Jitterbugging for Jesus

Encore video performance from Habid (World Beat Musicians We Love Div.)

paul mckay — Wed, 10 Mar 2010 21:22:56 +0000

HABID'S FANS INLCUDE JACKSON BROWN, BONNIE RAITT, JITTERBUGGER

And all of the Jitterbugger cultists like his music and vids judging from the many views he gets when I post him here at JFJ, the blog that is saving the world with its wit, wisdom, provocations and stimulations while possibly (probably!) alienating whole towns, cities, villages, states and nations.

I especially like this video that I posted some weeks ago–and you peeps apparently did too as the number of viewings of it went through the roof.

It’s got that right amount of grace & peace & mysticism going on so enjoy it. Again.

The powerful & healing hands of Christ & him crucified (Noon Wine)

paul mckay — Wed, 10 Mar 2010 19:02:31 +0000

“As soon as they left the synagogue, they went with James and John to the home of Simon and Andrew. Simon’s mother-in-law was in bed with a fever, and they told Jesus about her. So he went to her, took her hand and helped her up. The fever left her and she began to wait on them.”
— Mark 1: 29-31

I’ve always been intrigued by the connection I see between the healing hands of Christ and his being crucified on the cross–with nails driven through those powerful but tender hands.

People were all the time reaching out to touch Jesus–even just to touch his cloak was sufficient in a famous gospel case (Mark 5: 25-34)–but he was always touching someone with those healing hands of his as well.

Read the relatively short gospel of Mark with an eye to all the touching that’s going on. I especially like the story of Jesus at the home of Simon Peter’s mother-in-law, right there in Chapter 1. He touches her–simply takes her by the hand–chasing her fever away, whereupon she gets up and carries on.

Mother-in-law has fever. Jesus touches. Fever’s gone. She goes back to being a hospitable house mom. End of story.

A powerful little story at that–a concise look at the healing power of the healing touch of those precious Christ hands.

And so–irony of ironies–they nailed nails through the tender hands of the carpenter turned rabbi and savior, on the assumption that they’d put those hands out of commission forever.

And yet, God and the healing power of God goes on touching lives every day.

– Pastor Paul, yer Jitterbugger

Louie Louie: the song that triggered a federal investigation (Your Tax $$$ at Work Div.)

paul mckay — Wed, 10 Mar 2010 17:22:56 +0000

But–what the heck–the investigation only lasted THIRTY ONE MONTHS!!!!!

From Wiki:
“Louie Louie” is an American rock ‘n’ roll song written by Richard Berry in 1955. It has become a standard in pop and rock, with hundreds of versions recorded by different artists. The song is written in the style of a Jamaican ballad; and tells, in simple verse-chorus form, the first-person story of a Jamaican sailor returning to the island to see his lady love. The singer brags of his “fine little girl” to the Louie of the title, presumably a bartender.

A recording by The Kingsmen in 1963 is the best-known version. The Kingsmen’s edition was also the subject of an FBI investigation about the supposed but non-existent obscenity of the lyrics, an investigation that ended without prosecution.[2] The song is ranked #55 on the Rolling Stone magazine’s list of The 500 Greatest Songs of All Time.

Original version
Richard Berry was inspired to write the song in 1955 after listening to and performing the song “El Loco Cha Cha” with Ricky Rillera and the Rhythm Rockers. The tune was written originally as “Amarren Al Loco” (“Tie up the crazy guy”) by Cuban bandleader Rosendo Ruiz Jr. – also known as Rosendo Ruiz Quevedo – but became best known in the arrangement by René Touzet which included a rhythmic ten-note “1-2-3 1-2 1-2-3 1-2″ riff.[citation needed] Touzet performed the tune regularly in Los Angeles clubs in the 1950s. In Berry’s mind, the words “Louie Louie” superimposed themselves over the bass riff. Lyrically, the first person perspective of the song was influenced by “One for My Baby (and One More for the Road)”, which is sung from the perspective of a customer talking to a bartender. Berry cited Chuck Berry’s “Havana Moon” and his exposure to Latin American music for the song’s speech pattern and references to Jamaica.[3]

Richard Berry released his version in April 1957 (Flip Records 321[1]), originally as a B-side, with his backing band The Pharaohs, and scored a regional hit on the west coast, particularly in San Francisco. When the group toured the Pacific Northwest, several local R&B bands began to adopt the song and established its popularity. The track was then re-released as an A-side.[4] However, the single never charted on Billboard’s national rhythm and blues or pop charts. Berry’s label reported that the single had sold 40,000 copies. After a series of unsuccessful follow-ups, Berry sold his portion of publishing and songwriting rights for $750 to the head of Flip Records in 1959.

While the title of the song is often rendered with a comma (“Louie, Louie”), in 1988 Berry told Esquire magazine that the correct title of the song was “Louie Louie”, with no comma.[citation needed]

Version by The Kingsmen
In the U.S. music industry of the 1950s and 1960s, mainstream white artists would often cover songs by black artists. On April 6, 1963, a rock and roll group from Portland, Oregon, called The Kingsmen, chose “Louie Louie” as their second recording, their first having been “Peter Gunn Rock.”

The Kingsmen recorded the song at Northwestern, Inc., Motion Pictures and Recording in Portland, Oregon. The group paid a small sum of $36 for a one-hour Saturday morning session. The session was produced by Ken Chase aka Mike Korgan. Chase was a local radio personality on the AM rock station 91 KISN and also owned the teen nightclub that hosted the Kingsmen as their house band. The engineer for the session was the studio owner, Robert Lindahl. The Kingsmen’s lead singer Jack Ely based his version on a 1961 recording of Berry’s tune by another band from the Pacific Northwest, Rockin’ Robin Roberts and the Fabulous Wailers (no relation to The Wailers headed by Bob Marley years later), unintentionally introducing a change in the rhythm as he did. “I showed the others how to play it with a 1-2-3, 1-2, 1-2-3 beat instead of the 1-2-3-4, 1-2, 1-2-3-4 beat that is on the (Wailers’) record,” recalled Ely. The night before their recording session, the band played a 90-minute version of the song during a gig at a local teen club.

The Kingsmen’s studio version was recorded in one take. They also recorded the “B” side of the release, an original instrumental by the group called “Haunted Castle”.

A significant error on the Kingsmen’s version occurs just after the lead guitar break. To some ears, singer Ely begins singing the verse in the correct place, but thinks he’s come in too soon, and pauses for another cycle of the riff. To others, he comes in too soon and corrects himself but the band doesn’t realize that he’s done so. Either way, drummer Lynn Easton covers the pause with a drum fill. But then, before the verse has ended, the rest of the band goes into the chorus at the point where they expect it to be. They recover quickly, but the confusion would seem to indicate that the rest of the band couldn’t hear the vocals while they were recording. This error is now so embedded in the consciousness of some groups that they deliberately duplicate it when performing the song. There is also a persistent and oft-repeated story that the microphone for Ely was mounted too high for him to sing without tilting his head back excessively, resulting in his somewhat pinched and strangled sound through most of his vocal. This seems unlikely, however, in view of the fact that it was recorded by professional personnel in a dedicated recording studio.

Regardless of accuracy or technique, the Kingsmen transformed Berry’s relatively easy-going ballad into a raucous romp, complete with a twangy guitar, occasional background chatter, and almost completely unintelligible lyrics by Ely. A chaotic guitar break is triggered by the shout, “Okay, let’s give it to ‘em right now!”, which first appeared in the Wailers’ version. Critic Dave Marsh suggests it is this moment that gives the recording greatness: “[Ely] went for it so avidly you’d have thought he’d spotted the jugular of a lifelong enemy, so crudely that, at that instant, Ely sounds like Donald Duck on helium. And it’s that faintly ridiculous air that makes the Kingsmen’s record the classic that it is, especially since it’s followed by a guitar solo that’s just as wacky”.[5]

Released in May 1963, the single entered the top ten on the Billboard Hot 100 chart for December 7, and peaked at number two the following week; it would remain in the top 10 through December and January before dropping off in early February.[6] In total, the Kingsmen’s version spent sixteen weeks on the Hot 100. (Singles by The Singing Nun, then Bobby Vinton, monopolized the top slot for eight weeks.) “Louie Louie” did reach number one on the Cashbox pop chart, as well as number one on the Cashbox R&B chart.[7] The version quickly became a standard at teen parties in the U.S. during the 1960s, even reappearing on the charts in 1966.

Another factor in the success of the record may have been the rumor that the lyrics were intentionally slurred by the Kingsmen. Allegedly, this was to cover the fact that it was laced with profanity, graphically depicting sex between the sailor and his lady. Crumpled pieces of paper professing to be “the real lyrics” to “Louie Louie” circulated among teens. The song was banned on many radio stations and in many places in the United States, including Indiana, where it was personally prohibited by the Governor, Matthew Welsh.

These actions were taken despite the small matter that practically no one could distinguish the actual lyrics. Denials of chicanery by Kingsmen and Ely did not stop the controversy. The FBI became involved in the controversy but concluded a 31-month investigation with a report that they were “unable to interpret any of the wording in the record.”[1]

After a protracted lawsuit that lasted five years and cost $1.3 million dollars, The Kingsmen won the rights to their song “Louie Louie”. The Supreme Court in November 1998, declined to hear an appeal by the record company of an earlier legal ruling giving the rights to the band.

Paul Revere & The Raiders also recorded a version of “Louie Louie” in April 1963 in the same Portland studio as The Kingsmen. This recording was paid for and produced by 91 KISN Radio Personality Roger Hart, who soon became Personal Manager for Paul Revere & The Raiders. Initially, their single was more successful locally, put out on Hart’s SANDE label, then when signed to Columbia Records it was reissued in June 1963 nationally, where it went #1 in the West and Hawaii. The quick success of “Louie Louie” suddenly halted in the West. A few years later, Paul Revere & the Raiders learned why: Columbia Records A&R man Mitch Miller, who did not like rock n’ roll, pulled the plug on Paul Revere & The Raiders’ hit version.

Meanwhile, local sales of the Kingsmen record were so low (reportedly 600) that the group considered disbanding. Things changed when Boston’s biggest DJ, Arnie Ginsburg, was given the record by a pitchman. Amused by its slapdash sound, he played it on his program as “The Worst Record of the Week.” Despite the slam, listener response was swift and positive.

By the end of October, the Kingsmen’s version was listed in Billboard as a regional breakout and a “bubbling under” entry for the national chart. Meanwhile, the Raiders’ version, with far stronger promotion, was becoming a hit in California and was also listed as “bubbling under” one week after the Kingsmen’s debut on the chart. For a few weeks, the two singles appeared destined to battle each other, but demand for the Kingsmen single acquired momentum and, by the end of 1963, Columbia had stopped promoting the Raiders’ “Louie Louie”, per Columbia Records Mitch Miller. But Paul Revere’s band held the bragging rights in Portland, where they outsold the Kingsmen by a reported 10 to 1.

Robert Lindahl, then-president and chief engineer of NWI, and the sound engineer on the Kingsmen’s and Paul Revere & the Raiders’ noted that the Raiders’ version is not known for “garbled lyrics” or an amateurish recording technique. But despite these attributes, the single never seized the public’s attention the way the less-polished Kingsmen version had.

By the time that the Kingsmen’s “Louie Louie” had achieved national popularity, the band had split. Two rival editions — one featuring lead singer Ely, the other with Lynn Easton, who held the rights to the band’s name — were competing for live audiences across the country.

Lyrics investigation
In February, 1964, an outraged parent wrote to Robert Kennedy, then the attorney general of the United States, alleging that the lyrics of “Louie Louie” were obscene. The Federal Bureau of Investigation investigated the complaint. In June, 1965, the FBI laboratory obtained a copy of the recording and, after two years of investigation, concluded that the recording could not be interpreted, that it was “unintelligible at any speed,” and therefore the Bureau could not find that the recording was obscene. In September, 1965, an FBI agent interviewed one member of the Kingsmen. He denied that there was any obscenity in the song.

The lyrics controversy resurfaced briefly in 2005 when the superintendent of the school system in Benton Harbor, Michigan refused to let the marching band at one of the schools play the song in a parade. She later relented.[8][9]

Legacy
It is unknown exactly how many versions of “Louie Louie” have been recorded, but it is believed to be over 1,500, according to LouieLouie.net.[10]

The Kingsmen version has remained the most popular version of the song, retaining its association with wild partying. It enjoyed a comeback in 1978-79 and was associated with college fraternity parties when it was sung, complete with the supposedly obscene lyrics, by Bluto (John Belushi) and his fellow Delta House brothers in the movie National Lampoon’s Animal House.

Following is a decade by decade survey of the song’s popularity and influence across a broad spectrum of popular music. The song’s continuing popularity helped Berry (who had retained his BMI rights) receive belated compensation for unpaid royalties.

Quotable quote of the day (20-something Mystic Tokyo Women We Love, Beautiful Free Spirits Div.)

paul mckay — Wed, 10 Mar 2010 14:38:23 +0000

I like all the spunky blogs that all those kazillions of twenty-somethings have out there, like my Tokyo friend Victoria:
Here’s a quote from her and a couple of her might fine fotos . . .

Someone asked me what I wanted to be when I grow up; I answered happy. They told me I didn’t understand the question; I told them they didn’t understand life.”
— The mysterious young Victoria, who brings to mind the Donald Fagen song “New Frontier”: “She’s an artist, a pioneer, she’s got the right dynamic for the New Frontier.”

She has two blogs: One is “Victoria’s Secret Retreat,” the other features her wonderful photography: “Playing With Light.”

From her latest blog posting at http://victoriasecretretreat.blogspot.com:

I am a philosopher by my own right.
I seek out answers to my mind’s curiosity.
I explore all dimensions I could ever reach.
I am open to every possible reason life could offer.

Victoria

Mary Oliver x 3 (Women We Love, Great Poets Div.)

paul mckay — Wed, 10 Mar 2010 06:34:57 +0000

Mary Oliver and friend
“I want to believe I am looking
into the white fire of a great mystery.
I want to believe that the imperfections are nothing –
that the light is everything”
Wow—those words, from one of the poems below, are typical of the shimmering and mystic grace of one of our best and most spiritual of living poets.
Here’s three beauties from Mary Oliver (with a capsule bio):

The Old Poets of China”
Wherever I am, the world comes after me.
It offers me its busyness. It does not believe
that I do not want it. Now I understand
why the old poets of China went so far and high
into the mountains, then crept into the pale mist.

—————–
“Praying”
It doesn’t have to be
the blue iris, it could be
weeds in a vacant lot, or a few
small stones; just
pay attention, then patch

a few words together and don’t try
to make them elaborate, this isn’t
a contest but the doorway

into thanks, and a silence in which
another voice may speak.

——————
“The Ponds”
Every year
the lilies
are so perfect
I can hardly believe

their lapped light crowding
the black,
mid-summer ponds.
Nobody could count all of them –

the muskrats swimming
among the pads and the grasses
can reach out
their muscular arms and touch

only so many, they are that
rife and wild.
But what in this world
is perfect?

I bend closer and see
how this one is clearly lopsided –
and that one wears an orange blight –
and this one is a glossy cheek

half nibbled away –
and that one is a slumped purse
full of its own
unstoppable decay.

Still, what I want in my life
is to be willing
to be dazzled –
to cast aside the weight of facts

and maybe even
to float a little
above this difficult world.
I want to believe I am looking

into the white fire of a great mystery.
I want to believe that the imperfections are nothing –
that the light is everything — that it is more than the sum
of each flawed blossom rising and fading. And I do.
————
Mary Oliver, born Sept. 10, 1935, Cleveland, Ohio, U.S.
American poet whose work reflects a deep communion with the natural world.
Oliver attended Ohio State University and Vassar College but did not earn a degree. She worked for a time as a secretary for the sister of Edna St. Vincent Millay. Millay’s influence is apparent in Oliver’s first book of poetry, No Voyage and Other Poems (1963). These lyrical nature poems are set in a variety of locales, especially the Ohio of Oliver’s youth. Her childhood plays a more central role in The River Styx, Ohio, and Other Poems (1972), in which she attempted to re-create the past through memory and myth. The Night Traveler (1978) explores the themes of birth, decay, and death through the conceit of a journey into the underworld of classical mythology. In these poems Oliver’s fluent imagery weaves together the worlds of humans, animals, and plants.
Her volume American Primitive (1983), which won a Pulitzer Prize, glorifies the natural world, reflecting the American fascination with the ideal of the pastoral life as it was first expressed by Henry David Thoreau. In House of Light (1990) Oliver explores the rewards of solitude in nature. New and Selected Poems (1992), which won a National Book Award, White Pine (1994), Blue Pastures (1995), and West Wind: Poems and Prose Poems (1997) are later collections.
Oliver also wrote about the writing of poetry in two slender but rich volumes, A Poetry Handbook (1995) and Rules for the Dance: A Handbook for Writing and Reading Metrical Verse (1998). Winter Hours (1999) includes poetry, prose poems, and essays on other poets.
Biography from: britannica.com

Lovely to see you again, my friends: Walk along with me to the next bend: Your (Moody) Tuesday Afternoon Special

paul mckay — Tue, 09 Mar 2010 19:58:25 +0000

Do I love me some Moody Blues?*
Does a wild bear spit in the woods?
Does Sarah Palin?

The Moody Blues, circa 1970, for your regular Tuesday afternoon music therapy.
*(Having said that, if I ever hear “Nights in White Satin” again, I’m gonna pull my hair out and do me some primal screaming.)

“And the food of the soul is God”: Today’s Noon Wine

paul mckay — Tue, 09 Mar 2010 17:21:32 +0000

Leslie Weatherhead, Great Protestant Preacher
“Man shall not live by bread alone.”
– Jesus in the Wilderness speaking to the tempter

——–
From The Autobiography of Jesus: What He Said About Himself, by Leslie Dixon Weatherhead*:

“Man (sic) feeds and satisfies and nourishes not on bread alone, but on other expressions of God’s meanings. You see, a ‘word’ is an expression of meaning. Mountains express God’s meaning. So do lilies and so do birds, so does beautiful music, so does kindness, and so does love. They are all words of God because they all express his meaning. There is no truer sentence in the world than this: ‘Man shall not live by bread alone, but by every word that proceedeth out of the mouth of God.’

“So quite simply we come to the Word made flesh. In the sense in which I have been using the word ‘eat,’ this Man has given us his flesh to eat. It his his human nature that means so much to us. His life in the flesh reveals a supreme meaning of God. It is a Word translated into flesh, and because we must take it into ourselves, just as we feed on music, it is indeed the Bread of Life which came down from heaven. We must ‘eat’ him. . . .

“For just as the body needs food for its strength and the mind needs food for its buoyancy, so the soul needs food, and the food of the soul is God.”
————
*FROM WIKI:
Leslie Dixon Weatherhead (1893-1976) was an English Christian theologian in the liberal Protestant tradition. Renowned as one of Britain’s finest preachers in his day, Weatherhead was noted for his preaching ministry at City Temple in London and for his books, including The Will of God, The Christian Agnostic and Psychology, Religion, and Healing.

Weatherhead trained for the Methodist Ministry at Richmond Theological College, in south-west London. The first world war cut short his training, and he became Methodist Minister at Farnham, Surrey, in September 1915. After serving in India, Manchester, and Leeds, Weatherhead was called, as a Methodist Minister, to be Minister of the City Temple, a Congregational Church on Holborn Viaduct in London. He served there from 1936 until his retirement in 1960. . . .

His book This is the Victory was first printed in 1940 (preface dated November 1940) and reprinted in March 1942. In the space of time between these two editions, the City Temple was “gutted by fire from incendiary bombs dropped from enemy aeroplanes”. He was able to continue his ministry thanks to the nearby St Sepulchre church. After the war, Weatherhead raised the funds to rebuild the City Temple, largely from John D. Rockefeller. The City Temple stands to this day and is a congregation of the United Reformed Church.

His son A. Kingsley Weatherhead, a professor of English, wrote Leslie Weatherhead: A Personal Portrait. At least three other biographies of Leslie Weatherhead have appeared since his death, most recently in 1999 Doctor of Souls: Leslie Dixon Weatherhead by John C. Travell

Glenn Beck: Inhabiting a planet so far out in the farthest reaches that it’s yet to be named (News From the Far Side)

paul mckay — Tue, 09 Mar 2010 06:31:54 +0000

It’s now official: I and most preachers and priests in the world are communists and Nazis (and never mind the contradiction in terms).
Would it be too much to ask Fox so-called “News” Channel to have a mainstream priest or preacher or theologian on for what used to be called in news broadcasting the “counterpoint”?
From David Sessions at politicsdaily.org:

On his daily radio and television shows last week, Fox News personality Glenn Beck set out to convince his audience that “social justice,” the term many Christian churches use to describe their efforts to address poverty and human rights, is a “code word” for communism and Nazism. Beck urged Christians to discuss the term with their priests and to leave their churches if leaders would not reconsider their emphasis on social justice.

“I’m begging you, your right to religion and freedom to exercise religion and read all of the passages of the Bible as you want to read them and as your church wants to preach them . . . are going to come under the ropes in the next year. If it lasts that long it will be the next year. I beg you, look for the words ’social justice’ or ‘economic justice’ on your church Web site. If you find it, run as fast as you can. Social justice and economic justice, they are code words. Now, am I advising people to leave their church? Yes!”

Later, Beck held up cards, one with a hammer and sickle and other with a swastika. “Communists are on the left, and the Nazis are on the right. That’s what people say. But they both subscribe to one philosophy, and they flew one banner. . . . But on each banner, read the words, here in America: ’social justice.’ They talked about economic justice, rights of the workers, redistribution of wealth, and surprisingly, democracy.”

For political wonks: A blast from the past uncovered by Ezra Klein (Congressional Shenanigens Div.)

paul mckay — Tue, 09 Mar 2010 01:02:20 +0000

Ezra Klein: A thorough reporter, among other things
***Lessons from the Medicare Prescription Drug Benefit vote:
In which economist, much acclaimed health-care reform expert and blogger Ezra Klein relates a bit of Republican Party history regarding the now popular Medicare Prescription Drug Benefit:
——-
Here are some things that happened on the night the GOP pushed the Medicare Prescription Drug Benefit through the House of Representatives:
A 15-minute vote was scheduled, and at the end of 15 minutes, the Democrats had won. The Republican leadership froze the clock for three hours while they desperately whipped defectors. This had never been done before. The closest was a 15-minute extension in 1987 that then-congressman Dick Cheney called “the most arrogant, heavy-handed abuse of power I’ve ever seen in the 10 years that I’ve been here.”
Tom DeLay bribed Rep. Nick Smith to vote for the legislation, using the political future of Smith’s son for leverage. DeLay was later reprimanded by the House Ethics Committee.
The leadership told Rep. Jim DeMint that they would cut off funding for his Senate race in South Carolina if he didn’t vote for the bill.
The chief actuary of Medicare, Rick Foster, had scored the legislation as costing more than $500 billion. The Bush administration suppressed his report, in a move the Government Accounting Office later judged “illegal.”
Rep. Jo Ann Emerson, a “no” vote, spent the night “hiding on the Democratic side of the floor, crouching down to avoid eye contact with the Republican search team.”
Rep. Butch Otter, who provided one of the final votes after hours of arm-twisting from the Republican leadership, said, “I thought there was a chance I would get sick on the floor.”
Remember all this? Probably not. There wasn’t much reporting on it at the time. It wasn’t a major controversy, despite resulting in multiple official investigations. I went back through the archives of National Review’s “The Corner”*** to see if they covered the scandal. Not really. There are four or five posts on it, and the most substantive is Ramesh Ponnuru telling some columnist that “it’s silly to act as though holding a vote open for a long time is an act of lawbreaking.”
They’re considerably more exercised about the use of reconciliation today. Obama is “shoving health care down the throats of the American people in the teeth of overwhelming public opposition and any sense of parliamentary decency,” writes Mark Steyn, and I think he means “without” any sense of parliamentary decency.
But the point isn’t to claim hypocrisy, as I think charges of hypocrisy are boring. First, it’s to note that the health-care reform process has been a model of transparency and parliamentary decency in comparison to the Medicare Prescription Drug Benefit process (no actuaries have been intimidated into silence, for instance); second, to note that Americans don’t really care about process, and people forget about even serious abuses of legislative power; and third, to suggest that Republicans are a whole lot better at making controversies out of their opponents’ behavior than Democrats are.
Whatever you think of the process that resulted in the Medicare Prescription Drug Benefit, the bill today is settled, and even popular, law. The abuses that ushered it into existence are mostly forgotten. Democrats spoke of its repeal in the months after its passage but are now strengthening it in the health-care reform bill. Republicans, meanwhile, were so confounded by Medicare’s popularity that they authored and passed a massive expansion of the entitlement state. Democrats, who are currently trying to pass health-care reform in a way that doesn’t break congressional rules but does upset some Republicans, should take note.

***The National Review Klein refers to here is, of course, the very conservative political magazine founded by William F. Buckley. “The Corner” is part of its online edition.

Mysteries of the Universe, Black Holes Div. (For Men Only)

paul mckay — Mon, 08 Mar 2010 19:47:26 +0000

Guys . . . . some day, not in our lifetime but surely in the lifetime of our children’s children, Science will be able to explain what Black Hole our socks disappear into when said socks are run through the washer and dryer.

You know what I’m talking about.