February 22nd, 2004

Draconis Blackthorne, shadowgram, Dracomet

Penn & Teller: Bullshit!

Penn & Teller's Bullshit!

I have been surveying this presentation by long-since favorite prestidigitation performers Penn & Teller, and have found it to be humorous, elucidating, and edifying. Entering the various realms of the paranormal racket, they tear the lid off of charlatans and hoaxers with a critical eye and incisive commentary spiced with their particuar brand of humor and intelligent, sarcastic wit. I find this to be useful as a form of stratification, dividing between all of the so-called "genuine" gobbledigook, and actual practitioners. But like LaVey said, "everybody is on the take", which I believe would account for about 99% of the genre, but there are certinaly diamonds in the rough, although a sizable minority at that. Topics that are covered is the objective study of "Feng Shuey", which in My opinion, is simply nonsense; the power of suggestion is practiced in a segment about bottled water - My favorite is "Agua De Culo"; Creationism vs. Evolution {the latter simply makes more sense}; Apocalyptic mythologies; "self-helpless" programs; urban legends, "environmentalists" {who are basically clueless, and seem to enjoy romping about to tribal drums rather than addressing any kind of "issue", of which there really is none - and their chosen "representative" is just shameful; the most comical part about this segment was the fact that they had no clue what H20 was, so hundreds of these hippies actually signed a petition to ban water!}; The Ouija Board {displaying weakans in all of their effeminate absurdity}, ghosts, mediums, and much more.

Segments are introduced and concluded with sharp and concise commentary based upon subjective reasoning, scientific fact, as well as visual demonstrations illustrating the wonderful element of Doubt, through which truth is obtained. Thuroughly entertaining from beginning to end.

It is known that the sheeple desire to be fooled for some sense of closure for tragedies, and will frequently seek out various placebos to fill their empty lives with some sort of external 'meaning', which, if they cannot figure it out for themselves, is none, but to remain puppets for the clever who will prey upon the suckers of humanity. And this is how it has been since the beginning of human evolution.

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Draconis Blackthorne, shadowgram, Dracomet

Master of The Flying Guillotine

Evocation: Among many of the presentations shown on a weekend showcase named "Black Belt Theatre" which aired on Saturday afternoons in the 80's, this one stood out as the most memorable by far. Driven by justified vengeance, a blind hermit monk with hefty eyebrows goes forth from his home in the clouds high above upon a mountain to avenge two of his pupils, seeking "the one-armed man" responsible. And as we know, in Chinese cinema, all monks are masters in Kung Fu. But what was most remarkable is the weapon he wields - literally, a "flying guillotine", actually, an ingenious design and idea in theory, in which when unravelled from its compact form, reveals what appears essentuially like a red and black "bee-keepers hat" with five criss-crossing blades at its inner base, and a saw-blade design along the outer edges, which when thrown, a mesh enclosure is activated, descending around the head and neck of the opponent, decapitating them, as the head is retrieved by the thrower.

Probably because of this ponderation, I once arranged a weapon Myself by attaching a sawblade to a chain, affixed with a bolt and nut through the chain and the center of the blade, and what I essenially concluded with was a weapon that if thrown at an opponent, could wrap itself around their neck, and with enough force, the sawblade could quite possibly decapitate them. At the very least, some very palpable hits would be suffered, even if it struck an extremity or the torso.. Another time, I considered the arrangement of removing the blades from a chainsaw, wrapping electrical tape around one's hands, and what one would essentially wield would be flying knives.

The first kill transpires in a bar in which a drunken bum claims to be an invincible one-armed fighter in order to get out of paying the bill for his dinner. The monk just so happens to be nearby awaiting his "vegetarian noodles", and forthwith dispatches of the dreg, swearing to kill every one-armed man he comes upon.

The second kill happens at the actual tournament, upon which another one-armed fighter was present. The "one-armed man" turns out to be a Kung Fu instructor who becomes alerted to the monk's intentions at a tournament featuring several schools and styles including a Mongolian with a Vlad-like moustache, an Indian with extending arms {his accent dubbed in an accent reminiscent of Apu from the Quickie-Mart; to catch shoplifters and reach items across the store}, a Tibetan kick-boxing fighter here characterised as a filthy, barefoot, and uncouthe barbarian, staff vs. tri-staff, tonfa wielded by a mysterious cloaked Japanese contender, a lovely girl proficient at the eagle-claw, the always amusing monkey style vs. snake style, preying mantis, etcetera {and I Am sure much of Mortal Kombat was based upon this movie} - and thus sets out to plan his clever methods of self-preservation.

Finally, the monk finds the Kung Fu teacher and persues him into a coffin shoppe temporarily converted into a battleground, in which traps have been arranged. So essentially, he realizes that he was no match for the magnificent weapon, and cheats his way to survival. And with the help of his students, manages to kill the afore-mentioned kick-boxer who also happened to become the monk's asistant, in an exceedingly cruel manner of fighting him in a small shack with a metal floor, which has been fire-heated in order to singe the flesh from the soles of his feet. Any attempt to flee out the window was met with spears.

Also notable are the garments worn by the monk, most particularly the Grammadon on his robe, lest it be confused for the Nazi Swaztika, thus asserting that this is indeed an ancient symbol signifying the four elements. A Chinese character which means "ten thousand" and "longevity". It was originally a symbol of Buddha's heart, and was a term borrowed from Sanskrit