Not that it is any less non-canonical, I think that name signifies “Jesus-brother” rather than a specific individual, and after all Jesus is really named Immanuel, God is with us. Fleeing the Holy Land, Jesus returned to Japan, carrying the only two relics that could be salvaged, a lock of His mother’s hair and Isukiri’s dismembered ear, to retire and become a rice-farmer. The family that claims descent from the Messiah are devout Buddhists.
Dangerous Minds shares an interview with bon-viveur and iconic gadfly Quentin Crisp, wherein he reviews and rates his favourite gangster films, as the portrayal of violent death can be rather life-affirming.
Most of the movies that make Crisp’s top-ten list are classics from the Howard Hawks, Prohibition era (strange how most of the mob comes out of nannying) but interestingly also include a couple contemporary (to the time of the critique), like Millers’ Crossing and Reservoir Dogs. Mister Crisp (perhaps most unrecognised to modern audiences as Queen Elizabeth I in the adaptation of Virginia Woolfe’s—another poisoned-pen—Orlando) was himself celebrated as the titular character in the Sting song Legal Alien/Englishman in New York.
Though sometimes touted with great optimism as the desk-side Industrial Revolution, democratizing manufacture and taking the power away from big business (and one ought not to curb one’s aspirations on this account), invoking how inkjet printers did not put the publishing magnates into arrears Wired! magazine presents more of a tamed but nonetheless important speculation on the possibilities of 3D printing with modelling to help artists and artisans perfect their final product.
Sort of like confronting a first draft with red ink and the necessary detachment from one’s own words, 3D modelling and experi- mentation allows one to explore folds, contours and stresses nearly as on the native media and approach the potters’ wheel, as it were, with a bit more confidence. But what do you think? There’s probably much to be gained by the return of cottage-industry or the ability to assert some independence from the factories and sweat-shops or even one’s warranty and service-agreement by being able to produce one’s own quasi-unauthorised replacement parts. Perhaps the desktop revolution did not occur with printing and self-publishing (at least, not to order) in part because the presses were so cheap but the ink so dear. Designing our own printers, however, perhaps we won’t let that short-coming materialise, unless we are placated with instant delivery on demand and the tumult of obsolescence.
From the news bureau of Weird Universe comes reports that the United States Air Force has been forced to recall hundreds of tubes of promotional lip balm due to trace amounts of tetrahydrocannabinol in the hemp oil component of the salve’s ingredients.
Though airmen and family members that were potentially exposed to this reefer madness at an Alaskan base were not at risk of getting even a mild high from this tiny, tiny amount—nor even risked showing up hot a drug-screening, although some argue that lip-balm can become habit-forming and lead to dependency—it would not have been in keeping with the armed forces zero-tolerance policy nor in the spirit, I guess, of the office and service that this give-away was endorsing—the Sexual Assault Prevention and Response coordinator, otherwise known as the installation SAPR.
Dangerous Minds shares a holiday tradition that channels a recitation of Charles Dickens’ A Christmas Carol in Prose, Being a Ghost-Story of Christmas (to wit) to be enjoyed by in whatever medium one prefers—though I’d agree that this sรฉance with the venerable narrator Vincent Price ought to be one’s first resort.
It’s been argued that Dickens’ novella created and established the holiday in its received customs—nearly with a single, resonating stroke that elevated the celebration to his current status, but the classic story that gave Christmas and charity new leases (apparently both under attack) was originally envisioned as a pamphlet. The draft whose working title An Appeal to the People of England, on behalf of the Poor Man’s Child encapsulates Dickens’ motivation and concerns was penned in response to the network of crushing debt, obligation to work and dehumanising competition among employers sprinting towards efficiency. Realising that such a petition would only reach a limited audience (perhaps persuaded by spirits himself), Dickens decided he could possibly affect more social change by telling a story.
