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40 Million Dollar Comics
American artist Roy Litchenstein is the first comic artist to have made the crossover into the "Art" market.
Litchenstein's work, especially his paintings, have shown a sustained upward trend since the 90s.
From his initial success with Big Painting #6, which sold for $60,000 in 1970, to his moderately priced 'VIIP!' comic, which sold for one million dollars in February 2007, to Sleeping Girl, which sold for a whopping $40 mil, Litchenstein successfully captured the intensity of emotions we've come to expect from comic strips.
But how did Litchenstein transfer his tongue-in-cheek humorous compositions from the Pop Art market to the fine art market?
To answer this question, let's first examine his style.
Utilizing the Ben-Day dot process, Litchenstein's artwork bursts out at us with an effect, color and optical illusion that turns our heads toward that iconic 1950s and 60s Pulp comic.
Litchenstein WOW'd us with his hallmark lines and dots composition......which, according to Lawrence Alloway (1983) "were generally interpreted as a putdown of gestural Abstract Expressionism (the disparity between Lichtenstein's neat technique and the hefty swipes of impasted paint)." ~Roy Lichtenstein. Modern Masters Series.
Whether the appeal to Lichenstein's artwork is his style, a nostalgic romp through the 1950s and 60s by successful Baby Boomers who can afford such prices, or something entirely different, can perhaps only be answered by asking a Lichenstein collector why they made the purchase. While some art collectors purchase work based solely on the suggestion of their investment advisors, some more conscientious investors purchase comics because it reminds them of when they were kids.
Roy Lichenstein's paintings not only appeal to investors, but they also appeal to the general public, who pay for museum exhibitions. Curators around the globe, know this, and have been exhibited Lichenstein's artwork along side those of Andy Warhol, Jasper Johns, Jr., and James Rosenquist.
I leave it to you, the reader, to look closely at Litchenstein's work; to determine, for yourself, what it is about these comics that would cause someone to shell out $40 million dollars just to serve as their faithful custodian.
But before you answer this question, think back to your own childhood and ask yourself if there is a special comic you would love to have as your own; a comic character you always related to; an animated friend who greeted you on Saturday mornings; a comic in the Sunday funnies you couldn't wait to get your hands on...
Imagine looking up from your desk or computer right now and seeing that friendly reminder of who you really are deep down inside; who you were as a kid; a reminder of what makes you laugh, what inspires you to relax, and what allows your mind to wander back to the playground of your youth.
Lichtenstein's comics might not personally inspire you, but undeniably, their presence inspires some investors.
What comics, you ask, will be BIG NEWS in the years to come?
I guess it all comes down to who inspired us in the 1970s, and then the 80s, and then the 90s...and so forth. Each generation has their own favorite comics, and each generation eventually finds the funds for FUN!
Big Painting #6 (1965)
Sold for $60,000 in 1970
Kunstsammlung Nordrhein-Westfalen Collection, Düsseldorf
(Exhibited with major works by Pablo Picasso, Henri Matisse, and Piet Mondrian, Jackson Pollock, Frank Stella, Robert Rauschenberg, Jasper Johns, Paul Klee, and Andy Warhol)
"The process of painting is the subject matter in Roy Lichtenstein's Big Painting No. 6. This painting refers to the popular conception of Abstract Expressionist works: their large size broad brushstrokes, drips. But Lichtenstein's painting is all neat and clean. Since the simplification refers to printed color reproductions, Lichtenstein paints in the benday dots of the mechanical process. The affective content of an action painting is replaced by a painted image that, paradoxically, resembles an industrial product."
~Peter Selz, The 1960s: Painting. Art in our Times: A Pictorial History 1890 - 1980.
VIIP!
Sold for $1 million
Hammer price £ 500,000
€758,450, $985,300
Estimate £250,000 - £350,000
Sales date 02-08-2007
Auction house: Christie's
Kiss II
Sold for $6.05 million (£3.8m)
Purchased by representative of Tokyo's Fujii Gallery
on behalf of an unidentified Japanese Industralist
Happy Tears
Sold for $7.1 million
Auction house: Christies
In the Car, 1 of 2 copies
Sold for $16.2 million
Auction house:
(Larger version: Scottish National Gallery of Modern Art)
Exhibitions: Leo Castelli Gallery (Lichtenstein's 2nd Solo exhibit, Sept. 28 - Oct. 24,1963)
Source: Girls' Romances #78 (September 1961)
Signal Publishing Corp.
Ohhh...Alright (1964)
Sold for $42.6 million (£26.7 million)
Hammer price 38 million
Sales date Nov 2010
Exhibitions: Las Vegas, Bellagio Gallery of Fine Art; London, Hayward Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofía; San Francisco Museum of Modern Art; New York, Gagosian Gallery
Original source: Secret Hearts #88, June 1963
Arleigh Publishing Corp (now part of D.C. Comics)
I Can See the Whole Room!...and There's Nobody in It! (1961)
Sold for $43 million, double its estimate
Sales date 2011
Original source: August 6, 1961
Steve Roper cartoon
"Although Litchenstein rendered the composition primarily in black and white he added some notes of colors, such as the field of monochrome color behind the figure. He applied additional color - the flesh tone in the figure's face and hand, and the blue of the pupil - in passages of regularized red and blue dots, respectively. Those dots, of course, make reference to the mechanically printed medium from which Lichtenstein had borrowed his imagery."
~Michael Lobel "Technology Envisioned: Lichtenstein's Monocularity."
Sleeping Girl (1964)
Auction house: Sotheby's - Contemporary art sale
Exhibitions: Pasadena Art Museum, Walker Art Center, Museum of Contemporary Art, Los Angeles
A new record for the US Pop Art Icon
Source: Girls' Romances edition #105 (1964)
Published by DC National Comics
Tony Abruzzo
The Aesthetics of Curiosity
Sitting in Curious Contemplation
Shenn
In the Postmodern world, we associate fine art with beauty, function, cultural purpose and even technique. However, art is also a form of curiosity, which means that it is always in some form or fashion about how we see ourselves and others, how we see the world, how we imagine other worlds to be, and how we perceive the forces around us. It's about how we feel inside, what we wish to convey to others about ourselves, and what we discover in ourselves.
Fine art displays information, but it can also take us on a journey of wonderment. It goes from something we're creating to something we've created to something someone else notices, to something that catches someone else's attention. There's a certain quality to it, a je ne sais quoi that attracts us to it; an idea it expresses or a thought or feeling that arises from within us the moment we see it.
This particularity of fine art is what I call The Aesthetics of Curiosity, that certain something that prevails upon us, that coaxes us back for another look, that convinces us we saw something more than just lines and color.
There is a coercive influence found in finer arts that lures us back. Our reason for returning? "It's complicated" or "it's new," both of these answers are given to clarify the many conflicting theories of what fine art is, and is not.
Perhaps we shouldn't talk about what fine art is or is not. Whatever it is, fine art is part of a larger aspect of culture: our innate curiosity.
We want to "see" for ourselves whether or not we like a piece of artwork. We want to know what other people think so we can compare that with what we first thought about the artwork.
In a nutshell, we seek to understand art and we are as equally curious about what other people create or think art "is" as well as what we ourselves can make or what we think art "is".
We push ourselves, copy others, make changes, and see if we can find something new, something to fuel our curiosity.
Despite the qualities with which the fine arts have long since been associated, fine art is more about this element of curiosity than it is any other theory we have previously put forth.
Some comic artists, comic aficionados, and collectors of comics claim that comics should be considered as part of the fine arts because comics fuel our imagination and curiosity for the world in the same way that fine art first captured the imagination and curiosity of our predecessors. What's new to us today, wasn't conceived of before; just as what was new for our predecessors, is now ancient history for us.
The materials may change, the artist and audience changes, society's tastes change, the objects we copy or conceive of change... but the one thing that remains - constant - is our curiosity. Herein lies the finer arts, to which comics are undeniably associated.
EXAMPLES OF FINE ART COMICS
Depicting Curiosity
Proportions of the Head
Da Vinci (c. 1488-9)
Design for a Flying Machine
Da Vinci (c. 1488)
Study of Concave Mirrors of Differing Curvatures
Visit Fine Art Comics
Visit Fine Art Comics (the blog)
The Elder Sister, 1869
Fine Art Cartoons refers to the epitome of aesthetic expression reached in which images convey information that forms a narrative in the mind of the viewer. Fine art cartoons are differentiated from traditional comics, which are often juxtaposed by "the arrangement of pictures or images and words to narrate a story or dramatize an idea" (Will Eisner, Comics and Sequential Art, 1985) by their beauty and meaningfulness.
© Shenn
The purity of fine art cartoons is achieved when both meaningfulness, i.e., conveyed in relevant historical, psychological, mythological, religious, or otherwise recognized human expressions; and the highest purity of a given medium are perceived as existing in close relation or in harmony with one another. Fine art cartoons can be philosophically equated to Rousseau's highest Noble Savage merging with the highest Eurocentric views of equality, advancement, and refinement.
In Martin Heidegger's wesen (essence) from The Origin of the Work of Art, we recognize the presence of fine art cartoons, found in the questions the origin of the work of art asks us with respect to the work's essential provenance, compounded by the common understanding that springs out from and through the composition, allowing the viewer of the art to know the artist by tracing back the purity or essence of the composition to its original meaning.
This cartoon is drawn with black chalk on 26 sheets of paper and is over two metres high. The cartoon is a final preparatory drawing on the same scale as the finished painting or other work of art. The word, cartoon, is derived from the Italian word for a large piece of paper: cartone. This is one of only two surviving cartoons by Michelangelo.
All art forms, be they painting, sculpture, pen and ink comics, eventually reach a higher form of aesthetic expression whereby two separate, but equally pure concepts, meet in a harmonious composition. This symbiotically expressed aesthetic, conveyed in a form of artwork, is recognized as both art existing in itself while simultaneously heightened by its mutual relationship to the work.
Portrait of Doña Isabel de Requesens (1500 - 1577)
Derrida, The Truth in Painting, stated that Kant made a distinction between the Greek terms ergon, or "work," and parergon, or "outside the work." Fine art can be described as both ergon and parergon existing parallel or harmoniously close to one another. Derrida further explained that the integrity of the work (ergon) depended on the necessary secondariness of the outside (parergon) or the context, which further solidifies the definition of fine art in relation to its highest expression in works of art.
Probable Portrait of Raphael
Raffaello Sanzio da Urbino
While the relation of cartoons to fine art might be considered MAD, a concept historically silenced by, firstly the institution of law, which designated madness as a crime, and secondly the institution of medicine, that saw madness as an illness; cartoons can indeed be examined by their "systems of thought" (Michael Moucault, French theorist, 1926 - 1984) in that one must employ archaeology to investigate the structures and transgressions, i.e., "madness" within the composition of the structure against the revealing aspects of truth that the composition epitomizes.
Notably, one of the most intriguing aspects of cartoons is their entanglement with theory. Masterful cartoon artists, like masterful fine art artists, also integrate research methods and scientific knowledge into their artistic process to such a degree that it even seems to be developing into an independent form of fine art knowledge on its own. This blurring of the lines between art and theory is where cartoons find their entrée into the world of fine artistic expression.
Self-Portrait of Shenn
The spectrum of that which can be substantiated under the term fine art cartoons or comics is just now beginning to be explored. The site, Fine Art Comics, is dedicated to artistic research of the subject, which is, at present, very broad and not in the least homogeneous. It ranges from the simple integration of philosophical or scientific knowledge, to the establishment of artistic research as a form of institutionalized self-examination and scientification of artistic cartoon expression and practice. For this reason, it is advisable to consider information contained herein under the term "artistic research."
Labels: fine art comics, Philosophical Comics
Seeing Comics
Starry Eyed
What do we see when we look at comics?
Do we see the face of the artist, speaking through the colorful composition of this comic?
Do we see the art or the artistry speaking directly to us?
Do we see our own adopted social identity - contemplative, playful, pensive - reflected back to us?
Do we see a mere affirmation that we're looking at what is - and, by association, that which we ourselves are - popular, hip, funky, cool, badass, obscure, or refined?
Or do we see nothing at all? Maybe we only look to comics in an attempt to close ourselves off from a world that we find threatening, strange, annoying, exhausting, or simply dull.
Clearly, at different times, we see all of these things when we look at comics. When we place ourselves into the comic world, we isolate ourselves; and yet, we isolate ourselves within a world of culture, expression, and individual and social meanings. And, when we attempt to encounter the other through comics, we can't help but see our own identity reflected back: I am the kind of person who likes Dilbert or Snoopy or Shenn's Contemplative Comics. When we look at comics, we see (and find) private meanings.
Perhaps what is of greater philosophical significance here is the fact that when we look at comics, we see so much more than just comics. We see the world - and ourselves - in a whole new way!
Labels: Comic Artist, comics, Shenn, starry eyed, understanding comics
Comics as a Social Art
I Once Saw A Girl
Imagine what it would be like if you could actually depict everything you saw, heard, or thought of in a comic. What do I mean by that? Think of your experience with a particular comic, perhaps one you enjoyed as a kid or came across and appreciated as an adult. Think of that moment when something in the composition caught your eye and pulled you in. What would it be like to experience the world from the perspective of comics in that way?
It would be absolutely delightful. Engaging....and fun! The selectivity of the senses is, in part, playfully conditioned by childhood. Everybody's imagination perks up at the site of a comic. Everybody's understanding of incongruent or ironic concepts are heightened by the innocence portrayed in comics. But our senses are not just conditioned by our childhood, they are also shaped by our social interactions and the deeper significance we, as adults, apply to the world.
Can you just "tune" out comics, pretend that they're nothing more than child's play? I can, if I try, but ever since I began exploring the philosophy of humor, these aesthetic wonders have emerged time and time again teasing my intellectual curiosity.
Comics are shiny, colorful, ever-changing and engaging things, they fill our minds with images designed by intelligent and highly trained people, grabbing our attention with their simplicity. Yet, most of us have learned to regard this aesthetic artform as nothing other than child's play, ignoring them in adulthood, and in some cases, entirely - even when they're staring us right in the face.
In what the 17-year old artist, Shenn, continually describes as a "work in progress", is what appears to be the embers of fine art. Comics that aesthetically distinguish themselves from the other comics in the practical philosophical function they serve, namely in their subtly expressed deeper significance.
To explain this - and to extend this into our world, today - consider what you see when you look into this character's eyes. In what situations do we imagine ourselves when we contemplate his gaze? Is he contemplating the beauty of a sunny day or merely ruminating on what his next course of action should be?
Edward Elric
We encounter ourselves in comics. We see ourselves in the simplicity of their lines, as characters and observers, both. We see the other side of us, the childhood innocence that stays with us throughout our many transitions in adult understanding; despite the complexities of adult thought, we continue to think of ourselves as our favorite comic characters. It only stands to reason that "comics" as an aesthetic artform are another way that our encounters are conditioned, that is, another way that both limits how we find ourselves, and which, at the same time, allows us to find ourselves.
The Rise of Comics
Colored by the Sun
Comics are a potent symbol of change in the way we create and consume media, one which we're just now beginning to explore in terms of deeper philosophical significance. Comic artists, like 17-year old Shennendoah "Shenn" Hollsten, have been skillfully tackling the deep questions raised by society, with a refreshingly diverse and engaging range of aesthetic styles.
Brilliant and whimsical in turn, Shenn's creations entertain, instruct, and, above all, expand the imagination. Her work demonstrates the power of disciplined thought to shed light on one of the most widespread and historically fascinating aesthetic practices.
Boy and His Dogs
Recently I had the privilege of interviewing Shenn for this article and found her insight into the deeper philosophical meaning of comics tantalizing. I realized how little attention this area of study has received, if any. When I began researching the topic of comics, I confirmed to myself that very little, in terms of scholarly work, had been shared on the subject. If fact if you didn't know any better, you'd think that there were only three countries that have ever produced comics: the United States, Japan, and Europe; despite the widespread influence caricaturization of people and concepts have on every society around the world.
It's not so much what Shenn says in her comics, it's how she depicts thoughtfulness, contemplation, and other highly sought after emotions and experiences - by not saying anything at all.
Had Shenn not said that "You have to look deep down into my characters' eyes to hear what they're saying", I might not have had this revelation about the deeper significance of comics and the rise of this aesthetic in the world.
Whenever a search is conducted on nearly any topic on the Internet, invariably a comic comes up. Depicting what, at first blush, seems like nothing other than a parody or joke about a subject, the fact that there's a comic thrown into the mix indicates the range of concepts comics can convey. What's really coming through the wires here is the world's fondness for iconic images - images skillfully depicted to represent something deeper, something more than that which they appear to be, something more than "just comics".
As I skimmed through Shenn's gallery of images (both online and offline), I realized that there was something about her work which offers an almost philosophical meditation on the many thoughts embedded within the human mind, represented by simple lines, shapes and colors. The curvature of the lines... the intensity of the colors... the potency behind the subject's gaze... all contribute to a more sublime as well as contemporary comic-human interaction that sheds more light on the comic as well as on ourselves.
Every morning growing up, I read the comics in the newspaper. When I was 10-years old, my grandmother took me to our local newspaper for a meeting with the Editor in order to show him a comic strip I had been drawing after school and on weekends. No doubt influenced by my grandparents' bomb shelter (built after WWII and actively maintained during the Cold War, i.e., my childhood), I had drawn a comic called The Bomb Family. Each character's body shape was fashioned out of a little bomb: a mom, a dad, a son, a daughter, a grandma, a grandpa, an aunt, an uncle, and loads of cousins making their way through the many adventures of living in a bomb shelter.
According to the Editor that day, had Charles Schultz not just agreed to run a strip in their paper, my own career as a comic artist might have taken off at that very moment. While I was disappointed at the time, the experience obviously stayed with me, an effect of comics most people I speak with admit to sharing.
I'm sure you can imagine how delightful it is for me to return back to the subject of comics from the deeper perspective of my own field of study (philosophy) in order to once again enjoy that which I so immensely enjoyed and experimented with as a kid.
Leave it to my daughter, a 17-year old school girl to bring me back to one of my favorite subjects. A talented young artist who has undeniably developed certain aesthetic proclivities and understanding that is being translated into material from which philosophers across the globe might consider in terms of its deeper philosophical significance.
Labels: Comic Artist, Philosophical Comics, Shenn
Utilizing Humor to Redefine Tragedy
Life Is Beautiful (Italian: La vita è bella) is a 1997 Italian comedy-drama film directed by and starring Roberto Benigni. Benigni plays Guido Orefice, a Jewish Italian book shop owner, who must employ his fertile imagination to shield his son from the horrors of internment in a Nazi concentration camp
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Serious gestures are associated with serious concerns or even danger, whereas humorous gestures have long since served as indicators to others that there is no present danger.
So, what is going on inside this man's mind when he pretends to speak German, and then publicly mocks his Nazi prison guards? Surely he recognizes the danger of his actions with respect to his predicament.
Humorous behavior, particularly in the face of danger, is more complex than someone just cracking a few jokes at what might seem like inappropriate time. To understand why someone would do such a thing we have to first consider what is going on in their mind: the sensations, perceptions, memories, thoughts, dreams, motives, emotional feelings, and other subjective experiences they are having, which would lead them to behave in a manner considered ludicrous by most people's understanding of appropriate social behavior.
Beautifully depicted in Roberto Benigni's film is a loving father who utilizes, at great risk to his own safety, humor as a tool to shield his son from the harsh realities of their situation. More concerned with his son's emotional well-being, he turns tragedy into a game, a façade that he defiantly defends, ultimately with his own life.
Would it not have been better to just keep quiet, secretly whispering positive or otherwise humorous messages to his son without such elaborate and risky antics? Would his son have continued to believe him had he not physically reinforced the notion that they were indeed playing a game? Did he not act in a manner he considered necessary in order to keep up the charade? Did his absurd behavior not create a pleasant appearance for his son, which, in the end, freed his son from the devastating experiences associated with the lifelong anguish and torment that would have accompanied being held against one's will?
Our brains react to external stimuli, but they react stronger to the internal dialogues constantly defining and reshaping our sensations and perceptions. Pitted against preconceived beliefs, we behave in ways that are not always understood from the outside looking in, but rather best explained from the inside looking out.
Speaking from an all too personal experience, I can tell you that a myriad of complex thoughts and emotions occur that cause an individual to uphold a lighthearted façade in the face of tragedy. When I was diagnosed with cancer, it was the nature of my personal belief system; my hopes, dreams, fears, and in the end, my courage that kept me from sharing the bad news with my family, from destroying their peace of mind and emotional well-being. It was my love for them that gave me the strength to defend their emotional well-being, and in the process, while largely unknown to me at the time, what ultimately resulted in defending my own.
Presuming the worst, I quickly and quietly worked to put my legal affairs in order. Then, I quit working, estimating how long we could survive on savings before the harsh realities of economic discord interrupted our otherwise happy, stable lifestyle. Next, we had a marvelous Christmas: a magical Christmas by which all future Christmas' would be considered. Afterwards, we took off on the adventure of a lifetime, traveling to over forty countries where we all learned more about the world and ourselves in the process.
Taking tons of photos, hoping against hope that they, at their young age, would not forget me, I gave to my children, and myself in the process, something that a serious attitude could have never given us: the poignantly powerful memories associated with having fun!
As a result, we all experienced living in a world where the theme was joyful abundance rather than the devastating feelings associated with loss. Instead, I gave them the most beautiful recess a kid could hope to have and that a parent could hope to give their child, believing all the while that the moment recess ended, the nightmare would begin. I knew I wouldn't be there to protect them from the heartache, so instead I gave them what I thought they would need to survive it: love, appreciation, respect, encouragement, and a healthy dose of good humor.
Then something strange happened: I didn't die.
Instead, I woke up to a new reality; one where I had allowed myself to be funny, where I had taught my children to look at otherwise negative situations and see the good; to a world where we didn't concern ourselves with obstacles without first considering their solutions; to a world where a lighthearted perspective could magically turn stress into confidence, a sensation strengthened by the healthy distance we give ourselves from our problems.
Placing myself in the man's shoes above, I could only hope to have behaved as nobly. I would have tried, perhaps, to be more careful, slightly less willing to take risks, but then again, I'm a mother. By nature, most mothers behave more conservatively with their children than do fathers. Also, a slightly more conservative story might not have been powerful enough to convey such a poignant message.
The message that we have a choice in how we respond to tragedy. The message that we never truly know what the future will bring. The message that we have a responsibility to ourselves and others to at least try to uphold our emotional well-being in the face of extreme difficulty as well as during those little moments of frustration when we could very easily complain instead of laugh. The message that destroying our sense of well-being will not allow us to make the personal adjustments that might ultimately prevent a bad situation from escalating into a worse situation. The message that humor might not save everyone, but it might indeed be as powerful as Benigni beautifully showed it to be in this film.
If, in the end, a little more laughter is the only thing that separates us from feeling helpless, then in my opinion, laughter is an indispensable commodity, and those who help others to laugh, indispensable contributors to the emotional well-being of a vastly growing global society that is undeniably dependent upon one another for upholding the emotional well-being and happiness of everyone.
Dedicated to my children
Much Ado About Metaphors
© Artful Voyage
Laughter is what's enjoyable, until you think about the subject. Humor is the effective use of that certain something we find in metaphors, except utilized with the specific purpose of making someone laugh or otherwise feel good. Typically, comics are drawn for the same reasons. There's something about jokes and comics that cause us to smile when we least expect it.
Sometimes we enjoy comics or jokes just because we enjoy the feelings associated with that moment when we "get it". Other times, we enjoy the initial release of pent up energy we carry around with us when we encounter something ironic or blatantly defiant. There's an instant reaction when we see something funny - we laugh.
Sure, later, we think about why we laugh, but that's always after the fact. Whatever attracts people to humor and comics, it is most certainly associated with the same experiences inherent in evolution and progress: in taking steps toward that which might make us stumble, looking around, catching our balance, and then, laughing about the whole thing afterwards.
© Murasakishenn
When I think of metaphors, I get nothing. No true image comes to mind. Then, as if out of nowhere, something signals my brain, evoking that which had not previously existed or perhaps been considered. The generation of the words "like" and "as" begin whirling around my head like little cartoon bubbles and then suddenly, I've got it! I've served myself another pleasant helping of how things "fit together".
Comedy, humor, comics, and other artistic creations, intended to make someone feel good, have this in common... a "something from nothing" metaphoric experience from which we gain meaning.
In short, humor and comics tell us more about metaphor and enjoyment. Most of us enjoy something, be that humor, comics, research, sharing, exploring, or otherwise creating something we associate with an aspect of our being or that which we've encountered or "got" about the many meanings we ascribe to this thing we call "life".
Labels: comics and metaphors, metaphors and humor
Cool Chemistry Comics
The artist of these delightful cards is Kaycie D.
Her work can be found here:
http://kcd-elements.tumblr.com/the-artist
Labels: chemistry comics
A Khan Do Attitude!
Funny Spell Check Jokes
A World Without Charity
Love is Like a Rose
The Evolution of Social Networking Sites
Brain in a Vat Poetry
A Brief History of Theme Parks
Old Cool
A Defense of Goofing Off
Raising Funny Kids 18: The Art of Letter Writing


Paperback, 5 x 7.5 in. / 60 pgs / illustrated throughout.
Filmmaker Chantal Akerman presents A Family in Brussels, a fictional stream-of-consciousness text encompassing multiple subjectivities and laced with autobiographical references. This is the first English-language publication of the work, which Akerman wrote and first performed as a monologue in Paris and Brussels. The accompanying CDs document the theatrical reading that took place at the Dia Center for the Arts, New York, in October 2001. In them, the listener can hear Akerman's singular voice as she muses on familial relations, communication, closeness and distance.
FORMAT: Paperback, 5 x 7.5 in. / 60 pgs / illustrated throughout.


The Django features plastic panelwork around a tubular steel frame and four versions will be available from sports to sophisticated, determined by their finish and accessories. Engines will be 50cc, 125cc and 150cc automatics.
Overall – aesthetically at least – we have to admit it is quite an eye-catching scooter. Whereas most companies jumping aboard the 'vintage' bandwagon seem to hit on a standard cliché mix of modern and retro, to offer scooters that all kind of lookalike after a while, the Django here seems to have a more specifically designed look, offering 1950s styling without being over the top.
This entry was posted in New Scooters, Scooter Factory and tagged 125cc, 50cc, classic, commuter, Django, eicma, marketing, Milan, moped, new scooter, Peugeot, retro scooter, S57, scooter, scooter factory by admin. Bookmark the permalink.


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Theater, Drama
Verité: Theater review by Adam Feldman
"It's very important that your character makes interesting choices," advises Andreas (Matt McGrath), a beamingly shady Norwegian book publisher, to Jo (True Blood's Anna Camp), a writer he has commissioned. Since Andreas and his partner, Sven (Robert Sella), have hired her to write a memoir, the "character" in question happens to be Jo herself. The problem is not just that she has little literary skill—her only output is an unpublished fantasy novel called Dragonscape—but that her life seems unworthy of a $50K advance: A former homecoming queen, she has married her high-school sweetheart (Danny Wolohan), a bus driver, and they are trying to make ends meet while raising a young son. "Why can't you just be happy?" asks her tacky, loving sister-in-law (Jeanine Serralles). "Because it's a waste of my talent," Jo replies, by which she means her life.
Written in a vein of ominous satire, Nick Jones's Verité investigates the modern blurring of boundaries in which personal growth, refracted through a (possibly imagined) lens of public presentation, mutates into a form of careerism: an end no longer unto itself. As Jo starts thinking of herself in the third person, as the hero of a standard adventure-ordeal-and-redemption arc, complications arise—notably in form of the obsessive Winston (Girls' Ebon Moss-Bachrach), who claims to have known and loved her for years. The nominal echo of Orwell's Nineteen Eighty-Four is surely intentional, given the play's interest in external control and internalized surveillance. Is Winston a device that Sven and Andreas have planted in her life? And even if so, especially if so, should she go along with it?
As Jo makes bolder and bolder decisions in the name of truthlikeness, trying not to stray too far from the Nordic track, Verité keeps you guessing and second-guessing her. It's suspenseful in that way, and enjoyable as such, but there's a cipher at its center. As Jo's husband notes, "There's nothing that kills a book faster than an unlikable main character," but Jones—again, one suspects, by design—gives us no real stake in Jo's story. Camp plays her passively, and Moritz von Stuelpnagel's direction (on the extrawide Claire Tow stage) emphasizes chilly negative space. For a putative morality tale about humanity, Verité doesn't ultimately seem too concerned with real humans. Its heart is in its twists.—Adam Feldman
Claire Tow Theater (see Off Broadway). By Nick Jones. Directed by Moritz von Stuelpnagel. With Anna Camp, Ebon Moss-Bachrach. Running time: 1hr 40mins. No intermission.
Follow Adam Feldman on Twitter: @FeldmanAdam
Posted: Wednesday February 18 2015
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redpajama_set_name: RedPajamaCommonCrawl


text:
Риу-ду-Фогу ()  —  муниципалитет в Бразилии, входит в штат Риу-Гранди-ду-Норти. Составная часть мезорегиона Восток штата Риу-Гранди-ду-Норти. Входит в экономико-статистический  микрорегион Литорал-Нордести. Население составляет 10 447 человек на 2006 год. Занимает площадь 150,282 км². Плотность населения — 69,5 чел./км².

Статистика
 Валовой внутренний продукт на 2003 составляет 19.562.327,00 реалов (данные: Бразильский институт географии и статистики).
 Валовой внутренний продукт на душу населения на 2003 составляет 1.979,39 реалов (данные: Бразильский институт географии и статистики).
 Индекс развития человеческого потенциала на 2000 составляет 0,598 (данные: Программа развития ООН).

Муниципалитеты штата Риу-Гранди-ду-Норти

redpajama_set_name: RedPajamaWikipedia


Open Banking: a Millennials opportunity?
Younger consumers are more comfortable allowing a web-based service to intelligently review and manage their personal finances according to research from Altus. Over half (53%) of 25-34 year olds are comfortable with this, compared to 51% of 35-44 year olds, 47% of 45-54 year olds and only 38% of over 55s.
Altus surveyed 1,000 UK working adults across the country as part of their consumer research to give a snapshot of attitudes towards online personal finance, digital ('robo') advice, and the potential impact of Open Banking which came into force back in January.
As well as sharing the data, younger users are also much more open to the concept of an online service that enables them to view their entire financial situation in one place (balance, savings, pensions, loans, mortgages etc.) across all providers (41% of 25-34 years olds – see chart 2 for a comparison with other age groups); they recognise the benefits – particularly convenience – of this, and this bodes well for the many organisations using the Open Banking freedoms to develop new and exciting propositions to help consumers better manage their money.
Going one step further, 68% would be interested in an online service that stored personal, financial and medical information in one place, prioritising the value exchange of convenience and benefits over any potential security threat.
Despite this confidence in online personal finance, millennials are more likely to expect a human interaction as part of this service. Of millennials who were comfortable with using a digital ('robo') savings and investment service, 85% want the service to provide access to a person via webchat or phone during and/or after they had made the decision to invest. This is higher than all other age groups (see chart 3).
Of those who were not comfortable using an online service, over a quarter (26%) would have changed their mind if they knew the service also provided a human engagement – compared to just 12% average across other age groups, and only 7% of over 55s.
On the findings, Simon Bussy, Domain Director of Wealth at Altus Consulting commented: "It's interesting to see that, whilst the younger generation is open to managing their personal finances online, they are more likely to expect, and want, a human interaction as part of this offering. We still live in a world where many people still like the reassurance of speaking to a human during the decision-making process, and I don't expect that to change any time soon.
"Organisations need to focus on developing a hybrid service – augmenting the undoubted benefits of technology with the empathy and understanding that people bring. We're already seeing forward-thinking organisations working hard to combine human interaction with best-in-class technology solutions at different points in the process, meeting consumer demands and lowering costs, making them more accessible to all.
Chart 1 – Percentage of respondents who were comfortable using an online service, and would be happy sharing all/ a combination of their savings, investments, pensions, other assets and debts with the service.
Chart 3 – Percentage of respondents comfortable with using an online service who would have needed the service to provide access to a person via webchat or to enable them to speak to a person during, and/or after they had made the decision to invest.


text:
Q: How to show decimal places in JSON I am using IBM Bluemix to make a web service for a school project.
I request a JSON from an API, which returns data like this:
{"bovespa":{"cotacao":"46012","variacao":"+1.44"},"dolar":{"cotacao":"3.7340","variacao":"+0.03"},"euro":{"cotacao":"4.0376","variacao":"-0.54"},"atualizacao":"07\/12\/15   - 11:23"}
My code displays each of these variables in a JADE template.
I would like to know if, in the JADE template, I can somehow control how many decimal places of #{VariacaoDolar} are displayed in the JADE template.
Here is my .js file:

// Hello.
//
// This is JSHint, a tool that helps to detect errors and potential
// problems in your JavaScript code.
//
// To start, simply enter some JavaScript anywhere on this page. Your
// report will appear on the right side.
//
// Additionally, you can toggle specific options in the Configure
// menu.

function main() {
  return 'Hello, World!';
}

main();/*eslint-env node*/

//------------------------------------------------------------------------------
// node.js starter application for Bluemix
//------------------------------------------------------------------------------

// HTTP request - duas alternativas
var http = require('http');
var request = require('request');

// cfenv provides access to your Cloud Foundry environment
// for more info, see: https://www.npmjs.com/package/cfenv
var cfenv = require('cfenv');

//chama o express, que abre o servidor
var express = require('express');

// create a new express server
var app = express();

// serve the files out of ./public as our main files
app.use(express.static(__dirname + '/public'));

// get the app environment from Cloud Foundry
var appEnv = cfenv.getAppEnv();

// start server on the specified port and binding host
app.listen(appEnv.port, '0.0.0.0', function() {
    // print a message when the server starts listening
    console.log("server starting on " + appEnv.url);
});

app.get('/home1', function (req,res) {
    http.get('http://developers.agenciaideias.com.br/cotacoes/json', function (res2) {
        var body = '';
        res2.on('data', function (chunk) {
            body += chunk;
        });
        res2.on('end', function () {
            var json = JSON.parse(body);
            var cotacao = json["bovespa"]["cotacao"];
            var CotacaoDolar = json["dolar"]["cotacao"];
            var VariacaoDolar = json["dolar"]["variacao"];
            var CotacaoEuro = json["euro"]["cotacao"];
            var VariacaoEuro = json["euro"]["variacao"];
            var Atualizacao = json["atualizacao"];

   console.log('url', req.originalUrl);

   obj=req.query;

   DolarUsuario=obj['dolar'];
   RealUsuario=Number(obj['dolar'])*CotacaoDolar;

   EuroUsuario=obj['euro'];
   RealUsuario2=Number(obj['euro'])*CotacaoEuro;

   if (VariacaoDolar<0) {
   recomend= "Recomenda-se, portanto, comprar dólares.";
   }

   else if (VariacaoDolar=0){
    recomend="";
   }

   else {
    recomend="Recomenda-se,portanto, vender dólares.";
      }

   if (VariacaoEuro<0) {
   recomend2= "Recomenda-se, portanto, comprar euros.";
   }

   else if (VariacaoEuro=0){
    recomend2="";
   }
   else {
    recomend2="Recomenda-se,portanto, vender euros.";
      }

   res.render('cotacao_response.jade', {
                    'CotacaoDolar':CotacaoDolar,
      'VariacaoDolar':VariacaoDolar,
      'Atualizacao':Atualizacao,
      'RealUsuario':RealUsuario,
      'DolarUsuario':DolarUsuario,
      'CotacaoEuro':CotacaoEuro,
      'VariacaoEuro':VariacaoEuro,
      'RealUsuario2':RealUsuario2,
      'recomend':recomend,
      'recomend2':recomend2

            });
   var csv = require("fast-csv");

   csv
    .fromPath("Cambio.csv")
    .on("record", function(data){
     console.log(data);
    })
    .on("end", function(){
     console.log("done");
    });

        });
    });
});

Here is my .jade file:

doctype html
html(lang="en")
  head
    title Cotação
    link(rel='stylesheet',href='stylesheets/style.css')
  body
  h1 &nbsp&nbsp&nbspPara o Dólar:
  h2 &nbsp&nbsp&nbspA taxa de câmbio é de #{CotacaoDolar}
  h2 &nbsp&nbsp&nbspA variação do câmbio foi de #{VariacaoDolar}% desde sua última cotação. #{recomend}
  h2 &nbsp&nbsp&nbspVocê tem #{DolarUsuario} dólares, que valem #{RealUsuario} reais.
  br
  h1 &nbsp&nbsp&nbspPara o Euro:
  h2 &nbsp&nbsp&nbspA taxa de câmbio é de #{CotacaoEuro} R$.
  h2 &nbsp&nbsp&nbspA variação do câmbio foi de #{VariacaoEuro}% desde sua última cotação. #{recomend2}
  h2 &nbsp&nbsp&nbspVocê tem #{EuroUsuario} euros, que valem #{RealUsuario2} reais.
  br
  h3 &nbsp&nbsp&nbspEsses valores correspondem ao preço de compra em #{Atualizacao}.
  h3 &nbsp&nbsp&nbspSe você quer aprender mais sobre câmbio, visite a #[a(href='https://pt.khanacademy.org/economics-finance-domain/core-finance/money-and-banking/currency-tutorial/v/currency-exchange-introduction') Khan Academy].
  h3 &nbsp&nbsp&nbspPara notícias do mercado de câmbio, acesse #[a(href='http://www.valor.com.br/search/apachesolr_search/c%C3%A2mbio?solrsort=created%20desc&filters=-type%3Avalor_international_conteudo%20-type%3Awall_street_journal%20-type%3Avalor_ri*%20-channel%3Ari') Valor Econômico].
  #container.col
  p
  p.

A: You need to be using a Float instead.  Use the following function to convert your number into a float.  The float will have the correct number of digits after the decimal and wont be wrapped like a string.
var parsedNumber = parseFloat(youNumber);

redpajama_set_name: RedPajamaStackExchange


text:
More than 100 join up with 'Bishop's 100 Mighty Men of Faith'
Men can still get involved
COLUMBIA—United Methodist men are running toward ministry in South Carolina, and many took the first step April 11.
More than 100 men gathered at Rehoboth United Methodist Church for the Bishop's 100 Mighty Men of Faith and were challenged by Bishop Jonathan Holston and the Rev. Kathy James, director of Connectional Ministries.
"I need your help to make a difference in your community, in your local church and in your family," Holston said.
Those who made the commitment to be a leader received tools and resources at the meeting.
Leadership contracts outlining four terms were handed out, and many of them were signed by the end of the day: Leadership is a decision that must be made. Leadership is an obligation; men must step up and be responsible. Leadership is hard work and can be tough. Leadership is a community connect.
Small groups of men discussed the qualities of leadership and how they came to be at Rehoboth on a bright Saturday.
By the end of the afternoon, men were taking pledges to commit to new and old ministries at their local churches. James encouraged participants to write their commitments on large sheets of paper scattered around the room.
"Stand up with a sense of power to do things in ways that have never been done before," Holston challenged the men. "Have no fear and you'll make a difference."
Herman Lightsey, president of the South Carolina UMMen, thanked the men of Rehoboth for hosting the group and providing a wonderful meal.
Journey UMC's Praise Team led opening worship.
While Lightsey was pleased with the turnout, he said people can still get involved. If you're interested, contact him at [email protected] or 803-622-1287.
Up Next Regional 'giving days' help UMC advance specials, other nonprofits May 5


text:
How to Succeed in Musicals
September 23, 2011 by Christie Chisholm in Arts
Landmark means business
by Christie Chisholm, Weekly Alibi, September 22, 2011
First, find yourself a job in the mailroom of a large corporation, one big enough to ensure that no one really knows who you are or what you do. Then launch yourself out of that mailroom with a special blend of hard work, feigned humility and verbal dexterity. Pick up a few skills along the way, like knitting and chanting the fight song for your boss' alma mater. Don't forget to stay out of romantic entanglements, even when you're in love. (Or especially when you're in love.) Follow these simple rules and you'll be sitting behind a desk bigger than your bathroom in no time.
These lessons come courtesy of Frank Loesser's How to Succeed in Business Without Really Trying, the midcentury musical about a window washer who climbs to the top of the World Wide Wicket Company.
J. Pierrepont Finch is that window washer, and with some sage narration from the author of a self-help book, Finch is soon out of his coveralls and into a suit and tie. Along his rise to glory he battles Bud Frump, the nephew of company president J.B. Biggley. He also meets pretty Rosemary Pilkington, who spends the majority of the show trying to snag the young upstart.
Landmark Musicals presents this local version of the Broadway hit, and, as usual, the theater company has put together a show that's charming, fun and solidly acted. Joey Côté has the star role as Finch, and he's absolutely perfect for it. Côté is boyish and exudes enthusiasm. With a double-fisted dose of smooth singing and dancing abilities along with seemingly effortless acting chops, Côté could play this role on any stage. The show's program states that this is Côté's last theatrical production, and that seems like an awful loss. I hope the man reconsiders.
Opposite Côté is Aleah Waldron as Rosemary. Waldron plays her character with a winning mix of naivety and domestic ambition. She's got an excellent set of pipes and delivers some of the best musical numbers of the night. Waldron and Côté are a great pair with matched abilities, and together they bring the production out of community theater territory. (As a very happy side note, there was a surprise on opening night when Waldron's boyfriend got up on stage after the show and proposed—to which she answered, "You bet!" Congratulations, Aleah!)
The other main actors have talent as well, with Michael Finnegan delivering an excellent Biggley, Leonard Hughes performing the sniveling Frump with beautiful comic timing and Lisette Herrera being as luscious as all get out as Biggley's mistress, Hedy La Rue. Special mention should also be given to Rebecca Turiciano, who plays Rosemary's friend Smitty and who also knows how to command a stage.
On opening night, the show ran pretty smoothly, with only a handful of minor mic issues and some small pacing problems in a couple of dance numbers. The set and costume design are both fantastic, with "Mad Men"-esque suits and a myriad of custom-made (or at least custom-modified) furniture pieces. Joined with some snappy lighting tricks, it all makes for a great presentation. When you add in the live orchestra, How to Succeed becomes a well-honed musical.
Runs through Oct. 2
Fridays and Saturdays, 7:30 p.m.
Sundays, 2 p.m.
Rodey Theatre
UNM Center for the Arts
Tickets: $18, $20, $22
$2 discount for students and seniors
925-5858, landmarkmusicals.org
September 23, 2011 /Christie Chisholm


text:
package com.svyat.sample.alienclock.content;

import android.content.Context;

/**
 * Created by shromyak on 14.07.2016.
 *
 * Content scheme, as usual, is content brick tree, but ;-)...
 * There are two ways how to initialize component (described in brick)
 * and inject into alien controller:
 *
 * 1) add component as a child view(fragment) with decorator (childrenTags field)
 * 2) initialize on the fly during layout inflating (include into xml layout as custom view)
 *
 * If brick isn't in tree (orphan) -- that means:
 * it's initialized on-fly during layout inflating (second way)
 *
 * Main reason of this -- who bears responsibility for "view-add" animation:
 * decorator in first case
 * system layout inflater -- in second one
 *
 * If you are using both ways -- result will be unpredictable, because two
 * components will be added with the same android:id="@+id/..."
 *
 * To omit this -- please add verification in
 * @link DefaultAppearanceDecorator#attachChildren
 */
public class DefaultContentScheme implements AlienContentScheme {

    private final AlienContentManager alienContentManager;

    public DefaultContentScheme(Context context) {
        alienContentManager = DefaultContentManager.get(context);
    }

    @Override
    public void initDefault() {

        DefaultContentBrick root = DefaultContentBrickFactory.getDoublePaneBrick();
        alienContentManager.reinitWithRootTag(root.getTag());
        alienContentManager.storeBrick(root);

        DefaultContentBrick clock = DefaultContentBrickFactory.getClockBrick();
        alienContentManager.storeBrick(clock);

        // Please put your attention here: clockWidget is an orphan (it's not linked with
        // clock fragment via childrenTags field)
        DefaultContentBrick clockWidget = DefaultContentBrickFactory.getClockWidgetBrick();
        alienContentManager.storeBrick(clockWidget);

        DefaultContentBrick bloomchan = DefaultContentBrickFactory.getBloomchanBrick();
        alienContentManager.storeBrick(bloomchan);
    }
}

redpajama_set_name: RedPajamaGithub


text:
£4.8m lab to be built at University of Wolverhampton's Walsall campus
By Jordan Reynolds | Walsall | Education | Published: Jul 12, 2019
A state-of-the-art health lab worth £4.8m is to be built at the University of Wolverhampton's Walsall campus.
A digital impression of the new lab
Work has now started on extending and totally remodelling existing facilities in the Sister Dora Building, which is home to part of the University's Institute of Health.
And new digital artist impressions have been released showing what the new lab could look like.
The development will see a two-storey extension added, creating new simulation labs and teaching rooms to cater for an increase in students on courses such as nursing, midwifery and paramedic science.
Another image of what students could be working in later this year
The building will be remodelled throughout with a series of multi-disciplinary lab spaces created for a range of settings and a collaboration area.
The skills and simulation facilities will include several mock hospital ward rooms, mock bedsit and terraced house to practice in as well as using the latest technology with access to an anatomage table.
The facilities will enable students to practice skills in a safe environment with a fully enabled Panopto facility- which allows sessions to be filmed and played back and give a patient's eye-view.
A selection of new, flexible teaching spaces will also be formed and the lobby refurbished.
The £4.8m project was designed by architects Broadway Malyan and Speller Metcalfe has been appointed as the main build contractor with Gleeds as project managers.
Another one of the digital impressions of the lab
Work has started and the transformation of the current building is set to be complete in time for the new academic year in September 2019 with the new extension delivered by November 2019.
Vice-Chancellor of the University of Wolverhampton, Professor Geoff Layer, said: "As a university we are seeking to invest in areas where we believe we can grow and where we know there is a skills gap.
"In the UK right now there is certainly a shortage of trained nurses and other healthcare workers.
"We are working closely with hospital trusts in our area to identify their needs and we want to recruit and train even more nurses, midwives, paramedics and physios to work in our communities.
"We believe this investment will further support that aim by providing great facilities for people to learn in.
Professor Alex Hopkins, dean of the faculty of education, health and wellbeing, said: "This will make a huge difference to the clinical settings we are able to provide to our students to train within.
"Our courses are all professionally accredited and we work closely with healthcare providers to provide our students with the right tools and the right environment for a career in the sector."
Education News Walsall Local Hubs
By Jordan Reynolds
Reporter - @jreynolds_star
Senior reporter at the Express & Star.
Teachers afraid as students run wild at 'inadequate' Walsall school
Walsall | Jul 18, 2018


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text:
Polyipnus triphanos är en fiskart som beskrevs av Schultz, 1938. Polyipnus triphanos ingår i släktet Polyipnus och familjen pärlemorfiskar. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Pärlemorfiskar
triphanos


The Jell-O Gallery or Jell-O Museum is a museum in Le Roy, New York dedicated to exhibits about Jell-O, operated by the Le Roy Historical Society.The gallery is behind the Le Roy House, which is also operated by the Le Roy Historical Society, in the Union Free School.
Be the first to know and let us send you an email when Jell-O Gallery posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.
We will notify you when anything happens in Le Roy.


text:
Will the money-cons back Huckabee to stop Palin?
Right now, there look to be four Republican Presidential candidates for 2012:Â Palin, Huckabee, Romney, and Pawlenty.Â
Romney, despite the doubts about whether he's actually a flesh-and-blood human as opposed to an improbably pretty android, is the only one of the four who can plausibly be imagined either winning a Presidential contest or not looking silly in the Oval Office. But  I don't see how a Mormon gazillionaire leveaged-buyout operator whose Massachusetts healthcare plan looks a lot like Obamacare can win a Republican primary. Â
And with three other players in the field, I don't see how Sarah Palin gets stopped; she'll get a solid 35% of the vote, which should be ample to bring her in first in most states under a largely winner-take-all system. But she would split the party and get a Goldwater/McGovern/Mondale share of the votes in November, paving the way for a hugely successful second term for Obama. Â
Some of the social-con leaders will support Huckabee, but that won't much dent Palin's support. So the only way to prevent a Palin nomination would be for the money-cons to desert Romney, their first love, and Pawlenty, who is perfectly acceptable to them, and embrace the populist/protecionist Huckabee, whom they deeply distrust.  He's no less extreme than Palin, and he's hardly prepared by education or experience to be President, but he's not merely a clown; he has raw intelligence, humor, self-awareness,  occasional eloquence, and either sincerity or the capacity to fake it.
Would Huckbee sell out his populism for money-con backing? I bet he would. Could the money-cons put him over the top? I think they might; without them, Pawlenty and Romney will fade quickly, though of course Romney can self-finance. If it came down to more or less a head-to-head with Palin, Huckabee would be very well positioned. I doubt he could take Obama, but he'd hold the party together.
What I don't know is whether the Forbes/Norquist crowd will game this out the way I have, or whether they'd be prepared to forgive Huckabee his economic heresies in order to protect their side from disaster.  My bet would be against it. Once again, Barack Obama's incredible luck in finding self-destructing opponents may come through for him, and for us.
Author Mark KleimanPosted on November 18, 2009 Categories UncategorizedTags Medicare
34 thoughts on "Will the money-cons back Huckabee to stop Palin?"
I think Sarah P. is the future of my political party. More please.
FearItself says:
I don't buy it.
Your analysis assumes that Sarah Palin is a politician, but she's really not; she's a celebrity who served part of a term as governor of Alaska and played the role of VP candidate in McCain's doomed campaign. There really is a difference between a politician and a celebrity, although the difference is smaller than it used to be. (I would argue that Reagan was both, and that was a time when even being a celebrity took more effort than it does now.)
In fact, running for a presidential nomination is hard work, and Palin will likely find it both frustrating and boring in short order. At best (that is, at worst), her campaign will have one early success (maybe a win or a couple of close seconds) that puts her face on the cover of Time again before it flames out and she quits in a whirl of well-practiced resentment. Just as likely her campaign will make like Fred Thompson's and just fade away.
The only way Palin is a threat to win the nomination is if she gets strong institutional support from the party early on, so her campaign can carry her through the race like a summer camper carries an egg through an obstacle course. I don't see that happening because I think there will be too many marginal candidates — folks you didn't mention who individually lack the juice to win, but who collectively can swing enough weight to keep the party from anointing a nominee (Pawlenty is only the tip of this iceberg) — and the party leadership isn't what it used to be.
In short, don't get your hopes up.
From the Democratic perspective, Huckabee's the dangerous one. OK, I'm judging from a narrow data set (his appearances on The Daily Show and The Colbert Report) but he seems a whole lot smarter than the other three you named. Who could be more dangerous than a really smart ideologue with a sense of humor? Smart enough to take the wingnut money while avoiding any appearance of selling out.
I think that Mark is speaking to a larger issue: As it exists now, the 'Big Tent Party' idea can work only inasmuch as its members are willing and able to define themselves negatively. The moment that the members begin to define themselves positively, they are reminded that they may have as little in common with their fellow members as they do with the Democrats. (Anecdotally, I have quite a few Republican family members and friends; in 2008, they were pretty evenly split between Obama, McCain, and the Libertarian Party.)
Maybe this is in some ways the last gap of the Republican Party (at least as we knew it). And why shouldn't it be? If political parties mostly exist in order to provide an informational shortcut, then maybe it is natural that – in an age where information is much more readily available – political parties should splinter, and come together only on issues of mutual agreement. If I am correct, my only caution would be that as go the Republicans, so too may go the Democrats.
Brock says:
Sarah Palin is no more interested in being President than she was in being governor of Alaska. She's just cashing in. She'll milk the book sales and the speaking fees as long as she can, and then decline to run in the 2012 primary.
You Don't Say says:
You give Palin way too much credit. If she runs, which is a big if, she'll end up like Giuliani. The interesting question is if she runs, how do Huckabee, et al., handle her.
Bernard Yomtov says:
I don't see how a Mormon gazillionaire leveaged-buyout operator whose Massachusetts healthcare plan looks a lot like Obamacare can win a Republican primary.
I think you underrate Romney's ability to look like exactly what the relevant voters want to see.
Quiddity says:
What about Kay Bailey Hutchinson? If she becomes governor of Texas, that's a pretty good position to run from (governors tend to be better in presidential politics).
Or someone else? I think it's too early to say there is only a field of four for 2012.
Re Hutchinson: I don't understand why she's running for governor. She's got a secure Senate seat. Do you think she has presidential ambitions?
Richard Cownie says:
"You give Palin way too much credit. If she runs, which is a big if, she'll end up like Giuliani."
No, you've got to account for the fact that the Republican base *loves* Palin.
Whereas they were never going to feel too comfortable with a guy from
ultra-blue New York, who dresses as a woman as a joke from time to time,
had a couple of messy divorces, and lived with a gay couple for a while.
Giuliani had high name recognition after 9/11, and got points for
annoying liberals, but he wasn't a good fit for the base.
The base *loves* Palin, they believe anything she says, and she's going
to tell them exactly what they want to hear, no matter how far it is
from any recognizable reality.
In contrast, *nobody* loves Romney. And they're not going to be fooled
by his swerving to the right: he had too much of a record as a pragmatic
centrist technocrat in Massachusetts.
Palin's gonna win this thing unless they change the rules. Because no
matter what embarrassing information about Palin comes out, the hard-core
base is just going to see it as the librul media ganging up on her.
Obama is one lucky dude. Now earn this.
To Richard Crownie: You're right that *some* of the base loves her, but I really doubt she'll run. (I live among a lot of conservatives, in Nevada, and Palin is not that popular.) She's in this for the money and fame and there's better ways to make money and be famous. As soon as things get tough, like governing a state during an economic downturn, Palin quits.
To Bernard Romtov: I also think Romney the business-savvy gazillionare can look exactly like what the voters want during bad economic times.
Black Mage says:
Palin's fame will not last two more years. She's Giuliani. Or possibly Thompson. She couldn't last nine weeks of vice presidential campaigning without completely disintegrating her reputation; nine MONTHS on the primary campaign trail would probably destroy her.
In polling so far, Huckabee does better against Obama than Romney. In polling so far, Huckabee leads the primary field. In political skills and campaigning abilities, Huckabee far, far outpaces Romney. He's unplatable to the teabaggers, but the Tea Party set are NOT representative of the party as a whole. Huckabee can run on bread-and-butter economic issues: your oil prices are rising, food costs more, your wages are falling, and THIS IS WHY. When Romney does that, he looks like he's building up to firing you. When Huckabee does that, he looks human.
Huckabee's economic 'failures' aren't substantial enough to sink him six years after he left the governorship. He supports the FairTax, which brings him into line with general Republican lunacy on taxes. He opposes health care reform. He doesn't tick all the boxes but he ticks ENOUGH that, on economic issues, he's in the right party.
Pawlenty is green and has no compelling rationale. Palin isn't even a viable candidate at the moment. And Romney's not a candidate well-suited to the next cycle: he's way too far gone to run as the 'competent technocrat' again, given his 2008 strategy of running as the candidate of the conservative Republican establishment (Bush III). So it's going to be Huckabee, and the general election will be a LOT harder than you give it credit for.
"You're right that *some* of the base loves her, but I really doubt she'll run.
(I live among a lot of conservatives, in Nevada, and Palin is not that popular.)
She's in this for the money and fame and there's better ways to make money and be famous"
Ah, but that's the point. As long as the Republican primaries keep the current
winner-takes-all rules, the segment of the base that loves Palin is very probably
enough to win her the nomination. The Palin-lovers might be only 40% of registered
Republicans, but they'll be highly motivated and they'll turn out and vote.
And if she has that 40%, who else can inspire enthusiasm in more than half
of the remaining 60% ?
As for whether Palin would do it, I don't see why not. She has energy and physical
stamina and she loves attention: flying around to big enthusiastic crowds, dressing
up, and giving the same red-meat speech over and over again fits her talents and
desires just fine. She *loves* the campaigning. It's the governing she doesn't like.
And I'm not at all sure that for Palin has any "better way … to be famous". She's
not smart; she doesn't like hard work; going on TV would be a grind; it's not clear
that she can be famous as anything other than a politician. That one thing she can
definitely do (at least the campaigning bit). So she will.
Now her campaign will probably be somewhat inept. But then, McCain's campaign
was quite a shambles, he ran out of money, couldn't get crowds, couldn't figure
out any kind of strategy, and it was just a mess. But he still won the nomination.
So "can't run a campaign" probably won't stop her until she runs into the
Obama/Axelrod/Plouffe/Emanuel juggernaut.
"She couldn't last nine weeks of vice presidential campaigning without
completely disintegrating her reputation; nine MONTHS on the primary
campaign trail would probably destroy her."
But it didn't "completely" disintegrate her reputation. The general
public hates and fears her and thinks she's a dangerous ignoramus.
But a large part of the Republican base *loves* her. *After* seeing
everything that went down in the campaign.
And if they weren't dissuaded by all that, I don't think a primary
campaign is going to make a difference. They're with her through
thick and thin, and every dumb mistake she makes in their eyes gets
counted as confirmation that she's "just one of us" or that the liberal
media is playing gotcha.
Brett Bellmore says:
"The general public hates and fears her and thinks she's a dangerous ignoramus."
Projecting much?
"Projecting much?"
Nope, just going on the published polling figures, IIRC in
recent polls 60% said she wasn't qualified to be president.
They don't like her, they won't vote for her. Maybe that
doesn't add up to "hate and fear" – though after 8 years of
Bush a lot of people have genuine fear of another unqualified
candidate – but in political terms it's the same.
You might just want to go hide under the bed the next 7 years
while your party drives itself off the cliff.
"I also think Romney the business-savvy gazillionare can look exactly like
what the voters want during bad economic times."
Sorry, but no. The guy has good hair and used to be an efficient technocrat.
But no-one likes him much; he doesn't have much charisma; and he isn't
a good enough actor to perform the red-meat act needed to win Republican
primaries. He's going to spend his own fortune and go nowhere again.
"Dangerous ignoramus" is also quite correct. On Sean Hannity she suggested that the way to deal with Iranian nuclear threats is to get tough with Iraq. She said "Iraq" twice, so it was no slip of the tongue. It was immediately after Hannity had said "Iranian." No doubt her adoring crowds will think it elitist to get all hoity-toity about the difference between two foreign countries, but it is dangerous ignorance to confuse them.
Palin lacks self-discipline but loves attention. There was one of her in every high school class. We all remember her. We may not hate and fear her, but we do not respect her abilities and we want to protect the republic from being led by her spirit of resentment and treachery against those without whom she would have remained in obscurity.
To be fair to Romney, his lack of any dazzling talent might not
have been such an obstacle if he wasn't also desperately unlucky.
He positioned himself well as a moderate pragmatist, and had some
real achievements in Massachusetts with his health insurance reform.
And in some alternate universe where G.W.Bush's legacy was
education reform (NCLB), Medicare Part D, bipartisan immigration
reform, a couple of nice clean wars won, and a healthy economy –
an outcome that was somewhat plausible in 2003 when Romney became
a governor – the Republican establishment might well have been
happy to unite behind a good-looking inoffensive moderate
governor with some policy accomplishments.
Instead W screwed up everything he touched: Hurricane Katrina,
Iraq, Afghanistan, immigration reform, the DoJ, torture,
the economy, and became a massively polarizing figure. So 2008
was really a bust. And now the moderate wing of the Republican
party that was Mitt's natural constituency has just about
shrivelled up and died. And on top of that, the GOP is defining
itself with rabid and virulent opposition to precisely the
kind of modest health-insurance reform that was Mitt's one
big policy achievement.
The guy just can't catch a break. But then being lucky is a
big part of politics (one that Obama has plenty of, as shown by
his sequence of self-destructing opponents).
John A Arkansawyer says:
If Huckabee can get the nomination, he's a very credible candidate. I'm rooting for Palin, myself.
Horseball says:
I'm a bit torn. If I had my druthers, it would be Huckabee. However, I think it will probably be Romney based on a few considerations: (1) the historical GOP precedent of him being "next in line", (2) the swing constituency in the next election will be among more affluent suburban voters, and he can appeal to them without setting off cultural alarm bells, (3) he's sticking to a pro-life position, and (4) if his Mormonism does cause a few Bob Jones University outbursts, so much the better for point (2).
I don't have any hesitation about Romney's pro-life credentials. This is the only electorally important social conservative issue, and pro-lifers have (rightly and for good reason) long since stopped caring about the inner convictions of politicians on this issue. Does anyone believe that George H.W. Bush (a/k/a "Rubbers") was really and truly pro-life? I certainly don't, and it doesn't matter. Remember that it was Reagan who liberalized abortion in California. So it is not unusual to have politicians adopting pro-life positions as they seek the Republican nomination.
Richard, there are plenty of people who are unqualified to be President, who are neither "hated" nor "feared". Come back to me with a poll asking people if they hate and/or fear Palin.
"This is the only electorally important social conservative issue,"
Riiiight. That's why Democrats are treating gun control like it's radioactive, because gun rights are not "electorally important".
"there are plenty of people who are unqualified to be President, who are neither "hated" nor "feared""
The "fear" arises from the possibility that an unqualified candidate might
take power. Most unqualified people have no chance, and thus are merely
objects of amusement. Palin, however, has already been on the Republican ticket
once, and appears to have a pretty good shot at winning the nomination.
That's why many people fear her.
I guess you're comfortable with the idea of having a Commander-in-Chief
who can't remember the difference between Iran and Iraq. Most of the
public isn't. The corruption and the vicious partisanship we could
survive: the breathtaking incompetence – she doesn't even know how
much she doesn't know – is what's scary.
"the swing constituency in the next election will be among more affluent suburban voters"
I think you're correct that Romney would be the sane choice as the
candidate with the best chance in the general election. But the
Republican base right now simply isn't sane: they want red meat,
and Romney, though he'll try his damnedest, just can't satisfy them.
He's a Mormon, he's a bloodless technocrat, and he's not a good
enough actor to play to the base.
Huckabee is a very interesting figure, a very disarming and genial
fellow. And his nods to populism, though they never really amount
to anything substantial, suggest some kind of path to a sort of
American equivalent of Europe's Christian Democrat parties –
socially and economically conservative, without being completely
in the pocket of big business. I'd like to see that happen.
However, scratch the surface and Huckabee starts to look nutty,
supporting the teaching of Intelligent Design and lacking any
coherent economic policy. Being governor of Arkansas doesn't
give you much heft on foreign policy issues. And then, though it
perhaps shouldn't make a difference, someone's going to dig up
photos of him weighing 300+ pounds and question whether a guy with
that kind of medical history is up to the stresses of the White House.
Images of 300lb Huckabee and the current slimmer version can raise
an awkward question in voter's minds: who is this guy really ?
Is he a fat guy or a thin guy ? If he flip-flops on his own weight,
what else is he going to flip-flop on ?
Unfair, but that's the way the game is played, and if you're
looking for the chance to compete against the skinny athletic Obama,
a history of obesity is a vulnerability.
"because gun rights are not "electorally important"."
Gun rights are electorally important. But they're not a
"social conservative issue". And since the Democrats are busy
with more important issues, it's doubtful that anything's
going to happen to make gun rights a big issue for 2012.
"I guess you're comfortable with the idea of having a Commander-in-Chief who can't remember the difference between Iran and Iraq."
Can't see that it's any worse than having a President who thinks there are 57 states.
I'm sure "many" people fear Palin. In the sense that you couldn't get them all into the same phone booth… Not in any more meaningful sense. I'll grant you that I wouldn't want Palin for President. I can't think of many people who could plausibly get EITHER party's nomination that I'd actually want to have hold that office. Maybe Rep. Paul. But it sure is entertaining watching Democratic hysteria concerning her.
"Gun rights are electorally important. But they're not a "social conservative issue"."
You really think that, do you?
"You really think that, do you?"
There's overlap between the NRA supporters and the right-wing evangelical
social-conservatives. But they're not the same thing. And they're not
the same thing on the progressive side either: the Dem base is way more
fired up about protecting Roe vs Wade and stopping discrimination against
homosexuals than they are about imposing gun-control restrictions.
Frankly, your team has won on the gun-control issue, for the foreseeable
future. Enjoy it. You're losing on most of the stuff that really
matters.
"Can't see that it's any worse than having a President who thinks there are 57 states."
Obama misspeaks from time to time (though much less frequently than
most people). Palin displays shocking ignorance every single
time she tries to talk about the substance of policy. And even
when she has the freedom to write! Her OpEd piece a few months
ago about energy policy achieved the astonishing feat of talking
about energy policy without even mentioning climate change
(she didn't even take the trouble to deny it, she just ignored
the issue completely). That's breathtaking.
Here's the link to Palin's Op-Ed piece:
http://www.washingtonpost.com/wp-dyn/content/arti…
"Obama misspeaks from time to time (though much less frequently than most people)."
Yeah, teleprompters are a real help in that regard. But, know what? An American making a mistake about how many states there are in the United States is rather more significant than an American confusing two similarly named foreign nations. That's the sort of fact that's usually pretty deeply ingrained in American noggins. The sort of thing you'd expect the average American to get right if shaken out of bed at 3AM.
"An American making a mistake about how many states there are in the United States is
rather more significant than an American confusing two similarly named foreign nations"
Sure. So you don't care about having a prospective C-in-C who can't keep
straight the difference between a country occupied by 140K+ US troops,
and a country conating 0 US troops ? Similar names. Big big difference.
I'd be concerned about it if the C in C wasn't going to have a staff. But I think an American making a mistake about how many states America has says more about that person than their confusing two foreign nations with similar names. It's a particularly strange mistake to have made.
"I'd be concerned about it if the C in C wasn't going to have a staff"
So indeed you don't care that the elected commander-in-chief might be
someone who, as they say in England, doesn't know her arse from her
elbow, and who is thus completely reliant on the advice of non-elected
staff ? I've noticed conservatives are crazy these days, but I hadn't
realized you were all so willing to admit it. Strange.
And you'll pick an ignoramus over a law professor and senator because
he makes what you consider "a particularly strange mistake" for "an
American". I have a sneaking suspicion you don't make that kind of
comment about Americans who happen to have white skin, no matter what
mistakes they make (and God knows just about every Republican leader
has said crazy nonsense the last few months). Better tune that dog-
whistle an octave higher.
I'm concerned that YOU don't think an American not knowing how many states America has somehow doesn't demonstrate THAT C in C "doesn't know his arse from his elbow". You can't get out of elementary school without having THAT fact so deeply imbedded in your head that if there were any truth to Lysenkoism you could read it off your DNA. It is indeed a much stranger mistake for a citizen of this country to make, than confusing the names of two similarly named countries.
And if you think my finding it strange that an American would make that particular mistake is evidence of racism, I think that's evidence that you'll attribute ANY criticism of Obama to racism.
"You can't get out of elementary school without having THAT fact so deeply imbedded"
Whatever. I think it's pretty "strange" that the Chief Justice of the Supreme Court
can't administer the oath on inauguration day correctly. But I assume that he's
probably a human being (not clear from his judicial opinions, but I'll give him
the benefit of the doubt) who made a mistake.
"I think that's evidence that you'll attribute ANY criticism of Obama to racism."
Not at all. I'm pretty critical of Obama myself on many of his policies (especially
committing ever-increasing resources to the futile effort to make Afghanistan
look like Belgium). It's the attempt to suggest that he's somehow not really fully
American that triggers my dog-whistle alarm.
Benny Lava says:
Fascinating riffs here guys. In particular I noticed two things: 1. Brett Bellmore has an interesting asymmetric demand for evidence. He demands evidence that people fear or hate Palin, but makes all kinds of assertions about what people think with no evidence whatsoever. 2. Brett Bellmore makes arguments based on anecdote and emotion, while Richard Cownie makes arguments based on empirical evidence.
Examples: Brett's assertions without evidence "there are plenty of people who are unqualified to be President, who are neither "hated" nor "feared"", do you have any proof of this?
"I'm sure "many" people fear Palin. In the sense that you couldn't get them all into the same phone booth" Evidence for this either?
"in American making a mistake about how many states there are in the United States is rather more significant than an American confusing two similarly named foreign nations." Is it more significant? Or is this an emotional argument? And notice how Brett keeps stressing the phrase "an American", as if he were talking to a crowd full of "birthers". It reminds me of Nixon's Southern Strategy.
Richard, on the other hand, tries to present evidence when pressed, but never engages in a similar demand for empirical evidence. It is a similar pattern in liberal vs. conservative arguments; the liberals tend to play defense.
Examples: "As long as the Republican primaries keep the current
Republicans, but they'll be highly motivated and they'll turn out and vote.
of the remaining 60% ?" Though this lacks citations (should they be necessary for a blog comments section?) it attempts to present an argument based on evidence.
"So you don't care about having a prospective C-in-C who can't keep
and a country conating 0 US troops ?" Here Richard plays defense, arguing tropes from the 2008 election instead of engaging the criticism head first: is Sarah Palin an idiot? An intriguing discussion that is difficult to detach and unpack from the emotions that people might feel towards or against her, and also isolated from interview gaffes that happen to all public figures (how do you uncouple Sarah Palin from the Couric interview?).
The contrasts are interesting, and while I could try and deduce a lot about the individual persons making these arguments, I think observing the rhetorical differences and contrasts in ratiocination are enough for now. Did I miss anything?
"I think observing the rhetorical differences and contrasts in ratiocination are enough for now"
Nice to know someone else is reading. You're on the right track definitely: for the
moment right-wingers like Brett don't have many, if any, sound arguments. We tried
it their way for 8 years and it was a disaster. And the point of engaging in debate
with the Bretts of the world is not to convince *them* – they're immune to logic
and reason – but to illuminate the irrationality of their positions, lest anyone
in the middle be tempted by their slogans.
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