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Web Log Archives: October 26, 2003 - November 01, 2003 Saturday, November 1, 2003
One juror, a Louisiana Tech undergrad named "Lindsi", called the videos "Absolutely sickening. It made me sick to my stomach. I wasn't surprised that you could buy things like that at an adult video store, but I was surprised at how graphic and close up the scenes were. To me, it's definitely obscene; it crosses the line." The store owner's defense lawyers really need to work on their jury selection skills.
Guess which group of Furries MTV, Vanity Fair, Loaded Magazine and other media outlets tend to focus on when exploring the world of Furry? And the Furries — at least the ones who aren't in it for the spooge — just hate that. Many Furries in fact take pains to distance themselves from the sexual aspects of the fandom. The tension between these opposing camps — the Furverts and the “Clean Furs” — presents an interesting dichotomy. Many Furries describe their endeavor as “a way to get in touch with your animal nature,” but quickly add that they want nothing to do with animalistic sex. Yet when are humans most closely intersecting with our animal brethren than when eating, fighting, or fucking? (Link snagged from Random Abstract.) Friday, October 31, 2003
The biggest news was the recent C.S.I. shoot that involved a number of SoCalFurs. The episode itself is supposed to air on October 30th and may be another controversial episode. Thankfully C.S.I. Production contacted one of us to review and make any edits to the script to help show Furry in a better light. Apparently all of C.S.I's original script came from the MTV Special that aired a while back, and easily accessible "Furry Deviant" websites. Those that attended the shoot all believe that their presence was a good thing. Several questions came to the furs there and people realized that "Yes we are very normal people". We will see if our time and efforts were not wasted when the episode airs...cross your fingers! Why the hell would you want to be called "very normal people"? I can understand not wanting to be mocked, but I'll never understand this "there's nothing the slightest bit weird about dressing up in animal costumes" rhetoric. Sorry, but it is weird. So what? Fly your freak flag proudly! As the episode neared, consultant DarkFox whined that she (he? it?) hadn't been granted total creative control by the CSI producers and hadn't succeeded in turning the episode into a boring docudrama on the normality of furries. The episode was indeed sensationalistic and sexed-up, especially the trippy, slow-motion scenes of "furpile" orgies. The PaF Con scenes were played for laughs, but the tone was more bemused than mocking. Willows scoffed at the weirdness, while Grissom seemed impressed by the geeky creativity of the scene. A very entertaining episode and not particularly condescending toward furries, in my opinion. The initial responses on alt.fan.furry have been mostly positive. UPDATE: BlueNight has the best alt.fan.furry post about the episode: Y'know, I winced when I saw them cutting upen that fursuit [on the autopsy table]. It was a piece of art. (Well, a piece of CBS costume department art, but still. I wonder who gets all the fursuits they created for that episode? How about a charity auction at the next Anthrocon?) Four things they got wrong in this episode: 1. Too many women. 2. Too many full fursuits, worn throughout the con; not enough tail-and-ears budget fursuits, and NO badges or artwork! 3. What's a furpile? 4. The entire con would have ground to a halt as soon as word of Rocky and Linda's deaths got around. The entire con would have been at a memorial service in their honor, especially once the story came out. The wolf (TYPECASTING!) would forever be a pariah, and the "mistaken for a coyote" story would have been passed around the newsgroups for years. Thursday, October 30, 2003
Back then, he had blond feathered hair that was parted in the middle, brown eyes and a handlebar moustache. His rugged physique was clothed in a red, plaid shirt, he held a peavey, which is a tool used by lumberjacks to handle logs, and he was posing in front of an alpine forest. In short, he looked like the star attraction in a 1970s lumberjack-themed adult film. Over the years, the company changed the Brawny man's shirt first to a green plaid, then to a blue plaid, followed by a purple plaid and finally to a blue denim work shirt. In 1984, he got a haircut and his eyes were changed to green. In 1991, he began parting his hair on the side. In 1992, to celebrate the holiday season, the Brawny man wore a Santa cap -- this time he looked like the star attraction in a 1970s Christmas-themed adult film. [...] The redesign of this beloved American icon was done by Toronto-based illustrator Greg Banning. "They wanted to update the character and give him darker hair and darker features to make him universally appealing, but also keep the Brawny man look and feel," says Banning. "Losing the handlebar moustache, I think, was the main thing." USA Today focuses on the market research that guided the makeover. "Why keep a guy at all? Two years of Brawny research found women love him." Then Deskey had consumers create their image of a Brawny man using a sort of digital mix-and-match Colorforms kit. Among their fantasies: a beach scene instead of trees. Deskey analyzed the findings with an eye to what appealed to the broadest range of women. "We took what they had seen and blown up in their heads. They gave us permission to make him big and strong. ... They wanted him to be real, but not too real. They didn't want to be reminded of someone they dated, or the guy down the street." What has been the enduring appeal of the lumberjack on paper towels? "He's strong with a gentle touch, and that's what women want," Biondi says. Last year when the redesign process was announced, Hank Stuever interviewed the original Brawny Man about the changes. Q: Brawny, you do seem to hark back to another era. The ruggedness, the feathered Vitalis hair, the mustache, the toothy grin out of that Robert Redford-Burt Reynolds-Kris Kristofferson macho type. I'm thinking of lumberjacks, of Grant Goodeve, of "B.J. and the Bear." Even the Marlboro Man has died. Do you miss those days? A: Don't forget "Magnum P.I.," or Grizzly Adams, or the Village People! I still think Tom Selleck should send me a check, since I made him possible. [Laughs. Sighs.] Of course I miss the '70s and early '80s. Abso-toot-ly. Let me tell you, it's hard to wake up one day and realize that you're not as, I dunno, "sexy" as you once were, that people aren't buying you anymore. I never gave much attention to my whole "look," which I think used to work in my favor. I was outdoorsy, I was a little rough, but nice. I was real. I was a painting, but I was real.Meanwhile, Georgia-Pacific recently sued a pornsite operator for using the term "brawny man" in its URL, which they argued "is confusing to customers and may lead legitimate inquiries about Brawny paper towels to porn sites." Wednesday, October 29, 2003
During the study, reported in the journal Human Nature, Kruger and his colleagues asked 257 female undergraduate students to read passages from 17th and 18th century British literature describing characters that matched one of the two personality types. Around 70% of participants said they came from a non-Western European background. In the passages, dad characters appeared domestic, peaceable, bookish, gentle and compassionate. In contrast, cads were portrayed as arrogant, moody, rebellious, strong and successful with beautiful women. Women then answered a series of questions about which characters they would prefer in different situations, for instance, a sexual affair, a road trip, marriage, or a future son-in-law. Another article about this study says it used "18th and 19th century British literature," which makes more sense. Of course the basic romance novel plot involves being swept off one's feet by a dominating, arrogant man, then gradually bringing out his compassionate, sensitive side until he's the ideal synthesis, at which point you can live happily ever after with him. This study gives me an idea for a self-help book aimed at fellow bookish nice guys: All I Really Need to Know About Picking Up Girls I Learned from Jane Eyre.
The Topfree 10 began their battle about five years ago, when 9-year-old Athela Frandsen was about to celebrate her birthday. The daughter of Melbourne, Fla., naturists Marvin and Jan Frandsen, Athela was disheartened to learn that the county's ordinance would require her to start wearing a top when she turned 10. "When I was 9, I could take off my top to cool down in a hot car," said Athela, now 14. "When I turned 10, I cried because I didn't have the same rights as boys. "Then Mom had the idea to contact a lawyer." Nice to see young people learning the American way so early.
Tuesday, October 28, 2003
Monday, October 27, 2003
A while ago she celebrated her arrival at the qualifying age for a bus pass by forswearing sex and declaring that old ladies should relish their cackling witchy power as crones. Now she violently elbows her own gender into redundancy, warning women that they are ill-equipped to act as 'sex objects' and are 'programmed for failure in their duty of attraction'. Greer believes that the job of arousing desire is done better, and with an ecumenical appeal to both men and women, by the boys who teasingly lounge and cockily strut through the pages of her book. The female eunuch now sings the praises of undescended testicles. The virago has become a yearning pederast - content, of course, in the course of her ramble through art history, to look but not to touch. Natasha Walter praises Greer's art historical insights in the Guardian. What is often forgotten, in the fuss Greer tends to generate as a polemicist, is what a great critic she is. In The Boy she has taken a range of art from various eras, which enables her to show off her ability to illuminate images from different centuries and of very different qualities. Her energetic, honest way of seeing is evident on every page. Indeed, I found myself growing increasingly fond just of the captions: "Correggio is the only artist ever to have depicted the anus and scrotum of an airborne angel," says one - though not of the picture illustrated; "An analogy with the physical release of orgasm seems inescapable," she says of Michelangelo's Dying Slave, an analogy that had previously escaped me; "There is no knowing how consciously the male odalisque assumed the pose of the Dying Slave," she says of a photograph by Collier Schorr taken in 2001, drawing precise parallels across the centuries.
Meanwhile, the former actor who appears on the book's cover is angry at Greer and her publisher. "Bjorn Andresen says Greer did not seek his permission to use his photo on her book, which is a series of images of adolescent boys and which the 64-year-old academic has admitted might have critics labelling her a pedophile. Andresen, who shot to fame as a 15-year-old in 1970 when he appeared as Tadzio in Luchino Visconti's film Death in Venice, was furious Greer used a photo of him taken on the set by David Bailey." Sunday, October 26, 2003
The favourites for the £20,000 award, Jake and Dinos Chapman, will unveil a bronze work entitled Death, which has been seen by The Observer despite being cloaked in secrecy at London's Tate Britain gallery. It depicts a naked couple engaged in oral sex and incorporates a vibrator. The organisers of the Turner Prize will take the rare step of displaying a 'health warning' sign outside the gallery doors, indicating that it contains explicit material unsuitable for children. [...] The artists will present another new bronze sculpture at the opening of the exhibition of the Turner prize shortlist entitled Sex, a sequel to their 1994 fake blood and latex representation of bodies and body parts hung from a tree. The new piece again finds victims bound to a tree, but the body parts have decayed to mutilated skeletons, while maggots, flies and rats run riot over the bark. Curiously, children's toys are visible. On the wall behind Sex is the Chapmans' series Insult to Injury in which they committed the ultimate artistic taboo by systematically painting clowns' heads on 80 original etchings of Goya's Disasters of War.
In this shot, Samadzai and an unidentified photographer are both bravely doing their part in the struggle against Islamofascism.
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