Archive for October, 2010

A DAY OF DESTINY: PAYBACK IS GLORIOUS

Posted in Hot Video on October 30, 2010 by Miranda Wilding

Never underestimate a blonde. It will be your f’ing funeral. Or very very close.

I don’t want to spend countless hours involved in these spectacularly passionate rants. They never get tiresome for me. But they conceivably could for the readership.

Perhaps I’ll be more inclined to good will and compassion with the coming of the festive season.

But for now…

First of all, there’s that demented sleazeball Chicago editor that I used to write for. Yeah, he’s still around.

He’s all over the internet with the 100,000 aliases he’s acquired. Apparently there’s nothing quite as fascinating as having a conversation on a message board with yourself.

This unhinged predator really digs IMDB. One page in particular. But envy won’t get this psychopathic monstrosity anywhere.

He should really be in a jail cell submitting to the twisted erotic attentions of some dude named Bubba. That would be the most incredible karma in the history of the world.

I don’t understand why this cretinous lunatic hasn’t dropped dead of HIV yet. The sooner it happens, the better for us all.

I’ve been laughing my perfect ass off with this latest bit of news.

One of my favourite publications (often referenced here) just conducted an interview with the Boston version of Woody Woodpecker. His wife had such wonderful things to say about him.

That’s so funny. If anyone would know what kind of a maliciously perverted scumbag that jerkoff is, it would definitely be her.

But there’s nothing like a little damage control when things get rough.

Do you know why that useless bastard has red hair? It’s because his brain is rusted.

I hope that he and his roly poly playmate have a good time with their ridiculous little show.

I won’t be watching.

Finally…

STAR has been one of my favourite film musicals since I saw it on TV on a Sunday afternoon during a particularly wild rainstorm. It’s one of JULIE ANDREWS’ finest performances.

She portrays theatre legend GERTRUDE LAWRENCE. Ms. Lawrence was quite the formidable woman: glamorous, free spirited, sexually liberated, outspoken, dramatic, forceful.

Definitely ahead of her time. Yeah…

In 1941, Ms. Lawrence appeared in a play called LADY IN THE DARK. The clip is a recreation of a showstopping musical number.

It’s called THE SAGA OF JENNY.

Apparently poor pathetic Jenny’s chief difficulty in life was that she actually made up her mind.

Not a problem for me. I’ve always been a forthright, decisive, strong willed, hard as diamonds, take no prisoners type of girl.

I’ve never been a jealous conniving manipulative head case that hangs around with morally bankrupt slimeballs.

Too bad. They can all rot. ASAFP.

That’s all I’ve got for today.

Enjoy your weekend, kids. Have fun and stay safe. Luxuriate in the candy.

There will always be more.

Now it’s time for me to exit. Stage left…

BLACK SWAN: NATALIE PORTMAN’S INTRICATE COUTURE COSTUMES

Posted in Dance, Film, Glamour on October 28, 2010 by Miranda Wilding

NATALIE PORTMAN may have glided with ease across the stage for her role as a prima ballerina in the upcoming ballet thriller BLACK SWAN, but it turns out that it was the team behind her tutus that were put to the real challenge.

While becoming the first fashion designers to receive a National Art Award from Americans For The Arts recently, RODARTE’S Laura and Kate Mulleavy explained to nymag.com the challenges of creating the intricate costumes for the film.

“A tutu is 13 layers of tulle sticking straight out and then it’s over the body, so you can imagine. It’s crazy!” said Laura, who had only seen a ballet costume up close once before the film.

The sister act was introduced to the film’s director DARREN ARONOFSKY by NATALIE – a long time RODARTE lover – and after that, were brought on board to create looks for the film’s SWAN LAKE performance.

“Building a tutu is one of the lost arts. Everyone will know it’s like getting your hand on the prize, like a coveted piece of couture that no one ever gets to see,” Laura explained.

“You can’t go rent a tutu. You have to own it.”

“They’re never actually perfect. But from afar, when you’re in the audience, it looks like one of the most beautiful things in the world.”

THE AMAZING MICHAEL AUSIELLO: ONWARD & UPWARD

Posted in Entertainment News, Journalism, Television on October 28, 2010 by Miranda Wilding

MICHAEL AUSIELLO is a stand up guy and a journalist that I genuinely respect. There are a number of people at ENTERTAINMENT WEEKLY that I have enormous affection for.

He is one of them.

MICHAEL is leaving EW for his own televison website. I will miss him. (Those wickedly hilarious red carpet interviews were the bomb.) But I’ll be eagerly keeping my emerald eyes open for anything new that he has in store.

MIKE, it’s extremely likely that you and I will run into each other at some point. Though my personal life must remain private (has to be – there is no other way…), I’m sure that there will be lots and lots and lots of fascinating stuff that you and I can dish over.

Good luck, MIKE. You won’t need it, though. You’ll be a grand success no matter where you are or what you’re doing.

Here’s something astoundingly apropos from THE BEATLES.

EMMA ROBERTS TALKS RED CARPET GLAMOUR

Posted in Glamour on October 26, 2010 by Miranda Wilding




There’s rarely a dull moment on screen for EMMA ROBERTS. When she’s dressing for a premiere or a special event, the emerging fashionista likes to keep it just as interesting.

“I’ve just been doing different things,” the actor —and niece of screen legend JULIA ROBERTS — told PEOPLE a week ago at Spike TV’s Scream Awards in L.A.

“I think it’s fun to change it up. I don’t want to be boring.”

EMMA showed off a slightly wilder side in a PUCCI lace confection with Brian Atwood pumps at the ceremony.

“I’m [usually] pretty casual. I love just doing jeans and boots and a T shirt,” she explained.

“But when I go on the red carpet I like to be fun and just kind of wear whatever makes me feel comfortable.”

As for trying on new trends for fall?

“I’ve been trying the long dresses lately. But I think I’m too short,” revealed EMMA. (She’s 5’2″.) The actor has joined the ranks of Hollywood’s hottest shrieking stars, including MEGAN FOX and KRISTEN STEWART, as the newest member of SCREAM’S ensemble cast.

And while EMMA may not be afraid of experimenting with her style she admits that watching the original SCREAM gave her quite a scare.

“I watched half the movie with my eyes closed and my friends were like, ‘Emma, you’re gonna be in the next one. You can’t be covering your eyes while you’re watching the movie.’”

LOADED FOR BEAR

Posted in Hot Video on October 22, 2010 by Miranda Wilding

The end of the week has finally arrived.

Our Friday musical highlight is a rock & roll landmark from the late 70s: DANGEROUS TYPE by THE CARS.

Mmmmmm. They’re playing my song.

Enjoy the weekend, children. Be good. Or be careful. They’re not necessarily mutually exclusive concepts.

But it’s probably too damn difficult to do both simultaneously.

Now it’s time for me to exit. Stage left…

MEN & WOMEN AT YALE

Posted in Feminism on October 21, 2010 by Miranda Wilding

This article is written by MICHAEL KIMMEL at THE HUFFINGTON POST

Yale isn’t exactly the hallowed halls of Harvard. But it’s very very close…

Nearly thirty years ago, in a column in THE NEW YORK TIMES MAGAZINE, conservative firebrand William F. Buckley waxed nostalgic about his college days at Yale. He imagined a young Yalie today, at the now coed gender integrated university, longing for “the fraternity that wouldn’t end.”

Someday, damn it, we’ll have a treehouse of our own. We’ll build it out in the woods where Mother can’t find us. And we’ll eat when we want, what we want. We’ll bring our friends. Have a secret club. And no girls.

Not bad for a guy whose first book title included only God and man.

Defensive and wistful, Mr. Buckley experiences increasing gender equality as an invasion into those pure homosocial refuges, coupled with constant policing by angry Mommies. It’s as if he were Spanky on The Little Rascals, putting up the sign He Man Woman Haters Club. No Gurls Allowed.

I was reminded of this little dream of homosocial purity as I received yet another link this past week to the now viral video of a pledge party at Yale’s Delta Kappa Epsilon fraternity marching around and shouting “No Means Yes! Yes Means Anal!” and other slogans.

(For the historically minded, DKE was mentioned in THE NEW YORK TIMES in November 1967 in a scandal over branding their pledges with red hot coat hangers. The newspaper called the practice “sadistic and obscene.” The chapter president, one George W. Bush, defended it as akin to a cigarette burn. That was the first time Bush was mentioned in that newspaper.)

The immediate and universal outcry focused, rightly, on the first half of the chant – the explicit support and encouragement of sexual assault. Legal questions were raised: is this hate speech? Does it promote a hostile environment in which actual sexual assaults (Yale reported 92 last year) are ignored, downplayed or explained away?

At first, the fraternity issued a cover your ass smirking apology for offending people’s feelings. (Read: you feminists can’t take a joke.) Their next apology, a day or so later, was far more abject and showed they’d put some serious thought into how their actions might have been experienced by others. It seemed sincere enough.

But it lacked historical perspective.

In 2006, fraternity guys marched in a sort of picket line outside the Women’s Center on campus – chanting those same phrases. In 2008, members of another fraternity celebrated their love of “Yale sluts” by screaming about it outside that same Women’s Center on campus.

What does it mean to chant “No Means Yes” outside the campus Women’s Center, the place that offers services to women who have been assaulted or abused? What does it mean to target the one place where women might actually feel safe enough to find their own voice, to feel strong enough to succeed in a world still marred by gender inequality?

It’s a reminder that men still rule.

Even the Women’s Center can’t protect you. That is, it’s a way to make the safe unsafe.

We could leave it there and let the campus judiciary and the blogosphere continue to debate about free speech, hostile environments and hatred. But I think it would miss another equally important element – the second half of the chant, “Yes Means Anal.”

This chant assumes that anal sex is not pleasurable for women; that if she says yes to intercourse, you have to go further to an activity that you experience as degrading to her, dominating to her, not pleasurable to her. This second chant is a necessary corollary to the first.

Thanks to feminism, women have claimed the ability to say both no and yes. Not only have women come to believe that “no means no,” that they have a right to not be assaulted and raped, but they also have a right to say yes to their own desires, their own sexual agency. Feminism enabled women to find their own sexual voice.

Sometimes, as in the case of the now famous Karen Owen at Duke, they can be as explicitly raunchy as men and evaluate men’s bodies in exactly the way that men evaluate women’s bodies. (I agree with Ariel Levy that imitating men’s drinking and sexual predation is a rather impoverished view of liberation.)

This is confusing to many men, who see sex not as mutual pleasuring, but about the hunt – a chase, a conquest. She says no. He breaks down her resistance. Sex is a zero sum game.

He wins if she submits to his will. She loses.

That women crave sex – especially great sex – and are capable of evaluating their partners changes the landscape irrevocably. If women say yes, where’s the conquest? Where’s the chase? Where’s the pleasure?

And where’s the feeling that your victory is her defeat? What if she is doing the scoring, not you?

Thus the “Yes Means Anal” part of the chant. Sex has become unsafe for men. Women thrive on their own agendas, go for it and evaluate our performances.

So if “No Means Yes” attempts to make what is safe for women unsafe, then “Yes Means Anal” makes what is experienced as unsafe for men again safe – back in that comfort zone of conquest and victory. Back to something that is assumed could not possibly be pleasurable for her. It makes the unsafe safe – for men.

In this way, we can see the men of DKE at Yale not as a bunch of angry predators, asserting their dominance, but as a thoroughly pathetic bunch of guys who see themselves as powerless losers, trying to reestablish a sexual landscape which they feel has been thrown terribly off its axis.

This is especially ironic, of course, because these straight white upper class Yalie DKEs are among the most privileged 20 year olds on the planet. And yet now they feel one down, defensive, reduced to impotent screaming about the entitlement – and all because of women’s equality.

Man up, guys. Women can say no…and they can say yes.

And in 2010, real men can learn to hear both.

THE LEGENDARY ELAINE STRITCH: A TRUE ORIGINAL

Posted in Phenomenons, Theatre on October 19, 2010 by Miranda Wilding



FROM THE ASSOCIATED PRESS

ELAINE STRITCH has an off the wall anecdote to share. And when ELAINE STRITCH wants to tell a story, you listen.

“I have no secrets,” the 85 year old Broadway legend said by way of introduction as she sat at a makeup table getting her eyes done a few hours before a performance of A LITTLE NIGHT MUSIC.

A few days ago, she began, she was at her Midtown hairdressers for a three hour appointment before a show when she realized she’d forgotten her teeth. Ms. Stritch, who calls herself “a brittle diabetic,” has two sets of dental implants – one for the stage and one for regular life. She didn’t have the ones for the theatre.

She had no time to waste: She called over to THE CARLYLE HOTEL, where she lives these days, to ask an assistant to find the stage teeth — they’d be in a little white container in the bathroom. She wanted them brought down to the front desk.

Then she tried to contact her hired limo driver, who was idling outside the salon. But she didn’t have his number and there was no time to get hold of the car service. So Ms. Stritch, in a bit of a panic by now, went out to find him.

“I run downstairs. I’ve got on the robe from the hairdressers.” And she leans into the window of the limo and bellows: You’ve got to drive up to The Carlyle and pick up my teeth!!!

“Suddenly, I’m standing in the middle of 57th Street. And there are about 20 people laughing,” she recalled with a sly smile.

“Publicity stunt? No way! No way. You don’t do publicity stunts like that. Not even I could do that unless it was really happening.”

Spend an hour with her and you’ll get a lot of stories like that — funny, self effacing and revealing. The woman seems to have an iron core: brassy and exacting and salty, but also accommodating and full of wit.

“I like anything I don’t know about,” she remarked at one point. “And I don’t like most of the things I do.”

At another point, she offers this: “The most horrible line in the English language for me is, ‘God, you haven’t changed a bit.’ It’s the worst thing you can say to anybody.”

STEPHEN R. BUNTROCK, her costar in A LITTLE NIGHT MUSIC, has long admired the actor and has learned to stay on his toes around her.

“You have to bring your A game when you’re around her. If she senses any kind of weakness, she will dive in. And in her wonderful, strong personality way, draw it out of you.”

ELAINE STRITCH has become a sort of shorthand for acting longevity since she made her Broadway debut in LOCO in 1946. Since then, she’s performed in both musicals and dramas, from EDWARD ALBEE to NOEL COWARD to STEPHEN SONDHEIM. She’s appeared in numerous films (including two WOODY ALLEN movies: SEPTEMBER and SMALL TIME CROOKS) and on TV as the EMMY winning mother of ALEC BALDWIN in 30 ROCK.

Her one person show ELAINE STRITCH AT LIBERTY won her a second TONY in 2002 and her cabaret shows at THE CARLYLE HOTEL are legendary.

Each generation finds her relevant and hip. She was recently parodied on an episode of THE SIMPSONS in which Lisa Simpson attends a fancy performing arts camp. One class was on making wallets with ELAINE STRITCH and ANDREW LLOYD WEBBER.

She got an enormous kick out of it. “That’s worth being in the business for 150 years,” she said with a laugh.

Ms. Stritch has been getting standing ovations lately for her turn as Madame Armfeldt in a revival of STEPHEN SONDHEIM’S A LITTLE NIGHT MUSIC. She and BERNADETTE PETERS replaced ANGELA LANSBURY and CATHERINE ZETA JONES over the summer and have agreed to stay on until JANUARY 9.

Ms. Stritch plays a wheelchair bound aristocrat who offers dry and hysterical pronouncements in her half dozen scenes and mourns the loss of standards in her big song LIAISONS, in which she looks back on her profitable sexual conquests of dukes and barons.

“Where is skill?” she asks. “Where’s passion in the art? Where’s craft?”

She is at an age — and with such goodwill built up — that simply appearing on stage will earn her bursts of applause. But she still tries to earn it every time with a heart tugging take on Madame Armfeldt.

“It’s a very hard part for me. Don’t ask me why. I don’t know why. Some parts just don’t blow me away. This one did. There’s a lot of new kind of emotions. You don’t want to go into that because an actor talking about how they do their stuff is more boring than anything I can ever think of.”

She calls the song LIAISONS interesting, intelligent and unusual. But that doesn’t mean it’s easy.

“It can creep into meaning you’re getting close to leaving the building time at my age. There’s no sense not paying attention to it because it’s absolutely true.”

“You know where I’m at in age? I don’t need anything. That’s a little scary — when you know that the last two bras you bought are it. You won’t need any more. I’m not going to live long enough for any big new discovery at Victoria’s Secret.”

She has one issue she’d love to leave as her legacy: reducing the standard eight shows a week contract that performers sign.

“I wish I could leave the building with that having been accomplished — seven shows a week. Eight shows gets to be too much.”

When producers of A LITTLE NIGHT MUSIC asked her and the cast to do nine performances a week, she had a fit.

She gleefully displayed a letter she wrote demanding a change: “Try to understand our physical, emotional, physiological desperation,” it read. Producers soon backed down.

Ms. Stritch is already planning her future when this musical ends. She’s considering doing an evening of just ELTON JOHN songs.

“You don’t know what I can do with those songs,” she mused.

“It might be fun and unusual.”

ON LINE:

www.NightMusicOnBroadway.com

IF A WOMAN REJECTS YOUR FIRST DOZEN ADVANCES, DON’T SEND HER A PICTURE OF YOUR PENIS

Posted in Feminism, Politics on October 18, 2010 by Miranda Wilding


This article is authored by BILL MAHER at THE HUFFINGTON POST

BILL MAHER is a smart, sharp, witty man who speaks his mind eloquently and pulls no punches. He possesses tremendous political savvy and he also does an incredible amount for animal rights organizations like PETA.

I wholeheartedly agree with everything that he’s written in this post.

Thanks, BILL. You are completely awesome.

New Rule: If a woman rejects your first dozen advances, don’t up the ante by sending her a picture of your penis.

Last week, we found out that Vikings quarterback Brett Favre allegedly tried to get with a young woman by sending her MySpace messages, voicemails and notes through a friend…and when none of that worked and it was third and long – though not as long as most of us would have imagined – he decided to throw the Hail Mary and sext her pictures of Little Brett to close the deal.

Brett, I get it: Your dictionary doesn’t include the words quit or retire or married but you’ve got to at least understand punt.

You know the worst part about having sex with Brett Favre? He keeps saying he’s finished and then he comes back to drag it out for another year.

To me, this story isn’t about sports or sex or how necessary caller ID is – it’s about how pathetic and clueless white American males have become.

Because the kind of guy who thinks there are women out there who just – cold – want to see your cock is the same kind of guy who thinks Sarah Palin is swell and tax cuts pay for themselves.

I will explain that connection further, but first let’s just dwell for one more moment on how stupid it is to forget that in 2010 when you text someone a picture of your genitals, you’re not just sending it to that person, but to every person she has in her contacts…and then everyone on the planet who has access to the internet.

Somewhere right now there’s a tribesman in Samoa thinking, “Brett Favre is texting a picture of his dick to a woman? That horseshit never works.”

And he’s right – no woman in the history of humanity has ever wanted to see a picture of a penis.

Go back to the earliest cave paintings. The very first one is of a cock and after that they’re all antelopes and sunrises.

But for some reason men persist. Why?

Because men have always been in charge, especially white men. Brett Favre is like a lot of white males: he’s owned the world for so long, he’s going a little crazy now that he doesn’t. Also, like many white men across the country, he lost his job to a Mexican (i.e. Jets Quarterback Mark Sanchez).

If Brett Favre’s penis could talk, what would it say? Well, other than, “No photos please,” I think it would say, “I’m not a witch. I’m you.”

Because for hundreds of years white penises were America. White penises founded America, they made the rules and they called the shots in the workplace, in the home and at the ballot box.

But now the unthinkable is happening. White penises are becoming the minority: 2010 was the first year in which more minority babies were born in the U.S. than white babies. This is what conservatives are really upset about – that the president is black and the best golfer is black and the Secretary of State is a woman and suddenly this country is way off track and needs some serious restoring.

If penises could cry – and I believe they can – then white penises are crying all over America.

And that’s where this crew comes in: Sarah Palin, Christine O’Donnell, Michele Bachmann – the lovely MILFs of the new right.

And their little secret is that their popularity comes exclusively from white men.

Look at the polling: minorities hate them, women hate them – only white men like them. I’m no psychiatrist, but I do own a couch and my theory is that these women represent something those men miss dearly: the traditional idiot housewife. Writing on your hand is sheer Lucy. If an election between Obama and Sarah Palin were held today and only white men could vote, Sarah Palin would be president.

Did you know that in 1788, when there were four million people in America, only 39,000 of them – the richest white men – got to vote? That doesn’t sound good to you?

Well, what if I threw in a picture of my cock?

Which brings me back to Brett Favre…and I think it’s worth noting that in one of the alleged photos of him, he’s pleasuring himself on a bed while wearing Crocs.

And if you think about it, is there any better metaphor for the sad state of America today than an over the hill white guy lazily masturbating in plastic shoes?

MATTHEW BOURNE’S SWAN LAKE: A FRESH TAKE ON A BELOVED CLASSIC

Posted in Dance, Theatre on October 18, 2010 by Miranda Wilding


FROM THE ASSOCIATED PRESS

In the imagery of classical dance, the swan is innocence personified. It is ethereal. It floats, it flutters, it wobbles and it dies — ever so delicately.

The swan does not have rippling biceps or chest hair. It does not have 10 pack abs. It does not thunder. It does not hiss.

Unless, of course, we’re in Matthew Bourne’s world. And what a mesmerizing place that is.

More than a decade after Mr. Bourne’s eye popping troupe of male swans first hit New York in his reimagined SWAN LAKE, winning three TONY AWARDS, the production returned Sunday for a nearly four week run at CITY CENTER.

And it should not be missed.

Call it theatre, dance or something perched happily in between, the return of MATTHEW BOURNE’S SWAN LAKE is a chance for those who didn’t catch it in 1998 to see what kind of life a fertile mind can breathe into a century old classic, exposing it to audiences who might never dream of entering an opera house.

It’s also a chance to dispel some myths about the show that may still exist even as it has become a classic in its own right, with runs in London’s West End and on Broadway, touring productions world wide and even a reference in the final scene of the movie BILLY ELLIOT, when Billy grows up to perform as — you guessed it — a Bourne swan.

This is not, for example, an all male production of SWAN LAKE, with men in tutus taking over female roles.

Women play women…and men play men.

It’s also not really about being gay.

Yes, the young prince falls in love with a male swan. But the themes here are much broader: It’s essentially about a search for connection and a yearning to belong somewhere…and that universal experience of wanting what we can not have.

All that yearning belongs to the Prince, played here with a thoroughly winning vulnerability by the boyish Dominic North (alternating in the role with Simon Williams).

It’s not hard to sympathize with this young man, who is confined to a life of royal drudgery — ship christenings, statue unveilings and the like — with a mother who is incapable of affection, unless it’s of a sexual nature.

As the curtain rises and the lush Tchaikovsky score begins (the music is taped in this production) the prince is sleeping uneasily, a stuffed toy swan in his arms. His mother enters his room to check on him: She refuses his outstretched arms.

Briefly, the subject of his dreams — or are they nightmares? — appears above his bed: a swan, majestic and menacing.

But these creatures will not fully appear until later in the show, when the prince, having been tossed out of a divey disco (you wouldn’t think it would be easy to stage a disco scene to Tchaikovsky, complete with an Elvis impersonator, but Matthew Bourne does it) and now in utter despair, heads to a park at the edge of a lake. He writes a suicide note and prepares to jump.

And then there they are…

Matthew Bourne’s barechested creatures, in their satyr like costumes by Lez Brotherston, emerge from the water with soaring leaps, muscular yet graceful, dangerous and alluring at the same time. Mr. Bourne has found ways for his birds to flap their arms and jerk their heads and necks in a manner that seems much more swanlike than their idealized ballet versions.

As their leader, Richard Winsor (alternating with Jonathan Ollivier) is not only a stellar dancer but charismatic, with a penetrating stare under those black lined eyes and the black strip coming down his forehead. Later, at the Royal Ball, he resembles an androgynous rock star in black leather pants and wielding a riding crop as The Stranger. It is the human incarnation of his swan, the manipulative Odile to his first act Odette. It’s easy to see why he makes both men and women swoon.

Like so many of the other performers, Richard Winsor is an actor as well as a dancer. There is no actual dialogue in this SWAN LAKE but there is certainly acting – and not merely the canned dance acting facial expressions one sees in so many story ballets.

Particularly fine on the comic side is Madelaine Brennan as the kooky, bubble headed lass who tries to lure the prince. And Nina Goldman is a chillingly effective Queen.

The costumes are first rate, too. Check out the Queen’s stunning red ball gown covered by a black cape. It’s worthy of a red carpet appearance.

Of course, things never turn out happily in SWAN LAKE for either prince or swan — not in the original and not certainly not here. Though Matthew Bourne has made many changes in the plot and has tweaked the production, he says, to this day, the end is still sadly the same: Only in death can a prince and the swan he loves finally be together.

MATTHEW BOURNE’S SWAN LAKE, a New Adventures production, runs through NOVEMBER 7.

FIGHTING FIRE WITH FIRE…ONE FLAME AT A TIME

Posted in Hot Video on October 15, 2010 by Miranda Wilding

All things considered, I’m glad I found this video now. I was going to go with something else.

This is just perfect.

It’s extremely rare for me to have difficulties with people. But occasionally you come across these idiots that are a definitive argument for birth control.

You know the kind of people (and I use that word loosely…) that you wish would just drive off a cliff and do the world a favour?

I’ve sure all of you have met a number of them from time to time.

When it’s deliberate, malicious and intentional, there’s no forgiveness on my part. Once you get on the wrong side of me, you’re done for good.

It’s just like I was saying the other day.

There’s that scuzzy South Carolina skank that fancies herself as a writer. She should make it easier for everyone and put a B in front of her surname. The t is entirely optional.

There’s also that perverted redheaded Boston scumbag and his equally demented roly poly BFF.

True pieces of work. All three of them.

There are a few other individuals in the mix that I could mention. If you’re reading this and strongly believe that I’m referring to you, the likelihood is excellent that I am.

When the love of my life and I get finished with these cretins, they’ll wish they’d never been conceived.

We haven’t even begun. Incidentally, that’s the royal we, y’all.

In that spirit, our Friday musical highlight is FUCK YOU by CEE LO. Yeah, there is a sanitized version around. But I don’t believe in censorship at my site.

And before those two greasy slimeballs get all excited (believe me, it doesn’t take much…) the fuck you is merely figurative.

Not literal.

They’re just going to have to deal with it. But they’ll have lots of time to think about it in between trips to the clinic.

That’s all I have to say.

Remember this, my wondrous readers. The good side always wins. It may not happen overnight. But things do even out.

Eventually.

Take excellent care of yourselves and the people that are precious to you this weekend.

It’s time for me to exit. Stage left…

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