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2017 Maps of Meaning 01: Context and Background
In this lecture, I discuss the context within which the theory I am delineating through this course emerge: that of the cold war. What is belief? Why is it so important to people? Why will they fight to protect it? I propose that belief unites a culture's expectations and desires with the actions of its people, and that the match between those two allows for cooperative action and maintains emotional stability. I suggest, further, that culture has a deep narrative structure, presenting the world as a forum for action, with characters representing the individual, the known, and the unknown -- or the individual, culture and nature -- or the individual, order and chaos.
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Primitive Technology: Termite clay kiln & pottery
I built this pottery kiln and some pottery from termite mound clay to test an alternative clay source to my usual one from the creek bank. I started by making a large grate from ordinary clay. It was just under 50 cm in diameter. Next, I took dry chunks of termite nest and put them into the pit in front of the tiled roof hut. The chunks were crushed and water was added to slake the clay. The clay was trodden on to mix it. Dead palm fronds were added to the clay to stop it from cracking as it dried and to add insulation to the kiln. The mixture was trodden on again and then taken from the pit. A trench was dug to form the firebox of the kiln and a wall of clay was made in the front of the trench. A hole was dug into the wall to allow air flow into the firebox.
The grate was placed on top of the firebox and the walls of the ware chamber were built around the grate. When the kiln walls were finished, grate bars made from termite clay were placed into the firebox. Grate bars are important for fireboxes as they lift the firewood off the ground allowing air to move up through the fuel bed for more efficient combustion. Burning wood as a heap on the ground allows cold air to flow up and over the coals, cooling the kiln and leaving the air unreacted with the fire wood. It still works but is much less efficient than using grate bars. The finished kiln was 50 cm tall (above grate height), 50 cm in diameter and with walls about 12.5 cm thick. The pit/firebox was about 25 cm deep and 25 cm wide with grate bars sitting half way between the ground and the circular kiln grate above.
Next, for the pottery clay, I selected a termite mound built on red clay soil. I took it to the kiln area and slaked it with water and mixed it in a small pit. I crushed up an old grate from a previous kiln and mixed it into the termite clay as grog. Grog prevents pottery from cracking as it dries and helps prevent breakage when firing. I then shaped the clay into a small urn. I also made some barrel roof tiles and a smaller pot from termite clay. I then stacked the kiln with the termite pottery.
To fire the pottery, I collected a large pile of dead wood and started a fire in the firebox. I heard some explosions in the kiln early on and knew something broke but continued anyway. Within an hour the kiln had heated up well and the pottery was glowing red hot. By the second hour the temperature went down illustrating an important point: if you over fill the firebox with wood the kiln will choke it and not burn efficiently. Realising this mistake I merely let the wood burn down a little so more air could get through. By 2 hours and 30 minutes the kiln was firing nicely again with all the pottery glowing low orange (about 845 c or 1550 f). I kept it at this low firing temperature for another 30 minutes. The whole firing process took about 3 hours from start to finish, a relatively short period of time for firing pottery.
When I took the pottery out, one tile had broken and the urn had spalled (a piece of the outer pot broke off) possibly due to still having moisture in it. The urn was still useable though and I use it to water the cassava patch. The forge blower was well fired and is now immune to water damage, no longer needing to be carefully protected from the rain. I put it in the barrel tile shed for storage. I put the broken tile and spalled piece from the urn in a special heap of broken pottery. When I make pottery in future I can crush up these broken pots and mix it into the new clay as grog to strengthen the new ceramic items. Finally, I stored the good tiles at the barrel tiled hut as replacements for broken tiles in that structure should there be any damage in future.
Termite clay is good material for making furnaces and an OK substitute for good pottery clay should it be difficult to find a better source. The termites have already processed the clay by the fact that their mouths are too small to include sticks and pebbles into their structures. As a result, the clay is very smooth and plastic. Too smooth for my liking, in fact, I’m used to working with coarser clay that has silt mixed into it naturally. I find that termite clay is either too runny when wet or cracks too easily when drier. It was difficult to form into complex shapes and it took me 2 attempts to make the urn. But for forming objects like tiles it’s OK, it can be pressed into shape and it will hold without difficulty. In future, I’d be likely to use termite clay for mass producing formed objects such as bricks, tiles, simple pots (formed over a mould) and possibly pipes, thereby conserving the dwindling clay supply from the creek bank which I’ll save for more intricate pottery. In summary, termite clay is able to be used to produce basic pottery if no other source can be found. If you have a termite nest you can make basic pottery from it.
Frank Sinatra-Killing me softly
«Чайка». Фильм Фонда борьбы с коррупцией.
Фонд борьбы с коррупцией представляет новое расследование о бизнесе и криминальных связях сыновей генпрокурора России Артема и Игоря Чаек
Подписаться на новости Фонда борьбы с коррупцией —
Поддержать Фонд борьбы с коррупцией –
Часть 1. Греция. Об отеле Артема Чайки в Греции, вилле с видом на гору Афон и связях генпрокуратуры с Цапковской ОПГ
Часть 2. Швейцария. Про резидентскую визу, дом и счета сына генпрокурора в Швейцарии. (11:06)
Часть 3. Иркутск. О том, как Артем Чайка и его люди участвовали в рейдерском захвате Верхнеленского пароходства и похитили у государства 12 судов класса река-море. (15:53)
Часть 4. Артем. Артем Чайка оказался бенефициаром Тыретского солерудника, компании по добыче щебня, и строителем торгового комплекса в Мытищах. (24:27)
Часть 5. Игорь. Как компании, связанные с 27-летним сыном генпрокурора, смогли получить госзаказы на 300 млрд руб. (31:47)
Primitive Technology: Mud Bricks
(Turn on captions [CC] in the lower right corner for more information while viewing.)
I made a brick mold that makes bricks 25 x 12.5 x 7.5 cm from wood. A log was split and mortise and tenon joints were carved using a stone chisel and sharp rocks. The mold was lashed together with cane to prevent it from coming apart when used.
Next, I made a mixture of mud and palm fiber to make the bricks. This was then placed into the mold to be shaped and taken to a drying area. 140 bricks were made.
When dry, the bricks were then assembled into a kiln. 32 roof tiles were then made of mud and fired in the kiln. It only took 3 hours to fire the tiles sufficiently. The mud bricks and tiles were a bit weaker than objects made from my regular clay source because of the silt, sand and gravel content of the soil. Because of this, I will look at refining mud into clay in future projects instead of just using mud.
Interestingly, the kiln got hot enough so that iron oxide containing stones began to melt out of the tiles. This is not metallic iron, but only slag (iron oxide and silica) and the temperature was probably not very high, but only enough to slowly melt or soften the stones when heated for 3 hours.
The kiln performed as well as the monolithic ones I've built in the past and has a good volume. It can also be taken down and transported to other areas. But the bricks are very brittle and next time I'd use better clay devoid of sand/silt, and use grog instead of temper made of plant fiber which burns out in firing. The mold works satisfactorily. I aim to make better quality bricks for use in furnaces and buildings in future.
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Primitive Technology: Forge Blower
I invented the Bow Blower, a combination of the bow drill and forge blower to make a device that can force air into a fire while being easy to construct from commonly occurring natural materials using only primitive technology. I began by fanning a fire with a piece of bark to increase its temperature. It is this basic principle I improved on throughout the project.
Next, I made a rotary fan from two pieces of bark that slot together at right angles to each other to form a simple 4 bladed paddle wheel about 20 cm in diameter and 5 cm tall. The blades of the fan were not angled and were designed only to throw air outwards away from the axle when spun. The rotor of the fan was made by splitting a stick two ways so it formed 4 prongs. The fan was then inserted into the prongs and the end lashed to hold it in place. Spinning the fan rotor back and forth between the palms of the hands fanned the fire. But only some of the wind generated by the fan reached the fire. The rest of it was blowing in other directions, effectively being wasted.
So I built a fan housing from unfired clay to direct the air flow into the fire. This was basically an upturned pot with a hole in the top, a spout coming out of the side. The housing was about 25 cm wide and 8 cm tall. The hole in the top and the spout were both about 6 cm in diameter so that the air coming in roughly equalled the air coming out. The base of the fan rotor sat in a wooden socket placed in the ground to make it spin easier and the top of the rotor protruded from the hole in the top of the housing.
Now when the fan spun, air entered the hole in the top of the housing and exited the spout in the side. Importantly, it doesn’t matter which way the fan spins, air always goes into the inlet and out the spout. Air is thrown out towards the walls of the housing and can only leave through the spout while the vacuum in the centre sucks new air into the housing through the inlet. A separate clay pipe called a tuyere was made to fit over the spout to direct air into the coals. This was done because the pipe that touches the fire can melt away so it’s better to make this part replaceable.
Instead of making a large wheel and belt assembly to step up the speed of rotation, I opted for a 75 cm long bow. I made a frame to hold the rotor in place consisting of two stakes hammered into the ground with a socketed cross bar lashed on to hold the top of the rotor. I made bark fibre cordage and tied the end to a stick. I then looped the cord around the rotor and held the other end in the same hand holding the stick. I then pushed and pulled the bow causing the rotor to spin rapidly, forcing air into the fire.
I made a simple mud furnace for the blower. Then I collected orange iron bacteria from the creek (iron oxide), mixed it with charcoal powder (carbon to reduce oxide to metal) and wood ash (flux to lower the melting point) and formed it into a cylindrical brick. I filled the furnace with charcoal, put the ore brick in and commenced firing. The ore brick melted and produced slag with tiny, 1mm sized specs of iron through it. My intent was not so much to make iron but to show that the furnace can reach a fairly high temperature using this blower. A taller furnace called a bloomery was generally used in ancient times to produce usable quantities of iron and consumed more charcoal, ore and labour.
This device produces a blast of air with each stroke of the bow regardless of whether it is pushed or pulled. The bow makes it possible to operate the blower without using a complicated belt and wheel assembly used in traditional forge blowers. There is a brief pause at the end of each stroke where the fan stops to rotate in the other direction, but this is effectively no different to the intermittent blast of a double acting bellows of Europe or box bellows of Asia. The materials used (wood, bark, bark fibre and clay) are readily available on most continents. No leather, valves or precisely fitted piston gaskets are required as with other types of bellows. The cords for this device wear out often so a number of back up cords should be kept handy for quick replacement. In summary, this is an easy to make device that solves the problem of supplying forced combustion air required for high temperature furnaces and forges.
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World of Tanks Original Soundtrack: Studzianki featuring Polish band Żywiołak
A small hamlet nested deep in the Polish countryside. Heard from afar is a choir of maidens. The tune is fun but their voices can’t hide the feeling of anxiety. This song used to be sung by the young in their moments of joy. But now that the country is struck by war, the girls want this song to echo across the vast distance, encouraging the country’s defenders.
While working on the map, the World of Tanks team collaborated with the Polish folk band Żywiołak. Every time tankers battle on this map, they will hear the band singing the famous folk song “W moim ogródecku” which has been set as the main theme for this location.
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Composed by Andrius Klimka & Andrey Kulik
Performed by Żywiołak
Post-production – Sergey Komar
Music supervisor – Aleksey Tomanov
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Into the Storm (2014)
In the span of a single day, the town of Silverton is ravaged by an unprecedented onslaught of tornadoes. The entire town is at the mercy of the erratic and deadly cyclones, even as storm trackers predict the worst is yet to come. Most people seek shelter, while others run towards the vortex, testing how far a storm chaser will go for that once-in-a-lifetime shot.
Told through the eyes and lenses of professional storm chasers, thrill-seeking amateurs, and courageous townspeople, “Into the Storm” throws you directly into the eye of the storm to experience Mother Nature at her most extreme.
Goldeneye
Pierce Brosnan ignites the screen as James Bond in this explosive, thrill-packed adventure that pits him against a vengeful adversary who controls an awesome space weapon capable of global destruction.
Sid Dinsdale Interview
Nebraska businessman Sid Dinsdale is running for the U.S. Senate from Nebraska. He has spent his career as a community banker. Ken Rahjes from agview.net talks with Dinsdale about the campaign, taxes and spending, renewable fuels and what makes him different than the others running for the position.
DCU: Batman: The Dark Knight Returns - Part 2
Based on Frank Miller's acclaimed graphic novel,this intense and visually inventive two-part animated film tells the story of an alternate future for Batman. Although the aging Dark Knight has returned to crime fighting,Gotham City and the rest of America no longer want his brand of vigilantism.
In part II,Gotham's new commissioner orders Batman's arrest,but Batman defeats the police before going after the Joker,who has mind-controlled a senator into ordering a nuclear strike on Russia. During a violent altercation,Batman breaks the Joker's neck in front of horrified witnesses and escapes. Meanwhile,Superman is severely injured while deflecting the missile,which still creates an electromagnetic pulse that sends the entire country into chaos. Humiliated when Batman and his followers restore order in Gotham,proving the commissioner wrong,the U.S. President sends Superman to bring down Batman once and for all.
Calling All Cars: Missing Messenger / Body, Body, Who's Got the Body / All That Glitters
The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California.
The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption.
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.
You Bet Your Life: Secret Word - Light / Clock / Smile
Julius Henry Groucho Marx (October 2, 1890 -- August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era. His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many admirers and imitators. He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life. His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigar, and a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most ubiquitous and recognizable novelty disguises, known as Groucho glasses, a one-piece mask consisting of horn-rimmed glasses, large plastic nose, bushy eyebrows and mustache.
Groucho Marx was, and is, the most recognizable and well-known of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Groucho's trademark eye glasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as Groucho glasses, nose-glasses, and other names) are sold by novelty and costume shops around the world.
Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960s TV series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit).
Alan Alda often vamped in the manner of Groucho on M*A*S*H. In one episode, Yankee Doodle Doctor, Hawkeye and Trapper put on a Marx Brothers act at the 4077, with Hawkeye playing Groucho and Trapper playing Harpo. In three other episodes, a character appeared who was named Captain Calvin Spalding (played by Loudon Wainwright III). Groucho's character in Animal Crackers was Captain Geoffrey T. Spaulding.
On many occasions, on the 1970s television sitcom All In The Family, Michael Stivic (Rob Reiner), would briefly imitate Groucho Marx and his mannerisms.
Two albums by British rock band Queen, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Groucho invited Queen to visit him in his Los Angeles home; there they performed '39 a capella. A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Groucho's mannerisms and voice. On the famous Hollywood Sign in California, one of the Os is dedicated to Groucho. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend.
In 1982, Gabe Kaplan portrayed Marx in the film Groucho, in a one-man stage production. He also imitated Marx occasionally on his previous TV sitcom Welcome Back, Kotter.
Actor Frank Ferrante has performed as Groucho Marx on stage for more than two decades. He continues to tour under rights granted by the Marx family in a one-man show entitled An Evening With Groucho in theaters throughout the United States and Canada with piano accompanist Jim Furmston. In the late 1980s Ferrante starred as Groucho in the off-Broadway and London show Groucho: A Life in Revue penned by Groucho's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Groucho's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of Hooray for Captain Spaulding—done entirely in French.
In the last of the Tintin comics, Tintin and the Picaros, a balloon shaped like the face of Groucho could be seen in the Annual Carnival.
In the Italian horror comic Dylan Dog, the protagonist's sidekick is a Groucho impersonator whose character became his permanent personality.
The BBC remade the radio sitcom Flywheel, Shyster and Flywheel, with contemporary actors playing the parts of the original cast. The series was repeated on digital radio station BBC7. Scottish playwright Louise Oliver wrote a play named Waiting For Groucho about Chico and Harpo waiting for Groucho to turn up for the filming of their last project together. This was performed by Glasgow theatre company Rhymes with Purple Productions at the Edinburgh Fringe and in Glasgow and Hamilton in 2007-08. Groucho was played by Scottish actor Frodo McDaniel.
Calling All Cars: Hot Bonds / The Chinese Puzzle / Meet Baron
The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California.
The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption.
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation. In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous cold case, and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) represent the choices ahead for the LAPD: assisting Hollywood limelight, aggressive policing with relaxed ethics, and a straight arrow approach.
Author, Journalist, Stand-Up Comedian: Paul Krassner Interview - Political Comedy
Paul Krassner (born April 9, 1932) is an author, journalist, stand-up comedian, and the founder, editor and a frequent contributor to the freethought magazine The Realist, first published in 1958. More Krassner:
Krassner became a key figure in the counterculture of the 1960s as a member of Ken Kesey's Merry Pranksters and a founding member of the Yippies.
The Realist was published on a fairly regular schedule during the 1960s, then on an irregular schedule after the early 1970s. In 1966, Krassner published The Realist's controversial Disneyland Memorial Orgy poster, illustrated by Wally Wood, and he recently made this famed black-and-white poster available in a digital color version. The Realist also distributed a red, white and blue Cold War bumper sticker that read Fuck Communism.
Krassner's most notorious satire was the article The Parts That Were Left Out of the Kennedy Book, which followed the censorship of William Manchester's book on the Kennedy assassination, The Death of a President. At the climax of the grotesque-genre short-story, Lyndon B. Johnson is described as having sexually penetrated the bullet-hole wound in the throat of John F. Kennedy's corpse. According to Elliot Feldman, Some members of the mainstream press and other Washington political wonks, including Daniel Ellsberg of Pentagon Papers fame, actually believed this incident to be true. In a 1995 interview for the magazine Adbusters, Krassner commented: People across the country believed - if only for a moment - that an act of presidential necrophilia had taken place. It worked because Jackie Kennedy had created so much curiosity by censoring the book she authorized - William Manchester's 'The Death Of A President' - because what I wrote was a metaphorical truth about LBJ's personality presented in a literary context, and because the imagery was so shocking, it broke through the notion that the war in Vietnam was being conducted by sane men.
In 1966, he reprinted in The Realist an excerpt from the academic journal the Journal of the American Medical Association, but presenting it as original material. The article dealt with drinking glasses, tennis balls and other foreign bodies found in patients' rectums. Some accused him of having a perverted mind, and a subscriber wrote I found the article thoroughly repellent. I trust you know what you can do with your magazine.
Krassner revived The Realist as a much smaller newsletter during the mid-1980s when material from the magazine was collected in The Best of the Realist: The 60's Most Outrageously Irreverent Magazine (Running Press, 1985). The final issue of The Realist was #146 (Spring, 2001).
Krassner remains a prolific writer. In 1971 he published a collection of his favourite works for The Realist, as How A Satirical Editor Became A Yippie Conspirator In Ten Easy Years. In 1981 he published the satirical story Tales of Tongue Fu, in which the hilarious misadventures of the Japanese-American man Tongue Fu are mixed with a wicked social commentary. In 1994 he published his autobiography Confessions of a Raving, Unconfined Nut: Misadventures in Counter-Culture. In July 2009, City Lights Publishers will release Who's to Say What's Obscene?, a collection of satirical essays that explore contemporary comedy and obscenity in politics and culture.
He published three collections of drug stories. The first collection, Pot Stories for the Soul (1999), is from other authors and is about marijuana. Psychedelic Trips for the Mind (2001), is written by Krassner himself and collects stories on LSD. The third, Magic Mushrooms and Other Highs (2004), is by Krassner too, and deals with magic mushrooms, ecstasy, peyote, mescaline, THC, opium, cocaine, ayahuasca, belladonna, ketamine, PCP, STP, toad slime, and more.