Weird Al Yankovic – Everything You Know Is Wrong

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RWappin
Published on Oct 7, 2011

SEIZURE WARNING FOR PEOPLE WITH PHOTOSENSITIVE EPILEPSY. Things get pretty flashy

At the time of uploading, it has been more than 4 years since I made this. Hard to believe! Finally decided to stick it up on YouTube.

Animated by me in Flash, song by Weird Al Yankovic.
Weird Al Yankovic Lyrics

“Everything You Know Is Wrong”

I was driving on the freeway in the fast lane
With a rabid wolverine in my underwear
When suddenly a guy behind me in the back seat
Popped right up and cupped his hands across my eyes

I guessed, “Is it Uncle Frank or Cousin Louie?”
“Is it Bob or Joe or Walter?”
“Could it be Bill or Jim or Ed or Bernie or Steve?”
I probably would have kept on guessing
But about that time we crashed into the truck

And as I’m laying bleeding there on the asphalt
Finally I recognize the face of my hibachi dealer
Who takes off his prosthetic lips and tells me

Everything you know is wrong
Black is white, up is down and short is long
And everything you thought was just so
Important doesn’t matter

Everything you know is wrong
Just forget the words and sing along
All you need to understand is
Everything you know is wrong

I was walkin’ to the kitchen for some Golden Grahams
When I accidentally stepped into an alternate dimension
And soon I was abducted by some aliens from space
Who kinda looked like Jamie Farr

They sucked out my internal organs
And they took some polaroids
And said I was a darn good sport
And as a way of saying thank you
They offered to transport me back to
Any point in history that I would care to go

And so I had them send me back to last Thursday night
So I could pay my phone bill on time
Just then the floating disembodied head of
Colonel Sanders started yelling

Everything you know is wrong
Black is white, up is down and short is long
And everything you thought was just so
Important doesn’t matter

Everything you know is wrong
Just forget the words and sing along
All you need to understand is
Everything you know is wrong

I was just about to mail a letter to my evil twin
When I got a nasty papercut
And, well, to make a long story short
It got infected and I died

So now I’m up in heaven with St. Peter
By the pearly gates
And it’s obvious he doesn’t like
The Nehru jacket that I’m wearing
He tells me that they’ve got a dress code

Well, he lets me into heaven anyway
But I get the room next to the noisy ice machine
For all eternity
And every day he runs by screaming

Everything you know is wrong
Black is white, up is down and short is long
And everything you used to think was so important
Doesn’t really matter anymore
Because the simple fact remains that

Everything you know is wrong
Just forget the words and sing along
All you need to understand is
Everything you know is wrong
Everything you know is wrong

Crazy Ex-Girlfriend | Horny Angry Tango | The CW

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The CW Television Network
Published on Jan 26, 2018

Watch the music video for “Horny Angry Tango”, then watch full episodes of Crazy Ex-Girlfriend FREE on The CW App: http://go.cwtv.com/genCXGyt

SUBSCRIBE: http://go.cwtv.com/YTSubscribe

About CRAZY EX-GIRLFRIEND:
Rebecca Bunch is a successful, driven, and possibly crazy young woman who impulsively gives up everything – her partnership at a prestigious law firm and her upscale apartment in Manhattan – in a desperate attempt to find love and happiness in that exotic hotbed of romance and adventure: suburban West Covina, CA.

Inter-Stellar Civilizations Interacting with Earth

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The Earth has been visited by advanced Inter-Stellar Civilizations that can travel through other dimensions faster than the speed of light. They use energy propulsion systems that can bring us to a new era. Humans have also developed these systems, but those in power have suppressed them in order to keep us at the mercy of fossil fuels. It is time for you to know…and this documentary will let you in. Please enjoy “Sirius” for FREE and share with your friends and family (YouTube video below).

More can be found on:
http://www.siriusdisclosure.com/
https://www.facebook.com/SiriusTheMovie/
https://twitter.com/DrStevenGreer

“Translation into Being” by Robert McEwen, H.W., M.

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Translation back into Being.

“What the hell does that mean? It is a conversation in heaven, or consciousness. “I-Thou” dialogue. We are always talking to ourself. We converse in consciousness with various parts of ourself, be we are always one. A wave in the one ocean of consciousness…

“… As Beingness I am infinite awareness. My judgements stop that process. Judgments stop the process into a closed end, or dead end. This is the only way it is! With holding judgment keeps the process opened. Creative.
So…this converts judgements into compassion. Beingness, no right or wrong. Most all of us are judgmental underneath the “look good I am not judgmental masks”. I am the first to admit I am very judgmental. I want to place the root of this at being raised by a very judgmental mother. Or, I can say I am an Empath (true) and “blame” my judgment on carrying the emotions/judgments of others. Both of these have a seed of truth in them but I do not want to make excuses. Bottom line, judging is not in alignment with the Loving and the Divine being I know I am!

I have been waking up to this duality and discrepancy in my life. As I share things with others that are judgmental, I have an awareness that this not of the Loving. I accept that I am human and that the judgment comes from my human-ness. It is hard to live in this world of duality and not fall into the human traps. Or so I tell myself. As awareness I am clear and constant flow.

Today, as I was reviewing the judgments I have passed on a particular person and things I have said about “never really liking him”, I was able to see full on that I was judging his human persona and not the Divine within him and, more than that, I was not coming from a place of Loving. I was struck by the fact that I can rationalize my failure to be in the Loving by passing it off as my being human without seeing that in the other person! And then, within less than an hour, I witnessed negative thoughts about a person and a situation that has nothing to do with me but I am carrying this for somebody else. And I have been aware for a while that this is a task that I often take on as an Empath. My beloved is also like this and we share a “Grace Space” in our life experiences together. So we are realizing our love alone and together. When I try to label or judge what we have I give it over to Source.

Each time I had this realization today, I decided to choose into Loving! And each time, I immediately felt my one-ness with the Loving and my one-ness with God. It almost seems too easy. But it IS that easy. I am what I focus upon. I am capable of choosing where to place my focus. Yes, I am human and live in a world of duality. Yes, my ego tries to trip me up by pointing my focus on the physical, emotional, or mental realms – sometimes more than one at the same time. But I have a choice! I can focus on the Loving. I can focus on my one-ness with God. I can be the alchemist of my human-ness and transmute things not in alignment with my Soul and God. And when I reach the place of one-ness and Loving, I do not have to judge myself for being out of alignment. I simply own that I AM THAT I AM!

How about you? Are you judgmental or a “fair witness.”

Robert McEwen, H.W., M.
503 706-0396 for a session with me.

Ursula K. Le Guin, Acclaimed for Her Fantasy Fiction, Is Dead at 88

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By GERALD JONAS

Ursula K. Le Guin, the immensely popular author who brought literary depth and a tough-minded feminist sensibility to science fiction and fantasy with books like “The Left Hand of Darkness” and the Earthsea series, died on Monday at her home in Portland, Ore. She was 88.

Her son, Theo Downes-Le Guin, confirmed the death. He did not specify a cause but said she had been in poor health for several months.

Author Ursula Le Guin at home with her cat, Lorenzo, in 1996. The writer’s “pleasant duty,” she said, is to ply the reader’s imagination with “the best and purest nourishment that it can absorb.”Jill Krementz, All Rights Reserved

Ms. Le Guin embraced the standard themes of her chosen genres: sorcery and dragons, spaceships and planetary conflict. But even when her protagonists are male, they avoid the macho posturing of so many science fiction and fantasy heroes. The conflicts they face are typically rooted in a clash of cultures and resolved more by conciliation and self-sacrifice than by swordplay or space battles.

Her books have been translated into more than 40 languages and have sold millions of copies worldwide. Several, including “The Left Hand of Darkness” — set on a planet where the customary gender distinctions do not apply — have been in print for almost 50 years. The critic Harold Bloom lauded Ms. Le Guin as “a superbly imaginative creator and major stylist” who “has raised fantasy into high literature for our time.”

In addition to more than 20 novels, she was the author of a dozen books of poetry, more than 100 short stories (collected in multiple volumes), seven collections of essays, 13 books for children and five volumes of translation, including the Tao Te Ching of Lao Tzu and selected poems by the Chilean Nobel Prize winner Gabriela Mistral. She also wrote a guide for writers.

“The Left Hand of Darkness,” published in 1969, takes place on a planet called Gethen, where people are neither male nor female.

Ms. Le Guin’s fictions range from young-adult adventures to wry philosophical fables. They combine compelling stories, rigorous narrative logic and a lean but lyrical style to draw readers into what she called the “inner lands” of the imagination. Such writing, she believed, could be a moral force.

The writer’s “pleasant duty,” she said, is to ply the reader’s imagination with “the best and purest nourishment that it can absorb.”

She was born Ursula Kroeber in Berkeley, Calif., on Oct. 21, 1929, the youngest of four children and the only daughter of two anthropologists, Alfred L. Kroeber and Theodora Kracaw Kroeber. Her father was an expert on the Native Americans of California, and her mother wrote an acclaimed book, “Ishi in Two Worlds” (1960), about the life and death of California’s “last wild Indian.”

At a young age, Ms. Le Guin immersed herself in books about mythology, among them James Frazer’s “The Golden Bough,” classic fantasies like Lord Dunsany’s “A Dreamer’s Tales,” and the science-fiction magazines of the day. But in early adolescence she lost interest in science fiction, because, she recalled, the stories “seemed to be all about hardware and soldiers: White men go forth and conquer the universe.”

She graduated from Radcliffe College in 1951, earned a master’s degree in romance literature of the Middle Ages and Renaissance from Columbia University in 1952, and won a Fulbright fellowship to study in Paris. There she met and married another Fulbright scholar, Charles Le Guin, who survives her.

Author Ursula K. Le Guin in July 1996. Jill Krementz, All Rights Reserved

On their return to the United States, she abandoned her graduate studies to raise a family; the Le Guins eventually settled in Portland, where Mr. Le Guin taught history at Portland State University.

Besides her husband and son, Ms. Le Guin is survived by two daughters, Caroline and Elisabeth Le Guin; two brothers, Theodore and Clifton Kroeber; and four grandchildren.

By the early 1960s Ms. Le Guin had written five unpublished novels, mostly set in an imaginary Central European country called Orsinia. Eager to find a more welcoming market, she decided to try her hand at genre fiction.

Her first science-fiction novel, “Rocannon’s World,” came out in 1966. Two years later she published “A Wizard of Earthsea,” the first in a series about a made-up world where the practice of magic is as precise as any science, and as morally ambiguous.

The first three Earthsea books — the other two were “The Tombs of Atuan” (1971) and “The Farthest Shore” (1972) — were written, at the request of her publisher, for young adults. But their grand scale and elevated style betray no trace of writing down to an audience.

The magic of Earthsea is language-driven: Wizards gain power over people and things by knowing their “true names.” Ms. Le Guin took this discipline seriously in naming her own characters. “I must find the right name or I cannot get on with the story,” she said. “I cannot write the story if the name is wrong.”

Ms. Le Guin speaking in 2014 at the University of Oregon. Jack Liu

The Earthsea series was clearly influenced by J. R. R. Tolkien’s “The Lord of the Rings” trilogy. But instead of a holy war between Good and Evil, Ms. Le Guin’s stories are organized around a search for “balance” among competing forces — a concept she adapted from her lifelong study of Taoist texts.

She returned to Earthsea later in her career, extending and deepening the trilogy with books like “Tehanu” (1990) and “The Other Wind” (2001), written for a general audience.

“The Left Hand of Darkness,” published in 1969, takes place on a planet called Gethen, where people are neither male nor female but assume the attributes of either sex during brief periods of reproductive fervor. Speaking with an anthropological dispassion, Ms. Le Guin later referred to her novel as a “thought experiment” designed to explore the nature of human societies.

“I eliminated gender to find out what was left,” she told The Guardian.

But there is nothing dispassionate about the relationship at the core of the book, between an androgynous native of Gethen and a human male from Earth. The book won the two major prizes in science fiction, the Hugo and Nebula awards, and is widely taught in secondary schools and colleges.

Much of Ms. Le Guin’s science fiction has a common background: a loosely knit confederation of worlds known as the Ekumen. This was founded by an ancient people who seeded humans on habitable planets throughout the galaxy — including Gethen, Earth and the twin worlds of her most ambitious novel, “The Dispossessed,” subtitled “An Ambiguous Utopia” (1974).

As the subtitle implies, “The Dispossessed” contrasts two forms of social organization: a messy but vibrant capitalist society, which oppresses its underclass, and a classless “utopia” (partly based on the ideas of the Russian anarchist Peter Kropotkin), which turns out to be oppressive in its own conformist way. Ms. Le Guin leaves it up to the reader to find a comfortable balance between the two.

“The Lathe of Heaven” (1971) offers a very different take on utopian ambitions. A man whose dreams can alter reality falls under the sway of a psychiatrist, who usurps this power to conjure his own vision of a perfect world, with unfortunate results.

“The Lathe of Heaven” was among the few books by Ms. Le Guin that have been adapted for film or television. There were two made-for-television versions, one on PBS in 1980 and the other on the A&E cable channel in 2002.

Among the other adaptations of her work were the 2006 Japanese animated feature “Tales From Earthsea” and a 2004 mini-series on the Sci Fi channel, “Legend of Earthsea.”

With the exception of the 1980 “Lathe of Heaven,” she had little good to say about any of them.

Ms. Le Guin always considered herself a feminist, even when genre conventions led her to center her books on male heroes. Her later works, like the additions to the Earthsea series and such Ekumen tales as “Four Ways to Forgiveness” (1995) and “The Telling” (2000), are mostly told from a female point of view.

In some of her later books, she gave in to a tendency toward didacticism, as if she were losing patience with humanity for not learning the hard lessons — about the need for balance and compassion — that her best work so astutely embodies.

At the 2014 National Book Awards, Ms. Le Guin was given the Medal for Distinguished Contribution to American Letters. She accepted the medal on behalf of her fellow writers of fantasy and science fiction, who, she said, had been “excluded from literature for so long” while literary honors went to the “so-called realists.”

She also urged publishers and writers not to put too much emphasis on profits.

“I have had a long career and a good one,” she said, adding, “Here at the end of it, I really don’t want to watch American literature get sold down the river.”

Correction: January 24, 2018 
An earlier version of this obituary misspelled the surname of the social anthropologist who wrote “The Golden Bough.” He was James Frazer, not Frazier.
Correction: January 26, 2018 
An earlier version of this obituary misstated part of the name of Ms. Le Guin’s mother. She was Theodora Kracaw Kroeber, not Theodora Quinn Kroeber.

Daniel E. Slotnik contributed reporting.

A version of this article appears in print on January 24, 2018, on Page B15 of the New York edition with the headline: Ursula K. Le Guin, Who Elevated Sci-Fi and Fantasy Fiction, Dies at 88. Order Reprints| Today’s Paper|Subscribe

(Contributed by Bruce King.)

That Obscure Subject of Desire

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By Natalie Portman

Jan 23, 2018 (medium.com)

Let’s talk about pleasure. I keep hearing a particular gripe about this cultural shift, and maybe you have too. Some people have been calling this movement Puritanical or a return to Victorian values, where men can’t behave or speak sexually around dainty, delicate, fragile women. To these people I want to say:

The current system is Puritanical. Maybe men can say and do whatever they want, but women cannot. The current system inhibits women from expressing our desires, wants and needs, from seeking our pleasure. Let me tell you about my own experience:

I turned 12 on the set of my first film, The Professional, in which I played a young girl who befriends a hitman and hopes to avenge the murder of her family by a corrupt DEA officer. The character is simultaneously discovering and developing her womanhood, her desire, and her voice. At that moment in my life, I, too, was discovering my own womanhood, my own desire, and my own voice.

I was so excited, at 13, when the film was released and my work and my art would have a human response. I excitedly opened my first fan mail, to read a rape fantasy a man had written to me. A countdown was started on my local radio show to my 18th birthday, euphemistically the date I would be legal to sleep with. Movie reviewers talked about my “budding breasts” in reviews. I understood very quickly, even as a 13-year-old, that if I were to express myself sexually, I would feel unsafe, and that men would feel entitled to discuss and objectify my body, to my great discomfort.

I quickly adjusted my behavior. I rejected any role that even had a kissing scene, and talked about that choice deliberately in interviews. I emphasized my bookishness and seriousness and cultivated a way of public dressing that was stereotypically “elegant and refined.” I built a reputation for basically being prudish, conservative, nerdy and serious — in an attempt to feel that my body was safe and my voice would be listened to.

At 13 years old, the message from our culture was clear to me. I felt the need to cover my body, and to inhibit my expression and my work, in order to send my own message to the world that I’m someone worthy of safety and respect. The response to my expression- from small comments about my body to more threatening, deliberate statements, served to control my behavior, through an environment of sexual terrorism — where even a woman who is not directly subject to assault, feels threatened by the environment of violence to inhibit her behavior.

A world in which I could wear whatever I want, say whatever I want, and express my desire however I want, without fearing for my physical safety or reputation — that would be the world in which female desire and sexuality could have its greatest expression and fulfillment. That world we want to build, is the opposite of puritanical.

One of my girlfriends from school used to joke: “sometimes it’s easier to just kiss the guy than explain to him why you don’t want to.” We would all laugh, but the message was clear — we were more worried about offending the guy, or being uncomfortable with him, or hurting his feelings, than about doing what we wanted to do.

As girls, we were socialized to spend our time making ourselves look attractive to guys- our hair, our makeup, our bodies. We learned our best angles for them, the things boys liked us to say — and the things they didn’t like us to. We were able to see ourselves through their eyes, and dictate our behavior by what they wanted us to be like. And it made us sometimes forget to ask what we, ourselves, wanted. And often made us unable to even know what we, ourselves wanted, because we were so caught up in thinking about what theywanted.

Well let’s not make our new world about we and they, about us and them. Considering what someone else desires isn’t a bad thing. Actually, it’s a form of empathy. The consideration just needs to be reciprocal, and not at the expense of one’s own desire.

So I’d like to propose one way to continue moving this revolution forward: Let’s declare loud and clear: This is what I want. This is what I need. This is what I desire. This is how you can help me achieve pleasure.

To people of all genders here with us today, let us find a space where we mutually, consensually look out for each other’s pleasure, and allow the vast, limitless range of desire to be expressed.

Let’s make a revolution of desire.

(Contributed by Michael Kelly.)

Hunting the Hidden Dimension

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In this film, NOVA takes viewers on a fascinating quest with a group of maverick mathematicians determined to decipher the rules that govern fractal geometry. For centuries, fractal-like irregular shapes were considered beyond the boundaries of mathematical understanding. Now, mathematicians have finally begun mapping this uncharted territory. Their remarkable findings are deepening our understanding of nature and stimulating a new wave of scientific, medical, and artistic innovation stretching from the ecology of the rainforest to fashion design. The documentary highlights a host of filmmakers, fashion designers, physicians, and researchers who are using fractal geometry to innovate and inspire.

Infinite Thought of the Day

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Infinite thought of the day: Mandelbrot Set Fractals serve up an infinite array of complex and fundamentally harmonious images as one “zooms” into their depth.  The zoom could go on for all eternity and yet there will always be somewhat similar but obviously new and unique images.
Here’s a very pretty YouTube Mandelbrot Zoom, only 13 minutes long, well worth the time to view it. https://www.youtube.com/watch?v=Ujvy-DEA-UM 
ALL Mandelbrot Zooms arise from an amazingly simple mathematical formula: Z equals Z squared plus C, iterated millions of times, Z=Z^2+C
The formula is plotted on what’s called the Complex Plane.

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