Juxtaposin’: Old Spice

Fabrizio del Wrongo writes:

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Naked Ladies of the Week: Girls of Abby Winters

Fabrizio del Wrongo writes:


Started in 2000, the warts-and-all porn site Abby Winters is now something of an institution. It’s also  a throwback to the days when the internet was full of idiosyncratic outfits specializing in nude content. Now it often seems as though all internet porn either derives from a handful of gatekeepers or is self-posted by its subjects. Sigh. Is there no aspect of life that isn’t prone to increasing centralization?

The site’s PR has always held that it’s pro-female, body-positive, and all-natural. I think we can take that PR at face value despite the suggestion that its eponymous creator, supposedly a woman intent on deglamorizing porn, is entirely fictional. The site’s models always seem to be having fun. And, perhaps because the photographer has taken pains to include the girls in the porn-making process, they always seem wonderfully present. The photography, for its part, does a good job of evoking funkiness and the rumpled, unhurried eroticism of an amatory summer afternoon.

Below I’ve presented for your delectation three AW models who strike my fancy. They’re named, in order of appearance, Annabella, Giselle, and McKenzie. Many more can be found at AbbyWinters.com.

Nudity below. Enjoy the weekend.

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Song Du Jour: “Blue Yodel No. 9”

Blowhard, Esq. writes:

Ralph Peer — record producer, recording engineer, and talent scout — is one of the most influential men in the history of American music. Not only did he supervise the recording of Mamie Smith’s “Crazy Blues,” the song credited with kicking off America’s blue craze, he discovered Jimmie Rodgers and the Carter Family, two of the most important acts in the history of country music AND he signed Louis Armstrong to his first record deal as bandleader, a contract that produced the legendary Hot Fives and Sevens. Despite these accomplishments, Peer never cared for blues, jazz, or country music, dismissing them as “hillbilly and nigger stuff.”

This song, recorded in Los Angeles in 1930, is the result of a session put together by Peer when he was producing country songs for Victor Records. Jimmie Rodgers, the father of country music, is backed up by Louis Armstrong, the father of jazz, on trumpet and Armstrong’s wife Lil on piano (Louis was estranged from Lil at the time and it would be the last record they made together). In Pops, his Armstrong biography, Terry Teachout writes:

Neither Armstrong is credited on the label of “Blue Yodel No. 9,” but their joint presence is unmistakable. Louis fires off a no-nonsense introduction, and Lil supports him in her best barrelhouse style. Then Rogers enters, telling one his timeless tales of romantic mischance, complete with yodeling. The accent may be of a hillbilly from Mississippi, but the sensibility is straight out of Storyville [the infamous New Orleans slum where Armstrong was born and raised], and Armstrong backs up Rodgers with the same downhome fills he had supplied for Bessie Smith and Ma Rainey. like other country-blues singers, Rodgers freely dropped and inserted beats at will: the last stanza of “Blue Yodel No. 9” consists of three bars in 4/4 time, a bar of 2/4, two more bars of 4/4, and another 2/4 bar, after which the singer continues to switch unpredictably between two and four. But the Armstrongs followed him without too much difficulty, and the resulting performance was far more than a cross-cultural novelty. Not that Louis’s ability to adapt to Rodger’s style should have come as a surprise: the record collection with which he traveled in later years contained everything from Bix [Beiderbecke] and Bing [Crosby] to Bartók’s Concerto for Orchestra. In 1970 he would startle his purist fans by recording an album of country songs. “No change for me, daddy, I was doing the same kind of work forty years ago,” he blithely told a friend.

One thing that Teachout overlooks is that Rodgers’s yodeling, as explained by Nick Tosches in Where Dead Voices Gather, can be traced to the influence of the minstrel singer Emmett Miller. So, in one performance, two of American music’s most important figures combine four strands — minstrelsy, jazz, blues, and country — into one remarkable song.

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21st Century Films

Fenster writes:

The dog ate my homework and I did not post to the recent UR list of the best turd-free films of the 21st Century.  Here’s my list, and it makes no pretense to best though they are pretty much my favorites.  For the most part the list is culled from my 5-star ratings on Movie Lens, which I have usually found a better predictive tool for personal preference than Netflix or other engines.

We don’t make a fetish of it here at UR but let’s face it we are a pretty diverse crowd and it shows in the film lists.  While tastes differ there is of course an underying unity of sorts in the selections, as it should be.


UR: Unity in Diversity Award Winner

Interesting to note that Lonergan’s Margaret shows up on all five lists.  And mulitple sightings of Oslo, August 31st; Summer Hours, Before Sunset, and Black Book.  Several listed Enter the Void while I listed Touching the Void.  No one picked Fill the Void, Beyond the Void, Call of the Void, or Pop Meets the Void.

In no particular order, and not limited to 20, and with links to a Fenster UR post as appropriate:


Margaret (Lonergan, 2011)
Bone Tomahawk (Zahler, 2015)
Touching the Void (Macdonald, 2003)
Before Sunset/Midnight (double feature) (Linklater, 2004/2013)
A.I. (Spielberg, 2001)
A Late Quartet (Zilberman, 2012)
Children of Men (Cuarón, 2006)
Sin City (Miller, Rodriguez, Tarantino, 2005)
A Serious Man (Coen Brothers, 2009)
Clouds of Sils Maria (Assayas, 2014)
Anomalisa (Johnson and Kaufman, 2015)
Going Clear (Gibney, 2015)
A Prairie Home Companion (Altman, 2006)
Foxcatcher (Miller, 2014)
The Place Beyond the Pines (Cianfrance, 2012)
Stories We Tell (Polley, 2012)
The Big Short (McKay, 2015)
A Royal Affair (Arcel, 2012)
Oslo, August 31st (Trier, 2011)
Summer Hours (Assayas, 2008)
Notes on a Scandal (Eyre, 2006)
Superbad (Mottola, 2007)
Black Book (Verhoeven, 2006)
In the Mood for Love (Kar-Wei Wong, 2000)
House of Sand and Fog (Perelman, 2003)


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Random Images

Sir Barken Hyena writes:

I’ve been browsing through the last few years of photos in my image folders, and plucked a few out for your potential enjoyment.

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Quotes Du Jour: On the Intellectual Yet Idiot

Blowhard, Esq. writes:

Over here, commenter Gary Jones shared some wisdom for ages:

Having a high IQ doesn’t prevent you from being stupid. In fact, it lets you be stupid in ever more complex ways.

Amplifying on that, Nassim Taleb writes about the Intellectual Yet Idiot:

What we have been seeing worldwide, from India to the UK to the US, is the rebellion against the inner circle of no-skin-in-the-game policymaking “clerks” and journalists-insiders, that class of paternalistic semi-intellectual experts with some Ivy league, Oxford-Cambridge, or similar label-driven education who are telling the rest of us 1) what to do, 2) what to eat, 3) how to speak, 4) how to think… and 5) who to vote for.

But the problem is the one-eyed following the blind: these self-described members of the “intelligenzia” can’t find a coconut in Coconut Island, meaning they aren’t intelligent enough to define intelligence hence fall into circularities — but their main skill is capacity to pass exams written by people like them. With psychology papers replicating less than 40%, dietary advice reversing after 30 years of fatphobia, macroeconomic analysis working worse than astrology, the appointment of Bernanke who was less than clueless of the risks, and pharmaceutical trials replicating at best only 1/3 of the time, people are perfectly entitled to rely on their own ancestral instinct and listen to their grandmothers (or Montaigne and such filtered classical knowledge) with a better track record than these policymaking goons.

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Naked Lady of the Week: Niemira

Fabrizio del Wrongo writes:


In the 18th century Edward Gibbon speculated that the world’s most comely women derive from the areas bordering the Black Sea. “It is,” he said, “in the adjacent climates of Georgia, Mingrelia, and Circassia, that nature has placed, at least to our eyes, the model of beauty in the shape of the limbs, the color of the skin, the symmetry of the features, and the expression of the countenance.” The women of this region, said Gibbon, were “formed…for love.”

Ukraine is a bit to the north and west of Circassia, but it’s close enough to convince me that Gibbon was onto something. For as anyone who has trawled the vast holdings of the pervy internet will attest, an inordinate number of the world’s most striking nude models are Ukrainian.

This is just my long-winded manner of explaining why I wasn’t surprised upon discovering that the subject of this week’s post is from Ukraine. She’s a splendid creature, isn’t she? She’s currently the top-ranked model at TheNudeEU.

Nudity below. Enjoy the weekend.

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