.@W3C Tim Berners-Lee invented the Internet! Now see his sexy plans to USE it! @timberners_lee timbl@w3.org

 

 

.@W3C @timberners_lee invented the Internet! 

Now read his sexy high-level email! 

High level sexy JS rdf interface?

From: Tim Berners-Lee <timbl@w3.org>

Ramble:

The low-level TF is working on low-level objects to represent RDF concepts, where you have things like


 > x.datatype
  'http://www.w3.org/2001/XMLSchema#integer’;
 > x.value
  ‘2’

in other words 
 - easy for the quadstore implementers to input and output
 - easy to test against RDF specs

But is this set if requirements rather different from the needs ot API users. basically a sexy RDF implementation is one which:

 - Has very natural integration with JS (ES6)
 - Has no visible artifacts of the RDF system like the URIs of data types



 - add together numbers
 - iterate over RDF collections just as Arrays. 

There is another set of requirements for what you might call a high level 

where you’d maybe like things like


 x = turtle(‘2’)
 y = turtle(‘2.0’)
 if (x  !== y) {
  var z = x / y;
 }

 > x
  2
 > y
  2.0

 > x.datatype
  ''http://www.w3.org/2001/XMLSchema#integer'



 > a = turtle(‘( 1 “one”) ‘);
 > a.length
  2
 a[1].length
  3

Questions around this include

 - can we actually use javascript numeric, array objects for our nodes?
 - can we use subclasses of them?



Dates and decimal numbers are examples  datatype which developers need to use all the time.  Jost look at your bank data for decimals which you do not really want to be JS real numbers, and datetimes.   GPX files are full of datetimes.  Why not store them as subclasses of a JS Date class?

Or even ambush it the Date type itself?

 Date.prototype.datatype = ''http://www.w3.org/2001/XMLSchema#dateTime”
 Date.prototype.rdfValue = function(return  isoformat(self) + “^^”+ 
   ''http://www.w3.org/2001/XMLSchema#dateTime”)


 var then = store.any(item, OFX.date); // get date of item
 var now = rdf(Date.now());   // rdf() is smart and gives me and RDF node
 ago = now - then;      //  seconds

 
Or to avoid stomping on the main JS classes one could instead use special RDF functions instead of 

 rdf.datatype(2);
  ''http://www.w3.org/2001/XMLSchema#float';

 rdf.datatype(“2");
  ''http://www.w3.org/2001/XMLSchema#string';

 rdf.datatype(Date.now());
  ''http://www.w3.org/2001/XMLSchema#dateTime';

 rdf.datatype(“2");
  ''http://www.w3.org/2001/XMLSchema#string';


Then we could say do

 g.add(item, OFX.date, Date.now())
 g.add(item, amount, Decimal(‘125.06'))
 g.add(item, OFX.payee, “Acme co")

John Currin makes paintings that get people talking. In a time of widespread academic feminism, his paintings of voluptuous nudes came across as, perhaps, unexpectedly daring. And so was his masterful technique a breath of fresh and unconventional beauty in a time of bad painting fetching high prices. Currin has never been concerned with fashions or political correctness. From the beginning, he has set his own somewhat cantankerous course, and, fortunately for him, the world has come to appreciate his candor, his cleverness, and the talent that sometimes seems to afflict him. I interviewed him over lunch, the day after I did the same with his (very expecting) wife and muse,

 

John Currin

Watch the Video »

GLENN O’BRIEN: Is the baby overdue? Is there a date when the baby’s officially supposed to...

JOHN CURRIN: Yeah, like, now.

O’BRIEN: That’s what I figured.

CURRIN: Well, the actual date was either Hitler’s birthday or Larry Gagosian’s birthday. But Rachel’s never really done it on the day it’s supposed to be . . . I think it’s gonna happen, like, tomorrow. [laughs]

O’BRIEN: After the first one, they tend to get easier, no?

CURRIN: I don’t know. The second one was harder. He was, like, stuck up inside. Rachel probably told you the story. It had to do with this little, like . . .

O’BRIEN: Vacuum, yeah.

CURRIN: Yeah, like a suction yarmulka thing that goes on the kid’s head—which always blows my mind because everybody’s always yelling about how you have to support your child’s head because their necks are very weak. Well, it’s like, “Uh-uh!” [laughs]

O’BRIEN: I have a big ridge in my head from the forceps. They pulled me out with, like, pliers.

CURRIN: Rachel has that, too. Rachel was born on an Indian reservation—so it was pretty low-tech. Her dad was in the Army medical corps. Instead of going to Saigon, he went to Fort Defiance, and so she has this funny lump. [laughs]

O’BRIEN: So, when did you know that you wanted to be an artist?

CURRIN: Well, I guess when I was 11 or 12. I mean, that’s what I was good at. My uncles were doctors, so I had some vague idea that it would be cool to be a doctor, mostly because they had swimming pools. [laughs] I thought, Hey, if you’re a doctor, you can have a swimming pool. But as soon as I could think rationally about it, I wanted to be an artist. I guess I thought I was gonna be an illustrator or something, because I didn’t really know that art still existed. I think I had this idea that it had kind of turned into naked hippies hangin’ out in their lofts. [laughs] You’d see Christo or someone like that . . . When I was a kid, I was more interested in album covers and stuff like that. I was studying violin, and my violin teacher’s husband was an artist. They were from the Soviet Union, and I started taking lessons with him. He couldn’t really speak English, but I started painting with him on weekends. He was a very good painter. He did traditional still lifes. He had a garret studio with a parrot in a cage. It really looked like a 1930s movie-version of a studio. The first time I saw it I was like, “Wow! This is what I wanna do.” Aside from the old masters, I had never seen somebody making good paintings before. So I realized that maybe there’s an actual art world.

O’BRIEN: Yeah.

CURRIN: I think at around the same time I saw some Francis Bacons and [Willem] de Kooning stuff as well—you know, contemporary art.

O’BRIEN: I saw a documentary about Jack Levine and they asked him what made him want to become an artist, and he said that he found out you could draw naked women and get paid for it! [both laugh]

CURRIN: He’s pretty much right on the money there.

O’BRIEN: So what was your earliest work like?

CURRIN: Copies of my teacher’s stuff. And then I made some sort of Frank Frazetta naked girls that I didn’t show my teacher. I did still life and anatomy and copies of Degas that he would give me to copy—you know, drawings out of books.

O’BRIEN: Frank Frazetta—is he an illustrator?

CURRIN: Yeah, he’s like Conan the Barbarian. He’s the originator of the style that’s now sort of standard. Do you remember the Clint Eastwood movie The Gauntlet [1977]?

O’BRIEN: Yeah.

CURRIN: The movie poster was done by Frank Frazetta. It’s the hero standing atop a hill of either corpses or tires or something, with a babe kind of collapsing onto him.

O’BRIEN: Sondra Locke collapsing, yeah.

CURRIN: But he’s actually very good. And when I went to college, and I went to art school, I started to realize that Warhol was cool and that pop art was fun. But it was kind of gradual, because in my high school, there was certainly no acknowledgement that you could become an artist or anything like that.

O’BRIEN: When I was in high school, the idea of becoming an artist was that you could go work for Mad magazine.

CURRIN: Oh, yeah. That would’ve been pretty great, actually! [laughs] There would have been no shame in that.

O’BRIEN: I was thinking about erotica in my youth, and I remember looking at nudes in the Encyclopedia Britannica—black-and-white plates of marble statues of nudes. What was your first experience of erotica?

CURRIN: My mom had a large collection of Coronet, which was kind of a general interest and art magazine.

O’BRIEN: It was a small size, right?

CURRIN: Yeah, and it changed radically at some point. It became family-ish. But before that, it had amazing Paul Outerbridge pictures and European art-photography, nude photography. And there were all kinds of general interest articles. There’d be, like, a pro-Mussolini article, like, “What an amazing man of action,” you know, “Pilots his own plane . . .” And then, “How to Have a Good Conversation”—sort of high-minded American stuff. There’d be an article on Meissen porcelain . . . that kind of thing. And so those had a lot of nude women in them.

O’BRIEN: It’s funny, I hadn’t thought of that since I was a teenager, but my parents got Coronet, too. I remember one particular photo with a nude girl in stockings with her legs crossed, holding, like, a champagne glass. But it was okay because the photographer was an important artist.

CURRIN: Yeah. We also had an Eadweard Muybridge book. Most of the women in the photographs are not so great-looking. But there are a few amazing-looking dancers. I used to look at that a lot, and I think my uncle the doctor had some Playboy magazines.

O’BRIEN: So when did you first paint a nude? When you were studying with the Russian?

CURRIN: No, I didn’t have a model then. I guess when I went to art school they had models. And they did their best to make it not something you look forward to. It’s, like, early in the morning, and it’s six hours long. And you fall asleep looking at this person, and it’s not very erotic.

O’BRIEN: And the models were probably pretty gnarly, right?

CURRIN: Sometimes there’d be surprisingly great-looking models. There was this one redhead at Carnegie Mellon who was great-looking, andat Yale there were fantastic-looking models. A lot of the acting students would do modeling in the arts school, so there were some gorgeous girls, but the cliché in our school was to get either the really emaciated person or the really obese person—which is stupid, you know? The idea is to get you to be able to draw. It’s better to have good-looking people. But you’d often have the semi-homeless guy—which would be awful, you know? Especially if they got erections while you were drawing them—which is just totally gross. But I didn’t start doing nudes until I was in art school, and I tried to do, like, de Kooning and Polke and Schnabel. I tried to work like that.

O’BRIEN: Rachel said that you did abstract painting for a while.

 while.

John Currin makes paintings that get people talking. In a time of widespread academic feminism, his paintings of voluptuous nudes came across as, perhaps, unexpectedly daring. And so was his masterful technique a breath of fresh and unconventional beauty in a time of bad painting fetching high price ...»See Ya

Brigitte Lahaie x-star confess 'Moi la scandaleuse'

Uploaded by cynophagie on Feb 28, 2011

Brigitte Lahaie x-star confess 'Moi la scandaleuse'

http://whatgetsmehot.posterous.com/brigitte-lahaie-x-star-confesses-promotes-moi

 Brigitte Lahaie French X Star confesses/ promotes  'Moi la scandaleuse' (autobiography)
(Apostrophes) 14/03/1992......

to http://whatgetsmehot.posterous.com

Uploaded by cynophagie on Feb 28, 2011 Brigitte Lahaie x-star confess 'Moi la scandaleuse' http://whatgetsmehot.posterous.com/brigitte-lahaie-x-star-confesses-promotes-moi  Brigitte Lahaie French X Star confesses/ promotes  'Moi la scandaleuse' (autobiography) (Apostrophes) 14/03/1992...... to http: ...»See Ya

Dark Side Of Porn Debbie Does Dallas (Uncovered)

Dark Side Of Porn Debbie Does Dallas (Uncovered) ...»See Ya

Ren & Stimpy Banned Final Show

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The Ren & Stimpy Show, often simply Ren & Stimpy, is an American animated television series, created by Canadian animator John Kricfalusi. The series concerns the adventures of the titular characters: Ren Höek, a psychotic chihuahua, and Stimpson J. Cat, a good-natured, dimwitted cat. The show officially premiered on August 11, 1991, later the same day as the debut of Doug and Rugrats, the three of which comprised the original Nicktoons. The show ran for five seasons on Nickelodeon, ending its original run with the Christmas episode "A Scooter for Yaksmas." The show is animated in various styles reminiscent of the Golden Age of American animation. It is particularly memorable for its off-color humor, black comedy, and innuendo, all of which contributed to the production staff's altercations with Nickelodeon's Standards and Practices department. ren_and_stempy_Final_Episode.mp4 Watch on Posterous Ren Höek is a scrawny, violently psychotic "asthma-hound" Chihuahua.[1] Kricfalusi originally voiced Ren, styled as "a bad imitation of Peter Lorre".[2] When Nickelodeon fired Kricfalusi, Billy West, already the voice of Stimpy, took the role using a combination of Burl Ives, Kirk Douglas, and a slight "south of the border accent"[3] for the rest of the Nickelodeon run. Stimpson "Stimpy" J. Cat is a three-year-old,[4] fat, stupid cat.[1] West voiced Stimpy for the Spümcø and Games Animation episodes, basing the voice on an "amped-up" Larry Fine.[3] The show features a host of supporting characters; some only appear in a single episode, while others are recurring characters, who occasionally appear in different roles. Ren and Stimpy play various roles themselves, from outer-space explorers to Old West horse thieves to nature-show hosts.[5] While the characters are sometimes set in the present day, the show's crew tended to avoid "contemporary" jokes that reference current events.[6] Some of the supporting characters factor directly into the storyline, while others make brief cameos. Other characters, such as Mr. Horse, are exclusively cameo-based, appearing in many episodes in scenes that have little bearing on the plot, as a running gag.[7] Some notable artists and performers who voiced incidental characters on the show are Frank Zappa, Randy Quaid, Gilbert Gottfried, Rosie O'Donnell, Dom DeLuise, Phil Hartman, Mark Hamill, Frank Gorshin, and Tommy Davidson.[8] Episodes Main article: List of The Ren & Stimpy Show episodes The series ran for five full seasons, spanning 52 episodes.[9] The show was produced by Kricfalusi's animation studio Spümcø for the first two seasons. Beginning in season three (1993-1994), the show was produced by Nickelodeon's Games Animation. The episode "Man's Best Friend" was produced for season two, but never aired as part of the Nickelodeon series, debuting later in the show's adult spin-off. Another episode, "Sammy and Me / The Last Temptation", aired only once the original Nickelodeon run ended. History Conception Bill Wray recalls Kricfalusi created the Ren and Stimpy characters around 1978 for personal amusement during his time in Sheridan College in Canada.[6] According to commentary in the DVD box set of the show's first two seasons, Kricfalusi was inspired to create Ren by an Elliott Erwitt photograph, printed on a postcard, called "New York City, 1946", showing a sweatered chihuahua at a woman's feet.[10] In a call for new series by Nickelodeon, Kricfalusi assembled a presentation for a variety show titled Our Gang, with a live action host presenting different cartoons. Each cartoon parodied a genre, and Ren and Stimpy parodied the "cat and dog" genre. Vanessa Coffey, the producer of the show, did not like the general idea, but she did like Ren and Stimpy.[6] Spümcø (1991-1992) The show's pilot began production in 1989, after Kricfalusi pitched and sold The Ren & Stimpy Show to Nickelodeon.[2] The pilot was done by Kricfalusi's own animation house, Spümcø, and screened at film festivals for several months before the show was announced in Nickelodeon's schedule.[11] The first episode of the show debuted on August 11, 1991, premiering alongside Doug and Rugrats.[12] Spümcø continued to produce the show for the next two years while encountering issues with Nickelodeon's Standards and Practices.[6] Kricfalusi describes his early period with Nickelodeon as being "simple", as there was only one executive, Coffey, with whom he got along; when another executive was added, he moved to alter or discard some of the Ren and Stimpy episodes produced, but Kricfalusi says the episodes stayed intact since he did a "trade" with Coffey: he would have some "really crazy" episodes in exchange for some "heart-warming" episodes.[13] In his blog, Kricfalusi described The Ren & Stimpy Show as the "safest project I ever worked on" while explaining the meaning of "safe" as "spend a third of what they spend now per picture, hire proven creative talent, and let them entertain". He estimates The Ren & Stimpy Show cost around six million United States dollars to produce.[14] Responses to the show were mixed.[15] Terry Thoren, then the CEO and president of Klasky Csupo, said that Kricfalusi "tapped into an audience that was a lot hipper than anybody thought. He went where no man wanted to go before - the caca, booger humor".[16] Even as the show came to garner high ratings for Nickelodeon,[2][15][17] tensions between Kricfalusi and Nickelodeon rose. Many of the people involved in the show attribute Kricfalusi's friction with Nickelodeon to episodes not being produced in a timely manner,[18][19][20][21] though who is at fault is contested by Kricfalusi, who attributed the delays to Nickelodeon, withdrawing their approval to scenes and episodes that they had previously approved.[6] Another issue of contention was the direction of the show; Nickelodeon later asked the new studio to make it lighter and less frightening.[6] Kricfalusi points specifically to the episode Man's Best Friend, which features a violent climax where Ren brutally assaults the character George Liquor with an oar, as leading to his firing.[22] Games Animation (1993-1996) Nickelodeon fired Kricfalusi in late September 1992.[21] Without Kricfalusi, Nickelodeon moved production from Spümcø to its newly-founded animation department, Games Animation, which later became Nickelodeon Animation Studios.[23] Bob Camp took the role of director, while West, having refused Kricfalusi's request to leave along with him,[18] now voiced Ren in addition to Stimpy.[6][20][24] Fans and critics felt this was a turning point in the show, with the new episodes being a considerable step down from the standard of those that preceded them.[23][25] Ted Drozdowski of The Boston Phoenix stated in a 1998 article that "the bloom faded on Ren & Stimpy."[26] Michael Barrier, an animation historian, writes that while the creators of the Games episodes used bathroom humor jokes that were similar to those used by Kricfalusi, they did not "find the material particularly funny; they were merely doing what was expected."[27] The show ended its original run around Christmas 1995 with A Scooter for Yaksmas, although one episode from the final season, Sammy and Me / The Last Temptation, remained unaired.[28] It was later aired on Nickelodeon's sister network, MTV.[citation needed] Production Production system The Ren & Stimpy production system emulated those of Golden Age cartoons: a director would oversee all aspects of a cartoon from start to finish;[7][29] this is in contrast to cartoon production methods in the 1980s, where there was a different director for voice-actors, and cartoons were created with a "top-down" approach to tie in with toy lines.[2][30] Bill Wray described the initial lack of merchandise as "the unique and radical thing" about The Ren & Stimpy Show, as no toy company pre-planned any merchandise for the show, and Nickelodeon did not want to use "over-exploitive" merchandising.[6] Kricfalusi notes that Ren & Stimpy re-introduced the layouts stage, and re-emphasized the storyboard stage.[31][32][33] Eventually, larger storyboard panels were drawn, which allowed for the stories to be easily changed according to reactions from pitch meetings, and for new ideas to be integrated.[34] Animation style The show's aesthetics draw on Golden Age cartoons,[7][15][35] particularly those of Bob Clampett in the way the characters' emotions powerfully distort their bodies.[27] The show also emphasized specific acting and unique expressions.[36] One of the show's most notable visual trademarks is the detailed paintings of gruesome close-ups, along with the blotchy ink stains that on occasion replace the standard backgrounds, "reminiscent of holes in reality or the vision of a person in a deep state of dementia".[37] This style was developed from Clampett's "Baby Bottleneck", which features several scenes with color-cards for backgrounds.[38] The show incorporated norms from "the old system in TV and radio" where the animation would feature sponsored products to tie in with the cartoon, however in lieu of real advertisements, it featured fake commercial breaks advertising nonexistent products, most notably Log.[39] Carbunkle Cartoons, headed by Bob Jacques and Kelly Armstrong, is credited by Kricfalusi for beautifully animating the show's best episodes, improving the acting with subtle nuances and wild animation that couldn't be done with overseas animation studios.[36][40] Some of the show's earlier episodes were rough to the point that Kricfalusi felt the need to patch up the animation with sound effects and "music bandaids," helping the segments "play better, even though much of the animation and timing weren't working on their own."[41] KJ Dell'Antonia, a reviewer for Common Sense Media, describes the show's style as changing "from intentionally rough to much more polished and plushie-toy ready."[42] Music The Ren & Stimpy Show features a wide variety of music, ranging from folk to pop to jazz. The opening and closing themes are performed by a group of Spümcø employees under the name "Der Screamin' Lederhosen".[43] Three Ren & Stimpy albums have been released: Crock O' Christmas, You Eediot!, and Radio Daze. In addition to music written specifically for the show, a number of episodes utilized existing works by composers such as jazz musician Raymond Scott,[44] Debussy, Tchaikovsky, Beethoven, Alexander Borodin, Antonín Dvořák, Rossini (particularly The Thieving Magpie), and a host of "production music" by composers such as Fredric Bayco, which fans later compiled into several albums.[45][46] Stimpy's rousing anthem titled "Happy, Happy, Joy, Joy", was composed by Christopher Reccardi[7] and written by Charlie Brissette and John Kricfalusi. A cover of this song, performed by Wax, is included on the 1995 tribute album Saturday Morning: Cartoons' Greatest Hits, produced by Ralph Sall for MCA Records. The line "Happy, happy, joy, joy" was first used in episode 3 during the series; the song was first played during episode 6. It is sung by a character introduced as "Stinky Whizzleteats",[47] who is named in the episode's script as Burl Ives.[48] Several references to Burl Ives's songs and movie quotes are sprinkled through the song, giving it its surreal air.[citation needed][talk] Controversy and censorship The creators of Ren and Stimpy did not want to create an "educational" series. This stance bothered Nickelodeon.[6] As the show grew in popularity, parent groups complained that Stimpy was subject to repeated violence from Ren.[citation needed] Other sources for complaint were the toilet humor and harsh language.[49][50] Despite these sentiments by Nickelodeon and parental groups, UK CIC Video home releases of the Spümcø episodes received U (all ages) ratings from the BBFC, while the "lighter" Games episodes received PG ratings.[51] Some segments of the show were altered to exclude references to religion, politics and alcohol. The episode "Powdered Toast Man" was stripped of references to the Pope and the burning of the United States constitution and bill of rights, while in another episode, the character George Liquor's last name was erased. Several episodes had violent or gruesome scenes shortened or removed, including a sequence involving a severed head, a close-up of Ren's face being grated by a man's stubble, and a scene where Ren receives multiple punches to the stomach from an angry baby. One episode, "Man's Best Friend", never aired in the show's original run for its violent content. The show's spin-off, Ren & Stimpy "Adult Party Cartoon", debuted with this "banned" episode.[22][52][53][54][55] Adult Party Cartoon (2003-2004) Main article: Ren & Stimpy "Adult Party Cartoon" In 2003, Kricfalusi relaunched the series as Ren & Stimpy "Adult Party Cartoon". The new version was aired during a late night programming block on Spike TV and was rated TV-MA. The series, as the title implies, explores more adult themes, including an explicitly homosexual relationship between the main characters,[56] and an episode filled with female nudity.[57] Billy West declined to reprise his role as the voice of Stimpy, saying that the show was "not funny" and that joining it would have damaged his career.[58] Eric Bauza voiced Stimpy, while Kricfalusi reprised the role of Ren. The show began with the "banned" Nickelodeon episode "Man's Best Friend" before debuting new episodes. Fans and critics alike were unsettled by the show from the first episode,[11] which featured the consumption of bodily fluids such as nasal mucus, saliva and vomit.[56] Only three of the ordered nine episodes were produced on time. After three episodes, the entire animation block was removed from Spike TV's programming schedule.[59] VHS, LaserDisc, UMD Sony Wonder initially distributed various collections of episodes of The Ren & Stimpy Show on VHS. These collections did not group episodes by air dates or season.[63] Eventually, the rights for Nickelodeon's programming on home video were transferred from Sony to Paramount Home Video. Paramount only released one video of The Ren & Stimpy Show, "Have Yourself a Stinky Little Christmas", which was actually a rerelease of one of Sony's videos that had been released several years earlier. Like all of the other Paramount cassettes of Nickelodeon shows, they were recorded in the EP/SLP format. Tapes released by Sony were recorded in SP format.[original research?] The Ren & Stimpy Show was also released on LaserDisc in the United States by Sony Wonder. There was only one release, "Ren and Stimpy: The Essential Collection", featuring the same episodes as the VHS release, in higher fidelity. On September 25, 2005, a compilation entitled The Ren & Stimpy Show: Volume 1 was released in the United States on UMD, the proprietary media for the PlayStation Portable. DVD See also: List of The Ren & Stimpy Show episodes#DVD releases Time-Life released several episodes of The Ren & Stimpy Show in a "Best of" set in September 2003.[64] This set is now out of print.[65] On October 12, 2004, Paramount Home Entertainment released the first two complete seasons in a three-disc box set. Although the cover art and press materials claimed the episodes were "uncut", a handful of episodes were, in fact, edited, due to the use of Spike TV masters.[66] One of the episodes from the second season, "Svën Höek", did have footage reinserted from a work in progress VHS tape, but with an editing machine time code visible on-screen; the scene was later restored by fans.[67] A set for Seasons Three and a Half-ish, containing all of season three and the first half of season four up to "It's A Dog's Life/Egg Yolkeo", followed on June 28, 2005.[25][68] Season Five and Some More of Four completed the DVD release of the Nickelodeon series on July 20.[69] Like the previous DVDs, some scenes were removed in these releases.[citation needed] A two-disc set dubbed The Lost Episodes was released on July 17, 2006, featuring both the aired and unaired episodes from Ren & Stimpy Adult Party Cartoon, as well as clips from unfinished cartoons.[70] Ren and Stimpy in other media This section needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2010) Video games Ren & Stimpy-themed games have been produced for Sega Genesis, Sega Game Gear, Sega Master System, SNES, NES, Game Boy, the PC, PlayStation, and Game Boy Advance. Most of the games were produced by THQ. Ren and Stimpy: Space Cadet Adventures released on Game Boy - 1992 Ren & Stimpy Show: Buckaroo$ released on the NES and Super NES - 1993 The Ren & Stimpy Show: Veediots! released on the Super NES and Game Boy - 1993 Ren Hoek and Stimpy: Quest for the Shaven Yak on Sega Game Gear and Sega Master System - 1993, 1995 Ren & Stimpy: Stimpy's Invention released on Sega Genesis - 1993 Ren & Stimpy Show Part II: Fire Dogs released on the Super NES - 1994 Ren & Stimpy Show Part III: Time Warp released on the Super NES - 1994 Nicktoons Racing on PC, PlayStation, and Game Boy Advance Ren & Stimpy Pinball on mobile phones. Nicktoons: Attack of the Toybots on Wii and PlayStation 2 (Stimpy is not playable in the GBA and DS versions of the game) Additionally, Ren and Stimpy were included in several Nickelodeon-themed activity and crafts software for computers. Ren and Stimpy were also created in full 3D for Microsoft's Nickelodeon 3D Movie Maker. Comic books Marvel Comics optioned the rights to produce comic books based on Nickelodeon properties in 1992. The initial plan was to have an anthology comic featuring several Nicktoons properties. Marvel produced 44 issues of the ongoing series, along with several specials. Most of these were written by comic scribe Dan Slott. One Ren & Stimpy special #3, Masters of Time and Space, was set up as a 'Choose Your Own Adventure' and with a time travel plot, took Slott six months to plot out in his spare time. It was designed so that it was possible to choose a path that would eventually be 20 pages longer than the comic itself. Issue #6 of the series starred Spider-Man battling Powdered Toast Man. The editors named the "Letters to the Editor" section "Ask Dr. Stupid", and at least one letter in every column would be a direct question for Dr. Stupid to answer.[71] Nick-Fox film deal Nickelodeon and Twentieth Century Fox signed a two-year production deal in May 1993 for the development and production of animated and live-action family films, based on new or existing properties. Ren & Stimpy was mentioned as a possible property for development, along with Rugrats and Doug, however the show's "cynical and gross humor" was a poor fit for a conventional, "warm and fuzzy" family film.[72][73] The deal expired with no movies produced. Parodies This section needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2010) In 1993, Parody Press Comics produced a one-shot comic book entitled Rank & Stinky № 1;[74] it starred a rabbit named Rank Hoax and a rat named Stinky who looked almost identical to Ren and Stimpy, and the three stories in the book lampooned Kricfalusi & Nickelodeon's falling-out, The Simpsons, and consumer culture. The Tiny Toon Adventures "Spring Break Special" features a scene in which parody versions of Ren and Stimpy (a rooster and squirrel also coincidentally named Rank and Stinky) try to hitch a ride with the Tiny Toons. The same episode also featured parodies of Beavis and Butt-head (Beaver and Big-head). John Kassir voiced Rank and Jess Harnell voiced Stinky. Ren and Stimpy was parodied on The Simpsons twice in its fourth season. In the episode "Brother from the Same Planet", a 15 second clip is shown where Ren starts sampling some of Stimpy's soup, which turns out to be hairballs and stomach acid. After Ren yells at Stimpy, saying that he is trying to "kill" him, Ren's eyeballs pop out, spin a few times, and explode goo. Their voices were provided by Dan Castellaneta. In the episode "The Front", The Ren & Stimpy Show was nominated for an animation award against The Itchy & Scratchy Show. The viewing at the awards ceremony simply read "Clip not done yet", a comment on the slow production time of the show. The show was mentioned again in the episode "Another Simpsons Clip Show", while referencing Itchy & Scratchy's habit of recycling animation to make new episodes; when Bart claims that Ren & Stimpy also did that, Marge replies "When was the last time you heard anyone talk about Ren & Stimpy?". Issue #87 of the X-Factor comic book, written by Peter David, has Wolfsbane describing to the group's therapist (Doc Samson) a dream in which she was part of the Rahne and Simpy show (Stimpy being the mutant Feral).[75] In an episode of the Japanese Anime series Panty & Stocking with Garterbelt there are two ghosts that closely resemble Ren & Stimpy in appearance. In the episode the ghosts get married and then the one resembling Stimpy gets killed. The ghost that resembles Ren is even depicted having an accent similar to Ren's. The anime Shaman King has fox and raccoon demons named Konchi and Ponchi who act like and resemble the duo.

| || |||| ||| || |||| | | ||| || || |||| || || || || || || || |||| ||| || || ?| |||| ( Banned Ren & Stimpy Final Show ). | ( ||| || ). | ||| || ). | || |||| |||||| || || | ( ||| || ). | |||| |||| |||| || |||| || |||| |||||| ( ||| || ). | | ?| || || | || ||| Ren & Stimpy Banned Final Show || |||| |Th ...»See Ya

Robot Reads Breast Adult Films

breastextitles.mp4 Watch on Posterous

breastextitles.mp4 Watch on Posterous ...»See Ya

Tina Small Rides a Bike! Twofer

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La Cicciolina Outfits and Jeff Koon Wedding

La Cicciolina "My breasts have never done anyone any harm, while bin Laden's war has caused thousands of victims." -- October 2002

Laicciolina.mp4 Watch on Posterous

Outfits and Jeff Koon Wedding

AND DON'T MISS MY MOST VIEWED POST AND VIDEO:

CICCIOLINA on MASTURBATION with Vegetables

and another video and Cici on Masturbation (cont.) Here

péripatéticienne
crépusculaires
somnambulisme
What Gets Me Hot
Traci Lords

Ilona Staller

Ilona Staller

Ilona Staller at Eros Galicia at A Coruña 2009
Birthdate	November 26, 1951 (1951-11-26) (age 58)
Birth location	Budapest, Hungary
Birth name	Anna Ilona Staller
Spouse(s)	Jeff Koons (1991-1998) [1]
Measurements	31.5B-22-31.5 (during early career)
Height	5' 6" (1.68 m)
Eye colour	Blue
Hair colour	Blonde
Skin colour	White
Alias(es)	Cicciolina
No. of films	38
(Italian) Official web site
Ilona Staller at IMDb
Ilona Staller at IAFD
Ilona Staller at adultfilmdatabase

Ilona Staller (complete name Anna Elena Staller, 26 November 1951), also known by her stage name la Cicciolina, is a Hungarian-born Italian porn-star, sometimes politician, and singer. She continued to make hard core pornographic films while in office.^[2] She is famous for delivering political speeches with one breast exposed.

Early life

Anna Ilona was born in Budapest, Hungary. Her stepfather was an official in the Ministry of the Interior, her mother a midwife. In 1964 she began working for a Hungarian modeling agency, M.T.I. In her memoirs and in a 1999 TV interview, she claimed that she had provided Hungarian authorities with information on American diplomats staying at a Budapest luxury hotel where she worked as a maid in the late 1960s.^[4]

Pornography and show business career

Naturalized by marriage and settled in Italy, she met pornographer Riccardo Schicchi in the early 1970s, and, beginning in 1973, achieved fame with a radio show called "Voulez-vous coucher avec moi?" (French for "Do You Want to Sleep with Me?") on Radio Luna. For that program she adopted the name "la Cicciolina," which translates, loosely, as "cuddles".^[4] She has referred to her male fanbase and later the Italian parliament as "cicciolini", translating loosely as "little tubby boys".^[2] Although she appeared in several films from 1970, she made her debut under her own name in 1975 with "La Liceale," whose U.S. title was "The Teasers," playing a lesbian classmate of Gloria Guida. In 1978, on the RAI show "C'era due Volte", her breasts were the first to be bared live on Italian TV.^[4]

She appeared in her first hardcore pornographic film, titled "Il telefono rosso" ("The Red Telephone") in 1983. She produced the film together with Schicchi's company Diva Futura. She was rumored to have engaged in zoophilia with a horse in the movie "Cicciolina Number One"^[4], but her memoirs and other sources have disputed the claim.^[5][6]

Her memoirs were published as Confessioni erotiche di Cicciolina by the Olympia Press of Milan in 1987. That same year she appeared in "Carne bollente," called "The Rise and Fall of the Roman Empress" in the US, co-starring John Holmes. The film would later create a furor when it was revealed that Holmes had tested positive for HIV prior to appearing in it.^[7]

Staller married American sculptor Jeff Koons in 1991. Koons produced a series of sculptures and photographs of them having sex in many positions, settings and costumes, which were exhibited under the title "Made In Heaven."^[8] The marriage broke up in 1992, and their son Ludwig Maximillian was born shortly afterwards. Staller left the US with the child, and a lengthy custody battle ensued. Koons won custody in 1998 but Ludwig remains with Staller in Italy. In 2008, Staller filed suit against Koons for failing to pay child support.^[4][9]

Staller has appeared nude in the Playboy Magazine's editions in several countries. Her first Playboy appearance was in Argentina in March 1988. Other appearances for the magazine were in the U.S. (September 1990), Hungary (June 2005), Serbia (July 2005) and Mexico (September, 2005).

In 1994, she appeared in the film "Replikator", and in 1996, she had a role in the Brazilian telenovela "Xica da Silva."^[10] In 2008, she was a contestant on the Argentine version of "Strictly Come Dancing" named "Bailando por un Sueño". She withdrew after breaking a rib in rehearsals.^[11]

Political career

In 1979, Staller was presented as a candidate to the Italian Parliament from the "Lista del Sole", Italy's first Green party. In 1985, she switched to the Partito Radicale, campaigning against nuclear energy and NATO membership, for human rights, and "against world hunger".

She was elected to the Italian parliament in 1987, with approx. 20,000 votes. While in office, and before the outset of the Gulf War she offered to have sex with Saddam Hussein if he would release the foreign hostages.[1] She was not reelected at the end of her term in 1991.

In 1991, Staller was among the founders of the political movement Partito dell'Amore (Love Party), spearheaded by her friend and fellow porn star Moana Pozzi. She has advocated absolute sexual freedom - "Love for All!" She also proposed a tax on automobiles to reduce the damages of smog and fund the defence of nature.^[2] She is a strict vegan and an animal rights activist.[2]

In January 2002, she began exploring the possibility of campaigning in Hungary, her country of birth, to represent Budapest's industrial Kőbánya district in the Hungarian parliament. However, she failed to collect enough petition signatures for a non-partisan candidacy. In the same year, she ran in local elections in Monza, Italy, promising to convert a prominent building into a gambling casino, but she attracted few votes. In 2004, she announced plans to run for mayor of Milan with a similar promise.

She renewed her offer to have sex with Saddam Hussein in October 2002, when Iraq was resisting international pressure to allow inspections for weapons of mass destruction, and in April 2006 made the same offer to Osama bin Laden.^[2]

Musical career

Staller has recorded several songs, mostly from live performances, with explicit lyrics being sung to a children's melody. Her most famous song is "Muscolo Rosso," a song entirely dedicated to il cazzo, which means "the dick" in Italian. Because of its extensive use of swear words, the sond could not be released it in Italy, but became a hit in other countries, especially in France, where the listeners did not grasp the meaning of the lyrics. The song gained considerable popularity in the internet era, when many Italian speakers were able to hear it for the first time.

Several unreleased songs were recorded during her RCA period and the Diva Futura agency period. some of these unreleased songs were subsequently used during her TV shows, live performances or as soundtracks in her porn movies.

LPs/CDs

• 1979 Ilona Staller (RCA PL 31442) published at least in Italy and Colombia (The Colombian record has titles in Spanish). Also music tape exists.

Tracklist

• I was made for dancing / Pane Marmellata e Me / Labbra / Benihana / Lascia l'ultimo ballo per me / Cavallina Cavallo (by Ennio Morricone) / It's all up to you / Professor of Percussions / Più su sempre più su

• 1987 Muscolo Rosso (BOY RECORDS) published in Spain only.

Tracklist

• Russians / Inno (Come un angelo) / Satisfaction / Telefono Rosso (Avec Toi) / Balck Sado / Goccioline (Bambole) / Perversion / Animal Rock / Nirvana / Muscolo Rosso / Muscolo Rosso (reprise)

• 1988 Sonhos Eróticos printed in Brazil only (ALL DISC 00.101.009, also music tape 00.107.009). Basically a reprint of the English long playing Erotic dreams plus the two Cicciolina songs "Muscolo Rosso" and "Avec toi". The other songs are performed by Erotic Dreams Band. Some Cicciolina's speeches are used in "La prima volta" song. Cover is dedicated to Cicciolina.

Tracklist

• Muscolo Rosso / Emmanuelle / Bilitis / Le Réve / La Prima Volta / I feel love / Je t'aime... moi non plus / Histoire d'O / Les Femmes / Black Emmanuelle / Love to love you bay / Avec Toi

• 1994 Sonhos Eróticos (Brazil only, All Disc RQ 032) Reprint of 1988 LP with a new layout of the cover, with background from brown to pink and violet.
• 2000 Ilona Staller (CD, in United Kingdom only, Sequel Records/Caste Music NEMCD398); reprint on CD of the 1979 LP, plus the two extended tracks of the red vinyl mix.

7" disks

• 1976 "Voulez vous coucher avec moi?" (Italy only, with neither serial number nor cover; on the vinyl it is written "Nuovo Playore 1° Radio Rete 4 D.R." only); from the same-named radio programme on Radio Luna station by Riccardo Schicchi where the nickname Cicciolina was born.
• 1979 "I was made for dancing" / "Più su sempre su su" (Italy only, RCA PB 6323)
• 1979 "Cavallina Cavallo" / "Più su sempre più su" (Japan only, RCA SS 3205)
• 1980 "Buone Vacanze" / "Ti amo uomo" (Italy only, RCA BB 6449)
• 1981 "Ska Skatenati" / "Disco Smack" (Italy only, LUPUS LUN 4917)
• 1987 "Muscolo Rosso" / "Avec Toi" (SFC 17117-7) symbolo the Italian Radical Party on the cover. The record was published in France and limitedly in other European countries.
• 1987 "Muscolo Rosso" / "Russians" (Spain only, BOY-028-PRO) promo for journalist; no cover.

12" mix and picture disks

• 1979 "I was made for dancing" (extended version) / "Save the last dance for me" (English original version of "Lascia l'ultimo ballo per me") (Italy only, RCA PD 6327, red vinyl mix without cover, promo for Djs).
• 1987 "Muscolo Rosso" / "Russians" (Spain only, BOY-028) versions are not extended, the same as 7".
• 1989 "San Francisco Dance" / "Living in my Paradise" / "My Sexy Shop" (Acv 5472) Picture disk; limited edition; published in Europe, together with her colleague Moana Pozzi's release.

Collaborations

• 1979 Dedicato al Mar Egeo, LP soundtrack by Ennio Morricone published in Japan only; though she does not sing, she is portrayed naked on the inlay and back-cover. She recorded two songs from that album ("Cavallina a cavallo" and "Mar Egeo") later in the year. The LP exists in 2 versions, one with Japanese titles, the other with Italian titles. Also CD version exists.
• 1979 Aquarium sounds, LP of an Italian TV programme; she sings on the "Elena Tip" track.

Pop culture influence

• 1990 The British pop band Pop Will Eat Itself released a single titled "Touched by the Hand of Cicciolina"; she is portrayed on the cover and appears in the promotional video. Some copies contain petition forms demanding that Cicciolina be allowed to present the 1990 FIFA World Cup to the winning team.
• 1990 The song "Cicciolina", from the Chilean rock band Los Peores de Chile was a hit single in that country.
• 1991 The song "Cicciolina" appears on the album Machines of Loving Grace by the Industrial group of the same name
• 1993 The lyrics on the Love 15 LP, by U.S. band Majesty Crush, focus on her celebrity and sexual legend.
• Two Australian restaurants share the same name, one in St Kilda, Victoria, founded in 1993. A sister restaurant called 'Ilona Staller' is to open in 2010. The other is in Newtown, New South Wales (not connected) and displays a wall sculpture believed to be a nipple.

• Article on Cicciolina's Sexual Politics by the International Museum of Women

Notes

1. ^ Leonard, Tom (2008-03-27). "Porn star La Cicciolina sues ex-husband Jeff Koons for child support". The Daily Telegraph (London). http://www.telegraph.co.uk/news/uknews/1583034/Porn-star-La-Cicciolina-sues-ex-husband-Jeff-Koons-for-child-support.html. Retrieved 2010-05-05. 
2. ^ ^{a b c d e} "Cicciolina's Sexual Politics". International Museum of Women. http://www.imow.org/wpp/stories/viewStory?storyId=1205. 
3. ^ "Promising to Be Demure, Italian Porn Star Weds". LA Times. 02 Jun 1991. http://articles.latimes.com/1991-06-02/news/mn-469_1. 
4. ^ ^{a b c d e} Ex-porn star La Cicciolina and the divorce from hell (Belfast Telegraph)
5. ^ Staller, Ilona (1987). Confessioni Erotiche di Cicciolina. Olympia Press Milano. 
6. ^ Hogea, Oana (26 Jul 2007). "Biography". In/Out Star. http://www.inoutstar.com/news/Ilona-Staller-aka-Cicciolina-1266.html. 
7. ^ Holden, Stephen (January 12, 2001). "WADD: The Life and Times of John C. Holmes". NY Times. http://movies.nytimes.com/movie/review?_r=1&res=940CE0DF1F3AF931A25752C0A9679C8B63. 
8. ^ Jones, Jonathan (30 June 2009). "Not just the king of kitsch". http://u.tv/News/Not-just-the-king-of-kitsch/57aca175-4791-43dc-a925-104cdd01fd7b. 
9. ^ Tod Hunter (2008-03-27). "Cicciolina Sues Ex-Husband Koons for Child Support". xbiz.com. http://xbiz.com/news/91852. Retrieved 2008-03-27. 
10. ^ Ilona Staller biography at the Internet Movie Database
11. ^ "Cicciolina of porn and political fame fractures rib but dances on". Earth Times. 22 Apr 2008. http://www.earthtimes.org/articles/show/200646,cicciolina-of-porn-and-political-fame-fractures-rib-but-dances.html. 
12. ^ Sydney Morning Herald, Australia

External links

• Official website (Adult content)

Retrieved from "http://en.wikipedia.org/wiki/Ilona_Staller