I'm so honored you read my blog. :D

And we never even got to eat the candy! Now that we are buying $700 billion more, I suspect we won't be eating candy again for a very long time.
Fantastic metaphor...thank you for posting, feministing!

Wow, this all seems so shady. Like she said, the last time the country rushed through its legislation and trusted the GOP to keep its promises, we got fucked (well, she didn't say it exactly like that).

Wow, this all seems so shady. Like she said, the last time the country rushed through its legislation and trusted the GOP to keep its promises, we got fucked (well, she didn't say it exactly like that).

God I love her show. This is the first time I've ever set my DVR to record a news show (except for Stewart and Colbert, of course).

I like the reference to the "double dipping" that the players on Wall Street may receive as a result of this proposal, ie they get bailed out using tax-payers' money and then the same people get hired as consultants to repair the damage!!!!! Hence, any restructuring that takes place is likely to reflect the interests of the same people who have been running Wall Street all along. Basically, it is the American taxpayer who will be paying for the mistakes of these already extremely wealthy people. As nakedanarchists has stated, the taxpayer will be buying the replacement candy, but won't be getting to eat any of it. The same people will be eating the candy regardless. This is a prime example of how allowing the market to regulate itself with minimal government intervention and regulation is a recipe for disaster. These people have been allowed to act in ways to maximize their own personal wealth, and that of the institutions they work for or own, while exposing themselves and the American economy to enormous risk. The real irony is that they have taken advantage of the minimal government regulation which has existed, resulting in them becoming victims of their own greed, and then expect government to bail them out...

Located in the central part of Japan, Tajimi City in Gifu Prefecture is well known for its Mino pottery. In this city, Masanobu Ando, an artist from a family of pottery wholesalers, has created a dramatic gallery called Galerie Momogusa, which is housed in an equally dramatic Sukiya-style building. Built in 1896, this house with its delicate timber and an exquisite interior was originally owned by a doctor in Nagoya and was slated for demolition when Ando saw it and decided to purchase it for his gallery After reconstruction, the house forms a fitting backdrop for this talented potter's collection of beauti ful ceramics and other objects.

Although every room in this house is made of wood, tatami mats and shop doors each room has a different character. The earthen floor and eight-tatami room adjoining the porch (pen'an) is meant for relaxation and is used for the family's daily activities. In contrast, the ten-mat drawing room (zashiki) and the ten-talami anteroom in the innermost pail of the house are very formal and meant for receiving guests. A six-tatami room and a Buddhist altar separate these two pails of the house. This central area has an air of sacredness, quite distinct from the other parts. Ando considered the charac­ter of each room as well as seasons and annual events while designing the interiors of this house.

Ando's displays are simple yet dramatic. A serpentine line of wooden boards bearing art objects runs throughout the house, from the earthen floor to the back rooms. The boards were originally meant for making sturdy paper stencils (ise-katagnmi) with intricate patterns for printing kimono fabrics. The line intentionally culminates in front of a hanging scroll (kokejiku) at the alcove (tokonoma) in the innermost room. Although hanging scrolls usually have paintings or calligraphic work on them, this particular one made by Ando himself is simply a composition of white paper To Ando, this work sig­nifies a void or inanity (feu). Large pieces of art are displayed with stage-like lighting, while the empty spaces around them amplify their presence.

Ando unites the Eastern and Western influences in his life in Galerie Momogusa. While he was busy creating European-style contemporary art in his 20s, he began to wonder if he did in fact have a cultural or ethnic identity as a Japanese. In order to understand himself better, he took up the study of ceremonial tea (chonoyu) just before he turned 30. Twenty years later. Ando feels that he has been imbued with the spirit of the tea ceremony which for him consists of attaining an intuitive and open state of mind. He feels that he can now appreciate works of art. simply for what they are. with a clear perception, unhindered by thoughts about their background. With this attitude as his starting point, his exhibits include things regardless of whether they are Japanese or Western, old or new.