OH GOD!!!!! this country has gone nuts

[bigdarryl]

http://www.huffingtonpost.com/2010/11/24/traveller-wears-bikini-th_n_788127.html

[Glassunion]

1. You are right. I can't believe that we are still protesting this shit.

[Kennah]

2. No, the guy in a speedo has gone nuts.

This woman has gone breasts.

[Glassunion]

5. +100

[Ichingcarpenter]

3. What will Jesus Say?

I like the story.......... perhaps you don't understand it.

[bigdarryl]

4. you like it because she's got her ASS out

[Glassunion]

7. No the only perverts are the ones promoting the scans and gropes.

[Ichingcarpenter]

8. Guerrilla theatre

Guerrilla Performance, is a style of street theatre popularized in the mid-late 1960s, usually political in nature. Guerrilla (Spanish for "little war") describes the act of spontaneous, surprise performances in unlikely public spaces to an unsuspecting audience. Typically these performances intend to draw attention to a political/social issue through satire, protest, and carnivalesque techniques. Although the exact derivation of the term is yet to be identified, most scholars place its etymology around 1965-70, as many of these performances were a direct result of the radical social movements circa 1967-691.
Origins

The term Guerrilla Theatre was first explained in a manifesto from the San Francisco Mime Troupe in 1965 by its founder R.G. Davis.<2> Davis had studied mime and modern dance in the 1950s and had discovered commedia dell'arte. In autumn 1966 around 20 members of the San Francisco Mime Troupe broke off and started their own collective called the Diggers, who took their name from a group of 17th century radicals in England.
Guerrilla theatre in practice

Guerrilla theatre shares its origins with many forms of political protest and street theatre including agitprop (agitation-propaganda), carnival, parades, pageants, political protest, performance art, happenings, and, most notably, the Dada movement and guerrilla art3. Although this movement is widely studied in Theatre History classrooms, the amount of research and documentation of "guerrilla theatre" is surprisingly lacking. The term, ìGuerrilla Theatreî seems to have emerged during the mid-1960s primarily as an upshot of radical activist theatres such as The Living Theatre, San Francisco Mime Troupe, Bread and Puppet Theatre, El Teatro Campesino, and the Free Southern Theatre4.

It also shares considerable roots in Allan Kaprow's "happenings". The first widely documented Guerrilla Performances were under the leadership of Abbie Hoffman and the Youth International Party (Yippies). One of their most publicized events occurred on August 24, 1967 at the New York Stock Exchange where Hoffman and other Yippies threw dollar bills to the brokers below. Creating a media frenzy, the event was publicized internationally. In his later publication, Soon to be a Major Motion Picture (1980), Hoffman refers to his television appearances with specially planned subversive tactics as "guerrilla theatre.5"

Another Guerrilla Performance that helped bring the term to wide acceptance was the Guerrilla Girls. This group of feminist artist/activists was established in New York City in 1985 with the purpose of bringing attention to the lack of female artists in major art galleries and museums. The Guerrilla Girls began their work through guerrilla art tactics which broadened to include guerrilla theatre. Some common practices to their guerrilla theatre techniques that have been replicated by other groups include appearing in costume, using assumed names, and disguising their identity. The legacy of guerrilla theatre can be seen in the work of these political/performance groups:

You can ACT UP..........I've done it for years

[kayakjohnny]

6. She didn't seem nuts at all.

But I would love to see the outcome.

Good for her.

Hope it went well.

[customerserviceguy]

9. My money's on 'aspiring actress'

Lotta folks in LA just for that purpose.

[Ichingcarpenter]

10. "We are all actors

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,


His acts being seven ages. At first, the infant,
Mewling and puking in the nurse's arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school.

And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow.

Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth.

And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part.

The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;

His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound.

Last scene of all,

That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.


Notes
From: As you Like It
Act II
Scene VII

[liberalmuse]

11. Well good for her.

I think allowing oneself to get groped and star in airport porn is nuts.

[Individualist]

12. Yes, a country that accepts creeping fascism has gone nuts.