I get letters, too:
I get letters, too:
Dear trans_global_comics_and_magazines,
Oh my goodness, I just read your guide "Why British Girls' Comics Were Wonderful". I'm so glad I found it! When we moved from England to the U.S. in the late 50's, my aunt in londin kept on sending me comics regularly (wish I had kept them).
In particular I loved a comic strip about a stewardess & her friends When I asked British sellers about that, they mentioned "Angela" in "Girl" comics; I bought a couple & it doesn't bring back memories.
I see you mention a "Lyn Raymond" in "Bunty". Did she possibly have a friend called "Mame" or "Mamie"; did they go out with friends to clubs to hear "Ella" (Fitzgerald) or another jazz singer?
Oh I'm keeping my fingers crossed that you have the answers for me: do you think it was Lyn I read stories about? could you tell me where I could find stories about Lyn apart from the Bunty 1958?
Hope to hear from you, Jocelyn
ps Fantastic 1st class guide! You should write a book & publish it!
22-page treatment
and later a full-length script.
TV historian Brooks said he understood why NBC was putting its chips on O'Brien.
"They are trying to plan for the future," he said. "But sometimes, you can over-think tomorrow."
The characters, from TV reporters to FBI agents, are ludicrous cliches, the acting as wooden as a 1950s surfboard. The dialogue includes lines like, "I'm telling you: Something really bad is going to happen," and, "I'm getting real tired of all this destiny crap, Jack."
Irony-free, "D-War" doesn't even qualify for the "so bad it's good" category.
The closing credits include a series of photographs of Shim in action as he directs the movie, concluding with a shot of him standing defiantly in front of the Hollywood sign while "Arirang," a patriotic Korean folk song, plays in the background.
"They are fanatics, and they are mobilized on the Internet," Chin says. "It's dangerous. This is a country where people put their whole lives into Internet culture and where success is measured by the number of hits you get online.
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Entertainment News
AN APPRECIATION
Doris Lessing's Nobel: A victory for science fiction
Her epic 'Canopus in Argos' series helped the genre break through to mainstream literary respect.
By M.G. Lord, Special to The Times
October 15, 2007
When Doris Lessing won the Nobel Prize for literature last week, my first thought was: What a victory for science fiction!
In 1979, three decades after her first novel, "The Grass Is Singing," and 17 years after the release of her landmark "The Golden Notebook," Lessing published "Re: Colonised Planet 5, Shikasta." It was the first book in a five-volume outer-space fantasy, "Canopus in Argos: Archives," that aggressively broke with naturalism.
Today, such a novel would be no big deal; literature is full of time travel, gender ambiguity and that nifty catch-all "magical realism." But in the 1970s, mainstream fiction took pains to set itself apart -- and above -- genres like science fiction. "Shikasta" was met with jeers.
"At best, Lessing's prose is stolid and slow and a bit flat-footed," Gore Vidal wrote in the New York Review of Books. Writing three years later about the fourth novel in the sequence, "The Making of the Representative for Planet 8," the New York Times' John Leonard was blunter. "Why does Doris Lessing -- one of the half-dozen most interesting minds to have chosen to write fiction in English in this century -- insist on propagating books that confound and dismay her loyal readers? The answer: She intends to confound and dismay."
Yet not everyone agreed.
In the 1970s and 1980s, readers with tastes like mine devoured science fiction. In Arthur C. Clarke's "Childhood's End" and Robert Heinlein's "The Moon Is a Harsh Mistress," we pondered the nature of consciousness. In Ursula K. Le Guin's "The Left Hand of Darkness" and Octavia Butler's "Dawn," we saw the folly of gender conventions.
Science fiction was messy. It tackled big themes: What makes us human? Are we alone in the universe? Does God exist, and if so, might she be vicious? It aspired to be epic, and an epic, as midcentury novelist Marguerite Young has aptly observed, must have "a vast undertow of music and momentum and theology."
"Shikasta" had all these things, and they contributed, I suspect, to the Nobel committee's recognition of Lessing as an "epicist of the female experience."
The book was a reworking of the Bible -- casting the forces of good and evil as warring aliens.
The planet Shikasta, where the action took place, bore similarities to Earth. In "The Marriages Between Zones Three, Four and Five," the second volume in the series, Lessing used this mythic structure to revisit ground she had broken in her earlier, realistic novels: the tumultuous relationship between men and women.
When the third "Canopus" novel, "The Sirian Experiments," came out in 1981, many critics did ease up. Lessing told its story in the dry, fussbudget voice of a female civil servant -- a voice decidedly not her own. She pulled off the difficult trick of creating an uncomprehending narrator, a chronicler who makes what's going on apparent to the reader even when she herself does not entirely see.
"The Sirian Experiments" was nominated for the Booker Prize -- a breakthrough for science fiction. In 1986, composer Philip Glass bestowed a further high culture imprimatur when he transformed "The Making of the Representative for Planet 8" into an opera, with a libretto by Lessing; in 1997, the pair teamed up for an opera based on "The Marriages Between Zones Three, Four and Five."
In part, the literati have tended to dismiss science fiction because it prompts some fans to behave insanely.
At Heinlein's centennial celebration in Kansas City this summer, more than one panel of people discussed the decades they had spent in the sort of group marriages the author described in his books.
As for Lessing,
"Shikasta" inspired a religious cult in America.
She was incredulous, she told an interviewer, when its adherents wrote her to ask, "When are we going to be visited by the gods?" The book, she responded, is "not a cosmology. It's an invention." To which they replied: "Ah, you're just testing us."
"What I would like to be writing," Lessing wrote in 1983, "is the story of
the Red and White Dwarves and their Remembering Mirror, their space rocket (powered by anti-gravity), their attendant entities Hadron, Gluon, Pion, Lepton, and Muon, and the Charmed Quarks and the Coloured Quarks.
But we can't all be physicists."
And yet, if we're not all physicists, we do now live in a world where science fiction and literary culture have come together to an extent that would have once been unimaginable. Philip K. Dick --
formerly read almost exclusively by sci-fi geeks and potheads -- has become, if not a household name, at least a college-dorm one. His 1962 magnum opus, "The Man in the High Castle," which responds imaginatively to the question, "What if Germany won World War II?" is in a very real way a precursor to Philip Roth's 2004 alternative history novel "The Plot Against America."
The stories of Le Guin and Butler anticipate the gender theories popular among academics in the 1980s and early 1990s -- particularly those of Judith Butler (no relation), who argued that gender is a performed identity, a set of coded behaviors that are neither innate nor linked to biological function. One is tempted to suggest that Jeffrey Eugenides' Pulitzer Prize-winning novel "Middlesex" owes a debt to Le Guin and Butler. He explores terrain they pioneered: the consciousness of a character between biological genders.
Ironically, just as the male custodians of highbrow culture once sneered at the idea of Lessing writing science fiction, so too did male sci-fi authors and readers curl their upper lips at women working in their genre.
This led to one of the saddest stories in contemporary literary history, that of Alice Sheldon, a brilliant, twice-married, unhappy bisexual, who, as James Tiptree Jr., channeled much of her frustration into fictions about dangerous, impossible, unconsummated love. Twenty years after her death, Sheldon -- or Tiptree -- has finally received the mainstream recognition she deserved. Last year, Julie Phillips' excellent biography "James Tiptree, Jr.: The Double Life of Alice B. Sheldon" won a National Book Critics Circle Award.
I teach writing at a university, and sometimes I envy my students. They have firsthand knowledge of Lessing's triumph and Sheldon's literary resurrection. They get to kvetch about postmodernist excesses, not modernist aridity. And they have no memory of 1979 -- the year "Shikasta" staggered, bloodied, into print and began, ever so slowly, to change the literary world.
M.G. Lord's latest book is "Astro Turf: The Private Life of Rocket Science."
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He listed hundreds of links to secret sites from which his readers could obtain the latest blood-drenched insurgent videos from Iraq.
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While there is nothing to suggest that Mr. Khan is operating in concert with militant leaders, or breaking any laws, he is part of a growing constellation of apparently independent media operators who are broadcasting the message of Al Qaeda and other groups, a message that is increasingly devised, translated and aimed for a Western audience.
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It is clear from a review of extremist material and interviews that militants are seeking to appeal to young American and European Muslims by playing on their anger over the war in Iraq and the image of Islam under attack.
Tedious Arabic screeds are reworked into flashy English productions. Recruitment tracts are issued in multiple languages, like a 39-page, electronic, English version of a booklet urging women to join the fight against the West.
There are even online novellas like “Rakan bin Williams,” about a band of Christian European converts who embraced Al Qaeda and “promised God that they will carry the flag of their distant brothers and seek vengeance on the evil doers.”
Militant Islamists are turning grainy car-bombing tapes into slick hip-hop videos and montage movies, all readily available on Western sites like YouTube, the online video smorgasbord.
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Mr. Zarqawi learned the power of the Internet in prison, according to a former associate who was imprisoned with him in Jordan a decade ago. Mr. Zarqawi’s jailhouse group of 32 Islamists sought to recruit other prisoners
Propaganda Rap Video
One of the most influential sites is Tajdeed, which is based in London and run by Dr. Muhammad Massari, a Saudi physicist and dissident. Over lunch at a McDonald’s near his home, Dr. Massari said Mr. Zarqawi’s insurgent videos from Iraq inspired local productions like “Dirty Kuffar,” the Arabic word for nonbeliever. The 2004 rap music video mixed images of Western leaders with others purporting to show American troops cheer as they shot injured Iraqi civilians.
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He described his favorite video from Iraq: a fiery suicide-bomber attack on an American outpost.
He stopped listening to music except for Soldiers of Allah, a Los Angeles hip-hop group, now defunct, whose tunes like “Bring Islam Back” continue to have worldwide appeal among militant youths.
But he began spending chunks of his days on the blog he created in late 2005, “Inshallahshaheed,” which translates as “a martyr soon if God wills.”
Recently he posted a video of a news report from Somalia showing a grenade-wielding American who had joined the Islamists.
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The Ignored Puzzle Pieces of Knowledge
http://inshallahshaheed.muslimpad.com/
http://www.google.com/search?q=Inshallahshaheed&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a
http://video.on.nytimes.com/?fr_story=c0ed4cb9f1823f94ed94b87cf98a155a2015456b
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Group Plans to Provide Investigative Journalism
By RICHARD PÉREZ-PEÑA
Pro Publica hopes to fill in recent cutbacks in investigative reporting by giving away its work to newspapers and magazines where it will make the strongest impression.
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In a City Far, Far Away From Hollywood, the YouTube Tales of a Lesser Vader
By DAVID CALLENDER
Do the Madison, Wis.-based creators of “Chad Vader” have what it takes to parlay their YouTube stardom into an entertainment career?
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E-COMMERCE REPORT
P.&G., the Pioneer of Mixing Soap and Drama, Adds a Web Installment
By BOB TEDESCHI
The consumer products giant has created “Crescent Heights,” a new online soap opera that aims to reach young viewers where they watch most — their PCs and cellphones.
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Video Chat Service Aims to Follow YouTube’s Path
By BRAD STONE
TokBox allows people with Webcams and broadband Internet connections to conduct face-to-face chats or leave a video message if one party is not present.
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TELEVISION REVIEW | 'SAMANTHA WHO?'
Emerging From a Coma a Slightly Better Person
By GINIA BELLAFANTE
The show is a personality-transformation fantasy that accommodates a fair amount of cynicism.
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EDITORIAL OBSERVER
Politeness and Authority at a Hilltop College in Minnesota
By VERLYN KLINKENBORG
It’s a delicate thing, coming to the moment when you realize that your perceptions do count and that your writing can encompass them.
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“We have always known that heedless self-interest was bad morals,”
said F.D.R. “We know now that it is bad economics.”
Leave it up to the free market, and in a few generations Florida will be underwater.
Today, being a good Republican means believing that taxes should always be cut, never raised. It also means believing that we should bomb and bully foreigners, not negotiate with them.
So if science says that we have a big problem that can’t be solved with tax cuts or bombs — well, the science must be rejected, and the scientists must be slimed.
Al Gore has taken everything they could throw at him, and emerged more respected, and more credible, than ever. And it drives them crazy.
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I sat in on four classes, which were marred only by politeness — the deep-keeled Minnesotan politeness that states, as a life proposition, that you should not put yourself forward, not even to the raising of a hand in class.
Midway through lunch one day a young woman asked me if I noticed a difference between the writing of men and the writing of women. The answer is no, but it’s a good question. A writer’s fundamental problem, once her prose is under control, is shaping and understanding her own authority. I’ve often noticed a habit of polite self-negation among my female students, a self-deprecatory way of talking that is meant, I suppose, to help create a sense of shared space, a shared social connection. It sounds like the language of constant apology, and the form I often hear is the sentence that begins, “My problem is ...”
Even though this way of talking is conventional, and perhaps socially placating, it has a way of defining a young writer — a young woman — in negative terms, as if she were basically incapable and always giving offense. You simply cannot pretend that the words you use about yourself have no meaning. Why not, I asked, be as smart and perceptive as you really are? Why not accept what you’re capable of? Why not believe that what you notice matters?
Another young woman at the table asked — this is a bald translation — won’t that make us seem too tough, too masculine? I could see the subtext in her face: who will love us if we’re like that? I’ve heard other young women, with more experience, ask this question in a way that means, Won’t the world punish us for being too sure of ourselves? This is the kind of thing that happens when you talk about writing. You always end up talking about life.
Young men have a way of coasting right past that point of realization without even noticing it, which is one of the reasons the world is full of male writers. But for young women, it often means a real transposition of self, a new knowledge of who they are and, in some cases, a forbidding understanding of whom they’ve been taught to be.
Perhaps the world will punish them for this confidence. Perhaps their self-possession will chase away everyone who can’t accept it for what it is, which may not be a terrible thing. But whenever I see this transformation — a young woman suddenly understanding the power of her perceptions, ready to look at the world unapologetically — I realize how much has been lost because of the culture of polite, self-negating silence in which they were raised.
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Jean Smart, who is trying to use her daughter’s condition to gain herself a place on reality TV. Taping her pitch, she speaks into a video camera in the hospital room and says: “Struck down by a hit-and-run driver. Hooked to machines like an eighth-grade science experiment. In a coma from which she may never recover. Where does a mother turn for comfort and answers at a time like this? To you, that’s where. The good people of ‘Extreme Makeover: Home Edition.’”
Christina Applegate is the kind of comic actress who could never be completely believable as a goody-two-shoes. She puts a healthy ironic distance between herself and that dreaded entity, the better person her character must become. You look in her eyes, and, happily, you see a recidivist.
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began performing together in an improvisational comedy club five years ago.
they were shooting low-budget comedy films that they showed every week on the local cable-access channel here.
Then Chad Vader hit YouTube.
The eight-part saga is one of the site’s biggest hits, having been viewed more than 19 million times since its debut in July 2006. The series has put Mr. Sloan and Mr. Yonda among the site’s top celebrities, along with performers like Jessica Lee Rose, the actress from the LonelyGirl15 series, and Terra Naomi, the singer whose breakout song on YouTube is called “Say It’s Possible.”
This month the camera maker Canon brought them to New York to make a “Battle of the Internet Superstars” video along with Glenn Rubenstein, one of the writers for the Lonelygirl15 series, and Gary Brolsma, who gained YouTube stardom for his vigorous lip-synching of a Romanian pop song (he is better known as the “numa numa” guy).
Because they write, produce, direct and star in their own films, they are poised to become part of a new class of Web-based performers and producers who can shuttle between conventional media, like television and films, and online outlets like YouTube.
Their manager, Kara Welker of the Generate agency in Los Angeles, said the pair’s YouTube success puts them at “the forefront of the whole self-distribution platform,” allowing them to choose where and how their work will appear instead of depending on film studios or television networks to distribute it.
“They’re creating stuff on their own for their own fan base,” she said. “It’s the power of the medium. They’re their own de facto studio.”
Now that they have built a loyal following, their fans will follow them to whichever medium they choose, Ms. Welker said. “Funny is funny, and once you hook into that audience, they’re there for good,” she said.
Although they have quit their old jobs to make films full time, they have no offices or production facilities of their own; they do their shooting on location, their writing in coffee shops and their film editing at home. They still perform once a week in an improvisational comedy troupe, because, as Mr. Sloan said, “improvisation is the backbone of most of our work.”
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Video Chat Service Aims to Follow YouTube’s Path
Users can visit its site, www.tokbox.com
or add a TokBox module to their pages on social Web sites like MySpace.
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The company that brought soap operas to radio, then television, Procter & Gamble, is trying the same strategy online with “Crescent Heights,” a new show intended to reach young viewers where they watch the most — their PCs and cellphones.
While the Tide logo makes occasional appearances, clothes are front and center. In one episode, Ashley attends a party and is horrified that her bright yellow dress is the only color in a sea of black, but the dress helps get her noticed by Eric, who plays the early foil to Ashley’s other suitor, Will.
The initiative follows that of other marketers and retailers who have found that, especially among their younger customers, sometimes the best way to advertise is to, well, not advertise.
At least one other Procter & Gamble brand, Always feminine care products, has rolled out a scripted online entertainment series.
Procter & Gamble has a long history with such projects, having pioneered radio soap operas at the dawn of that medium, as well as televised dramas. “Guiding Light,” TV’s longest running soap, began on radio 70 years ago, and was first televised in 1955. The “Light” in its title is a reference to candles, which, along with soap, made up Procter & Gamble’s first product line in 1837.
Mr. Crociata said Tide’s executives did not rely on Procter & Gamble Productions Inc., which still produces “Guiding Light,” to deliver “Crescent Heights.” Rather, it used GoTV Networks, a video production company based in Sherman Oaks, Calif., that has also developed technology to create the show in collaboration with P.& G. and distribute shows online and on mobile phones.
Not all marketers have scored successes with online series. Executives at Anheuser-Busch recently said the company would continue its BudTV.com initiative, which features dozens of original programs, despite disappointing viewership since its February introduction.
Procter & Gamble’s chief competitor, Unilever, has fared better in developing multiple series, having created original online programs for its Degree deodorant, Dove soap and Caress skin products, among others. The company’s most successful online entertainment asset, however, revolves around Spraychel, the animated mascot for Unilever’s I Can’t Believe It’s Not Butter! brand (at TasteYouLove.com).
Spraychel currently anchors the company’s third online series, “Sprays in the City,” in which she and other vegetables and toppings vie for romantic and gastronomic supremacy. Javier Martin, Unilever’s brand manager for I Can’t Believe It’s Not Butter!, said this year’s Spraychel series has been viewed more than one million times online, with visitors watching for more than six minutes. (Episodes last about three minutes.)
Retailers, too, are suddenly becoming sitcom producers. American Eagle Outfitters, which is based in Pittsburgh, in August released “It’s a Mall World,” a series of webisodes directed by Milo Ventimiglia, star of the television series “Heroes.” The series revolves around five twentysomethings who work in a mall, one as an American Eagle greeter.
In seeking an offline distribution partner for the series, American Eagle struck gold in MTV, which agreed this fall to run “Mall World” episodes during the first three-minute commercial spot of its “Real World: Sydney” series on Wednesday nights. In exchange, American Eagle agreed to pay MTV an undisclosed sum, and run “Real World” on screens in its 972 stores.
Kathy Savitt, American Eagle’s executive vice president for marketing, said the Web site’s visits jump every Wednesday night by more than 20 percent. More than 75 percent of the new visitors who come to the site to watch the show also purchase items, she added.
The future of advertising: no ads, just advice.
AS consumers spend more time online, running their virtual lives and connecting with other people more through typing than talking,
Add it up, and the money flowing out of the traditional media is huge — even at a time when ad budgets in general are growing, advertising research shows.
Today, however, many Nike ads are shown only on the Internet.
Behind the shift is a fundamental change in Nike’s view of the role of advertising. No longer are ads primarily meant to grab a person’s attention while they’re trying to do something else — like reading an article. Nike executives say that much of the company’s future advertising spending will take the form of services for consumers, like workout advice, online communities and local sports competitions.
Traditionally, the “service” provided by advertising was cheaper media content for consumers. But the services of the future may be virtual workout coaches, map applications for cellphones, health advice and matchmaking services.
Kraft is paying to advertise in a virtual supermarket in the online world called Second Life. Continental Airlines advertises on chopstick packets, Geico on turnstiles, McDonald’s on the floor of sports arenas and Walt Disney on the paper used on examination tables in doctors’ offices.
Well-known brands are also trying new approaches, hoping to generate buzz both online and off. Procter & Gamble, for example, opened a temporary Charmin-brand public bathroom in Manhattan. Microsoft dropped thousands of parachutes holding software onto a town in Illinois last year, and Target suspended the magician David Blaine in a gyroscope above Times Square for two days.
Some advertisers make their own content and post it online, sidestepping the media outlets. Burger King has created video games, and Sprite, which is owned by Coca-Cola, is running a social networking site for cellphone users.
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Rutu Modan, an illustrator and comic book creator, is a chosen artist of the Israel Cultural Excellence Foundation. She has done comic strips for the Israeli newpapers Yedioth Acharonot and Ma’ariv and illustrations for The New Yorker, Le Monde, The New York Times and many other publications. Her first graphic novel, Exit Wounds, will be published in June. Ms. Modan, usually based in Tel Aviv, is currently in Sheffield, England.
http://modan.blogs.nytimes.com/2007/10/03/chez-maurice/index.html?mkt=opinphoto
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Most of what turned up over the next 40 years — the Cuban missile crisis, the Vietnam war, Soviet subversion in Africa, and Europe, Grenada, and Afghanistan — is consistent with the conflict as laid out by one relatively minor State Department functionary decades earlier.
Why can’t we do that today?
Well, one reason is we’re not really comfortable with ideology, either ours or anybody else’s. Insofar as we have an ideology it’s a belief in the virtues of “multiculturalism,” “tolerance,” “celebrate diversity” — a bumper-sticker ideology that is, in effect, an anti-ideology which explicitly rejects the very idea of drawing distinctions between your beliefs and anybody else’s….
The most successful example of globalization is not Starbucks or McDonald’s but Wahhabism, an obscure backwater variant of Islam practiced by a few Bedouin deadbeats that Saudi oil wealth has now exported to every corner of the earth — to Waziristan, Indonesia, the Caucasus, the Balkans, Amsterdam, Stockholm, Toronto, Portland, Dearborn, and Falls Church.
The most successful example of globalization, as Kennan argued that it would be, was the largely passive victory of America over the USSR. If we just bring Kennan up to date — or look to Francis Fukuyama who universalized his analysis in The End of History — we would recognize that Islamicism is extraordinarily unlikely to overcome its own internal contradictions and that if we just remain steadfast in advocating our own system for long enough it will collapse upon itself. Unfortunately for the hundreds of millions of victims of Communism, our willingness to follow the Kennan model meant that the Cold War lasted for decades, during which we stood by as tens of millions were murdered and the rest lived in near slavery. To the extent that Kennan was responsible for our not settling Soviet hash in the late 40s, he (and we) enabled the repression and mass murder of a significant portion of the human population for a disturbingly extended period of time.
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http://www.slate.com/
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http://www.salon.com/
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October 9, 2007, 11:45 am
The Economics of Gold-Digging
By Steven D. Levitt
The following story is currently making the rounds on the Internet. The events probably didn’t happen exactly as described, but for my purposes it doesn’t really matter.
Supposedly, a woman posted the following personal ad on Craigslist:
What am I doing wrong?
Okay, I’m tired of beating around the bush. I’m a beautiful (spectacularly beautiful) 25-year-old girl. I’m articulate and classy. I’m not from New York. I’m looking to get married to a guy who makes at least [a] half a million a year. I know how that sounds, but keep in mind that a million a year is middle class in New York City, so I don’t think I’m overreaching at all.
Are there any guys who make 500K or more on this board? Any wives? Could you send me some tips? I dated a businessman who makes average around 200 - 250K. But that’s where I seem to hit a roadblock. 250,000K won’t get me to Central Park West. I know a woman in my yoga class who was married to an investment banker and lives in Tribeca, and she’s not as pretty as I am, nor is she a great genius. So what is she doing right? How do I get to her level?
Here are my questions specifically:
- Where do you single rich men hang out? Give me specifics- bars, restaurants, gyms.
- What are you looking for in a mate? Be honest guys, you won’t hurt my feelings.
- Is there an age range I should be targeting (I’m 25)?
- Why are some of the women living lavish lifestyles on the Upper East Side so plain? I’ve seen really “plain Jane” boring types who have nothing to offer married to incredibly wealthy guys. I’ve seen drop dead gorgeous girls in singles bars in the East Village. What’s the story there?
- Jobs I should look out for? Everyone knows — lawyer, investment banker, doctor. How much do those guys really make? And where do they hang out? Where do the hedge fund guys hang out?
- How you decide marriage vs. just a girlfriend? I am looking for MARRIAGE ONLY.
Please hold your insults — I’m putting myself out there in an honest way. Most beautiful women are superficial; at least I’m being up front about it. I wouldn’t be searching for these kind of guys if I wasn’t able to match them — in looks, culture, sophistication, and keeping a nice home and hearth.
The response she got was as follows:
Dear Pers-431649184:
I read your posting with great interest and have thought meaningfully about your dilemma. I offer the following analysis of your predicament. Firstly, I’m not wasting your time, I qualify as a guy who fits your bill; that is I make more than $500K per year. That said, here’s how I see it:
Your offer, from the prospective of a guy like me, is plain and simple a crappy business deal. Here’s why. Cutting through all the B.S., what you suggest is a simple trade: you bring your looks to the party, and I bring my money. Fine, simple. But here’s the rub — your looks will fade and my money will likely continue into perpetuity … in fact, it is very likely that my income increases but it is an absolute certainty that you won’t be getting any more beautiful!
So, in economic terms, you are a depreciating asset and I am an earning asset. Not only are you a depreciating asset, your depreciation accelerates! Let me explain: you’re 25 now and will likely stay pretty hot for the next 5 years, but less so each year. Then the fade begins in earnest. By 35, stick a fork in you!
So in Wall Street terms, we would call you a trading position, not a buy and hold … hence the rub … marriage. It doesn’t make good business sense to “buy you” (which is what you’re asking) so I’d rather lease. In case you think I’m being cruel, I would say the following: if my money were to go away, so would you, so when your beauty fades I need an out. It’s as simple as that. So a deal that makes sense is dating, not marriage.
Separately, I was taught early in my career about efficient markets. So, I wonder why a girl as “articulate, classy and spectacularly beautiful” as you has been unable to find your sugar daddy. I find it hard to believe, if you are as gorgeous as you say you are, that the $500K hasn’t found you, if not only for a tryout. By the way, you could always find a way to make your own money and then we wouldn’t need to have this difficult conversation.
With all that said, I must say you’re going about it the right way. Classic “pump and dump.” I hope this is helpful, and if you want to enter into some sort of lease, let me know.
I have to say that the respondent has some pretty sensible economics in his answer. My guess, however, is that with that mindset he probably doesn’t have any more success with ladies than the gold-digging woman does with men. Just as politics often trumps economics when it comes to public policy, rational arguments rarely win the day in dating, love, and marriage.
I wouldn’t expect male economists to marry very well. Firstly, they tend to think like the guy who wrote this letter. Secondly, they tend to be nerds. Thirdly, they make very little money when they are young because they get so much education, even though their lifetime income is quite high. Yet I think it is fair to say that the economists I know have married stunningly well (myself included). We’ve all been puzzling over this fact for the fifteen years I have been in the profession. As of yet, no one has come up with a good explanation. I doubt it could be perfect foresight on the part of the women we marry.
Also, completely contrary to what an economic model might predict, I can’t think of any economist who left his wife in middle age for a younger “trophy” wife. There must be cases, but none that spring to mind.
So maybe economists aren’t such heartless, conniving people after all. Or maybe economists just care so little about human relationships that it’s not worth the trouble to try to acquire a trophy wife.
(Hat tip: Meng Li.)
Tags: economists, Gender, human nature, mating rituals
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Op-Ed Contributor
Regrets Only
By HENRY ALFORD
Published: October 14, 2007
I WANT to make it clear that everything you've heard and read is true.(1) I can also no longer deny to myself that there are issues I obviously need to examine within my own soul, and I've asked for help.(2) So if you're so thin-skinned that you took offense to a slip of the tongue that I had, then I offer my apology. I am, am sorry that you were offended.(3)
We admit that several members of our organization allowed an internal power struggle to cloud good judgment.(4) We should have done better.(5) I sincerely apologize and hope people realize that conversations can be easily manipulated in print.(6) And I don't care that he's black or green or purple or whatever.(7)
I failed.(8) I acknowledge that mistakes were made here.(9) I'm not a bad person. I'm a good person, but I said a bad thing.(10) I am not a bigot.(11) I never want to be portrayed as a guy who loses his cool.(12) That was a very intemperate remark made in the heat of the day yesterday in a very misguided attempt to defend my boss.(13) When I called him "Pruneface," it was campaign rhetoric.(14) I certainly would never intend to use the offensive word in its technical sense, and I would not and could not under any circumstances question the parentage of your son, our current governor.(15) Our trust has been broken, and only love can rebuild it.(16)
I probably should have waited a while before I scratch myself and spit.(17) I apologize, but I don't think I had the gay vote, anyway.(18) I certainly hope that no one was harmed or died.(19)
It is a shame that the metaphor I used was taken so radically out of context and slung about irresponsibly by the media.(20) I regret if my comment was misconstrued.(21) He didn't deserve to be whacked around like that, and I'll be the first to apologize to him for that. But he doesn't deserve to be a folk hero either.(22) If there were occasions when my grape turned into a raisin and my joy bell lost its resonance, please forgive me.(23) Several years ago, I asked for and received forgiveness from God and my wife in confession and marriage counseling.(24) It is with a heavy heart that I apologize this morning to Aunt Jemima.(25)
I did not view it as racial.(26) It's not an ethnic slur. You don't make an ethnic slur before several hundred people.(27) I grew up side by side with black people. Many are my dear friends.(28) As a Latino, I myself am offended.(29)
I can flap my lips all I want. Talk is cheap.(30) If we are deemed responsible for the accidents, that is another matter. However, there are maybe outside causes that had caused the accidents.(31)
There were a lot of human factors.(32) I grew up in a different era, and people said things then that are not acceptable today.(33) I suffered from an illness and I was sick.(34) I wanted to win so bad for my kids and my family, and I apologize to anyone who was inconvenienced.(35) I've lived in a state of constant fear and anxiety.(36) Dealing with being gay, while continuing to meet my public obligations, created tremendous internal pressures.(37) My days are incredible, you know: work, politics, troubles, moving around, public exams that never end, a life under constant pressure.(38) I have become so numb to the horrific things that happen in this world that I sometimes forget that there are still people who feel.(39) I shouldn't have labeled Mike as a "gay prostitute" or "male prostitute."(40)
We're sorry if this joke, which got a lot of laughs, offended anyone.(41) We have listened.(42) As you all know, I'm a satirical person.(43) In the course of the show, split-second judgment is made over ad libs.(44) Unfortunately, the need to babble as often as I do sometimes leads to unintended and unfortunate results.(45) It's three in the morning and the caffeine gets to us.(46) We've never had any type of complaint.(47)
I apologize to whoever I need to apologize to.(48) I apologize that some people don't have a sense of humor like I do.(49) I was trying to be the bigger man, but he was acting childish.(50) I said I'm sorry. What else can I say? I've lied and I admitted it. Life goes on.(51) I'm sure that I'm supposed to act all sorry or sad or guilty now that I've accepted that I've done something wrong. But you see, I'm just not built that way.(52) What do you want me to do? Go over and kiss the camera? What do you want me to do?(53)
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Footnotes to ‘Regrets Only’
Published: October 14, 2007
1. Mayor Gavin Newsom of San Francisco re his affair with the wife of his former campaign manager, 2007.
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Op-Ed Contributor: Regrets Only (October 14, 2007)
2. Isaiah Washington, a star of “Grey’s Anatomy,” re an anti-gay slur he hurled at is co-star T. R. Knight 2007.
3. Scott James, a Fox News Radio 600 KCOL host, re his on-air remarks equating homosexuals with child molesters, 2007.
4. The president of the Fayetteville (N.C.) Woman’s Club re its rejection of a woman who would have been its first black member, 2007.
5. David Neeleman, the chief executive and founder of Jet Blue re the hundreds of passengers stranded at Kennedy Airport during an ice storm, 2007.
6. The actress Sienna Miller re anti-Pittsburgh remarks she made in Rolling Stone, 2006.
7. Red Sox pitcher Curt Schilling, re accusing Barry Bonds of using steroids and cheating on his wife and taxes, 2007.
8. Maj. Gen. George W. Weightman re the uncleanliness of Walter Reed Army Medical Center, 2007.
9. Attorney General Alberto Gonzales re the dismissal of United States attorneys, 2007.
10. Don Imus re racist comments he made about the Rutgers women’s basketball team, 2007.
11. Mel Gibson re his anti-Semitic remarks to a law enforcement officer, 2007.
12. Cleveland Cavaliers guard Damon Jones re an outburst during a game, 2006.
13. Representative Daniel Crane’s press secretary, William Mencarow, re saying, “If they required the resignation of all congressmen who have slept with young ladies, you wouldn’t have a Congress,” 1983.
14. Mayor Coleman Young of Detroit re Ronald Reagan, 1980.
15. Justin Dart, a Republican Party donor, to Pat Brown, the former California governor and father of Gov. Jerry Brown, 1982.
16. The president of Wikia re a Wikipedia editor who lied about his credentials, 2007.
17. Roseanne Barr, after singing the national anthem at a San Diego Padres game, 1990.
18. Louie Welch, a Houston mayoral candidate, re saying that one way to stop AIDS is to “shoot all the queers,” 1985.
19. Mary Ann Thode, the president of Kaiser’s Northern California region, re patients’ complaints about Kaiser’s kidney transplant program, 2006.
20. Johnny Depp re saying in Stern magazine that America is “a dumb puppy that has big teeth that can bite and hurt you,” 2003.
21. Mitchell E. Daniels Jr., the White House budget director, re inflammatory remarks made about Sept. 11 victim compensation., 2002.
22. Daryl Gates, the Los Angeles police chief, re the beating of Rodney King, 1991.
23. The Rev. Jesse Jackson, to the Democratic National Convention in San Francisco, re comments about Jews, 1984.
24. Senator David Vitter of Louisiana, admitting to having used escort services, 2007.
25. John Sylvester, a radio host in Madison, Wis., re his comparing of Condoleezza Rice to Aunt Jemima, 2004.
26. Mary Horning, an Atglen, Pa., teacher, re having the two black students in her first-grade class portray slaves on an auction block, 1993.
27. Gov. Guy Hunt of Alabama re saying he’d “never tried to Jew” a peach farmer, 1987.
28. Bob Crumpler, a Newport News, Va., car dealer, re being videotaped calling a black worker a “nigger,” 1996.
29. Peter Dolara, an American Airlines senior vice president, re the airline’s insensitive pilot training guide for Latin America, 1997.
30. Mr. Neeleman of Jet Blue.
31. Masatoshi Ono, Bridgestone/Firestone chief executive, re accidents attributed to his company’s faulty automobile tires, 2000.
32. Former Los Angeles Kings owner Bruce McNall re his $326 million worth of financial misdeeds, 1997.
33. Dan Peavy, a Dallas school board member, re his repeated use of racial epithets, 1995.
34. Francis X. Vitale, a former executive of the Englehard Corporation, re embezzling $12.5 million from his company, 1998.
35. Elecia Battle of Cleveland re claiming to have lost her $162 million winning lottery ticket, 2004.
36. Andrew Speaker, an Atlanta lawyer, re traveling on a plane when he knew he was tubercular, 2007.
37. Representative Barney Frank of Massachusetts, re Stephen L. Gobie, who ran a prostitution business out of Mr. Frank’s Washington apartment, 1989.
38. Former Prime Minister Silvio Berlusconi of Italy to his wife re his flirtations with other women, 2007.
39. Marconi, a radio host in Portland, Ore., re playing a tape of a beheading in Iraq and laughing about it, 2004.
40. Karen Booth, a leader of the Transforming Congregations ministry, re Mike Jones, who outed Ted Haggard, 2007.
41. David Young, the re-election campaign manager for Senator Jim Bunning of Kentucky, re the senator’s comment that his competitor “looks like one of Saddam Hussein’s sons,” 2004.
42. Mars re using animal whey instead of vegetable whey in its candy bars, 2007.
43. Howard Stern re making jokes about the singer Selena, 1995.
44. Doug Tracht, a Washington radio host, re a joke he made on air about James Byrd Jr., who was dragged behind a car in Texas, 1999.
45. The Chicago Tribune’s Mike Royko re a column on the unusual names of some black children, 1996.
46. Ryan Owens, an anchor for ABC’s “World News Now” re his and his colleagues’ laughter being overheard during the announcement of the actor Owen Wilson’s suicide attempt, 2007.
47. The maker of the video Madden N.F.L. ’07 after a 14-year-old found pornography on his copy, 2007.
48. Herbert Miller, the vice president of sales for Merit Industries, re a plaque to be presented to James Earl Jones, but inscribed to James Earl Ray, 2002.
49. Shaquille O’Neal re having said, “Tell Yao Ming, ‘Ching-chong-yang-wah- ah-soh,’” 2003.
50. Tommy Lee for having gotten into a fight with a fellow musician, Kid Rock, during Alicia Keys’s performance during the Video Music Awards, 2007.
51. The Olympic runner Ben Johnson re having falsely denied taking steroids, 1990.
52. Pete Rose re his betting on baseball, 2004.
53. Bill O’Reilly, who’d said that if no weapons of mass destruction were found in Iraq, “I will apologize to the nation and I will not trust the Bush administration again,” 2004.
Henry Alford is the author of “Municipal Bondage” and “Big Kiss.”
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The Big City; Now Staging A Revival: Humiliation
By JOHN TIERNEY
Published: April 12, 2000
''SEEKING actors and actresses,'' the ad in Backstage announced, ''to write and perform their own short monologues for 'Big Kiss: An Evening of Humiliating Audition Stories.' '' The idea was to relive one of the most excruciating moments of your life, but this time in front of a large audience, and with the additional inducement promised in the ad: ''No pay.''
What actor could resist? You don't have to be in theater to be humiliated here -- it's the traditional New York greeting to every ambitious provincial -- but no one gets to experience it as often and as rawly as actors do. More than 100 offered to audition their worst audition stories.
''We got a bucketful of indignity and heartache,'' said Henry Alford, a director of the project and author of arguably the definitive work on theatrical humiliation, ''Big Kiss: One Actor's Desperate Attempt to Claw His Way to the Top.'' It is inarguably the definitive work on the theatrical career of Mr. Alford, an investigative humorist who at the age of 34 set out to become an actor.
He trained at the Royal Academy of Dramatic Art in England, played an extra in ''Godzilla,'' took his 69-year-old mother with him to improvisational comedy camp and auditioned for the role of Wilbur the Pig in ''Charlotte's Web.'' He didn't get the pig role, but he did become a host of a program on VH1, ''Rock of Ages.''
The evening of humiliation was co-directed by Mr. Alford's editor at Random House, Jonathan Karp. ''The most common traumas,'' Mr. Karp said, recalling the selection process, ''were exposed breasts and unzipped pants. Our biggest disappointment was one actor who skipped his audition. He had sent us a letter about having to read the female part in a Rogaine commercial, and I was really curious to see where he'd go with that.''
The eight winning losers appeared Monday night at the Westside Theater with Mr. Alford, who recounted his failure to get a permanent gig as a phone sex operator. (His blunder was trying to discuss a Virginia Woolf novel.) Another botched attempt at erotica was re-enacted by Greta Enzer, who had auditioned, in costume, for the role of a copulating koala.
Matt Meyer described his own animal adventures during an audition for the role of a teenage farm boy whose father breeds fighting cocks. The director ordered Mr. Meyer and the 10 other aspirants to get on stage and become the ''the most vicious, ferocious cocks you can be.''
The result was an ''absolutely terrifying'' 10 minutes, Mr. Meyer recalled as he reprised his rooster role. ''There are people pecking at you. There's horrifying cock-a-doodle-doing. I swear I heard some moos, and, like, sheep noises in there. It was like some weird Jimi Hendrix-flavored chicken hallucination. We were 11 classically trained, sweating, humiliated -- cocks.'' And then none of them got the part because the director decided they all looked too old to be a (human) teenager.
Victoria Labalme demonstrated the difficulty of following a director's orders to be cheerful but stern while sprinkling in a giggle and adding some sexuality to the line, ''Do you think we're out of our minds to sell Denny's Grand Slam Breakfast for just $1.99?''
Lewis Berg, who without any dance training had gone to a group audition for a Broadway chorus, donned once again the polka-dotted boxer shorts, drooping tights and size-15 Rockport black dress shoes that had set him apart from the professional dancers whose toes he crushed.
THE strangest story came from Micheline Auger, who had auditioned for a performance piece in ''Live and Let Die,'' a SoHo art exhibition.
''It's about life; it's about death; it's about process, man,'' she said, repeating the artistic rationale for her particular role: sitting in the middle of the gallery next to a pile of her own excrement. The story got worse from there. She got the gig.
But she appeared buoyed by the end of the show Monday, and so did the other actors.
''Once you call yourself a pathetic loser,'' Mr. Alford explained, ''you take that power away from others. You've reclaimed your pathos.'' He suggested that nonthespians could benefit from similar cathartic exercises.
''Every profession has job interviews and humiliating moments,'' he said. ''We all have days when we feel there's a sign hanging over our heads, 'Favorite Beatle: Ringo.' Imagine if postal workers had an evening like this. We could save some lives.''
===========================================
WHEN Amy Waldman first signed on to Facebook last year and started to send joking messages about good grammar back and forth with a new 18-year-old friend, Ms. Waldman’s 19-year-old daughter, Talia, upbraided her for not revealing that she was actually in her 40s.
“You have to tell her you’re old,” she explained, “because on Facebook, that’s creepy.”
Ms. Waldman created a Facebook group to commemorate the incident: “over 40 is ‘facebook creepy.’”
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American Lawbreaking
Why are there dead zones in U.S. law? The answer goes beyond the simple expense of enforcement but betrays a deeper, underlying logic. Tolerated lawbreaking is almost always a response to a political failure—the inability of our political institutions to adapt to social change or reach a rational compromise that reflects the interests of the nation and all concerned parties. That's why the American statutes are full of laws that no one wants to see fully enforced—or even enforced at all.
This political failure can happen for many reasons. Sometimes a law was passed by another generation with different ideas of right and wrong, but the political will necessary to repeal the law does not exist. Sometimes, as we'll see with polygamy or obscenity, the issue is too sensitive to discuss in rational terms. And sometimes the law as written is a symbol of some behavior to which we may aspire, which nevertheless remains wholly out of touch with reality. Whatever the reason, when politics fails, institutional tolerance of lawbreaking takes over.
The lawbreaking to which we shut our eyes reflects how tolerant U.S. society really is to individual or group difference. It forms a major part of our understanding of how the nation deals with what was once called "vice."
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The motto of the Web site Erowid Experience Vaults is "You Cannot Deny the Experiences of Others." Erowid is the Web's best known site for recording drug experiences. Thousands of contributors describe in vivid detail their experiences with this or that pharmaceutical, creating something like a Zagat Guide for the discriminating drug user.
http://www.erowid.org/experiences/
Erowid makes for an engaging read, if you've ever wondered what taking PCP is like ("began to feel weird. … my head detached and wriggled itself backward through some plants"). There are some surprises, such as the commonly noted observation that heroin is "overrated." But what's particularly interesting about the Experience Vaults is how many of the drugs reviewed there aren't actually classic "illegal drugs," like heroin or cocaine, but rather pharmaceuticals, like Clonazepam.
That's because over the last two decades, the pharmaceutical industry has developed a full set of substitutes for just about every illegal narcotic we have. Avoiding the highly charged politics of "illegal" drugs, the pharmaceutical industry, doctors, and citizens have thus quietly created the means for Americans to get at substitutes for almost all the drugs banned in the 20th century. Through the magic of tolerated use, it's actually the other drug legalization movement, and it has been much more successful than the one you read about in the papers.
Since 1970 and the beginning of Nixon's war on drugs, the Justice Department has regulated drugs likely to be abused under the Controlled Substances Act, which categorizes such drugs into five "Schedules." Those in Schedule I—the most tightly controlled—are supposed to have a "high potential for abuse," and "no currently accepted medical use in treatment." These drugs cannot be prescribed by a doctor. Those in Schedules II through V can be prescribed, and that is what makes all the difference.
Since the beginning of the war on drugs, the "formal" drug decriminalization movement has focused on trying to change the status of marijuana, often through state referendums. While in the late 1970s and late 1990s advocates were quite hopeful, the extent of real legal change they've achieved must be described as relatively minor. Certainly, several states have passed medical marijuana laws, which provide doctors and patients with an immunity when the drug is used for medical purposes. And some cities, like Seattle, do not arrest people for possessing small amounts. But there's been no significant change in federal drug laws, or in the political conversation surrounding them, in decades. A leading presidential candidate from either party endorsing a "free weed" movement seems unimaginable. And beyond marijuana, the drug legalization movement barely even makes an effort.
That's why drug legalization is happening in a wholly different way. Over the last two decades, the FDA has become increasingly open to drugs designed for the treatment of depression, pain, and anxiety—drugs that are, by their nature, likely to mimic the banned Schedule I narcotics. Part of this is the product of a well-documented relaxation of FDA practice that began under Clinton and has increased under Bush. But another part is the widespread public acceptance of the idea that the effects drug users have always been seeking in their illicit drugs—calmness, lack of pain, and bliss—are now "treatments" as opposed to recreation. We have reached a point at which it's commonly understood that when people snort cocaine because they're depressed or want to function better at work, that's drug trafficking; but taking antidepressants for similar purposes is practicing medicine.
This other drug legalization movement is an example of what theorists call legal avoision. As described by theorist Leon Katz, the idea is to reach "a forbidden outcome … as a by-product of a permitted act." In a classic tax shelter, for instance, you do something perfectly legal (like investing in a business guaranteed to lose money) in order to reach a result that would otherwise be illegal (evading taxes). In the drug context, asking Congress to legalize cocaine or repeal the Controlled Substances Act of 1970 is a fool's errand. But it's far easier to invent a new drug, X, with similar effects to cocaine, and ask the FDA to approve it as a new antidepressant or anxiety treatment. That's avoision in practice.
Are the new pharmaceuticals really substitutes for narcotics? The question, of course, is what counts as a substitute, which can depend not just on chemistry but on how the drug in question is being used. But as a chemical matter the question seems simple: In general, pharmaceuticals do the same things to the brain that the illegal drugs do, though sometimes they do so more gently.
As many have pointed out, drugs like Ritalin and cocaine act in nearly the exact same manner: Both are dopamine enhancers that block the ability of neurons to reabsorb dopamine. As a 2001 paper in the Journal of the American Medical Association concluded, Ritalin "acts much like cocaine." It may go further than that: Another drug with similar effects is nicotine, leading Malcolm Gladwell to speculate in The New Yorker that both Ritalin and cocaine use are our substitutes for smoking cigarettes. "Among adults," wrote Gladwell, "Ritalin is a drug that may fill the void left by nicotine." Anecdotally, when used recreationally, users report that Ritalin makes users alert, focused, and happy with themselves. Or as one satisfied user reports on Erowid, "this is the closest pharmaceutical *high* to street cocaine that I have experienced." In the words of another, "I felt very happy, and very energetic, and I had this feeling like everything was right with the world."
The Ritalin/cocaine intersection is but one example. Other substitutes are opoid-based drugs available in somewhat legalized versions, with names like Vicodin and OxyContin.* Clonazepam and valium may not be exact substitutes for marijuana, but they all seem to attract users seeking the same mellowing effects and loss of some forms of anxiety. In short, the differences between pharmaceuticals and illegal drugs may ultimately be much more social than chemical.
So, as the FDA has licensed chemical substitutes for what were once thought to be dangerous drugs, does that mean roughly the same thing as the legalization of cocaine, marijuana, and heroin? Not exactly. Drugs prescribed are usually taken differently than recreational drugs, of course, even if at some level the chemical hit is the same. More broadly, the current program of drug legalization in the United States is closely and explicitly tied to the strange economics of the U.S. health-care industry. The consequence is that how people get their dopamine or other brain chemicals is ever more explicitly, like the rest of medicine, tied to questions of class.
Antidepressants and anxiety treatments aren't cheap: A fancy drug like Wellbutrin can cost anywhere from $1,000 to $2,400 a year. These drugs also require access to a sympathetic doctor who will issue a prescription. That's why, generally speaking, the new legalization program is for better-off Americans. As the National Center on Addiction and Substance Abuse at Columbia University reports, rich people tend to abuse prescription drugs, while poorer Americans tend to self-medicate with old-fashioned illegal drugs or just get drunk.
The big picture reveals a nation that, let's face it, likes drugs: Expert Joseph Califano estimates that the United States, representing just 4 percent of the world's population, consumes nearly two-thirds of the world's recreational drugs. In pursuit of that habit, the country has, in slow motion, found ways for the better-off parts of society to use drugs without getting near the scary drug laws it promulgated in the 20th century. Our parents and grandparents banned drugs, but the current generation is re-legalizing them. That's why Rush Limbaugh, as a drug user, is in a sense a symbol of our times. He, like many celebrities, is a recovering addict. But with Limbaugh being somewhat outside of the 1960s drug culture, the medical marijuana movement was not for him. Instead, Limbaugh, the addicted culture warrior, has become the true poster child of the new drug legalization program.
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“A word to the wise ain’t necessary,” Mr. Cosby likes to say.
“It’s the stupid ones who need the advice.”
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Concrete Jungle #1 acclaim comic QUANTUM WOODY priest (170153149274)
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I Love N.Y. - new york city 9/11 WTC comic DAWN linsner (170153169391)
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Image Summer Special - spawn invincible witchblade (170153169539)
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Independent Voices #3 james o'barr joe linsner pini (170153169735)
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TRANS GLOBAL COMICS AND MAGAZINES,
INSTITUTE OF ADVANCED MAGAZINE STUDIES,
DELTA D GICLEE GALLERY AND DESIGN ATELIER,
MONSANTO WESTINGHOUSE, CARSTAIRS BAGLEY, JR., &
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Dear trans_global_comics_and_magazines,
Oh my goodness, I just read your guide "Why British Girls' Comics Were Wonderful". I'm so glad I found it! When we moved from England to the U.S. in the late 50's, my aunt in londin kept on sending me comics regularly (wish I had kept them).
In particular I loved a comic strip about a stewardess & her friends When I asked British sellers about that, they mentioned "Angela" in "Girl" comics; I bought a couple & it doesn't bring back memories.
I see you mention a "Lyn Raymond" in "Bunty". Did she possibly have a friend called "Mame" or "Mamie"; did they go out with friends to clubs to hear "Ella" (Fitzgerald) or another jazz singer?
Oh I'm keeping my fingers crossed that you have the answers for me: do you think it was Lyn I read stories about? could you tell me where I could find stories about Lyn apart from the Bunty 1958?
Hope to hear from you, Jocelyn
ps Fantastic 1st class guide! You should write a book & publish it!
22-page treatment
and later a full-length script.
TV historian Brooks said he understood why NBC was putting its chips on O'Brien.
"They are trying to plan for the future," he said. "But sometimes, you can over-think tomorrow."
The characters, from TV reporters to FBI agents, are ludicrous cliches, the acting as wooden as a 1950s surfboard. The dialogue includes lines like, "I'm telling you: Something really bad is going to happen," and, "I'm getting real tired of all this destiny crap, Jack."
Irony-free, "D-War" doesn't even qualify for the "so bad it's good" category.
The closing credits include a series of photographs of Shim in action as he directs the movie, concluding with a shot of him standing defiantly in front of the Hollywood sign while "Arirang," a patriotic Korean folk song, plays in the background.
"They are fanatics, and they are mobilized on the Internet," Chin says. "It's dangerous. This is a country where people put their whole lives into Internet culture and where success is measured by the number of hits you get online.
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Entertainment News
AN APPRECIATION
Doris Lessing's Nobel: A victory for science fiction
Her epic 'Canopus in Argos' series helped the genre break through to mainstream literary respect.
By M.G. Lord, Special to The Times
October 15, 2007
When Doris Lessing won the Nobel Prize for literature last week, my first thought was: What a victory for science fiction!
In 1979, three decades after her first novel, "The Grass Is Singing," and 17 years after the release of her landmark "The Golden Notebook," Lessing published "Re: Colonised Planet 5, Shikasta." It was the first book in a five-volume outer-space fantasy, "Canopus in Argos: Archives," that aggressively broke with naturalism.
Today, such a novel would be no big deal; literature is full of time travel, gender ambiguity and that nifty catch-all "magical realism." But in the 1970s, mainstream fiction took pains to set itself apart -- and above -- genres like science fiction. "Shikasta" was met with jeers.
"At best, Lessing's prose is stolid and slow and a bit flat-footed," Gore Vidal wrote in the New York Review of Books. Writing three years later about the fourth novel in the sequence, "The Making of the Representative for Planet 8," the New York Times' John Leonard was blunter. "Why does Doris Lessing -- one of the half-dozen most interesting minds to have chosen to write fiction in English in this century -- insist on propagating books that confound and dismay her loyal readers? The answer: She intends to confound and dismay."
Yet not everyone agreed.
In the 1970s and 1980s, readers with tastes like mine devoured science fiction. In Arthur C. Clarke's "Childhood's End" and Robert Heinlein's "The Moon Is a Harsh Mistress," we pondered the nature of consciousness. In Ursula K. Le Guin's "The Left Hand of Darkness" and Octavia Butler's "Dawn," we saw the folly of gender conventions.
Science fiction was messy. It tackled big themes: What makes us human? Are we alone in the universe? Does God exist, and if so, might she be vicious? It aspired to be epic, and an epic, as midcentury novelist Marguerite Young has aptly observed, must have "a vast undertow of music and momentum and theology."
"Shikasta" had all these things, and they contributed, I suspect, to the Nobel committee's recognition of Lessing as an "epicist of the female experience."
The book was a reworking of the Bible -- casting the forces of good and evil as warring aliens.
The planet Shikasta, where the action took place, bore similarities to Earth. In "The Marriages Between Zones Three, Four and Five," the second volume in the series, Lessing used this mythic structure to revisit ground she had broken in her earlier, realistic novels: the tumultuous relationship between men and women.
When the third "Canopus" novel, "The Sirian Experiments," came out in 1981, many critics did ease up. Lessing told its story in the dry, fussbudget voice of a female civil servant -- a voice decidedly not her own. She pulled off the difficult trick of creating an uncomprehending narrator, a chronicler who makes what's going on apparent to the reader even when she herself does not entirely see.
"The Sirian Experiments" was nominated for the Booker Prize -- a breakthrough for science fiction. In 1986, composer Philip Glass bestowed a further high culture imprimatur when he transformed "The Making of the Representative for Planet 8" into an opera, with a libretto by Lessing; in 1997, the pair teamed up for an opera based on "The Marriages Between Zones Three, Four and Five."
In part, the literati have tended to dismiss science fiction because it prompts some fans to behave insanely.
At Heinlein's centennial celebration in Kansas City this summer, more than one panel of people discussed the decades they had spent in the sort of group marriages the author described in his books.
As for Lessing,
"Shikasta" inspired a religious cult in America.
She was incredulous, she told an interviewer, when its adherents wrote her to ask, "When are we going to be visited by the gods?" The book, she responded, is "not a cosmology. It's an invention." To which they replied: "Ah, you're just testing us."
"What I would like to be writing," Lessing wrote in 1983, "is the story of
the Red and White Dwarves and their Remembering Mirror, their space rocket (powered by anti-gravity), their attendant entities Hadron, Gluon, Pion, Lepton, and Muon, and the Charmed Quarks and the Coloured Quarks.
But we can't all be physicists."
And yet, if we're not all physicists, we do now live in a world where science fiction and literary culture have come together to an extent that would have once been unimaginable. Philip K. Dick --
formerly read almost exclusively by sci-fi geeks and potheads -- has become, if not a household name, at least a college-dorm one. His 1962 magnum opus, "The Man in the High Castle," which responds imaginatively to the question, "What if Germany won World War II?" is in a very real way a precursor to Philip Roth's 2004 alternative history novel "The Plot Against America."
The stories of Le Guin and Butler anticipate the gender theories popular among academics in the 1980s and early 1990s -- particularly those of Judith Butler (no relation), who argued that gender is a performed identity, a set of coded behaviors that are neither innate nor linked to biological function. One is tempted to suggest that Jeffrey Eugenides' Pulitzer Prize-winning novel "Middlesex" owes a debt to Le Guin and Butler. He explores terrain they pioneered: the consciousness of a character between biological genders.
Ironically, just as the male custodians of highbrow culture once sneered at the idea of Lessing writing science fiction, so too did male sci-fi authors and readers curl their upper lips at women working in their genre.
This led to one of the saddest stories in contemporary literary history, that of Alice Sheldon, a brilliant, twice-married, unhappy bisexual, who, as James Tiptree Jr., channeled much of her frustration into fictions about dangerous, impossible, unconsummated love. Twenty years after her death, Sheldon -- or Tiptree -- has finally received the mainstream recognition she deserved. Last year, Julie Phillips' excellent biography "James Tiptree, Jr.: The Double Life of Alice B. Sheldon" won a National Book Critics Circle Award.
I teach writing at a university, and sometimes I envy my students. They have firsthand knowledge of Lessing's triumph and Sheldon's literary resurrection. They get to kvetch about postmodernist excesses, not modernist aridity. And they have no memory of 1979 -- the year "Shikasta" staggered, bloodied, into print and began, ever so slowly, to change the literary world.
M.G. Lord's latest book is "Astro Turf: The Private Life of Rocket Science."
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He listed hundreds of links to secret sites from which his readers could obtain the latest blood-drenched insurgent videos from Iraq.
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While there is nothing to suggest that Mr. Khan is operating in concert with militant leaders, or breaking any laws, he is part of a growing constellation of apparently independent media operators who are broadcasting the message of Al Qaeda and other groups, a message that is increasingly devised, translated and aimed for a Western audience.
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It is clear from a review of extremist material and interviews that militants are seeking to appeal to young American and European Muslims by playing on their anger over the war in Iraq and the image of Islam under attack.
Tedious Arabic screeds are reworked into flashy English productions. Recruitment tracts are issued in multiple languages, like a 39-page, electronic, English version of a booklet urging women to join the fight against the West.
There are even online novellas like “Rakan bin Williams,” about a band of Christian European converts who embraced Al Qaeda and “promised God that they will carry the flag of their distant brothers and seek vengeance on the evil doers.”
Militant Islamists are turning grainy car-bombing tapes into slick hip-hop videos and montage movies, all readily available on Western sites like YouTube, the online video smorgasbord.
======================================================================================
Mr. Zarqawi learned the power of the Internet in prison, according to a former associate who was imprisoned with him in Jordan a decade ago. Mr. Zarqawi’s jailhouse group of 32 Islamists sought to recruit other prisoners
Propaganda Rap Video
One of the most influential sites is Tajdeed, which is based in London and run by Dr. Muhammad Massari, a Saudi physicist and dissident. Over lunch at a McDonald’s near his home, Dr. Massari said Mr. Zarqawi’s insurgent videos from Iraq inspired local productions like “Dirty Kuffar,” the Arabic word for nonbeliever. The 2004 rap music video mixed images of Western leaders with others purporting to show American troops cheer as they shot injured Iraqi civilians.
======================================================================================
He described his favorite video from Iraq: a fiery suicide-bomber attack on an American outpost.
He stopped listening to music except for Soldiers of Allah, a Los Angeles hip-hop group, now defunct, whose tunes like “Bring Islam Back” continue to have worldwide appeal among militant youths.
But he began spending chunks of his days on the blog he created in late 2005, “Inshallahshaheed,” which translates as “a martyr soon if God wills.”
Recently he posted a video of a news report from Somalia showing a grenade-wielding American who had joined the Islamists.
======================================================================================
The Ignored Puzzle Pieces of Knowledge
http://inshallahshaheed.muslimpad.com/
http://www.google.com/search?q=Inshallahshaheed&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a
http://video.on.nytimes.com/?fr_story=c0ed4cb9f1823f94ed94b87cf98a155a2015456b
======================================================================================
Group Plans to Provide Investigative Journalism
By RICHARD PÉREZ-PEÑA
Pro Publica hopes to fill in recent cutbacks in investigative reporting by giving away its work to newspapers and magazines where it will make the strongest impression.
======================================================================================
In a City Far, Far Away From Hollywood, the YouTube Tales of a Lesser Vader
By DAVID CALLENDER
Do the Madison, Wis.-based creators of “Chad Vader” have what it takes to parlay their YouTube stardom into an entertainment career?
======================================================================================
E-COMMERCE REPORT
P.&G., the Pioneer of Mixing Soap and Drama, Adds a Web Installment
By BOB TEDESCHI
The consumer products giant has created “Crescent Heights,” a new online soap opera that aims to reach young viewers where they watch most — their PCs and cellphones.
======================================================================================
Video Chat Service Aims to Follow YouTube’s Path
By BRAD STONE
TokBox allows people with Webcams and broadband Internet connections to conduct face-to-face chats or leave a video message if one party is not present.
======================================================================================
TELEVISION REVIEW | 'SAMANTHA WHO?'
Emerging From a Coma a Slightly Better Person
By GINIA BELLAFANTE
The show is a personality-transformation fantasy that accommodates a fair amount of cynicism.
======================================================================================
EDITORIAL OBSERVER
Politeness and Authority at a Hilltop College in Minnesota
By VERLYN KLINKENBORG
It’s a delicate thing, coming to the moment when you realize that your perceptions do count and that your writing can encompass them.
======================================================================================
“We have always known that heedless self-interest was bad morals,”
said F.D.R. “We know now that it is bad economics.”
Leave it up to the free market, and in a few generations Florida will be underwater.
Today, being a good Republican means believing that taxes should always be cut, never raised. It also means believing that we should bomb and bully foreigners, not negotiate with them.
So if science says that we have a big problem that can’t be solved with tax cuts or bombs — well, the science must be rejected, and the scientists must be slimed.
Al Gore has taken everything they could throw at him, and emerged more respected, and more credible, than ever. And it drives them crazy.
======================================================================================
I sat in on four classes, which were marred only by politeness — the deep-keeled Minnesotan politeness that states, as a life proposition, that you should not put yourself forward, not even to the raising of a hand in class.
Midway through lunch one day a young woman asked me if I noticed a difference between the writing of men and the writing of women. The answer is no, but it’s a good question. A writer’s fundamental problem, once her prose is under control, is shaping and understanding her own authority. I’ve often noticed a habit of polite self-negation among my female students, a self-deprecatory way of talking that is meant, I suppose, to help create a sense of shared space, a shared social connection. It sounds like the language of constant apology, and the form I often hear is the sentence that begins, “My problem is ...”
Even though this way of talking is conventional, and perhaps socially placating, it has a way of defining a young writer — a young woman — in negative terms, as if she were basically incapable and always giving offense. You simply cannot pretend that the words you use about yourself have no meaning. Why not, I asked, be as smart and perceptive as you really are? Why not accept what you’re capable of? Why not believe that what you notice matters?
Another young woman at the table asked — this is a bald translation — won’t that make us seem too tough, too masculine? I could see the subtext in her face: who will love us if we’re like that? I’ve heard other young women, with more experience, ask this question in a way that means, Won’t the world punish us for being too sure of ourselves? This is the kind of thing that happens when you talk about writing. You always end up talking about life.
Young men have a way of coasting right past that point of realization without even noticing it, which is one of the reasons the world is full of male writers. But for young women, it often means a real transposition of self, a new knowledge of who they are and, in some cases, a forbidding understanding of whom they’ve been taught to be.
Perhaps the world will punish them for this confidence. Perhaps their self-possession will chase away everyone who can’t accept it for what it is, which may not be a terrible thing. But whenever I see this transformation — a young woman suddenly understanding the power of her perceptions, ready to look at the world unapologetically — I realize how much has been lost because of the culture of polite, self-negating silence in which they were raised.
======================================================================================
Jean Smart, who is trying to use her daughter’s condition to gain herself a place on reality TV. Taping her pitch, she speaks into a video camera in the hospital room and says: “Struck down by a hit-and-run driver. Hooked to machines like an eighth-grade science experiment. In a coma from which she may never recover. Where does a mother turn for comfort and answers at a time like this? To you, that’s where. The good people of ‘Extreme Makeover: Home Edition.’”
Christina Applegate is the kind of comic actress who could never be completely believable as a goody-two-shoes. She puts a healthy ironic distance between herself and that dreaded entity, the better person her character must become. You look in her eyes, and, happily, you see a recidivist.
======================================================================================
began performing together in an improvisational comedy club five years ago.
they were shooting low-budget comedy films that they showed every week on the local cable-access channel here.
Then Chad Vader hit YouTube.
The eight-part saga is one of the site’s biggest hits, having been viewed more than 19 million times since its debut in July 2006. The series has put Mr. Sloan and Mr. Yonda among the site’s top celebrities, along with performers like Jessica Lee Rose, the actress from the LonelyGirl15 series, and Terra Naomi, the singer whose breakout song on YouTube is called “Say It’s Possible.”
This month the camera maker Canon brought them to New York to make a “Battle of the Internet Superstars” video along with Glenn Rubenstein, one of the writers for the Lonelygirl15 series, and Gary Brolsma, who gained YouTube stardom for his vigorous lip-synching of a Romanian pop song (he is better known as the “numa numa” guy).
Because they write, produce, direct and star in their own films, they are poised to become part of a new class of Web-based performers and producers who can shuttle between conventional media, like television and films, and online outlets like YouTube.
Their manager, Kara Welker of the Generate agency in Los Angeles, said the pair’s YouTube success puts them at “the forefront of the whole self-distribution platform,” allowing them to choose where and how their work will appear instead of depending on film studios or television networks to distribute it.
“They’re creating stuff on their own for their own fan base,” she said. “It’s the power of the medium. They’re their own de facto studio.”
Now that they have built a loyal following, their fans will follow them to whichever medium they choose, Ms. Welker said. “Funny is funny, and once you hook into that audience, they’re there for good,” she said.
Although they have quit their old jobs to make films full time, they have no offices or production facilities of their own; they do their shooting on location, their writing in coffee shops and their film editing at home. They still perform once a week in an improvisational comedy troupe, because, as Mr. Sloan said, “improvisation is the backbone of most of our work.”
======================================================================================
Video Chat Service Aims to Follow YouTube’s Path
Users can visit its site, www.tokbox.com
or add a TokBox module to their pages on social Web sites like MySpace.
======================================================================================
The company that brought soap operas to radio, then television, Procter & Gamble, is trying the same strategy online with “Crescent Heights,” a new show intended to reach young viewers where they watch the most — their PCs and cellphones.
While the Tide logo makes occasional appearances, clothes are front and center. In one episode, Ashley attends a party and is horrified that her bright yellow dress is the only color in a sea of black, but the dress helps get her noticed by Eric, who plays the early foil to Ashley’s other suitor, Will.
The initiative follows that of other marketers and retailers who have found that, especially among their younger customers, sometimes the best way to advertise is to, well, not advertise.
At least one other Procter & Gamble brand, Always feminine care products, has rolled out a scripted online entertainment series.
Procter & Gamble has a long history with such projects, having pioneered radio soap operas at the dawn of that medium, as well as televised dramas. “Guiding Light,” TV’s longest running soap, began on radio 70 years ago, and was first televised in 1955. The “Light” in its title is a reference to candles, which, along with soap, made up Procter & Gamble’s first product line in 1837.
Mr. Crociata said Tide’s executives did not rely on Procter & Gamble Productions Inc., which still produces “Guiding Light,” to deliver “Crescent Heights.” Rather, it used GoTV Networks, a video production company based in Sherman Oaks, Calif., that has also developed technology to create the show in collaboration with P.& G. and distribute shows online and on mobile phones.
Not all marketers have scored successes with online series. Executives at Anheuser-Busch recently said the company would continue its BudTV.com initiative, which features dozens of original programs, despite disappointing viewership since its February introduction.
Procter & Gamble’s chief competitor, Unilever, has fared better in developing multiple series, having created original online programs for its Degree deodorant, Dove soap and Caress skin products, among others. The company’s most successful online entertainment asset, however, revolves around Spraychel, the animated mascot for Unilever’s I Can’t Believe It’s Not Butter! brand (at TasteYouLove.com).
Spraychel currently anchors the company’s third online series, “Sprays in the City,” in which she and other vegetables and toppings vie for romantic and gastronomic supremacy. Javier Martin, Unilever’s brand manager for I Can’t Believe It’s Not Butter!, said this year’s Spraychel series has been viewed more than one million times online, with visitors watching for more than six minutes. (Episodes last about three minutes.)
Retailers, too, are suddenly becoming sitcom producers. American Eagle Outfitters, which is based in Pittsburgh, in August released “It’s a Mall World,” a series of webisodes directed by Milo Ventimiglia, star of the television series “Heroes.” The series revolves around five twentysomethings who work in a mall, one as an American Eagle greeter.
In seeking an offline distribution partner for the series, American Eagle struck gold in MTV, which agreed this fall to run “Mall World” episodes during the first three-minute commercial spot of its “Real World: Sydney” series on Wednesday nights. In exchange, American Eagle agreed to pay MTV an undisclosed sum, and run “Real World” on screens in its 972 stores.
Kathy Savitt, American Eagle’s executive vice president for marketing, said the Web site’s visits jump every Wednesday night by more than 20 percent. More than 75 percent of the new visitors who come to the site to watch the show also purchase items, she added.
The future of advertising: no ads, just advice.
AS consumers spend more time online, running their virtual lives and connecting with other people more through typing than talking,
Add it up, and the money flowing out of the traditional media is huge — even at a time when ad budgets in general are growing, advertising research shows.
Today, however, many Nike ads are shown only on the Internet.
Behind the shift is a fundamental change in Nike’s view of the role of advertising. No longer are ads primarily meant to grab a person’s attention while they’re trying to do something else — like reading an article. Nike executives say that much of the company’s future advertising spending will take the form of services for consumers, like workout advice, online communities and local sports competitions.
Traditionally, the “service” provided by advertising was cheaper media content for consumers. But the services of the future may be virtual workout coaches, map applications for cellphones, health advice and matchmaking services.
Kraft is paying to advertise in a virtual supermarket in the online world called Second Life. Continental Airlines advertises on chopstick packets, Geico on turnstiles, McDonald’s on the floor of sports arenas and Walt Disney on the paper used on examination tables in doctors’ offices.
Well-known brands are also trying new approaches, hoping to generate buzz both online and off. Procter & Gamble, for example, opened a temporary Charmin-brand public bathroom in Manhattan. Microsoft dropped thousands of parachutes holding software onto a town in Illinois last year, and Target suspended the magician David Blaine in a gyroscope above Times Square for two days.
Some advertisers make their own content and post it online, sidestepping the media outlets. Burger King has created video games, and Sprite, which is owned by Coca-Cola, is running a social networking site for cellphone users.
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Rutu Modan, an illustrator and comic book creator, is a chosen artist of the Israel Cultural Excellence Foundation. She has done comic strips for the Israeli newpapers Yedioth Acharonot and Ma’ariv and illustrations for The New Yorker, Le Monde, The New York Times and many other publications. Her first graphic novel, Exit Wounds, will be published in June. Ms. Modan, usually based in Tel Aviv, is currently in Sheffield, England.
http://modan.blogs.nytimes.com/2007/10/03/chez-maurice/index.html?mkt=opinphoto
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Most of what turned up over the next 40 years — the Cuban missile crisis, the Vietnam war, Soviet subversion in Africa, and Europe, Grenada, and Afghanistan — is consistent with the conflict as laid out by one relatively minor State Department functionary decades earlier.
Why can’t we do that today?
Well, one reason is we’re not really comfortable with ideology, either ours or anybody else’s. Insofar as we have an ideology it’s a belief in the virtues of “multiculturalism,” “tolerance,” “celebrate diversity” — a bumper-sticker ideology that is, in effect, an anti-ideology which explicitly rejects the very idea of drawing distinctions between your beliefs and anybody else’s….
The most successful example of globalization is not Starbucks or McDonald’s but Wahhabism, an obscure backwater variant of Islam practiced by a few Bedouin deadbeats that Saudi oil wealth has now exported to every corner of the earth — to Waziristan, Indonesia, the Caucasus, the Balkans, Amsterdam, Stockholm, Toronto, Portland, Dearborn, and Falls Church.
The most successful example of globalization, as Kennan argued that it would be, was the largely passive victory of America over the USSR. If we just bring Kennan up to date — or look to Francis Fukuyama who universalized his analysis in The End of History — we would recognize that Islamicism is extraordinarily unlikely to overcome its own internal contradictions and that if we just remain steadfast in advocating our own system for long enough it will collapse upon itself. Unfortunately for the hundreds of millions of victims of Communism, our willingness to follow the Kennan model meant that the Cold War lasted for decades, during which we stood by as tens of millions were murdered and the rest lived in near slavery. To the extent that Kennan was responsible for our not settling Soviet hash in the late 40s, he (and we) enabled the repression and mass murder of a significant portion of the human population for a disturbingly extended period of time.
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http://www.slate.com/
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http://www.salon.com/
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October 9, 2007, 11:45 am
The Economics of Gold-Digging
By Steven D. Levitt
The following story is currently making the rounds on the Internet. The events probably didn’t happen exactly as described, but for my purposes it doesn’t really matter.
Supposedly, a woman posted the following personal ad on Craigslist:
What am I doing wrong?
Okay, I’m tired of beating around the bush. I’m a beautiful (spectacularly beautiful) 25-year-old girl. I’m articulate and classy. I’m not from New York. I’m looking to get married to a guy who makes at least [a] half a million a year. I know how that sounds, but keep in mind that a million a year is middle class in New York City, so I don’t think I’m overreaching at all.
Are there any guys who make 500K or more on this board? Any wives? Could you send me some tips? I dated a businessman who makes average around 200 - 250K. But that’s where I seem to hit a roadblock. 250,000K won’t get me to Central Park West. I know a woman in my yoga class who was married to an investment banker and lives in Tribeca, and she’s not as pretty as I am, nor is she a great genius. So what is she doing right? How do I get to her level?
Here are my questions specifically:
- Where do you single rich men hang out? Give me specifics- bars, restaurants, gyms.
- What are you looking for in a mate? Be honest guys, you won’t hurt my feelings.
- Is there an age range I should be targeting (I’m 25)?
- Why are some of the women living lavish lifestyles on the Upper East Side so plain? I’ve seen really “plain Jane” boring types who have nothing to offer married to incredibly wealthy guys. I’ve seen drop dead gorgeous girls in singles bars in the East Village. What’s the story there?
- Jobs I should look out for? Everyone knows — lawyer, investment banker, doctor. How much do those guys really make? And where do they hang out? Where do the hedge fund guys hang out?
- How you decide marriage vs. just a girlfriend? I am looking for MARRIAGE ONLY.
Please hold your insults — I’m putting myself out there in an honest way. Most beautiful women are superficial; at least I’m being up front about it. I wouldn’t be searching for these kind of guys if I wasn’t able to match them — in looks, culture, sophistication, and keeping a nice home and hearth.
The response she got was as follows:
Dear Pers-431649184:
I read your posting with great interest and have thought meaningfully about your dilemma. I offer the following analysis of your predicament. Firstly, I’m not wasting your time, I qualify as a guy who fits your bill; that is I make more than $500K per year. That said, here’s how I see it:
Your offer, from the prospective of a guy like me, is plain and simple a crappy business deal. Here’s why. Cutting through all the B.S., what you suggest is a simple trade: you bring your looks to the party, and I bring my money. Fine, simple. But here’s the rub — your looks will fade and my money will likely continue into perpetuity … in fact, it is very likely that my income increases but it is an absolute certainty that you won’t be getting any more beautiful!
So, in economic terms, you are a depreciating asset and I am an earning asset. Not only are you a depreciating asset, your depreciation accelerates! Let me explain: you’re 25 now and will likely stay pretty hot for the next 5 years, but less so each year. Then the fade begins in earnest. By 35, stick a fork in you!
So in Wall Street terms, we would call you a trading position, not a buy and hold … hence the rub … marriage. It doesn’t make good business sense to “buy you” (which is what you’re asking) so I’d rather lease. In case you think I’m being cruel, I would say the following: if my money were to go away, so would you, so when your beauty fades I need an out. It’s as simple as that. So a deal that makes sense is dating, not marriage.
Separately, I was taught early in my career about efficient markets. So, I wonder why a girl as “articulate, classy and spectacularly beautiful” as you has been unable to find your sugar daddy. I find it hard to believe, if you are as gorgeous as you say you are, that the $500K hasn’t found you, if not only for a tryout. By the way, you could always find a way to make your own money and then we wouldn’t need to have this difficult conversation.
With all that said, I must say you’re going about it the right way. Classic “pump and dump.” I hope this is helpful, and if you want to enter into some sort of lease, let me know.
I have to say that the respondent has some pretty sensible economics in his answer. My guess, however, is that with that mindset he probably doesn’t have any more success with ladies than the gold-digging woman does with men. Just as politics often trumps economics when it comes to public policy, rational arguments rarely win the day in dating, love, and marriage.
I wouldn’t expect male economists to marry very well. Firstly, they tend to think like the guy who wrote this letter. Secondly, they tend to be nerds. Thirdly, they make very little money when they are young because they get so much education, even though their lifetime income is quite high. Yet I think it is fair to say that the economists I know have married stunningly well (myself included). We’ve all been puzzling over this fact for the fifteen years I have been in the profession. As of yet, no one has come up with a good explanation. I doubt it could be perfect foresight on the part of the women we marry.
Also, completely contrary to what an economic model might predict, I can’t think of any economist who left his wife in middle age for a younger “trophy” wife. There must be cases, but none that spring to mind.
So maybe economists aren’t such heartless, conniving people after all. Or maybe economists just care so little about human relationships that it’s not worth the trouble to try to acquire a trophy wife.
(Hat tip: Meng Li.)
Tags: economists, Gender, human nature, mating rituals
======================================================================================
Op-Ed Contributor
Regrets Only
By HENRY ALFORD
Published: October 14, 2007
I WANT to make it clear that everything you've heard and read is true.(1) I can also no longer deny to myself that there are issues I obviously need to examine within my own soul, and I've asked for help.(2) So if you're so thin-skinned that you took offense to a slip of the tongue that I had, then I offer my apology. I am, am sorry that you were offended.(3)
We admit that several members of our organization allowed an internal power struggle to cloud good judgment.(4) We should have done better.(5) I sincerely apologize and hope people realize that conversations can be easily manipulated in print.(6) And I don't care that he's black or green or purple or whatever.(7)
I failed.(8) I acknowledge that mistakes were made here.(9) I'm not a bad person. I'm a good person, but I said a bad thing.(10) I am not a bigot.(11) I never want to be portrayed as a guy who loses his cool.(12) That was a very intemperate remark made in the heat of the day yesterday in a very misguided attempt to defend my boss.(13) When I called him "Pruneface," it was campaign rhetoric.(14) I certainly would never intend to use the offensive word in its technical sense, and I would not and could not under any circumstances question the parentage of your son, our current governor.(15) Our trust has been broken, and only love can rebuild it.(16)
I probably should have waited a while before I scratch myself and spit.(17) I apologize, but I don't think I had the gay vote, anyway.(18) I certainly hope that no one was harmed or died.(19)
It is a shame that the metaphor I used was taken so radically out of context and slung about irresponsibly by the media.(20) I regret if my comment was misconstrued.(21) He didn't deserve to be whacked around like that, and I'll be the first to apologize to him for that. But he doesn't deserve to be a folk hero either.(22) If there were occasions when my grape turned into a raisin and my joy bell lost its resonance, please forgive me.(23) Several years ago, I asked for and received forgiveness from God and my wife in confession and marriage counseling.(24) It is with a heavy heart that I apologize this morning to Aunt Jemima.(25)
I did not view it as racial.(26) It's not an ethnic slur. You don't make an ethnic slur before several hundred people.(27) I grew up side by side with black people. Many are my dear friends.(28) As a Latino, I myself am offended.(29)
I can flap my lips all I want. Talk is cheap.(30) If we are deemed responsible for the accidents, that is another matter. However, there are maybe outside causes that had caused the accidents.(31)
There were a lot of human factors.(32) I grew up in a different era, and people said things then that are not acceptable today.(33) I suffered from an illness and I was sick.(34) I wanted to win so bad for my kids and my family, and I apologize to anyone who was inconvenienced.(35) I've lived in a state of constant fear and anxiety.(36) Dealing with being gay, while continuing to meet my public obligations, created tremendous internal pressures.(37) My days are incredible, you know: work, politics, troubles, moving around, public exams that never end, a life under constant pressure.(38) I have become so numb to the horrific things that happen in this world that I sometimes forget that there are still people who feel.(39) I shouldn't have labeled Mike as a "gay prostitute" or "male prostitute."(40)
We're sorry if this joke, which got a lot of laughs, offended anyone.(41) We have listened.(42) As you all know, I'm a satirical person.(43) In the course of the show, split-second judgment is made over ad libs.(44) Unfortunately, the need to babble as often as I do sometimes leads to unintended and unfortunate results.(45) It's three in the morning and the caffeine gets to us.(46) We've never had any type of complaint.(47)
I apologize to whoever I need to apologize to.(48) I apologize that some people don't have a sense of humor like I do.(49) I was trying to be the bigger man, but he was acting childish.(50) I said I'm sorry. What else can I say? I've lied and I admitted it. Life goes on.(51) I'm sure that I'm supposed to act all sorry or sad or guilty now that I've accepted that I've done something wrong. But you see, I'm just not built that way.(52) What do you want me to do? Go over and kiss the camera? What do you want me to do?(53)
======================================================================================
Footnotes to ‘Regrets Only’
Published: October 14, 2007
1. Mayor Gavin Newsom of San Francisco re his affair with the wife of his former campaign manager, 2007.
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Related
Op-Ed Contributor: Regrets Only (October 14, 2007)
2. Isaiah Washington, a star of “Grey’s Anatomy,” re an anti-gay slur he hurled at is co-star T. R. Knight 2007.
3. Scott James, a Fox News Radio 600 KCOL host, re his on-air remarks equating homosexuals with child molesters, 2007.
4. The president of the Fayetteville (N.C.) Woman’s Club re its rejection of a woman who would have been its first black member, 2007.
5. David Neeleman, the chief executive and founder of Jet Blue re the hundreds of passengers stranded at Kennedy Airport during an ice storm, 2007.
6. The actress Sienna Miller re anti-Pittsburgh remarks she made in Rolling Stone, 2006.
7. Red Sox pitcher Curt Schilling, re accusing Barry Bonds of using steroids and cheating on his wife and taxes, 2007.
8. Maj. Gen. George W. Weightman re the uncleanliness of Walter Reed Army Medical Center, 2007.
9. Attorney General Alberto Gonzales re the dismissal of United States attorneys, 2007.
10. Don Imus re racist comments he made about the Rutgers women’s basketball team, 2007.
11. Mel Gibson re his anti-Semitic remarks to a law enforcement officer, 2007.
12. Cleveland Cavaliers guard Damon Jones re an outburst during a game, 2006.
13. Representative Daniel Crane’s press secretary, William Mencarow, re saying, “If they required the resignation of all congressmen who have slept with young ladies, you wouldn’t have a Congress,” 1983.
14. Mayor Coleman Young of Detroit re Ronald Reagan, 1980.
15. Justin Dart, a Republican Party donor, to Pat Brown, the former California governor and father of Gov. Jerry Brown, 1982.
16. The president of Wikia re a Wikipedia editor who lied about his credentials, 2007.
17. Roseanne Barr, after singing the national anthem at a San Diego Padres game, 1990.
18. Louie Welch, a Houston mayoral candidate, re saying that one way to stop AIDS is to “shoot all the queers,” 1985.
19. Mary Ann Thode, the president of Kaiser’s Northern California region, re patients’ complaints about Kaiser’s kidney transplant program, 2006.
20. Johnny Depp re saying in Stern magazine that America is “a dumb puppy that has big teeth that can bite and hurt you,” 2003.
21. Mitchell E. Daniels Jr., the White House budget director, re inflammatory remarks made about Sept. 11 victim compensation., 2002.
22. Daryl Gates, the Los Angeles police chief, re the beating of Rodney King, 1991.
23. The Rev. Jesse Jackson, to the Democratic National Convention in San Francisco, re comments about Jews, 1984.
24. Senator David Vitter of Louisiana, admitting to having used escort services, 2007.
25. John Sylvester, a radio host in Madison, Wis., re his comparing of Condoleezza Rice to Aunt Jemima, 2004.
26. Mary Horning, an Atglen, Pa., teacher, re having the two black students in her first-grade class portray slaves on an auction block, 1993.
27. Gov. Guy Hunt of Alabama re saying he’d “never tried to Jew” a peach farmer, 1987.
28. Bob Crumpler, a Newport News, Va., car dealer, re being videotaped calling a black worker a “nigger,” 1996.
29. Peter Dolara, an American Airlines senior vice president, re the airline’s insensitive pilot training guide for Latin America, 1997.
30. Mr. Neeleman of Jet Blue.
31. Masatoshi Ono, Bridgestone/Firestone chief executive, re accidents attributed to his company’s faulty automobile tires, 2000.
32. Former Los Angeles Kings owner Bruce McNall re his $326 million worth of financial misdeeds, 1997.
33. Dan Peavy, a Dallas school board member, re his repeated use of racial epithets, 1995.
34. Francis X. Vitale, a former executive of the Englehard Corporation, re embezzling $12.5 million from his company, 1998.
35. Elecia Battle of Cleveland re claiming to have lost her $162 million winning lottery ticket, 2004.
36. Andrew Speaker, an Atlanta lawyer, re traveling on a plane when he knew he was tubercular, 2007.
37. Representative Barney Frank of Massachusetts, re Stephen L. Gobie, who ran a prostitution business out of Mr. Frank’s Washington apartment, 1989.
38. Former Prime Minister Silvio Berlusconi of Italy to his wife re his flirtations with other women, 2007.
39. Marconi, a radio host in Portland, Ore., re playing a tape of a beheading in Iraq and laughing about it, 2004.
40. Karen Booth, a leader of the Transforming Congregations ministry, re Mike Jones, who outed Ted Haggard, 2007.
41. David Young, the re-election campaign manager for Senator Jim Bunning of Kentucky, re the senator’s comment that his competitor “looks like one of Saddam Hussein’s sons,” 2004.
42. Mars re using animal whey instead of vegetable whey in its candy bars, 2007.
43. Howard Stern re making jokes about the singer Selena, 1995.
44. Doug Tracht, a Washington radio host, re a joke he made on air about James Byrd Jr., who was dragged behind a car in Texas, 1999.
45. The Chicago Tribune’s Mike Royko re a column on the unusual names of some black children, 1996.
46. Ryan Owens, an anchor for ABC’s “World News Now” re his and his colleagues’ laughter being overheard during the announcement of the actor Owen Wilson’s suicide attempt, 2007.
47. The maker of the video Madden N.F.L. ’07 after a 14-year-old found pornography on his copy, 2007.
48. Herbert Miller, the vice president of sales for Merit Industries, re a plaque to be presented to James Earl Jones, but inscribed to James Earl Ray, 2002.
49. Shaquille O’Neal re having said, “Tell Yao Ming, ‘Ching-chong-yang-wah- ah-soh,’” 2003.
50. Tommy Lee for having gotten into a fight with a fellow musician, Kid Rock, during Alicia Keys’s performance during the Video Music Awards, 2007.
51. The Olympic runner Ben Johnson re having falsely denied taking steroids, 1990.
52. Pete Rose re his betting on baseball, 2004.
53. Bill O’Reilly, who’d said that if no weapons of mass destruction were found in Iraq, “I will apologize to the nation and I will not trust the Bush administration again,” 2004.
Henry Alford is the author of “Municipal Bondage” and “Big Kiss.”
==================================================================================================================================================================================
The Big City; Now Staging A Revival: Humiliation
By JOHN TIERNEY
Published: April 12, 2000
''SEEKING actors and actresses,'' the ad in Backstage announced, ''to write and perform their own short monologues for 'Big Kiss: An Evening of Humiliating Audition Stories.' '' The idea was to relive one of the most excruciating moments of your life, but this time in front of a large audience, and with the additional inducement promised in the ad: ''No pay.''
What actor could resist? You don't have to be in theater to be humiliated here -- it's the traditional New York greeting to every ambitious provincial -- but no one gets to experience it as often and as rawly as actors do. More than 100 offered to audition their worst audition stories.
''We got a bucketful of indignity and heartache,'' said Henry Alford, a director of the project and author of arguably the definitive work on theatrical humiliation, ''Big Kiss: One Actor's Desperate Attempt to Claw His Way to the Top.'' It is inarguably the definitive work on the theatrical career of Mr. Alford, an investigative humorist who at the age of 34 set out to become an actor.
He trained at the Royal Academy of Dramatic Art in England, played an extra in ''Godzilla,'' took his 69-year-old mother with him to improvisational comedy camp and auditioned for the role of Wilbur the Pig in ''Charlotte's Web.'' He didn't get the pig role, but he did become a host of a program on VH1, ''Rock of Ages.''
The evening of humiliation was co-directed by Mr. Alford's editor at Random House, Jonathan Karp. ''The most common traumas,'' Mr. Karp said, recalling the selection process, ''were exposed breasts and unzipped pants. Our biggest disappointment was one actor who skipped his audition. He had sent us a letter about having to read the female part in a Rogaine commercial, and I was really curious to see where he'd go with that.''
The eight winning losers appeared Monday night at the Westside Theater with Mr. Alford, who recounted his failure to get a permanent gig as a phone sex operator. (His blunder was trying to discuss a Virginia Woolf novel.) Another botched attempt at erotica was re-enacted by Greta Enzer, who had auditioned, in costume, for the role of a copulating koala.
Matt Meyer described his own animal adventures during an audition for the role of a teenage farm boy whose father breeds fighting cocks. The director ordered Mr. Meyer and the 10 other aspirants to get on stage and become the ''the most vicious, ferocious cocks you can be.''
The result was an ''absolutely terrifying'' 10 minutes, Mr. Meyer recalled as he reprised his rooster role. ''There are people pecking at you. There's horrifying cock-a-doodle-doing. I swear I heard some moos, and, like, sheep noises in there. It was like some weird Jimi Hendrix-flavored chicken hallucination. We were 11 classically trained, sweating, humiliated -- cocks.'' And then none of them got the part because the director decided they all looked too old to be a (human) teenager.
Victoria Labalme demonstrated the difficulty of following a director's orders to be cheerful but stern while sprinkling in a giggle and adding some sexuality to the line, ''Do you think we're out of our minds to sell Denny's Grand Slam Breakfast for just $1.99?''
Lewis Berg, who without any dance training had gone to a group audition for a Broadway chorus, donned once again the polka-dotted boxer shorts, drooping tights and size-15 Rockport black dress shoes that had set him apart from the professional dancers whose toes he crushed.
THE strangest story came from Micheline Auger, who had auditioned for a performance piece in ''Live and Let Die,'' a SoHo art exhibition.
''It's about life; it's about death; it's about process, man,'' she said, repeating the artistic rationale for her particular role: sitting in the middle of the gallery next to a pile of her own excrement. The story got worse from there. She got the gig.
But she appeared buoyed by the end of the show Monday, and so did the other actors.
''Once you call yourself a pathetic loser,'' Mr. Alford explained, ''you take that power away from others. You've reclaimed your pathos.'' He suggested that nonthespians could benefit from similar cathartic exercises.
''Every profession has job interviews and humiliating moments,'' he said. ''We all have days when we feel there's a sign hanging over our heads, 'Favorite Beatle: Ringo.' Imagine if postal workers had an evening like this. We could save some lives.''
===========================================
WHEN Amy Waldman first signed on to Facebook last year and started to send joking messages about good grammar back and forth with a new 18-year-old friend, Ms. Waldman’s 19-year-old daughter, Talia, upbraided her for not revealing that she was actually in her 40s.
“You have to tell her you’re old,” she explained, “because on Facebook, that’s creepy.”
Ms. Waldman created a Facebook group to commemorate the incident: “over 40 is ‘facebook creepy.’”
===========================================
American Lawbreaking
Why are there dead zones in U.S. law? The answer goes beyond the simple expense of enforcement but betrays a deeper, underlying logic. Tolerated lawbreaking is almost always a response to a political failure—the inability of our political institutions to adapt to social change or reach a rational compromise that reflects the interests of the nation and all concerned parties. That's why the American statutes are full of laws that no one wants to see fully enforced—or even enforced at all.
This political failure can happen for many reasons. Sometimes a law was passed by another generation with different ideas of right and wrong, but the political will necessary to repeal the law does not exist. Sometimes, as we'll see with polygamy or obscenity, the issue is too sensitive to discuss in rational terms. And sometimes the law as written is a symbol of some behavior to which we may aspire, which nevertheless remains wholly out of touch with reality. Whatever the reason, when politics fails, institutional tolerance of lawbreaking takes over.
The lawbreaking to which we shut our eyes reflects how tolerant U.S. society really is to individual or group difference. It forms a major part of our understanding of how the nation deals with what was once called "vice."
=========================================================================================
The motto of the Web site Erowid Experience Vaults is "You Cannot Deny the Experiences of Others." Erowid is the Web's best known site for recording drug experiences. Thousands of contributors describe in vivid detail their experiences with this or that pharmaceutical, creating something like a Zagat Guide for the discriminating drug user.
http://www.erowid.org/experiences/
Erowid makes for an engaging read, if you've ever wondered what taking PCP is like ("began to feel weird. … my head detached and wriggled itself backward through some plants"). There are some surprises, such as the commonly noted observation that heroin is "overrated." But what's particularly interesting about the Experience Vaults is how many of the drugs reviewed there aren't actually classic "illegal drugs," like heroin or cocaine, but rather pharmaceuticals, like Clonazepam.
That's because over the last two decades, the pharmaceutical industry has developed a full set of substitutes for just about every illegal narcotic we have. Avoiding the highly charged politics of "illegal" drugs, the pharmaceutical industry, doctors, and citizens have thus quietly created the means for Americans to get at substitutes for almost all the drugs banned in the 20th century. Through the magic of tolerated use, it's actually the other drug legalization movement, and it has been much more successful than the one you read about in the papers.
Since 1970 and the beginning of Nixon's war on drugs, the Justice Department has regulated drugs likely to be abused under the Controlled Substances Act, which categorizes such drugs into five "Schedules." Those in Schedule I—the most tightly controlled—are supposed to have a "high potential for abuse," and "no currently accepted medical use in treatment." These drugs cannot be prescribed by a doctor. Those in Schedules II through V can be prescribed, and that is what makes all the difference.
Since the beginning of the war on drugs, the "formal" drug decriminalization movement has focused on trying to change the status of marijuana, often through state referendums. While in the late 1970s and late 1990s advocates were quite hopeful, the extent of real legal change they've achieved must be described as relatively minor. Certainly, several states have passed medical marijuana laws, which provide doctors and patients with an immunity when the drug is used for medical purposes. And some cities, like Seattle, do not arrest people for possessing small amounts. But there's been no significant change in federal drug laws, or in the political conversation surrounding them, in decades. A leading presidential candidate from either party endorsing a "free weed" movement seems unimaginable. And beyond marijuana, the drug legalization movement barely even makes an effort.
That's why drug legalization is happening in a wholly different way. Over the last two decades, the FDA has become increasingly open to drugs designed for the treatment of depression, pain, and anxiety—drugs that are, by their nature, likely to mimic the banned Schedule I narcotics. Part of this is the product of a well-documented relaxation of FDA practice that began under Clinton and has increased under Bush. But another part is the widespread public acceptance of the idea that the effects drug users have always been seeking in their illicit drugs—calmness, lack of pain, and bliss—are now "treatments" as opposed to recreation. We have reached a point at which it's commonly understood that when people snort cocaine because they're depressed or want to function better at work, that's drug trafficking; but taking antidepressants for similar purposes is practicing medicine.
This other drug legalization movement is an example of what theorists call legal avoision. As described by theorist Leon Katz, the idea is to reach "a forbidden outcome … as a by-product of a permitted act." In a classic tax shelter, for instance, you do something perfectly legal (like investing in a business guaranteed to lose money) in order to reach a result that would otherwise be illegal (evading taxes). In the drug context, asking Congress to legalize cocaine or repeal the Controlled Substances Act of 1970 is a fool's errand. But it's far easier to invent a new drug, X, with similar effects to cocaine, and ask the FDA to approve it as a new antidepressant or anxiety treatment. That's avoision in practice.
Are the new pharmaceuticals really substitutes for narcotics? The question, of course, is what counts as a substitute, which can depend not just on chemistry but on how the drug in question is being used. But as a chemical matter the question seems simple: In general, pharmaceuticals do the same things to the brain that the illegal drugs do, though sometimes they do so more gently.
As many have pointed out, drugs like Ritalin and cocaine act in nearly the exact same manner: Both are dopamine enhancers that block the ability of neurons to reabsorb dopamine. As a 2001 paper in the Journal of the American Medical Association concluded, Ritalin "acts much like cocaine." It may go further than that: Another drug with similar effects is nicotine, leading Malcolm Gladwell to speculate in The New Yorker that both Ritalin and cocaine use are our substitutes for smoking cigarettes. "Among adults," wrote Gladwell, "Ritalin is a drug that may fill the void left by nicotine." Anecdotally, when used recreationally, users report that Ritalin makes users alert, focused, and happy with themselves. Or as one satisfied user reports on Erowid, "this is the closest pharmaceutical *high* to street cocaine that I have experienced." In the words of another, "I felt very happy, and very energetic, and I had this feeling like everything was right with the world."
The Ritalin/cocaine intersection is but one example. Other substitutes are opoid-based drugs available in somewhat legalized versions, with names like Vicodin and OxyContin.* Clonazepam and valium may not be exact substitutes for marijuana, but they all seem to attract users seeking the same mellowing effects and loss of some forms of anxiety. In short, the differences between pharmaceuticals and illegal drugs may ultimately be much more social than chemical.
So, as the FDA has licensed chemical substitutes for what were once thought to be dangerous drugs, does that mean roughly the same thing as the legalization of cocaine, marijuana, and heroin? Not exactly. Drugs prescribed are usually taken differently than recreational drugs, of course, even if at some level the chemical hit is the same. More broadly, the current program of drug legalization in the United States is closely and explicitly tied to the strange economics of the U.S. health-care industry. The consequence is that how people get their dopamine or other brain chemicals is ever more explicitly, like the rest of medicine, tied to questions of class.
Antidepressants and anxiety treatments aren't cheap: A fancy drug like Wellbutrin can cost anywhere from $1,000 to $2,400 a year. These drugs also require access to a sympathetic doctor who will issue a prescription. That's why, generally speaking, the new legalization program is for better-off Americans. As the National Center on Addiction and Substance Abuse at Columbia University reports, rich people tend to abuse prescription drugs, while poorer Americans tend to self-medicate with old-fashioned illegal drugs or just get drunk.
The big picture reveals a nation that, let's face it, likes drugs: Expert Joseph Califano estimates that the United States, representing just 4 percent of the world's population, consumes nearly two-thirds of the world's recreational drugs. In pursuit of that habit, the country has, in slow motion, found ways for the better-off parts of society to use drugs without getting near the scary drug laws it promulgated in the 20th century. Our parents and grandparents banned drugs, but the current generation is re-legalizing them. That's why Rush Limbaugh, as a drug user, is in a sense a symbol of our times. He, like many celebrities, is a recovering addict. But with Limbaugh being somewhat outside of the 1960s drug culture, the medical marijuana movement was not for him. Instead, Limbaugh, the addicted culture warrior, has become the true poster child of the new drug legalization program.
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“A word to the wise ain’t necessary,” Mr. Cosby likes to say.
“It’s the stupid ones who need the advice.”
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MY SECRET LIFE #25
MY SECRET LIFE #34
SECRETS OF LOVE AND MARRIAGE #19
LOVE DIARY #48
LOVE DIARY #53
I LOVE YOU #67
ROMANTIC SECRETS #37
10 OLD DC LOVE COMICS (1950s-1960s) GREAT READING! (170156995166)
$17.39
GIRLS LOVE STORIES #114
GIRLS LOVE STORIES #116
GIRLS ROMANCES #107
GIRLS ROMANCES #120
YOUNG LOVE #49
YOUNG LOVE #52
YOUNG LOVE #66
HEART THROBS #113
SECRET HEARTS #116
SECRET HEARTS #126
40 Golden Age Love/Romance Comic Books - $112.89 @ $2.82 ea.[/b]
strovei
Won: 322 = 755? comics
Winning cost:
$482.67 + $79.98 = $562.65
$65.00 shipping
$627.65 total @ $0.81 each
100 BAD GIRL sexy comics lot - kabuki bad kitty shi verotik
$41.99
50 UNDERGROUND ALTERNATIVE RISQUE COMIC BOOKS LOT non-mainstream, and underground types.
$37.99
Alan Moore's Glory #0 haley sexy variant cover (170153129525)
$1.55
Alan Moore's Glory #0 park sexy variant cover (170153129622)
$1.25
Alan Moore's Glory #1 finch sexy variant cover (170153129694)
$1.77
Alan Moore's Glory #1 haley sexy variant cover (170153129806)
$1.56
Alan Moore's Glory #1 linsner sexy variant cover (170153129898)
$0.99
Alan Moore's Glory #1 mychaels sexy variant cover (170153130014)
$0.99
Alan Moore's Glory #1 warp sexy variant cover (170153130052)
$0.99
Alan Moore's Glory #2 park sexy variant cover (170153130092)
$1.25
Alien Worlds #1 bruce jones al williamson joe chiodo (170153130452)
$1.91
Alien Worlds #2 bruce jones dave stevens ken steacy (170155434501)
$1.33
Anarcoma - adults only hardcover comic nazario (170153132231)
$0.99
Angel Fire #1-3 sexy bad girl crusade comics SHI tucci (170153132419)
$1.35
Arcane #1 illustrated adult fantasy tales comic (170153133914)
$0.99
ARComics Premiere #1 perhaps the first lenticular comic (170153134081)
$0.99
Aria/Angela #1-2 complete sexy bad girl image comics (170153134298)
$2.11
Art D'Ecco #1 fantagraphics magazine comic langridge (170153134712)
$0.99
Atomic Age Truckstop Waitress #1 adults only EROS COMIX (170153135654)
$0.99
Atomic City Tales #1-2 alternative KITCHEN SINK COMIX (170153135709)
$0.99
Avenue D fantagraphics comic magazine underground (170153137312)
$0.99
Avengelyne/Glory: the Godyssey #1 sexy photo variant (170153136433)
$1.30
B-Movie Presents #1-4 tasma congo queen mark paniccia (170153137514)
$2.25
Bad Eggs v2 #1-4 acclaim comics complete mini series (170153137695)
$1.91
Barbi Twins 1996 Calendar - byrne adam hughes linsner (170155444735)
$2.33
Battlebooks: Witchblade - sexy bad girl TUCCI comic (170155444919)
$1.99
Beck & Caul Investigations #1-5 caliber comics (170153139094)
$0.99
Bedlam #1 hard to find one-shot CHAOS independent comic (170153139117)
$0.99
Beowulf #1-6 complete speakeasy comics series (170153139149)
$2.24
Bizarre 3-D Zone #1 spain stout pound underground (170153139773)
$1.30
Blast Corps - rare Dark Horse Nintendo 64 pop mhan (170153140330)
$0.99
Blip & the C.C.A.D.S. #1-2 amazing comics computer geek (170153140389)
$0.99
Bloodscent #1 rare comico one-shot GENE COLAN art (170153140776)
$0.99
Book of Planet Comics - photo cover guide rare (170153141714)
$4.26
Bozo the Clown in 3-D #1-2 larry harmon blackthorne 3D (170153142889)
$0.99
Broken Boy - emo comic CYBEROSIA underground indies (170153143810)
$1.25
Burning Blue preview & variant - CRUSADE tucci planes (170153144192)
$0.99
Cain #1-2 harris comics david quinn hannibal king (170153144614)
$0.99
Caliber Presents #10-17 j o'barr vincent locke realm (170153144643)
$1.95
Cosmic Kliti #1 adults only EROS COMIX gray morrow (170153149358)
$1.77
Cynthia Petal's Really Fantastic Alien Sex Frenzy #1 (170153151424)
$0.99
Comico Christmas Special #1 tim sale DAVE STEVENS rude (170153148711)
$1.77
Concrete Jungle #1 acclaim comic QUANTUM WOODY priest (170153149274)
$1.77
Coven v2 #2 giant fight SUPREME variant cover jeph loeb (170153149955)
$0.99
Cow 2000 Special - sexy Witchblade photo cover (170153150216)
$1.25
Crack Busters #1-2 underground comics narc drugs (170153150227)
$0.99
Crash Metro and the Star Squad - MIKE ALLRED oni comic (170155450587)
$1.99
Crystal Night - underground comic kitchen sink (170153150842)
$2.84
Cultural Jet Lag #1 fantagraphics underground comic (170153150891)
$0.99
Cyberpunk book II #1-2 complete innovation comics set (170153151167)
$0.99
Daffy Qaddafi: Malice in Wonderland - parody comic duck (170153151477)
$0.99
Dale Kuipers Sketchbook - rare horror comic one-shot (170153151554)
$0.99
Danger Ranger #1 check comics BILL SIENKIEWICZ cover (170153151646)
$0.99
Danse #1 sexy bad girl with gun Mark Beachum cover (170153151659)
$0.99
Dark Justice #1 sexy black bad girl big boobs (170153151910)
$0.99
Dark Muse #1-4 sexy ELVIRA photo cover lady death (170153151930)
$5.50
Dark Shrine #1 & variants antarctic press sexy bad girl (170153152045)
$0.99
Darkness Collected Editions #1-4 garth ennis silvestri (170153152744)
$4.25
Day of the Dead Stooperman #1 michael oeming SUPERMAN (170153153098)
$0.99
Dead Boys #1 rare london night comic JAMES O'BARR (170153153135)
$3.25
Dead Boys v2 #1 rare london night comic EVERETT HARTSOE (170153153154)
$0.99
Dead Kid Adventures #1 hard to find KEITH GIFFEN comic (170153153212)
$1.25
Death Hawk #1-3 adventure comics sexy art ADAM HUGHES (170153153569)
$1.33
Death Rattle v3 #1-5 tony millionaire alex maleev o'bar (170153153711)
$2.02
Demented: Scorpion Child #1-2 sexy bikini photo cover (170153155601)
$2.55
Detour #0 1 2 really weird underground independent (170153156880)
$0.99
Devilman #1-3 complete verotik series simon bisley (170153157039)
$1.75
Dream Angel #0 special nude cover edition Deodato (170153158703)
$0.99
Diablo: Tales of Sanctuary - video game dark horse (170153157061)
$0.99
Disavowed #1-6 complete homage comics series (170153157420)
$1.50
DNAgents: Crossfire & Rainbow #1-4 complete DAVE STEVEN (170153157436)
$0.99
Doin' Time With OJ Simpson #1 boneyard press comic (170153157603)
$0.99
Dominion #1-2 ross richie keith giffen boom image (170153157679)
$1.25
Dominique #1 sexy bad girl one-shot CALIBER comic (170153157696)
$0.99
Dominique: Killzone #1 sexy bad girl CALIBER comic (170153157719)
$0.99
Donna Mia #1 sexy bad girl dark fantasy comic (170153157765)
$1.25
Double Image #1-5 sexy THE BOD comics complete (170153157925)
$0.99
Double Impact #0 sexy bad girl comic high (170153157936)
$0.99
Double Impact #4 sexy bad girl comic high (170153157974)
$0.99
Double Impact #6 sexy blonde buttshots variant cover (170153158022)
$1.25
Double Impact #7 sexy bad girl comic high (170153158051)
$0.99
Double Impact v2 #2 sexy bad girl comic high (170153158081)
$1.33
Down #1-4 warren ellis complete image comics series (170153158165)
$2.22
Ebony Warrior #1-2 african american black history set (170153159212)
$0.99
Elementals Sex Special #1 rare gold logo variant (170153160934)
$4.42
Elementals Sex Special #3 adults only comico comic (170153160970)
$2.25
Elementals Sexy Lingerie Special #1 comico TONY DANIEL (170153161020)
$2.25
Elementals: Fathom #1-3 sexy good girl jill thompson (170153161165)
$1.77
Elvis Mandible - strange PIRANHA PRESS one-shot comic (170153161734)
$0.99
Empire Lanes #1-4 peter gross independent series cool (170153161795)
$1.50
Empty Love Stories #1 rare ALEX ROSS romance comic (170153161832)
$0.99
Empty Love Stories #2 rare MIKE ALLRED romance comic (170153161867)
$0.99
Empty Love Stories Special - ty templeton comic signed (170153161906)
$0.99
Eudaemon #1-3 dark horse complete NELSON (170153162303)
$0.99
Evangeline #1-2 complete series DIXON sexy bad girl (170153162323)
$1.67
Ex Parte #1-2 hard to find independent MIKE WIERINGO (170153162557)
$0.99
Exotic Fantasy #1-3 will meugniot sketchbook EROS COMIX (170153162708)
$9.95
Exquisite Corpse - rare dark horse comic pander (170153162753)
$0.99
Extremely Silly Comics v2 #1 star trek muppets ben dunn (170153162778)
$0.99
Eye of the Storm #1-4 sexy computer generated art cool (170153162862)
$0.99
Ezra #1 sexy bad girl comic Greg Horn variant cover (170153162904)
$2.04
Ezra #1 sexy bad girl comic Ruiz variant cover (170153162928)
$0.99
Failed Universe #1 parody of marvel new universe comics (170153162951)
$1.91
Faith #1A sexy good girl Lightning Comic (170153162979)
$0.99
Fang #1-3 complete sexy sirius comics kevin taylor (170153163020)
$0.99
Father & Son #1-2 underground KITCHEN SINK COMIX (170153163109)
$0.99
Footman 15: Fairy Fire sexy bad girl one-shot FRANK CHO (170153163619)
$0.99
Footman 15: Therapy sexy bad girl one-shot FRANK CHO (170153163643)
$0.99
Forbidden Knowledge - mark wheatley one-shot comic (170153163654)
$0.99
Freak-Out on Infant Earths #1-2 DC comics CRISIS parody (170153164096)
$0.99
Freshmen #1-6 seth green complete image comics series (170153164255)
$3.50
Friends #1-3 renegade press comics phil yeh (170153164266)
$0.99
Fright Night 3-D monsters vampires aliens horror 3D NOW (170153164310)
$0.99
Fringe #1-5 sexy caliber comics PHIL HESTER (170153164341)
$0.99
Futuretech #1 fast and furious future cars neat comics (170153164433)
$0.99
Gate Crasher #1-5 mark waid amanda connor black bull (170153164534)
$0.99
Gate Crasher: Ring of Fire #1-4 & variants MARK WAID (170153164552)
$2.92
Gay Comix #10 howard cruse underground comic (170153164562)
$0.99
Geminar #1 image one-shot comic 72 page special (170153164606)
$0.99
Ginger Fox #1-4 sexy good girl comico photo covers (170153164843)
$0.99
Gore Shriek #1 greg capullo steve bissette horror comic (170153165142)
$0.99
GOTH #1-3 glenn danzig liam sharp horror comics (170153165162)
$1.25
Hanged Man #1-2 comics CALIBER alan grant complete mini (170153167362)
$0.99
Harsh Realm #1-6 complete harris comics JAMES HUDNALL (170153167666)
$1.95
Heartbreakers #1-4 complete allred brereton dark horse (170153167924)
$0.99
Hellina/Catfight #1 sexy bad girl comic signed COA (170153168115)
$0.99
Hero Sandwich #1-4 complete slave labor chuck austen (170153168470)
$1.25
Heroines Inc #1 sexy rare BILL SIENKIEWICZ comic HTF (170153168504)
$0.99
Homepage #1 sexy adults only comic CHUCK AUSTEN (170153168781)
$0.99
Howard Stern vs Rush Limbaugh #1 boneyard press comic (170153169147)
$0.99
I Dream of Jeannie preview sexy good girl signed comic (170153169354)
$1.25
I Dream of Jeannie #1 hard to find good girl comic (170155458151)
$7.77
I Love N.Y. - new york city 9/11 WTC comic DAWN linsner (170153169391)
$1.25
Image Summer Special - spawn invincible witchblade (170153169539)
$0.54
Independent Voices #3 james o'barr joe linsner pini (170153169735)
$0.99
Inferno #1 & 2X michael gaydos mike carey CALIBER comic (170153169763)
$0.99
Insane Clown Posse #1 hard to find CHAOS comic ICP (170153169811)
$1.25
Insane Clown Posse #1 photo variant CHAOS hard to find (170153169829)
$0.99
Insane Clown Posse #2 hard to find CHAOS comic ICP (170153169853)
$1.25
Insane Clown Posse #3 hard to find CHAOS comic ICP (170153169859)
$1.25
Insane Clown Posse: Halls of Illusion #1 rare comic ICP (170153169872)
$0.99
Invaders From Home #1-6 complete piranha press series (170153169957)
$0.99
Jerry Iger's Golden Features #1 matt baker joe chiodo (170153172017)
$0.99
Justice #1 sexy batman and robin as girls cover manga (170153172704)
$0.99
Kafka #1-6 early indy work by STEVE SEAGLE renegade (170153172945)
$2.95
Kansas Thunder #1-4 complete red menace comics series (170153172990)
$0.99
Kaos Moon #1 first printing - sexy bad girl comic (170153173007)
$0.99
Kaos Moon in Calibrations #2 first appearance war ellis (170153173285)
$1.77
Kid Blastoff #1 one-shot comic signed by EVAN DORKIN (170153173358)
$1.25
Kid Death & Fluffy lot - twisted comics event QUESADA (170153173384)
$2.25
Killer Instinct #3 rare ACCLAIM comic video game HTF (170153173444)
$0.99
Klown Shock! #1 northstar horror comic clown (170153173597)
$0.99
Kyra #1-5 sexy jungle girl in bikini comics photos (170155459819)
$5.99
Laser Eraser and Pressbutton #1-6 complete sexy series (170153174215)
$1.95
Last of the Viking Heroes Special #1-3 TMNT frazetta (170153174260)
$0.99
League of Super Groovy Crime Fighters #1 70s feel comic (170153174307)
$1.25
Legends of the Stargrazers TPB sexy comic ADAM HUGHES (170153174412)
$0.99
Libby Ellis #1-4 complete malibu sexy bad girl (170153174499)
$0.99
Libby Ellis v2 #1-4 complete eternity sexy bad girl (170153174504)
$0.99
Loaded & Re-Loaded - rare comics GARTH ENNIS (170153174668)
$3.25
Lycra-Woman & Spandex Girl Christmas '77 Special #1 (170153174856)
$0.99
Lynch Mob #1-4 complete mini series CHAOS comics pulido (170153174884)
$1.83
Man of Rust #1-2 jon byrne superman man of steel parody (170153175323)
$0.99
Maxwell Madd and his Wrestling Women - sexy good girls (170153175622)
$2.11
Merlin Realm 3-D #1 blackthorne comic in 3D (170153176702)
$0.99
Middle Class Fantasies #2 underground comic 1976 (170153176852)
$0.99
Monster Love - cute romance discovery comic (170153177305)
$0.99
Monster Matinee #1-3 sexy monster pin-ups by KYLE HOTZ (170153177380)
$0.99
More Fetish - boneyard press adults only comic (170153177422)
$2.11
Morty the Dog rare starhead comix underground (170153177480)
$2.11
Moxi's Friends Bobby Joe & Nitro #1 lightning comics (170153177511)
$0.99
Murder #1-3 erik larsen steve ditko toth wally wood (170153177691)
$5.50
Near Myths - trina robbins rip off press one-shot (170153178013)
$0.99
Necromancer #1-4 sexy bad girl comics Anarchy Press (170153178152)
$1.25
Negative Burn #13 milk cheese ALAN MOORE bendis GAIMAN (170153178172)
$1.77
Negative Burn #14 alan moore FLAMING CARROT phil hester (170153178187)
$1.77
Negative Burn #19 alan moore FLAMING CARROT caliber (170153178199)
$1.77
Negative Burn #29 replacement god TERRY MOORE hester (170153178260)
$0.99
Negative Burn #30 michael oeming mckeever budd root (170153178272)
$0.99
Negative Burn #32 brian bolland zander cannon caliber (170153178279)
$0.99
Negative Burn #36 brian bolland jim mahfood caliber (170153178297)
$0.99
Negative Burn #37 bendis ALAN MOORE warren ellis hester (170153178308)
$1.67
New Age Comics - prince valiant SPIRIT megaton man TMNT (170153178493)
$0.99
Nexus Meets Madman Special mike baron allred steve rude (170153178611)
$1.80
Nicki Shadow #0 & 1-2 cyberpunk comics Ted Naifeh (170153178906)
$0.99
Night Life #1-5 underground alternative unique comics (170153178935)
$0.99
Night Vision atomeka horror comic JOHN BOLTON one-shot (170153178963)
$0.99
Night Vision #1-4 complete series quinn hannibal king (170153178994)
$2.55
Night Vision: All About Eve - london night KYLE HOTZ (170153179028)
$0.99
Night Vision #1 chaotic fetish master printing variant (170153178983)
$1.25
Nova Girls in Fun House - munsters grampa al lewis (170153179266)
$0.99
Nova Girls in Kissing Canvas - lobdell nicieza photo (170153179277)
$0.99
Nova Girls in Space: 34-24-34 sexy photo comic (170153179299)
$0.99
Omen #1-3 hard to find TIM VIGIL northstar comics (170153179657)
$1.25
OMNI Comix #1 rare men in black magazine (170153179670)
$1.45
Outer Space Babes v3 #1 sexy bad girl comic one-shot (170153179803)
$0.99
Pandoras Box Comix #1 underground comic (170153180024)
$0.99
Patty Cake #1-3 tapestry caliber signed scott roberts (170153180171)
$1.25
Patty Cake #5-9 permanent press signed scott roberts (170153180178)
$1.79
Patty Cake Christmas - signed scott roberts tapestry (170153180193)
$0.99
Phoebe & the Pigeon People #3 underground magazine (170153180353)
$0.99
Phony Pages #1-2 terry beatty renegade press parody set (170153180365)
$0.99
Pineapple Perfume #1 sexy adults only comic (170153180390)
$0.99
Planet 29 #1-2 really weird CALIBER comics underground (170153180446)
$0.99
Platinum .44 #1 sexy bad girl with gun comic Burcham (170153180578)
$0.99
Point-Blank #1-2 magazine best of european strip art (170153180594)
$0.99
Poizon: Lost Child #1-2 sexy bad girl London Night set (170153180693)
$0.99
Pork Knight: This Little Piggy dark batman parody comic (170153180744)
$0.99
Primal: From the Cradle to the Grave - clive barker (170153180894)
$0.99
Prophet/Chapel: Super Soldiers #1-2 complete image (170153181073)
$0.99
Quantum and Woody #32 hard to find last issue ACCLAIM (170153181145)
$2.91
Rant #1-2 jg jones VINCENT LOCKE boneyard press (170153181283)
$0.99
Razor Uncut #13-22 sexy bad girl LONDON NIGHT comics (170153181331)
$2.50
Razor v2 #1-7 complete series LONDON NIGHT comics (170153181344)
$2.25
Razor: Burn #1-5 sexy bad girl LONDON NIGHT comics (170153181407)
$1.25
Reagan's Raiders #1 ultimate patriotic super heroes (170153181461)
$0.99
Really Weird Tales of Sci-Fi Erotasy 'N Stuff #1 adults (170153181506)
$0.99
Reflux #1-2 underground comics anthology STEVE UY (170153181619)
$0.99
Replacement God #1-6 zander cannon amaze ink series SLG (170153181676)
$2.91
Respective Banter strange NUNS vs a PRIEST comic weird (170153181697)
$0.99
Retaliator #1-2 rare eclipse comics TIM BRADSTREET (170153181711)
$0.99
Revolver #1-6 steve ditko bissette alex toth complete (170155467638)
$7.00
Romancer comics noir tale of passion and violent death (170153182265)
$0.99
Rough Raiders Annual #1 rare comic STEVEN HUGHES htf (170153182330)
$0.99
Saffire #1-2 sexy bad girl image comics MADUREIRA (170153182444)
$1.25
Saint Germaine #1-3 vincent locke CALIBER comics (170153182469)
$0.99
Satanika #0 glenn danzig simon bisley frank frazetta (170155468183)
$1.09
Screen Monsters Special: Clive Barker rare comic zone (170153182874)
$0.99
Secret Doors #1 dimension SECRET WARS parody comic (170153182906)
$0.99
Sentinel #1-2 harrier comics weird newspaper comic (170153182951)
$0.99
Shi: Senryaku #1-3 jeff smith adam hughes terry moore (170155471107)
$1.77
Shotgun Mary in the Redeemers #1 sexy bad girl with gun (170153183490)
$0.99
Shotgun Mary Shooting Gallery #1 sexy bad girl with gun (170153183504)
$0.99
Shotgun Mary: Devil Town #1 sexy bad girl oneshot comic (170153183529)
$0.99
Sidekicks: Super Fun Summer Special #1 morse WIERINGO (170153183556)
$0.99
Simpsons Comics and Stories #1 bartman bongo (170153183712)
$0.99
Sizzle Theatre #1 adults only Slave Labor Graphic comic (170153183853)
$0.99
Skabs #1-2 california comics PUNK signed scabs (170153183863)
$0.99
Skinheads in Love #1 bob fingerman EROS COMIX adults (170153183900)
$0.99
Sloth Park: Sumo Ball #1 south park parody comic (170153184042)
$0.99
Small Press Swimsuit Spectacular #1 evan dokin doran (170153184068)
$0.99
Smith's Adventures in the Super Mundane - emo boy comic (170153184093)
$0.99
Socialism Trek #1 political satire BILL CLINTON comic (170153184206)
$0.99
Solson's Comic Talent Star Search #1-2 rare comics (170153184331)
$0.99
Song of Mykal - neal adams jeff smith will eisner sakai (170155471279)
$1.36
Space Gal #2 sexy bad girl comic origin issue (170153184452)
$0.99
Space Slutz! #1 adults only comic Michael Avon Oeming (170153184470)
$0.99
Spaced #9-13 rare last issues SAM KIETH maxx (170155471336)
$3.33
Spoof Comics #2 batbabe ADAM HUGHES sexy batman parody (170153184709)
$0.99
Spoof Comics #3 sexy JIM BALENT wolverine parody (170153184730)
$2.25
Spoof Comics #5 sexy ADAM HUGHES daredevil parody (170153184745)
$3.25
Spoof Comics #12 sexy kirk lindo deathlock parody (170153184665)
$0.99
Spoof Comics #17 sexy bad girls excalibur parody comic (170153184685)
$0.99
Spoof Comics: Death of Superbabe - superman sexy parody (170153184759)
$1.25
Spoof Comics: Silver Sweetie - sexy surfer parody (170153184763)
$0.99
Spoof Comics: Spider-Femme vs Denim - sexy venom man (170153184779)
$3.25
Spoof Comics: Spoon vs Batbabe - batman spawn sexy (170153184789)
$0.99
Starlight #1 sexy outer space babes eternity comic (170153185060)
$0.99
Startling Crime Illustrated #1 anthology CALIBER comic (170153185098)
$0.99
Strange Embrace #1-3 rare underground DAVID HINE comics (170153185229)
$0.99
Stupid Comics TPB peter bagge fantagraphics neat stuff (170153185429)
$0.99
Stupid Heroes #1-2 mirage comics PETER LAIRD super (170153185458)
$0.99
Suburban High Life #1-3 joe sacco rick geary cirocco (170153185482)
$4.11
Sultry Teenage Super-Foxes #1-2 sexy bad girl comics (170155468958)
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Swarm #1 sexy good girl with gun comic insect motif (170155471848)
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Tales From Dimension 5 #1 playmate Rebecca Ferratti (170153185947)
$1.52
Tales of Helpless Anger #1 mature anthology comic (170153186017)
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Tenth v2 #1-14 tony daniel image comics complete series (170153186397)
$7.40
Tenth: Black Embrace #1-4 complete series sexy comics (170153186424)
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the Bradleys TPB peter bagge fantagraphics rare comic (170153186786)
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the Carneys #1 archie comics freaks one-shot comic (170153186802)
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the Collected Sacker - john howard underground comic (170153186833)
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the Con Game - star trek convention parody comic (170153186869)
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the Lovelies: Signs of the Zodiac 1965 nude calendar (170153187057)
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the Detectives #1 hard to find one-shot ADAM HUGHES (170153186907)
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the Frankenstein Dracula War #1-3 topps Mike Mignola (170153186966)
$2.91
the Librarian - rare fantagraphics one-shot comic (170153187022)
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the Score #1-4 sexy complete series piranha press (170153187122)
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the Six 3 Stooges #1 three biography comic fantagraphic (170153187148)
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the Story of Operation: Desert Storm #1 new england NEC (170153187267)
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Tick-Tock Follies - slave labor graphics one-shot comic (170153187461)
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Toyboy #1-7 complete series CONTINUITY neal adams set (170153187690)
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Trauma Corps #1 sexy bad girl kyle hotz Joe MADUREIRA (170153187715)
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Tribe #0-3 rare complete set LARRY STROMAN image series (170153187781)
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Truly Tasteless and Tacky #1 weird CALIBER comic (170153187866)
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Truth Serum #1 slave labor graphics indy comic 2002 (170153187884)
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Tuesday #1 true story from terrorist attack 9-11 WTC (170153187890)
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Tundra Sketchbook #6 prestige format SCREAMING MASKS (170153187924)
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Tundra Sketchbook #9 prestige format MICHAEL DOONEY (170153187938)
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Ultra Klutz #1 hard to find first underground comic (170153188061)
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Ultraverse Double Feature #1 prime solitaire one-shot (170153188100)
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Ultraverse Origins #1 hard to find malibu comic QUESADA (170153188126)
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Ultraverse Unlimited #1 adam warlock rune kelley jones (170153188141)
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Uncut Comics #0-1 underground comics by Christians (170153188228)
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Undie Dog #1 underdog parody comic independent (170153188544)
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Vault of Screaming Horror - hard to find FANTACO comic (170153189151)
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Verotika #3 jae lee verotik frank frazetta nancy collin (170155472699)
$1.09
Vic & Blood #1 harlan ellison richard corben mad dog
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VIP #1 - tom derenick art PAMELA ANDERSON (170153189430)
$0.99
Vortex #0 hard to find SUPER NINTENDO comic NES rare (170153189570)
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Vroom Socko #1 evan dorkin slave labor graphic comic (170153189630)
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Whacked! the Adventures of Tonya Harding parody comic (170153191010)
$0.99
Wildstorm Ultimate Sports rare image comic ADAM HUGHES (170153191173)
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Witchblade/Weasel Guy - rare sexy bad girl comic (170153191372)
$4.25
World Domination #1 rock-it comix magazine rare (170153191480)
$0.99
Writer's Block 2003 - mark waid jo duffy roger stern (170153191513)
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X-Farce #1 parody comic Bill Maus DEADPOOL x-force (170153191538)
$3.25
X-Ray Comix #1 sexy adults only good girl comic (170153191658)
$1.27
Xena #1 sexy bad girl brainstorm comic Kirk Lindo (170153191687)
$3.24
Young Cynics Club - dark horse comic emo one-shot (170153191719)
$0.99
Young Dracula #1 hard to find Caliber Comic vampire (170153191729)
$0.99
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TRANS GLOBAL COMICS AND MAGAZINES,
INSTITUTE OF ADVANCED MAGAZINE STUDIES,
DELTA D GICLEE GALLERY AND DESIGN ATELIER,
MONSANTO WESTINGHOUSE, CARSTAIRS BAGLEY, JR., &
LOUIS COOK JAMES, JR., (WITH SHOTGUN SINCLAIR)
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