uncharted space with no way to contact the Earth. These people, not all military and not all SGC trained, must try to find a way home. While its not the same as Battlestar, it has familiar comfortable pangs. Its still its own show, with its own cute and quirky characters, (specifically David Blue, the most adorable person to ever walk through a stargate). It has its own mission and its shaping up to possibly be one of the most interesting things to hit Syfy since “Battlestar Galactica”.

So check out the pilot! Its up on hulu.com for now. Its a really lovely show and certainly worth getting into.

Hopefully we can all get over the lack of the previous ring to our Friday nights at 9, and replace it with this…

On my trip to Australia, I experienced the worst selection of in-flight movies, ever.

The first was Titanic: a disaster movie about travel where most of the passengers die.

The second was Lost in Space: A travel movie about navigation error while in flight.

The third was Armegeddon: In which the world’s most advanced aircraft, the space shuttle, explodes.

Great job flight crew. I really feel much safer flying now.

Cool. Grey. Good chance of rain. I’d be loving this weather if I felt better. I’m coughing, phlegmy, and have a sore throat. And a headache. I’m not in a foul mood, but feeling like sh*t is not helping it any.

I am watching ‘Lost in Space’ online (the classic tv show, NOT the lame ass movie) and fixing some chili. Both I hope will help me feel better. I wanted to watch ‘Rawhide’, but it’s not available online. Netflix has it, but not for instant watch. Bummer – today feels like a good Rawhide day.

aku skang ada masalah kekeringan idea nk mendesign..
xkira la nk design ape..art work yg disuruh kat opis ke..
nk edit2 gmbr ke..mmg problem..lama aku pk baru mendapat..

aku igt lg masa blaja2 time kolej dlu..
idea 2 dtg laju jer, kdg2 ngah minum sirap pun dia dtg..
mmg xada masalah la klu nk idea kreatif 2..

mungkin 2 dlu sbb bersama kwn2 yg ada passion yg sme..
skg dh keje, lain pulak suasana..
mungkin suasana opis nih wat aku hilang daya kreativiti aku..
wahaha!ntah la..

aku rindu masa2 kat kolej..

Later …

Hoje almocei com uma colega de trabalho que é ligada em 440v como eu: a Rose, ou melhor a Lady Keith. Nos gostamos muito e nos damos muito bem. Afinidades a parte, temos uma característica pessoal que é  fundamental em nosso relacionamento: somos curiosíssimas e adoramos discutir idéias sobre qualquer coisa mas, principalmente, sobre coisas que aprendemos recentemente ou descobrimos. Ela é aluna especial de um mestrado em educação aqui no RS e ficou sabendo que já estamos quase nos tempos do teletransporte. Meus olhos brilharam, pois este é um tema recorrente nos filmes de ficção que eu amo desde criancinha. Até hoje, curto O Túnel do Tempo, Perdidos no Espaço, Jornada nas Estrelas, Guerra nas Estrelas e, mais recentemente, Johnny Mnemonic, O Homem Bicentenário e Dejavu. Obviamente, estes filmes não seriam possíveis sem visionários como Isaac Asimov.   Acreditar que a tecnologia pode nos trazer um modo diferente de vida, talvez pelo lado fantasioso dos filmes, me fascina até hoje. Com surpresa, descobri que a despeito de toda a sua curiosidade, minha amiga não gostava de filmes de ficção científica por achar muita viagem. Ela se debate diante da idéia do teletransporte por não acreditar que é possível. Usando meus profundos conhecimentos sobre física e biologia, disse a ela que a impressão de que o nosso corpo é único e “grudadinho” não é verdadeira. Somos átomos unidos por energia e, portanto, todos soltinhos. Me perdoem os estudiosos mas foi o jeito que achei para traduzir o que já tinha visto no Fantástico ou no Discovery. Daí ela pirou. Está com dificuldade em aceitar que isso seja possível. Mudei de argumentos e comecei a comparar a evolução da tecnologia desde a época de nossas avós até os dias de hoje. Ainda assim não fui feliz e comecei a comparar os avanços da biologia e da medicina. Afinal, na idade média não se tomava banho, entre outras coisas, por se achar que iria fazer mal (aliás, ainda hoje parece que tem gente que pensa assim). Daí começamos a falar em holograma e nanotecnologia e nos demos conta do quanto ainda temos que aprender. Ao nosso redor duas senhorinhas não deviam entender muito bem do que se tratava e, talvez, estivessem perplexas com nosso entusiasmo! O almoço desceu melhor. A curiosidade me alimenta e os bons amigos também. Valeu RoseKeith!

name that lyric, and randoms. (give you a clue, it’s not a p!nk song, seriously)

driving into work the other day they were talking about president obama addressing school children. to be honest, i haven’t heard his speech, but they said that some parents were keeping their kids at home so they wouldn’t hear the president’s message. to stay in school, to learn, to be careful on places like facebook and my space. omg! what was he thinking! giving children advice that any parent in their right mind would give their children anyways? and to try and set a good example and give the children a positive roll model? what is this country coming to? seriously, some people need to get over themselves and get a clue.

i am currently netflixing lost in space. i used to watch this show when i was a kid, and i had a serious crush on major don west (mark goddard).

you can read a very good article on achieving personal freedom here.

turns out president obama is not a liar.

pepper and i have been together for a very long time now. she has two different meows. there’s the laid back, easy going conversational meow where she tells me all about her day. then there’s the more urgent sounding meow which usually means i’m out of food, feed me, now. lately when i get home i have been greeted with the latter, but when i check out her food dish, it’s full. it’s taken seven years, but pepper finally has deigned to allow me to pet her, she stands just barely within arms reach and will let me scratch her back and behind her ears. uncertain why i am getting the “distressed” meow, i will sit down on the step and talk to her. tell i don’t understand, and ask what is wrong? it took weeks, i mean weeks, over a month for me to figure out what was going on. my cat has trained me to scratch behind her ears on demand! this is so wrong! i should be smarter than a cat! i mean, people train their dogs to do tricks on command, apparently cats train their people!

i was going to type something here, but it took so long for wordpress to load i forgot what it was. ~bah~

i was flipping through the channels one night and came across the season premiere of the biggest loser. up until last season i had never watched this show, and i didn’t watch it for long because i was an emotional wreck. twenty minutes into the premiere and i am balling my eyes out already! but watching jillian michaels screaming in people’s faces i do have to say i have a new appreciation for leslie. of course i am a little concerned that biggest loser is on, on tuesday nights and my appointments with leslie are for wednesday afternoon. what if she’s watching that show and plotting new ways to torture me? i can just see me walking around our tiny gym with a rope strapped across my chest dragging leslie behind me!

i recently purchased the october issue of women’s health magazine because they had an article telling you how to get michelle obama’s arms.  i also bought a copy of the september issue of fitness.  both of these magazine’s are beauty magazine masquerading as exercise magazines. they have a few (precious few) articles about exercise and health, and healthy eating scattered in and among the articles about dating and fashion and makeup. i would love a magazine that was serious about women’s health. give me exercises, recipe for healthy foods, articles about making healthy food choices. ideas for workout with injuries, women’s health issues such as breast health, diabetes, and heart disease. there are so many amazing women athletes in this world give me an article about one of them. put them on the cover, instead of the monthly girl in a bikini that fitness magazine has been running on their cover for years. they are supposed to be a women’s health magazine, i don’t need to see an airbrushed girl in a bikini with an unrealistic body image, every single month. even in winter! all i can think is, give the girl a sweater, she looks cold. if i want dating advice, or makeup tips i’ll buy glamour or cosmo, i am serious about my health and fitness, is it too much to ask for a women’s fitness magazine to be serious about it too?

i stopped by my lys on the way home last week, i had seen an ad for the knit kit. i picked one up for my upcoming trip and i am totally enamored of this thing! best of all it is tsa approved!

i went out to help the girls in xray move a patient, karen called one of the students mindy. that’s not the girl’s name, but karen said she thinks the girl looks like mindy (pam dawber) from the t.v. show, mork and mindy. the students responds, i don’t even know who that is! talk about feeling old, the really sad part is she probably hadn’t even been born yet!

i just found my favorite episode of lost in space season one, episode twenty war of the robots. part way through the show the two robots start talking smack to each other. has to be the funniest scene in the show yet!

to my wonderful friends amy and lori, i can not apologize enough for that movie. if you were planning to see the new jennifer aniston film love happens, save your money, bad doesn’t even begin to describe it!