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October 16, 2011

Ooh! YouTube Weirdopedia Channel with the BIG views, y'all!

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  Search date Date Added | Oooh! YouTube Weirdopedia Channel with the BIG views, y'all! | Top Rated -n__qQ5cl9U 3:02 Add to Jim Morrison's Mysterious Final Days Revealed 28,536 views - 1 year ago -n__qQ5cl9U neVfLC3s4J0 0:30 Add to Polish Pleasure Princess (Giantess) 6,352 views - 8 months ago neVfL ...»See Ya

First CSS Cartoon (dedicated to W3 and Eric Meyers)

Tony Curtis Theresa Russell Nic Roeg (Marilyn Monroe) Insignificance

INSIGNIFICANCE by my blog soulmate

The Elephant in the Room: INSIGNIFICANCE

This started out as an essay commissioned by Criterion for their recent DVD release and submitted to them last February. They weren’t happy with the result, so we agreed to disagree. — J.R.

When all the archetypes burst in shamelessly, we reach Homeric depths. Two clichés make us laugh. A hundred clichés move us. For we sense dimly that the clichés are talking among themselves, and celebrating a reunion. – Umberto Eco on Casablanca

My nightmare is the H Bomb. What’s yours? – Marilyn Monroe’s notes for her responses to a 1962 interview, first published in 2010

As I wrote in my capsule review of Insignificance for the Chicago Reader,

Nicolas Roeg’s 1985 film adaptation of Terry Johnson’s fanciful, satirical play — about Marilyn Monroe (Theresa Russell), Albert Einstein (Michael Emil), Joe DiMaggio (Gary Busey), and Senator Joseph McCarthy (Tony Curtis) converging in New York City in 1954 — has many detractors, but approached with the proper spirit, you may find it delightful and thought-provoking. The lead actors are all wonderful, but the key to the conceit involves not what the characters were actually like but their clichéd media images, which the film essentially honors and builds upon. The Monroe-Einstein connection isn’t completely contrived. Monroe once expressed a sexual interest in him to Shelley Winters, and a signed photograph of Einstein was among her possessions when she died. But the film is less interested in literal history than in the various fantasies that these figures stimulate in our minds, and Roeg’s scattershot technique mixes the various elements into a very volatile cocktail — sexy, outrageous, and compulsively watchable. It’s a very English view of pop Americana, but an endearing one.

The two small bits of information about Monroe and Einstein that are cited above can be found in the first volume of Winters’ entertainingly gossipy autobiography, Shelley, Also Known as Shirley (1980). Combine them with (a) some vague assertions in a conference lecture about some correspondence between the actress and scientist that remains perpetually out of reach and (b) an ingenious and popular optical illusion that manages to merge black and white photographs of the two, both readily available on the Internet, and, given the irresistible allure of postmodernist reverie, these tidbits encourage many bloggers to assert with confidence that an affair between Einstein and Monroe is now an established fact.

There’s surely even less factual basis to the notion that McCarthy found himself impotent with a hooker in a midtown Manhattan hotel room when Johnson’s play is said to be taking place, or that DiMaggio, on the same evening, recited all 13 of the baseball card series that he was in. Or that Monroe illustrated the Theory of Relativity to the scientist with the aid of some toy props, turning it into a piece of performance art. But it’s fantasies of this kind that provide two playful Brits, playwright and screenwriter Terry Johnson and director Nicolas Roeg, with their starting points. For the former this yields what he has called “nuclear consciousness,” even more pronounced in the film than it was in the play; for the latter, it’s partly an occasion for characteristically fragmented Roegian crosscutting — a sort of update of Intolerance featuring pop 50s icons. For both artists, it’s part of the wave of stage adaptations on film that came out in the 80s, along with Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, Betrayal, Streamers, Secret Honor, Fool for Love, Cries of the Heart, and ‘night, Mother, among others.

Johnson’s play originally featured Howard Hughes instead of McCarthy, but Johnson changed his mind halfway through the first draft, after what Rob Ritchie, his literary manager at the Royal Court Theatre, described as “an impromptu visit to the Theatre Upstairs to see what Sam Shepard’s Seduced was about. It was about Howard Hughes – exit Terry Johnson in a cold sweat — it’s a long stagger down from the Theatre Upstairs. Exit Howard Hughes to make way for Senator Joe McCarthy.”

According to Wikipedia’s DiMaggio entry, it was on September 14, 1954 that Monroe was filmed in front of the Trans-Lux Theater on Lexington Avenue and 52nd Street, where her dress was supposed to be billowed up by a gust of wind from a subway grate -– an incident shown in the film Insignificance, but not in the play, precipitating (reportedly in life, but in neither the film nor the play) a loud argument afterwards with her husband, Joe DiMaggio, in the theater lobby. According to Wikipedia’s entry for The Seven Year Itch, this sequence then had to be reshot on a Hollywood soundstage, and the latter footage “is what made its way into the final film, as the original on-location footage’s sound had been rendered useless by the over excited crowd present during filming whistling over Monroe’s see-through panties.” The play is set in 1953; the film updates this to 1954, but by placing the action in March (according to a calendar seen in a bar), this is still half a year prior to the date when Monroe actually had her skirt blown up in front of the Trans-Lux.

For that matter, insofar as Insignificance hovers around the notion that Einstein had something to do with the development of the Atomic and Hydrogen bombs, it’s worth noting some supplementary information that has come to light more recently. Two decades after Johnson’s play opened in London, Fred Jerome, who sued the U.S. government to access a relatively uncensored version of Einstein’s FBI file, wrote that the Army in 1940, apparently in response to a report from J. Edgar Hoover that threw doubt on the great man’s politics and his loyalty, declined to give him security clearance to work on the Manhattan Project.

How much do facts of this kind matter? Quite a bit if “real” history is at stake and hardly at all if it’s a matter of mythology. And it’s typical of our postmodernist confusions that we often can’t distinguish very well between the two.

A game and a provocation built around this dilemma, Insignificance implicitly dares us to sort out the differences between fact and fantasy by playing riffs with the images we already have of DiMaggio, Einstein, McCarthy, and Monroe. Thus paranoia, apocalyptic visions, and cartoon-like notions of sex are invited to intermingle and merge — as critic Raymond Durgnat once described this blend, in relation to the 1955 film Kiss Me Deadly, “the apotheosis of va-va-voom,” and what Eco has described as a conversation between clichés.

Insignificance pointedly doesn’t sort out the differences between fact and fancy; it’s more interested in playfully turning all four of its celebrities into metaphysicians of one kind or another. My favorite illustration of this is when the Actress — offering a sexual bribe to the Senator, who thinks she looks like Marilyn Monroe — existentially concludes, “What the hell — it’s her you want, not me,” thus summing up our own ambiguous and contradictory relation to her character.

All this sport, to be sure, has specifically English inflections. These crazed American icons are being viewed from an amused and bemused distance, and much of the talk qualifies as fancy mimicry. Even some of the measured and formal civility that periodically shines through the banter between the Professor and the Actress might be said to emanate from an English drawing room more than a suite at the Roosevelt:

Actress …If we stand on the tracks a little longer you know what happens?

Professor We get run over? (Pause.) I stay behind afterwards and clean the blackboard.

Actress I don’t like to be patronized.

Professor I’m sorry.

Actress Your apology’s accepted…

Johnson is presumably enough of a researcher to know that McCarthy helped to hound Paul Robeson out of the U.S. But if he also knows that Einstein was an important ally of Robeson a few years earlier, he and his Einstein character aren’t letting on. Clearly they have other fish to fry. And they’re no less mute about the fact that twice in 1953, in June and December, Einstein urged witnesses called before McCarthy’s Committee, the HUAC, and similar “inquisitions” (as he called them) not to testify — a fact reported both times on the front page of the New York Times, but not in Johnson’s bittersweet comedy.

Furthermore, “I didn’t write Insignificance because I was interested in Marilyn Monroe,” Johnson avowed in a 1985 interview with Richard Combs for the Monthly Film Bulletin (August 1985). This film occasioned an extensive rewrite and expansion of the original by Johnson, but even then he couldn’t be sure whether or not he’d ever seen The Seven Year Itch. He also admitted that his “interest in film, which is now quite strong, came out of the experience of adapting the play for Roeg….The whole structure and nature of a play is to do with objects and people and movement. Whereas, in a film, you just cut and get to the next good bit. Plays are essentially about space, where films are essentially about time — to be a pundit.”

One perk of his lack of interest in Monroe is complicating and confounding the popular notion of her as a dumb blonde — a stereotype that she’d helped to create herself — in order to shape and justify his outlandish plot. And as we know now from a recent collection of Monroe’s writing (Fragments: Poems, Intimate Notes, Letters by Marilyn Monroe, edited by Stanley Buchthal and Bernard Comment, New York: Farrar, Straus and Giroux, 2010), she was a curious mixture – an atrocious speller who was completely self-taught, but also someone who was reading Proust’s Swann’s Way on the set of Love Nest in 1951, and can be seen reading the end of Joyce’s Ulysees on the back jacket of Fragments. As the editors of Fragments note, Proust, another faulty speller, once wrote, “Each spelling mistake is the expression of a desire,” and indeed, an important part of the achievement of Johnson, Roeg, and the four lead actors of Insignificance is to see how they manage to collaborate in expressing, repressing, denying, or discovering their characters’ desires as well as their fears, in each case typifying the 50s zeitgeist.

The play stays glued over its two acts to Einstein’s hotel room. The film adds crosscutting and incidental characters, including Monroe’s driver (Patrick Kilpatrick), a hooker with a blond wig who comes to McCarthy’s room (Desirée Erasmus), and, elaborating on a speech by Einstein that was already in the play, a Cherokee elevator man (Will Sampson) who adds another metaphysician to the cast of characters. The new locations include not only the Trans-Lux, but also a bar where McCarthy and DiMaggio nurse their separate grudges, and the shop where Monroe buys her demonstration toys. Perhaps the most significant additions are the brief, telegraphic, and sometimes cryptic flashbacks pertaining to the respective youths of Monroe, Einstein, and DiMaggio, and last but not least, the Elephant in the Room, the H-Bomb itself — which one might say puts in a crucial, last-minute appearance as the celebrity to end all celebrities, dwarfing and making irrelevant all of the others.

The Elephant in the Room: INSIGNIFICANCE This started out as an essay commissioned by Criterion for their recent DVD release and submitted to them last February. They weren’t happy with the result, so we agreed to disagree. — J.R. When all the archetypes burst in shamelessly, we reach Homeric depths ...»See Ya

CSS3 Techniques You Should BURN! Web Developer Tweak Garbage!

If you’re reading this, then I can safely assume that you’ve at least heard of CSS3. The latest version of CSS includes properties that allow you to style your HTML elements with rounded corners, drop shadows, and even color gradients.

However, these techniques just scratch the surface of what CSS3 can really do. In this guide, I am going to be talking about three advanced CSS3 techniques.

View Demo

Here is a single demo page of all the code I’ll be using in this guide. It’s best viewed on WebKit browsers (like Google Chrome and Apple Safari) so you can see the CSS3 -webkit animation properties in action.

View Demo

1. Advanced Selectors

One of the most important but under-hyped features of CSS3 is the new advanced selectors. I’m sure I don’t have to tell you why being able to target specific HTML elements without having to use an ID attribute is a good thing!

Traditionally, CSS selectors have always been: IDs (#id), classes (.class), HTML elements (such as p), and occasionally pseudo-classes like :hover or :active.

The problem with this formula is that nearly every element needs to have a hook. This means that to get specific with what you’re selecting, the element needs to have either an ID (if it’s just one element) or a class (if it’s a group of elements) so that the browser knows what you’re talking about.

When you start working with very complex layouts, the amount of IDs and classes you need to add to your markup begins to slow you (and your web pages) down.

Enter CSS3. With numerous new pseudo-classes to choose from, your markup and page response times will thank you.

To demonstrate some of these new selectors, I’ve marked up a simple example: two unordered lists.

<!DOCTYPE html> <html> <body> <ul> <li>First Line</li> <li>Second Line</li> <li>Third Line</li> <li>Fourth Line</li> <li>Fifth Line</li> <li>Sixth Line</li> </ul> <ul> <li>First Line</li> <li>Second Line</li> <li>Third Line</li> <li>Fourth Line</li> <li>Fifth Line</li> <li>Sixth Line</li> </ul> </body> </html>

The following code block is some basic CSS just for visuals. All I’ve done is reset the margins and padding of every element using the universal selector (*) and applied some basic styles to both unordered lists.

* { margin: 0; padding: 0; } ul { list-style-type: none; margin: 2%; border: 1px solid #ccc; padding: 5px; width: 44%; float: left; } ul li { margin-bottom: 5px; padding: 2px; }

Now it’s time to write our first advanced selector! (Don’t be scared!)

The first part of our selector just says to select the <ul> that is the first child of another element (the <body> in this case).

Then it goes on to select the odd list items (first, third, fifth, and so on) in the first unordered list.

As you can see, using a combination of pseudo-classes and HTML element selectors, we’ve managed to only select the first of the two identical unordered lists.

ul:first-child li:nth-child(odd)

Another way of doing this is shown below, which does the same thing except this time it does so by selecting the first <ul> on the page, regardless of whether or not it’s the first child of another element.

ul:first-of-type li:nth-child(odd)

As you progress further into using CSS selectors, you’ll find that there are many ways of doing the same thing, and it’s up to you to decide which one to use.

With the first unordered list selected, we can style the odd list items (we will give them a different background color than the other list items).

ul:first-child li:nth-child(odd) { background-color: #d2fffe; border: 1px solid #000; }

That isn’t the only way of using :nth-child, though. We can also use it to style individual elements based on their position. The code block below gives the 5th list item of the first unordered list on our web page a pink background.

body > ul:first-child li:nth-child(5) { background: #ffd2d2; }

For another example, let’s add a web form to our HTML document. Please note the fact that one of the input elements (name=email) has the Boolean attribute of disabled so that I can demonstrate the :disabled pseudo-class later on.

<form method="post" action="#"> <p> <label for="name">Name:</label> <input type="text" name="name" value="" /> <p> <label for="email">Email:</label> <input type="text" name="email" value="" disabled /> </p> <p> <label for="message">Message:</label> <textarea name="message"></textarea> </p> </form>

The following code block is just some basic styles for our web form. What this will do is remove some default styling on the form and float the labels to the left and the inputs to the right.

form { clear: both; width: 95%; } form p { margin-bottom: 15px; clear: both; overflow: hidden; } form label { float: left; } form input, form textarea { width: 70%; float: right; border: 1px solid #000; } form textarea { height: 50px; }

We’re now going to take advantage of the disabled attribute on the email input to add a darker gray background to it.

input:disabled { background: #e7e7e7; }

Next up, we have a complex-looking selector, but it’s actually quite simple.

By using the :not pseudo-class, we are selecting everything inside a paragraph that is also inside a form except for <textarea> and <label> elements.

Essentially, what this will do is target all form fields that aren’t textareas.

form p *:not(textarea):not(label) { height: 20px; }

In actual practice, it would be more efficient to use input as the selector in our particular case, but I chose to do it this way to demonstrate the :not selector and how we can chain different pseudo-classes together to produce a more specific selector.

That’s it for advanced selectors. We covered a lot, but we still have two more techniques to look at! Let’s get started with those.

2. Animations

Animation on the web has long been the domain of Flash and JavaScript. Now, with CSS3, it’s possible to do the same sorts of animation with only a few lines of code!

To demonstrate animation techniques, let’s add another section to our markup: a simple div with no class or ID, and inside it, an <h1> — nothing too fancy.

<div> <h1>Hover over to see animation</h1> </div>

Since it’s our first div, we can use the :first-of-type pseudo-class to select it. I’ve made it a 200px by 200px blue box just to make it easy to see. I’ve also styled the h1 for visuals.

div:first-of-type { width: 200px; height: 200px; background: blue; color: #fff; clear: both; } h1 { color: #fff; font: 30px/1.5 Helvetica, Arial, sans-serif; width: 150px; margin: 25px auto; }

3 Advanced CSS3 Techniques You Should Learn

Now comes the fun part! To create the animation, add the following three lines to the div:first-of-type selector. You’ll see nothing yet, but this sets the stage for the animation functionality, which will kick in when the box is hovered on.

-webkit-transition-property: background, border; -webkit-transition-duration: 2s, 1s; -webkit-transition-timing-function: linear, ease-in-out;

I’m using three properties to define two animations for the box (background and border). By adding commas between the properties of each option, I can distinguish which ones will be applied to which animation.

The -webkit-transition-property value defines which CSS properties will be animated (background and border).

The -webkit-transition-duration property defines how long the animation transition will be — in this case, 2 seconds for the background and 1 second for the border.

The last -webkit-transition-timing-function tells the browser what equation to use for the transition.

So we’ve set the stage for the animation, but we haven’t added any animation yet!

Let’s fix that by declaring our :hover properties.

div:first-of-type:hover { background: #ccc; border: 20px solid blue; }

Now, when you hover over our blue box, the background and border will change and grow. That’s it. We don’t have to add any other code, the animation will run automatically!

We’re not done yet, let’s add one more example animation to the markup.

<div onclick="this.style.webkitTransform='rotate(360deg)'"> <h1>Click me!</h1> </div><!--end clickable-->

I’ve used a bit of inline Javascript so that when the div is clicked, it rotates itself around 360 degrees (in production, you will want to do this unobtrusively by using JavaScript DOM selection methods — but that’s out of the scope of this guide).

Next for the CSS, we’ll use the :last-child pseudo-class (since we want to target the last div in our HTML).

div:last-child { width: 95%; height: 100px; -webkit-transition: -webkit-transform 3s ease-in; background: rgba(0,0,0,.5); cursor: pointer; }

The things to note about the above CSS code block is that the background property uses the rgba property to give the div a semitransparent background. The other thing to note is the use of the -webkit-transition property shorthand to animate the rotation of the div.

And with that, we’re done with the animation. It’s full steam ahead to the last CSS3 technique we’ll cover: media queries.

3. Media Queries

The third and last advanced CSS3 technique I’ll be discussing is media queries. What are they? Media queries allow web designers to add conditional CSS rules depending on what the user is using to view the web page.

The advantage of this is that we can make new rules on how to display a web page depending on the situation of our user. For example, if their viewport’s width is thinner than 800 pixels, we can adjust the layout accordingly, giving us a truly fluid and flexible layout. So how do we do it? Easy.

@media screen and (max-width:800px) { ...properties when browser is 800px or less... }

If you open up the demo in a web browser that supports media queries, you will see that as you reduce the size of the browser, the boxes change sizes, which is great.

However, wouldn’t it be awesome if when the browser’s width gets reduced, the two lists stop floating? Yes, it would be. And the CSS for that is the following:

@media screen and (max-width:800px) { ul { float: none; max-width: auto; width: auto; } }

While we’re at it, let’s make a few other changes. In the following code block, we’ll make it so that the first div disappears if the viewport is less than 800px.

div:first-of-type { display: none; }

Now when the browser is reduced past 800px, the blue box will disappear!

We can even have multiple @media rules in one document. How about we do something else if the browser is lowered to 600px in width?

@media screen and (max-width:600px) { ul:last-of-type { display: none; } }

Now, when you reduce the browser a little more (less than 600px) — like magic — the second unordered list disappears!

Here’s some styles for when the width is reduced to 400px.

@media screen and (max-width: 400px) { div:last-child, form { display: none; } ul:first-of-type { height: auto; padding: 50px; } ul:first-of-type li { margin-bottom: 50px; } }

I hope you see the potential of media queries, especially with the growing number of ways people view websites (such as through mobile devices).

Wrapping Up

Now you know three advanced CSS3 techniques! Give yourself a pat on the back, you deserve it.

It’s important to note that while the selectors and media queries will work in most modern browsers (Firefox, Safari, Chrome), the animation will only work on Webkit-based browsers like Safari and Chrome.

If you’re reading this, then I can safely assume that you’ve at least heard of CSS3 . The latest version of CSS includes properties that allow you to style your HTML elements with rounded corners, drop shadows , and even color gradients . However, these techniques just scratch the surface of what CS ...»See Ya