Theme Music, play it to set the mood....






Wha ha ha ha! No one can stop me and my precious hurricane!"





"Mr. President. I'm afraid that Rita is more powerful than we thought."








"o rly? How so?"








"It appears she has powered herself up to a catagory five and is proceeding to take over the lower region of the united states."








"Ha ha ha ha! Soon the Unites States shall belong to me!"










"..."








"Mr President?..."








"Send in the Power Rangers"








*Power Rangers Theme*









"Good luck, Rangers"








"What?! The Power Rangers?!"








Red Ranger: "Alright guys! Let's stop this witch!"




Rest: "Right!"















"You won't beat me and my hurricane!"








"Hurricane?"














"WTF?"







"Use your Dragonzord!!"







"I likes Dragonzord."







"ROOOOOOAAARRRRZZZ!!!!11one!1"







"Oh noes!"





..dick-cheney</a>.jpg" alt="">

"Mr. President I believe we are winning!"












"I can't watch!!!"







"Ha Ha, Dragonzord is no match for my Category 5 Hurricane!"








"I believe in you, Power Rangers."














"R-ROARZ! Dragonzord can't take anymore!"








"Shall we evacuate the Gulf Coast Mr. President?"







"No. No. Wait until the Power Rangers unleash their weapons of mass destruction."







"But sir, wouldn't that still cost us thousands of lives?"








"Boy I'll tell ya that pink one, aint she a cutey?"







"Ready to give up the United states to me?!?"







"..."







"Well, are you?"







"..."








"...???"







"..."






"...???!!!"







"..."






"...?!?!?!!!"








Cheney: "No."







"NO!!!"







"Only I can sentence the citizens of Texas to death."








"Send all available troops to the Gulf Coast immediately to assist the Power Rangers."








"Sir, everyone's fighting Iraq right now."








"Boy I'll tell ya that pink one, aint she a cutey?"







Red Ranger: "Crap, we're all doomed"









"Sergent, lik, what's the status?"








Sergent: "Seems like the hurricane is approaching. The Power Rangers deployed their Megazord by the coast, sir."








"Oh Snapz! Megaz0rz Go!!!"















"Sir, is the Megazord enuff?"










"You underes...under-est...und...undesti...condemn teh Power Ranj0rz? You sir are stripped of your rank!"
















Red Ranger: "Alright guys. Let's tame this hurricane!"








"Not so fast, Rangers! Goldar! Go and protect my hurricane!"









"I like gooooooooooooold."


















*Who0o0o0o0o0o0o0osh*









"May god save America...!"








Bush: "g2g brb"









All: "The president is LEAVING?"










"George Bush doesn't care about Black Rangers!"






"Hekllo, where da hell did he go?"







Later that day...




ZORDON: "RANGERS!, Some idiot has brokin in the lab, and I don't What is going on now!!"..


"wtf!?"


Then..





Hey guys!



All in Megazord: "Who the heck?!"
Tommy!??


Tommy:Wtf?,I'm right here!!




"...?!?!?!!!"


"Sup dudes..its me!"




"Wtf is going on here?."





Bush:"Ultra White House MegaZord Transform!"




"wtf?!"

"Wtf?!"

"WTF?!"

"WTF?!"

"WTF?!"

---


.


.


.



"Rawwr!"



TO BE CONTINUED!

Ok guys: Here's the ultra-provocative-really-make-ya-think question of the day:

How the hell do those colored people in the iPod adds keep their freakin' earbuds in?
THOSE FUCKERS ANNOY ME!.....they just tend to fall out of my ears, that's all.

I think this may become a recurring series. At work, it's one of my responsiblilities to check the spam filters, to make sure that legitimate emails don't get stuck (and not recieved)

Now, I've seen some funny subjects for these things, but two of today's subjects made me chuckle.

Crabmeat Aflame

full of health? then don't click!

...crabmeat aflame? WTF?

So yeah, life goes on. I got a myspace, www.myspace.com/iknapp if anybody cares to take a peek. It's really addictive, for ther record. prolly gonna go to Nicci's party tomorrow night; don't know mch about it, but I figure what the hell. I don't really wanna go smoke the hookah after all. *shrug* Like I said, life goes on...

Ok, even if you usually don't click on my posts, do yourself a favor and click on this one below.

It's some guy's blog. He bought a pirated copy of Episode III from some asian DVD seller (DVD piracy is HUGELY widespread over there). Well, this DVD was translated from english TO chinese BACK TO english again. The subtitles are so funny I had to close the door of my office so I wouldn't raise half the company to my office. It's priceless, really. Check it out:



Backstroke Of the West

And again, with less pictures, but more text..

PalmInfocenter Poll Of The Day...


the comment says "three months? you guys know those things are rechargable, right?

The Many Faces of John Lennon: Black, White, Male, Female

By ALLAN KOZINN
Published: July 31, 2005

FOR Don Scardino, the idea of writing and directing a musical about John Lennon was impossible to resist, even though the pitfalls of undertaking the project could not have been clearer. A Beatles fan since the group's earliest hits - now 57, he said he hightailed it to Kennedy Airport to see the group's arrival here on its first visit in 1964 - he caught both Beatles concerts at Shea Stadium, in 1965 and 1966, and still quotes lines from "A Hard Day's Night" and "Help!" from memory. So he knew enough about the world of obsessive fandom to understand that however he presented Lennon, there would be choruses of objection.


Mr. Scardino, whose "Lennon" has been running in previews at the Broadhurst Theater for three weeks, and opens officially on Aug. 14, also knew that the medium itself might seem suspect to many of Lennon's fans. The wave of the rock revolution that the Beatles led, after all, swept musical theater hits off the pop charts (permanently, with the exception of rock-oriented shows like "Hair") and made musical theater seem decidedly uncool. How could a musical theater work do justice to Lennon, the sharp-tongued rock star who, during the Beatles years and for a while beyond them, defined counterculture hipness?

Still, when Edgar Lansbury mentioned the prospect in 1998, during the editing of Mr. Scardino's film, "Advice from a Caterpillar," Mr. Scardino signed on immediately. Mr. Lansbury, who has produced about 20 Broadway and Off Broadway plays that range from "The Subject Was Roses" and "Gypsy" to a rap musical, "Club XII," had the idea of producing a Lennon musical, and he had scheduled a meeting to propose the idea to Yoko Ono, Lennon's widow, who controls the rights to the singer's name and music. What he didn't have was a concept.

"Edgar asked me, 'Do you know anything about John Lennon,' " Mr. Scardino recalled. "I said, 'I know everything about John Lennon.' And he told me, 'If you can come up with a concept, you can come to the meeting.' So I had three days to think of something, and my starting point was, what would I, as a die-hard John Lennon fan, want to see?"

His first idea wasn't promising: it was an idealized Lennon concert, concentrating on his solo work, punctuated by anecdotes. He quickly saw its inadequacies: it would just be a post-Beatles edition of "Beatlemania" ("Not the Beatles but an incredible simulation!"), with a Lennon impersonator as its anchor. By the time he and Mr. Lansbury met with Ms. Ono, though, the concept had morphed into something close to the current show.

From the start, he said, he considered it crucial to focus on Lennon's solo work, partly because he felt that the Beatles music was already ubiquitous, while Lennon's own work was less widely known, and partly because, as he put it, Lennon was "a musical diarist who was able to write more about what he felt and experienced once he was outside the Beatle box." He might also have surmised that Ms. Ono would be more amenable to a piece that focused on Lennon's later work, as indeed she was.

"We were in sync, let's put it that way," she said during an interview recently at the Dakota, "If they kept asking about Beatles music, I would have said, 'O.K., well, why don't you make a Beatles musical.' "

The principal selling point of Mr. Scardino's proposal, though, was his reconfiguration of Lennon. Instead of having a single actor play him, Mr. Scardino proposed having the full cast - nine actors, male and female and of various ethnicities - slipping in and out of the Lennon role, each speaking his words and singing his music. He also decided that the dialogue, or at least the lines spoken by Lennon, should be drawn from the lengthy retrospective interviews Lennon gave throughout his life. (Mr. Scardino did pirate a line from George Harrison - the observation, heard in the "Beatles Anthology," that "the world went mad and blamed it on us." But Lennon had made similar comments.)

"So many people have approached me and said, 'Can I do a musical of John,' " Ms. Ono said. "It's a very simple idea, you know - wow, a musical of John! But I've said no. This time, I said yes, because I liked the idea of having these different actors playing John. Because in the years after John's passing, John has transformed into something else. People in Asia think of him as their hero. People in Africa think of him as their hero. He was a hero for the whole world, and not just a white hero. So it's great to have a black performer singing as John. For me, this play is a revolution, a quiet revolution."


"John would have loved this so much," she added. "He always used to say, 'I wish I had a black voice - they're such great blues singers, we can never imitate them.' So now, a black John? He'd be jumping up and down."

For the record, the cast includes three white and two black men, and a black, an Asian, a Hispanic and a white woman. Ms. Ono, who attended auditions, said that efforts to find a male Asian cast member for her dream Rainbow Coalition of John proved fruitless. And a black Lennon isn't the only identity bending here. The black actors, Michael Potts and Chuck Cooper, also play a Ku Klux Klan member (who threatened the Beatles in a famous 1966 news clip), Senator Strom Thurmond (who tried to have Lennon deported in the early 1970's) and Ed Sullivan. And when the Beatles are seen performing, they are portrayed by the four women.

Another attraction of Mr. Scardino's script, Ms. Ono said, was the irreverent humor with which it touches on aspects of Lennon's life, including his early-1970's association with Jerry Rubin and other political radicals, and the F.B.I.'s consequent decision to put him under surveillance.

"They could have done it all very seriously," Ms. Ono said, "but John was a funny guy. Even just the role changes are funny, but it's the laughter of awakening - realizing, when we see a black actor representing the Ku Klux Klan, that we are all one, that it's not about 'black is bad' or 'white is bad,' but that there is good and bad in every race. It's that kind of awakening that makes people laugh."

Ms. Ono added that in the late 1970's, she and Lennon were writing an autobiographical musical, to be called "The Ballad of John and Yoko." They never finished a script, but Lennon wrote several songs for it, most of which exist only on rough private recordings that have not been released. Ms. Ono gave Mr. Scardino two of them, "India, India" (which now accompanies a scene about the Beatles' flirtation with Transcendental Meditation) and "I Don't Want to Lose You," affixed to the section about Lennon's 18-month separation from Ms. Ono starting in 1973.

Otherwise, Ms. Ono said, she has been fairly hands-off.

"I did make some suggestions," she said. "There might have been things that John said that maybe now he would regret, you know?" For example? "I was particularly concerned about how they portrayed Cynthia," Ms. Ono said of Lennon's first wife. "I told them they couldn't just use what John said, because he might have said things that were not that accurate, and it's not fair to her. I wanted to know what she said as well, and if she said the same thing that John said, that was fine. I wanted them to take the trouble of researching that, and they did."

When an early version of the musical ran in San Francisco, in the spring, it drew the critical fire that Mr. Scardino had expected. A run in Boston was canceled so that the show could be retooled. Cynthia Lennon, said to have been treated too cursorily, was given a greater presence.

It was also said that in the San Francisco version, Ms. Ono was given too much of the spotlight - complaints that recalled the early years of Lennon's marriage to Ms. Ono, when she was blamed for everything from breaking up the Beatles to leading Lennon from the zenith of pop stardom to the world of avant-garde musical experiments, radical politics and feminism (all of which, Lennon insisted to the end of his life, meant more to him than playing in a pop band). Mr. Scardino toned down her role.

"In San Francisco, people were saying, 'Oh, Yoko is all over the place,' " Ms. Ono said, "and I said, well, I was all over the place, in his life, because he wanted me to be. But it's good that I'm not played up. I'm the B-side: this is about John and I want it to be right. People ask me, 'Do you mind being in John's shadow all the time?' That's one thing I never minded because, I suppose, I'm fiercely independent and confident. And it's great to be sitting in the shade of a huge tree like John."

There were also complaints about the absence of Beatles songs in the score, even songs that Lennon wrote on his own. (Affixing the Lennon-McCartney credit to either composer's work was a convention agreed on in the group's early days.) Actually, there are two Lennon-McCartney songs: "The Ballad of John and Yoko" and "Give Peace a Chance," which was published under the old co-authorship agreement.

It is not as though the Beatles are ignored. The first 50 minutes of the two-hour show take place before the Beatles' breakup. Their girl-group version is shown performing in their formative days in Hamburg and at the Royal Command Performance in 1963, and Mr. Scardino can claim historical authenticity in having Lennon sing two covers, Barrett Strong's "Money" and the Isley Brothers' "Twist and Shout," in these scenes, since they were highlights of Lennon's stage repertory then. The opening chord of "A Hard Day's Night" drifts by at one point, and a stormy scene from the recording sessions for the "Let It Be" album - during which Lennon expresses his contempt for Paul McCartney's "Maxwell's Silver Hammer" - represents the band's breakup.

As it turns out, Lennon's solo songs are easily adapted to the story line, even that of the Beatles years. "Instant Karma," for example, proves a perfect comment on the fracas caused by Lennon's 1966 remark that the Beatles were bigger than Jesus; nothing in the Beatles' songbook captures quite the same feeling. Lennon's mother's death, a central trauma in his early life, is illustrated with "Mother," a song he wrote after undergoing primal scream therapy. And the Beatles' breakup gets a double dose - "How Do You Sleep," the 1971 slam of Mr. McCartney, and "God," the 1970 song in which Lennon disavows everything from the Bible to the Beatles, and concludes "I just believe in me - Yoko and me, that's reality."

Other songs fit the story straightforwardly: "Give Peace a Chance" and "Power to the People" are the natural soundtracks for the section on Lennon's political involvements, and songs from his 1980 "Double Fantasy" album do what they were written to do - describe the dynamic between him and Ms. Ono in his last years.

"When I began work on this," Mr. Scardino said, "a friend of mine told me, 'You can't win - this is John Lennon, a major icon, and 50 percent of his fans will say you've got it right, and 50 percent will say you've got it wrong.' But I think we got what I was aiming for. We got his musicality. We got his politics. We got his humor. And we got his transformation, his growth. It seems to me that on balance, we present the measure of the man."