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February 5, 2012

Tag: office

January 29, 2012

Really funny jokes-Struggling actor

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After a difficult day a struggling actor returns to his neighborhood and is shocked to find a cadre of police and fire trucks surrounding the smoldering remains of his house. Explaining who he was he asks “What happened?”

“Well,” one of the officer’s says, “It seems that your agent came by your house earlier today and while he was here he attacked your wife, assaulted your children, beat your dog and burned your house to the ground.”

The actor is struck speechless, his jaw hanging open in disbelief,“My agent came to my house?”

January 27, 2012

ABSENTMINDEDNESS

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The man of the house finally took all the disabled umbrellas to the repairer’s. Next morning on his way to his office, when he got up to leave the street car, he absentmindedly laid hold of the umbrella belonging to a woman beside him, for he was in the habit of carrying one. The woman cried “Stop thief!” rescued her umbrella and covered the man with shame and confusion.

That same day, he stopped at the repairer’s, and received all eight of his umbrellas duly restored. As he entered a street car, with the unwrapped umbrellas tucked under his arm, he was horrified to behold glaring at him the lady of his morning adventure. Her voice came to him charged with a withering scorn:

“Huh! Had a good day, didn’t you!”


The absentminded inventor perfected a parachute device. He was taken up in a balloon to make a test of the apparatus. Arrived at a height of a thousand feet, he climbed over the edge of the basket, and dropped out. He had fallen two hundred yards when he remarked to himself, in a tone of deep regret:

“Dear me! I’ve gone and forgotten my umbrella.”


The professor, who was famous for the wool-gathering of his wits, returned home, and had his ring at the door answered by a new maid. The girl looked at him inquiringly:

“Um—ah—is Professor Johnson at home?” he asked, naming himself.

“No, sir,” the maid replied, “but he is expected any moment now.”

The professor turned away, the girl closed the door. Then the poor man sat down on the steps to wait for himself.


The clergyman, absorbed in thinking out a sermon, rounded a turn in the path and bumped into a cow. He swept off his hat with a flourish, exclaiming:

“I beg your pardon, madam.”

Then he observed his error, and was greatly chagrined. Soon, however, again engaged with thoughts of the sermon, he collided with a lady at another bend of the path.

“Get out of the way, you brute!” he said.


The most absent-minded of clergymen was a Methodist minister who served several churches each Sunday, riding from one to another on horseback. One Sunday morning he went to the stable while still meditating on his sermon and attempted to saddle the horse. After a long period of toil, he aroused to the fact that he had put the saddle on himself, and had spent a full half hour in vain efforts to climb on his own back.

January 23, 2012

The Inland Revenue episode of QI

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A recent episode of the current series of BBC TVs QI focused on the Inland Revenue. Clearly no one had told the researchers or producers that HMRC took over from the Inland Revenue almost 7 years ago (April 2005).
Still, that quibble aside, some of the stories are worth repeating on this blog:
The world’s most exotic tax inspectors are in Pakistan. If you refuse to pay your tax you are shamed into paying it by receiving a visit from a team of tax inspectors who are all transgender. They would then sing and dance in your place of business until you paid up. In Andhra Pradesh, India, tax inspectors use drummers to get people to pay tax, by standing outside the place of business and banging on the drums loudly until they pay up. The comedians on the show considered how the ‘Inland Revenue’ might achieve a similar outcome here. The favoured conclusion was to send in the Morris Dancers.
Sandi Toksvig once spent three days with a tax man who investigated all of her accounts. In the end he did not find anything and the taxman said: “To be honest Miss Toksvig, I just wanted to meet you.”

Dara O’Briain recalled an actor who tried to claim his carpet against tax because of the wear and tear he caused when he walked up and down while he learnt his lines. He did not get away with it. Dara himself once tried to claim for a bed but failed, while Sandi attempted to claim for some paintings in her office, failing as well. She told the tax inspector that no-one could possibly work in an office which had no art in it. Sandi looked around the inspector’s office and saw that it had just one poster in it, which explained the Heimlich manoeuvre.

January 21, 2012

The Annotated Ann Coulter: Volume I

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Concerned citizens have debated the Ann Coulter question for many years now.  Does Coulter sincerely believe in the often ridiculous positions she champions in print, on Fox news, and during her campus lecture tours?  Or, as many have suggested, is Coulter an ongoing “performance” project of some kind, a hyperbolic parody of conservative anger and illogic dreamed up by a conceptualist collective somewhere in the Village?  Rachel Maddow has recently attempted to make this same “art school” argument about GOP pizza magnate and freelance genital inspector Herman Cain, but in truth, it is Coulter who first compelled left-leaning cultural elites to contend with the enigmatic posturing of feckless fascism.  So, for example, when Coulter claimed after the meltdown of the nuclear reactors in Fukushima that there now exists “burgeoning evidence that excess radiation operates as a sort of cancer vaccine,” baffled bystanders could only wonder at her motivation.  Regardless of one’s position on nuclear energy, no one would really take a “pro-meltdown” position, would they? Talk about seeing the glowing silver lining around a hazy cloud of Cesium-137– this has to be a stunt, right?  Ultimately, however, Coulter’s “intent” in her books and punditry is not all that important.  Be it sincere or a sham, the effect on American culture and politics remains the same.  If you want to drink from a mountain stream, after all, it matters little if a horse up river pissed in the water by design or by accident; either way, you still have a mouth full of horse piss.

On the other hand, if Coulter’s act really is a bluff, and she in fact spends all her free time in Manhattan clinking cocktails with book editors, gallery curators, and a few cynical but discrete Ivy League professors, laughing about the endless gullibility of the stupid hayseeds who are paying for her new walk-in jacuzzi–then don’t we owe it to her miserable captives to set them free?  If, back in 1964, I had been struggling to sit through all 8 hours of Warhol’s Empire, I know I would certainly have appreciated it if someone had come into the theater to let me know it was okay to leave, that I was just a prop in the execution of someone else’s conceptual stunt.

Perhaps those of us who identify with progressive causes would benefit by digging a bit deeper, by subjecting Coulter’s oeuvre to a more sustained and probing form of textual explication.  By “deconstructing,” if you will, the logic of the Coulterian universe, there is a chance–a slim one, I will concede–that we might better understand, a). what she professes to believe; b). whether or not she really believes what she professes to believe; and c). the sensibility of a readership that truly believes that she believes in things that she may or may not actually believe.

The only way to do this, I propose, is through a line-by-line examination of the work itself–what we in the academic game sometimes call a “close reading.”  As a slanderous, treasonous, godless, guilty, and demonic member of the professorial class, I hope that I might be well-suited to such a task. In the interest of critical self-reflexivity, I will admit up front that I think she’s probably faking it, that she doesn’t really believe most of the positions she advocates (like carrying heavy water for the “pro-meltdown” community).  But I am willing to keep an open mind, and if somehow Coulter can win me over with the strength of her arguments, I will be more than happy to concede that she is correct and that my “liberal” ass deserves immediate incarceration for crimes against the state, at least until it arrives at its final destination in hell where Coulter and other heavenly conservatives can pelt me and my fellow damned with burning copies of Marx, Freud, and Nietzsche.

Let us begin with Coulter’s fourth book, How to Talk to a Liberal (If You Must).  Though the title remains confrontational (it implies, you see, that talking to a liberal is so unpleasant that one would do everything in his or her power to avoid such a fate), I begin here because this book suggests, at least implicitly, that some type of dialogue might still take place (at least as of 2004, the date of the book’s original publication).  Admittedly, in Coulter’s ideal form, this “dialogue” would be a Thanksgiving dinner wherein a witty “conservative” systematically decimates the sophistry of her uptight liberal relations by demonstrating that there is no problem in the 21st century that can not be answered by some creative combination of Adam Smith, Ayn Rand, and Jesus.  To put a positive spin on this otherwise depressing scenario, let us emphasis that this scene at least has us all sitting at the same table, as it were, and that if Coulter’s woefully naive young cousin doing an Anthro degree at Smith began choking to death on the ceremonial wishbone, she still might have enough empathy to get up and administer the Heimlich maneuver (then again, perhaps Coulter really does have the courage to commit an unparalleled act of pure Objectivism:  No one help her!  It is not in our interest to prevent this lazy, under-achieving masticator from choking, for her death shall leave more turkey and stuffing for the rest of us!  Turn the highchairs this way so that the babies might also learn this lesson well!)

So let us begin (Coulter’s prose will be in bold black, my annotations in red).
 
A special note to conservative readers: Given that modern American conservatism has now become indistinguishable from paranoid schizophrenia, there will be no attempt made here to “persuade” or “convince” you of anything.  Rather, much as one might address a co-worker who suddenly professes a belief that extraterrestrials are filling his head with voices telling him to kill the neighbor’s dog, the following will proceed from the assumption that logic and reason are of little use in convincing you of anything, and that your best hope resides in a carefully monitored regimen of Haldol or Thorazine. I’m so sorry.  If somehow appeals to cooperative reason and socio-economic justice prevail in the future, we will try to send a time machine back to rescue the rest of you from yourselves.  Until then, good luck.  Also, I think someone on your local public access station just suggested adding a penny in sales tax to help clean up that toxic dump site that’s been festering out by the Johnson place and breeding all them mutant super-raccoons—your time might be better spent writing a letter about how the free market is the only way to deal with the mutant super-raccoon problem, and that you’ll shoot any city animal control officer who comes on your property to implement a socialist “one-size-fits-all” campaign of mutant super-raccoon eradication. 

1How to Talk to a Liberal
(1) Historically, the best way to convert liberals is to have them move out of their parents’ home, get a job, and start paying taxes.

Coulter begins here with a touch of folk wisdom, essentially adapting Churchill’s bromide, “If you’re not a liberal at 20 you have no heart. If you’re not a conservative at 40 you have no brain,” so that it might better appeal to her most loyal readers (crucially, however, Coulter is not willing to concede the 20 year-old part of the equation.  Even deciding to share your toys in preschool would be counted as a moronic flirtation with wealth redistribution).  Conservatives love using this quotation because they believe it imbues the speaker with a type of practical philosophy born of hard-won experience and incontrovertible common sense.  By dropping it into everyday conversation, the conservative signals that he or she possesses the necessary intellectual depth to reflect on life’s big questions, but still has not been swayed by the more “complicated” book-learned philosophies favored by liberal elites. 
Unpacking the sentence, we see three interlinking assumptions:
1. Liberals are children.2. Liberals are unemployed.3. Liberals do not pay taxes.
By casting the liberal as a child who will, under ideal circumstances, be “cured” by confronting the more sober truths of adulthood, Coulter endorses the rather sad but protoypically conservative position that the world is what it is and nothing will ever change it.   Only children believe that the world’s inequalities and injustices might be productively challenged.  The “adult” conservative, on the other hand, knows how the world “really works,” and that the child-liberal will eventually understand that s/he must give up the ridiculous aspiration for a world that is less horrifying.   Most often, this “adult” perspective is the product of having been worn down by age, fear, and fatigue so that no other possibilities remain imaginable.  A mortgaged and mirthless 40 sees what carefree 20 cannot–life is an endless struggle to acquire shit and protect it from other people who want to take your shit, all so that when you get really old you don’t end up dying penniless in a ditch.  Thus it has been since Thog the caveman first suckered-punched Grunda the hill person so that he might steal his woman, jaguar paw, and pointed stick.
By choosing to open her 2004 book with a generational mapping of right and left, Coulter gives us some insight into her core readership.  While I have no empirical data to back this claim up, I am willing to follow Coulter’s lead here in baseless speculation to suggest that her books are most avidly consumed by white men who are married, middle-aged, and fairly well-off (given that this is the key constituency of the Republican party, this would not be surprising).  Why this particular demographic?  Because Coulter “gets” them, she understands the frustration of being a “wealth-producer” surrounded by parasitical sucklings–the wife, the kids, an idiot brother, the city, the state, public education, tollways, welfare deadbeats, the chronically ill, and so on.  Thus the appeal of the regressive Randian fantasy of holding one’s breath and refusing to “produce” so as to teach all the ungrateful morons around you a lesson (much as the toddler will withhold feces during toilet training as a way of protesting the oppressive discipline of the parents).  
Yes, Coulter–or at this point, “Ann”–truly understands the middle-class white guy’s pain.  She arrived on the national scene during the dark days of the Clinton presidency, a Godsend as the most vocal in a new battalion of younger, blonder, female Republicans who at last showed the world that not every right-winger had to look and talk like Robert Novak.  Prominently unattached, Ann is the kind of gal you fantasize about while putting on your cleats to play the back nine at the country-club.  Unlike your mollycoddling wife, Ann would understand the horror of having your oldest son come home from college to announce his plans to be a professional “graphic novelist,” or seeing your daughter go out every weekend with a trio of pierced weirdos who are most obviously homosexuals.  Ann knows what it’s like to have your hard-earned pay taxed by an evil bureaucracy that wants to throw that money away on the prostitutes and drug dealers you sometimes think you see loitering around as you drive to the baseball stadium downtown. And with Ann by my side, I would never lose an argument ever again.  Next time that wise ass liberal neighbor of mine points out that I’m much more likely to get shot by my own gun than to shoot a burglar, Ann would be right there to call him out for the dickless coward he really is!  In fact, I wouldn’t mind if she called me a few names as well.  Don’t get me wrong–I still think it is the man’s role to take the lead in any relationship.  But when I see Ann in that tight, little leather vest…I don’t know, suddenly I want her to get mad at me.  Really, really mad.  I want her to tell me what a worthless weakling I am.  I want her to yell at me for nicking the upholstery in the Beamer.  I want her to lock me in the bathroom with just bread and water until I work up the courage to go tell off those pricks at the Sanitation department for cracking our new trash bins, just because they’re too lazy to put them back down gently (and I pay there goddamn salaries with my taxes!).  And then I want Ann to hold me as I cry and cry.  Why has the world become so scary and why don’t I understand anything anymore?  How could anyone be against a flat tax, Ann, I just don’t get it–it’s so obviously and objectively fair to everyone.  What do you mean you found a picture of Ashley’s vagina on her cell phone?  Why would she do that?  I don’t care what anyone says, Ann, this democracy will only really work as long as white people are in the majority. 

And so on.
It would seem explicating the first line of Coulter’s book has taken more time and space than I anticipated, so perhaps this is a good place to stop for now.  See you next time…maybe.  I can’t decide if it’s really worth it or not.
Editor’s Note: I would also like to note that in googling the phrase “annotated Ann Coulter,” I discovered another site that had this idea long before me.  You might want to visit them as well (here).





 

January 21, 2012

Generation X: Still Relentlessly and Hopelessly Screwed

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firing off angry letters to anonymous institutions (like Starbucks), tirades that are to be read as feeble evasions from taking control of his own life.  When his niece arrives and throws a big house party, a coked-up Greenberg (in probably the film’s best scene) delivers an agitated generational rant against “these kids today” and their wholly unearned sense of confidence (a recurring X-er complaint about the young ones).  There is also the age-inappropriate haircut that Stiller gamely endures for the entire film. 
Eventually we learn that the great trauma in Greenberg’s life, as well as among his former circle of friends, was the formation and subsequent break-up of their “next-big-thing” rock band back in the early 90s.  On the verge of making it to the national stage, Greenberg refused to sign a record deal that, he claims, would have sacrificed the band’s artistic freedom and turned them into “sell-outs.”  Such is the central conceit of Gen-X cinema: the only moral compass that really matters in the end is the issue of subcultural authenticity, a divide as old as the celebrated case of Punk v. Part-Time Punk. Everyone else, as it turns out, would have gladly become plastic popsters, and they all still resent Greenberg for screwing everything up.
This premise, it should be noted, speaks to a certain contradiction in this genre.  If, as the film argues so adamantly, Greenberg (and by extension all X-er’s) need to “grow up” and become functional adults, then it would seem he did his band mates a favor by breaking up their adolescent fantasy machine and forcing them into real jobs with real wives and real kids.  Strangely, however, no one sees it that way.
Will Ferrell’s “Nick Halsey,” meanwhile, has taken a different route in Everything Must Go.  When we first meet Nick, a slimy twenty-something is firing him from his job as Assistant Vice President.  Halsey, we learn, is a recovering alcoholic, and his termination stems from a relapse at the Denver office that may or may not have led to the sexual harassment of a co-worker.  On the way home, Halsey loads up with some 12-packs to make his fall off the wagon official.  Arriving at his home, however, he finds that his wife has thrown all of his possessions out on the front lawn, changed the locks, and left a note demanding a divorce.  Dealt this double-whammy of adult problems on the same day, Nick takes the one reasonable course of action available—he decides to live on his front lawn for a few days in a drunken stupor until he can figure things out. 
From this inspired premise (courtesy of Raymond Carver), Everything Must Go doesn’t really know what to do with Ferrell or the situation.  Through movie logic we establish that Nick has five days to get his shit together (literally, by clearing his lawn, and figuratively, by devising a plan for the future).  Nick spends the five days checking off many of the same plot points that occupy Greenberg.  He also revisits an old romantic possibility, showing up unannounced on the doorstep of single-mom Laura Dern. Nick also finds a twenty-something woman (Rebecca Hall) to feel his pain—a new neighbor that seems to have relationship problems of her own.  Nick eventually learns “everything must go” in a giant garage sale, except of course for his impressive collection of vintage and thus authentic vinyl (there’s that Gen-X line in the sand again—it’s all about the good taste of appreciating “real” music, a quality that, in truth, does tend to make every male over 35 basically insufferable).
The strongest link between Greenberg and Everything Must Go, however, is a rather relentlessly heteronormative insistence that the only thing preventing both characters from achieving happiness is successful reproduction.  Greenberg is unmarried and childless at 40, while Nick notes, when asked if he has any kids, that he and his wife “have fish” (a collection of Koi swimming in the back yard).  Drunk and crossing the line with his new and very pregnant neighbor, Nick predicts how her marriage will eventually fall apart just like his (as a salesman, Nick prides himself on “reading people”)—but by the end, when her absentee husband finally arrives, her prodigious baby-bump tells us maybe, just maybe, they’ll be okay. 
Of course, stepping straight from the “irresponsible” narcissism of childlessness to becoming a dad is not something that can be done in one step.  Happily, both films provide their dysfunctional X-er’s with a “training child” so they can get some practice first.  Greenberg must care for a suddenly ailing German Shepard, forming a temporary interspecies family with Florence.  Nick, meanwhile, temporarily adopts a chubby, fatherless neighborhood kid to help with his garage sale (“Will you teach me to play baseball?,” the kid asks at one point.  No, I’m not kidding, he really does say this).  As the film ends, we sense Nick is probably only a few months away from acquiring the necessary skills to take over in the Dern household (he’s been invited back, once he gets his life in order). 
Now, here is what makes Greenberg and Everything Must Go such a diabolical one-two X’er punch.  Nick goes to college, gets married, gets a job, buys a house, and works like a chump for 15 years—only to be end up divorced and miserable on his front lawn.  Greenberg, meanwhile, stays “true to himself,” refusing to join the rat race of marriage, work, and responsibility—only to end up institutionalized, alone, and borderline suicidal.  The generational message for 40-somethings could not be any starker:  work or don’t work, marry or don’t marry, join society or reject society—it doesn’t matter, you’re fucked either way.  Goddamn boomers!
I think my favorite of this genre remains Step Brothers (2009), featuring Ferrell once again, this time alongside John C. Reilly.  It is a much broader, borderline gross-out comedy that actually seems more intellectually honest than either Greenberg or Everything Must Go.  Ferrell and Reilly play two guys in their mid-30s who, having been insulated from the “real world” by virtue of their rich single parents, basically live the dream-lives of 14 year-old boys. When the parents get married, the two must learn to live together as “step brothers,” which they do blissfully until thrown out to fend for themselves.  As each takes the first tentative steps toward adulthood, there is a major falling out and ongoing feud.  What is their reward for becoming adults?  They both become incredibly boring and generally miserable.  Courageously, the film finds a way for them to remain “independent” at the end while also allowing them to regress back into their personas of endless adolescence.  I haven’t read Judith Halberstam’s new book on For those annoyed, finally, that this genre is so obsessively focused on retarded masculinity, you might want to check out The Future (2011), written and directed by Miranda July.  Here the specter of adopting a sick cat sends a 30-something couple into a major life crisis, constituted in large part by their realization that by the time the cat dies (in about five years), they’ll both be 40 (“and 40 is the new 60,” they both agree in classic anti-Boomer logic).  From here the film becomes an art cinema hallucination with July suddenly and seemingly randomly having an affair with a 50-something man, presumably because he’s an actual adult who owns an actual house.  I’d write more about it, but as that would require me accessing a form of subjectivity that I don’t fully understand, I’ll leave it there.  Some, I’m told, find July’s movies insufferably cutesy, but I appreciated the fact that the film made at least some attempt to escape the scourge of Hollywood naturalism. And it was nice, for a change, to see a woman as the center of all the generational floundering. 

January 19, 2012

Historys a Bitch: A Dog Walk Through Time: Hound Dog by Robb Fritz

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“Elvis and The Beatles were the death of music.”
— My parents.

- – -

I was always a Beatles man, not Elvis. I remember arguing the Fab Four versus the King with my parochial schoolmate Margaret all the way from St. Joseph’s Elementary to her house, though what the basis for the argument would have been is a mystery to me now. Were we actually arguing the merits of “Here Comes the Sun” versus “Hound Dog” and “Love Me Tender” versus “I Wanna Hold Your Hand”? Or was it more along the lines of “Elvis is cute and he knows how to dance!” (with a hip-shaking demonstration) versus “They float through this dreamland in a yellow submarine, and there’s this weird house with Frankenstein, and there’s this funny little Nowhere Man and the Blue Meanies and they get old and turn into babies and stuff!” I was driven in part I’m sure by mom’s tacit approval of The Beatles. Though she was officially opposed to everything they stood for (see the above quote), I know she secretly liked Paul’s lyrical side since as a piano teacher she never had a problem teaching easy piano versions of “Yesterday” and “Lonely People.” Margaret had posters on her wall of the young, smoky-gazed Elvis. Since a similar poster of John, Paul, George and Ringo did not grace my own, on devotion points alone I conceded defeat.

On June 5, 1956, when Elvis was a rising star nearing the height of his power, he made a soon-to-be-notorious second appearance on The Milton Berle Show, introducing his version of “Hound Dog,” a song that had recently become his standard closer. Elvis had been refining his performance of “Hound Dog” for two months, testing the reaction of his audience with every move, and honing his delivery to a science. For the first time ever he would be performing without a guitar, Berle’s having convinced Elvis to leave it backstage in order to “let ’em see you, son.”

Elvis started the song at a fast clip leading into a sharp, short solo by guitarist Scotty Moore, and free of a guitar, danced all over, gliding over the floor as he spun his leg opened and closed like a screen door banging in a crazy wind. He then cut the song off midway and restarted it as something near a bump and grind crawl paired with a slow occasionally hip-thrusting dance to match. From the song’s fast start to its hothouse finish, each trademark Elvis leg flip and every shrugging, almost diffident hip gyration was accompanied by screams and amazed laughter from the audience. Milton Berle, “Mr. Television,” loved it, and raced onto the stage, clapping a pleased Elvis on the back and mussing his hair saying, “How about my boy?”

The initial reviews were mostly positive, but eventually the moral backlash kicked in. It’s hard to imagine on this side of the ’60s the level of hysteria that ensued after his appearance. Ben Gross in the Daily News raged, “Elvis… gave an exhibition that was suggestive and vulgar, tinged with the kind of animalism that should be confined to dives and bordellos. What amazes me is that Berle and NBC-TV should have permitted this affront.” The Catholic weekly America published a full-length diatribe titled simply “Beware Elvis Presley.” And Ed Sullivan declared Elvis “unfit for family viewing,” swearing he would never allow Elvis on his show.

Elvis protested his innocence, insisting, “I’m not trying to be sexy, it’s just my way of expressing how I feel when I move around.” Whether this was true or not there wasn’t a post-pubescent individual with eyes in his or her head who didn’t know what Elvis’s brief but poignant hip thrusts were all about. Regardless of the intended thrust of his thrusts, there was no doubt that they fucked mightily with the moral zeitgeist of TV Land circa 1956. He insisted that he wasn’t trying to be a rebel, something about which he was genuinely sensitive because of his real concern for his much-adored mother’s feelings. What Elvis didn’t grasp was that in 1956 his simple desire to keep it real was itself a revolutionary act.

How things have changed. Just this month the Supreme Court was debating whether they should strike down all “indecency” rules for primetime. Chief Justice Roberts, the father of two young children, said (in more of a desperate plea than a constitutionally defensible position), “All we are asking for is for a few channels” where parents can be confident their children will not hear profanity or see sex scenes. In its way, Elvis’s appearance on The Milton Berle Show was TV’s gateway drug, the ‘50s sensimilla to today’s TV heroin. One wonders what would happen to the brains of the same critics were Lady Gaga to take Marty McFly’s DeLorean back to 1956 and do her thing on the same show. They would no doubt think they’d died and entered the ninth ring of hell.

Ironically, despite the moral outrage over the song’s performance, “Hound Dog” really isn’t even a paean to sex. Written in 1952 by Mike Leiber and Jerry Stoller, two young Jewish kids from Los Angeles with a shared obsession with R&B, it was intended as a musical middle finger to some worthless pond scum who’s done the singer wrong. They’d written it for blues legend Big Mama Thornton, who later described them as a couple of kids with the song “written on the back of a paper bag.” She altered it as she saw fit, made the phrasings her own, and had the members of her band howl like dogs behind her. She recorded the song in early 1953, and it was released in March. Within the first week of its release, based on a rave in Billboard, another singer recorded a country version, and by the year’s end a total of six country recordings of the song had been released. By 1964, 24 recorded versions of the song—including Elvis’—would exist. It was the biggest hit of Big Mama Thornton’s career.

Her version could hardly be more different than Elvis’, a growly rhumba blues that would be completely at home on basically any Tom Waits album from Rain Dogs on. The lyrics—Lieber’s originals—are more straightforwardly bluesy and make more narrative sense. To my taste Thornton’s version is much grittier and more soulful, and has the deeply satisfying feel of being sung with full vitriol to one particular scumbag, as opposed to Elvis’s more impersonally tongue-in-cheek version. In a 1987 interview, Lieber said that the chorus was code for “You ain’t nothin’ but a motherfucker,” and with Thornton’s fiery growl it’s not a difficult substitution in the mind to make.

Elvis would have known Thornton’s original, but he found his pop version during his first time performing in Vegas. Despite the ill fit between his style and the adult, sit-down audience for which he and his band were performing—like Spinal Tap playing for the air force officer’s club—Elvis loved Vegas, blissfully unaware of the central place it would eventually have in his life. He and the band spent their free time seeing other musicians perform around town. He and his band’s favorite was the lounge act for the Sands, Freddie Bell and the Bellboys.

The Bellboys had had a minor hit with their own pop version of “Hound Dog” the year before in 1955. To turn it into a pop song, they had dropped a verse and changed the lyrics—to Lieber’s great annoyance—so that the hound dog in question is no longer “snoopin’ round my door,” but is now “cryin’ all the time” and the phrase “you can wag your tail/but I ain’t gonna feed you no more” was tossed in favor of the rhythmically nimbler if narratively less sensible phrase “you ain’t never caught a rabbit/ and you ain’t no friend o’ mine.” It now served as the Bellboys’ main showstopper, and Elvis his band, drummer D.J. Fontana, guitarist Scotty Moore and bassist Bill Black, decided they had to add it to their act. It would quickly become Elvis’ closer for a long time to come.

Lieber and Stoller, ‘50s hipsters to the core, weren’t pleased with the pop direction Freddie and the Bellboys and then Elvis had taken their song. They were dismissive of Elvis’ ability and assumed he was ignorant of his music’s history, probably in nearly exactly the same way I was once dismissive of Justin Bieber. For my part, I assumed Bieber was just some A&R guy’s bubbly commercial product: take cheesy love song, add cute young singer, and stir. Then I humored my daughter, five years old and suffering from, as she then mispronounced it, “Beaver Fever,” and, together with her and my wife, watched the Bieber documentary Never Say Never. While it’s safe to say I’ll never be listening to "Baby " on my way to work, the movie was genuinely fascinating and watching Bieber as a three-year-old playing on his toy drums and then at five on his real set is pretty much a wonder to behold. For Lieber and Stoller, it would be the summer of ’57 when they were hired—largely against their will—to write the songs for Jailhouse Rock, that they finally befriended Elvis and grew to appreciate both his very real talent and his deep love and knowledge of R&B.

A month after the hip shake heard ‘round the world, Elvis was scheduled for a July 1st appearance on The Steve Allen Show. Allen, for the benefit of the more prudish members of his audience, had made some public noise about possibly canceling Elvis’s appearance, but with Elvis at the top of all three charts that existed at the time—R&B, pop and country—there was little chance of that actually happening.

Instead, Allen devised a plan for cleaning Elvis up. The night of the show, Allen introduced “the new Elvis Presley,” one dressed in white tie and tails. He opened with his current pop hit, “I Want You, I Need You, I Love You.” Then Allen wheeled out an actual female basset hound wearing a small top hat strapped to its head. The hound gazed at the audience with a supremely sad, baleful face, refusing to look at Elvis despite his numerous good-humored attempts to turn her head and sing into her doleful eyes. Elvis remains a good sport, but it’s clear from his body language, from the stunted jerks of his head and shoulders, that he is working fiercely to not burst into his now-notorious hip swivel, like a schoolboy trying to restrain a bobbing knee. In the end, Elvis, a dog lover himself and eventually an owner of many, many dogs as well as a menagerie of other animals, gives the hound a genuine hug, and nuzzles it and kisses it on the neck, probably in sympathy as a fellow sufferer.

That night The Steve Allen Show killed The Ed Sullivan Show in the ratings. Sullivan had repeatedly vowed to never have Elvis on his show, but as J-Biebs would say, never say never. Within two weeks Sullivan caved, eventually signing Presley for not one but three appearances, the first slated for September 9. Sullivan blew off criticisms of his reversal, saying he had been going on hearsay, and about Elvis’s Milton Berle Show appearance he did a complete and unapologetic 180, accusing everyone else of overreacting by saying, “I don’t know why everybody picked on Presley, I thought the whole show was dirty and vulgar.”

On July 2nd, the morning after The Steve Allen Show, Elvis and his band would finally commit “Hound Dog” to vinyl. After 31 takes, they had the full two-minute blast complete with Scotty Moore’s jangly guitar solo (Moore would later refer to it as “ancient psychedelia”) and D.J. Fontana’s trademark machine gun drum attack. That afternoon they recorded “Don’t Be Cruel.” The single of “Hound Dog,” with “Don’t Be Cruel” as the nominal A-side, was released on July 13th and would hit the #1 spot slightly over a month later, on August 18th, where it would remain for a record-breaking 11 weeks, replaced only by his own new single “Love Me Tender” on November 3rd. “Hound Dog” would become Elvis’ best-selling single ever, and in 2004 Rolling Stone would place it as #19 on its list of the 500 Greatest Songs of All Time, the highest rank for any of Elvis’ eleven entries on the list.

January 17, 2012

Teddy Waynes Unpopular Proverbs: Punctuality by Teddy Wayne

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The early bird gets the worm, like Chris in international sales, who gets to the office a couple minutes before nine every morning, so it looks like he’s this real go-getter to David, but he always leaves at five on the dot, whereas I have delayed sleep-phase disorder and have greater sleep requirements than the average person, so I have trouble making it in by 9:15, but I’m constantly staying till seven or eight, yet I’m discriminated against even though I’m working much more overall than Chris, and if we just had a work structure in place to accommodate people like me, then the late bird would get the worm and the brown-nosing early bird would be the one getting talked to by David on a monthly basis.

January 10, 2012

Dendrophila and Other Social Taboos: Eminem Sex Dreams Decoded by Dani Burlison

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In the thick of the 8 Mile era, he appears out of nowhere, rescuing me from a pretentious hipster bar. Lanky twenty-somethings sipping two dollar PBRs in their nicotine-soaked white belt adorned skinny jeans avoid eye contact while slouching over bar stools. The room is a thick dark cloud of off-putting pheromones and swollen egos. I grow increasingly restless. A friend excuses herself, stumbling outside with a shaggy-haired bass player and he approaches, politely asking to sit down.

“My name is…” he mumbles, while the indie rock band whines from the stage.

“I know your name,” I say, welcoming the attention. “Sit down.”

We discuss politics, genetic engineering and needle exchange programs. He invites me to a private screening of a factory farming documentary back at his San Francisco hotel room. Tugging at his baggy trousers, he leads me out of the bar.

Back at the hotel, his passionate rant about dismantling the racist prison industrial complex lures me, without hesitation, into the hotel bed, which is stacked with handmade quilts. “I made those myself,” he says.

Eminem is a closet quilter. I am so putting out.

He’s just aggressive enough to keep me pleased without hurting me in ways that I don’t want to be hurt. His hands are smooth and strong, save for the calluses where the mic is usually firmly grasped. But on this night, my night of an unbridled sexcapade, tangled up in Eminem’s hand-sewn rag quilts, the only thing in his hand is my body. Every single naughty bit of it.

As the sun rises, he serves the best organic orange juice ever and asks if I can stay another night. “I have season four of Sex and the City,” he says, brushing the hair from my eyes. “I love it when Samantha explores her sexuality with that amazing Brazilian artist, Maria. Love should see no boundaries. Let’s hold each other and watch it.”

He rubs my feet with Ayurvedic sesame oil, leading his hands to all sorts of glorious places on my ravaged body. He makes sweet tender love to me—with the expected intermittent Eminem-style stamina and welcomed throw down—over and over and over again. And again.

I leave the following morning to meet a friend for breakfast. As I dash nutmeg atop my steamed chai, I notice that he, Eminem, is standing in the corner of the cafe, smiling. “I miss you already,” he mouths from across the room.

I approach him. He hands over poetry and sketches of boats and hearts he’s scrawled across his napkins. “These are for you. I’ll never forget you.” He looks down, pulls up his drawers and walks away.

I know, Eminem. It feels so empty without me.

He shows up again, repeatedly, over the next ten years. He’s always a gentleman, always an animal—sometimes a kitten, sometimes a tiger—in the sack. We meet at airports, on road trips, at campgrounds, in waiting rooms at the veterinarian office. And once in the parking lot at Whole Foods where he carried so many bottles of so much fresh juice. Ten years of the best sex of my life. With Eminem. While I am asleep. Why not Leonard Cohen or Margaret Cho or Mark Wahlberg’s character in I Heart Huckabees? Eminem is so upset. And isn’t it wrong for a feminist to really, really enjoy sex dreams with some dude who, well, hates everyone, everywhere except his kids and Dr. Dre?

What does it all mean?

After shying away from asking my Certified Dream Analyst for insight, I did some research on my own. Here’s what some of the experts say:

Freud: If the dream had a ton of penis action already, then maybe Eminem has a pipe in his pants and I need that game piece to play Clue. But that’s a different type of pipe. Maybe I should still look in his pants. Also, the rooms where we always have sex symbolize wombs. I should probably ask my mom but maybe Eminem is my brother. If he is, Freud would still want me to have sex with him, I think.

Jung: It’s quite obvious that Slim Shady personifies the shadow archetype. Maybe that’s why I keep having sex with him in dark, shadowy places. Is he my animus? Do I want to have more sex with myself? Maybe Eminem’s shadow side is vegan and shops at Whole Foods. Maybe I just need a glass of fresh juice.

Laura Ingalls Wilder: I have a lot in common with Eminem. And if good friends are hard to find, maybe Eminem and I should enjoy life on a prairie somewhere. All of our kids would love it.

Radical activist view: Internalized sexism. I hate myself and my girly bits. Maybe I don’t care as much about the world as everyone thinks. Maybe deep down I hate women as much as he seems to. Shit. I need to take back the night and challenge oppression. In bed with Eminem. And then cancel my subscription to Ms.

My therapist: What do I think it means?

Power animal: Maybe Eminem is my power animal. I’m not sure what Eminem’s native elders think his power animal is, but since he was born in the Year of the Rat, I say it’s a rat. The rat is the first animal in Chinese astrology. Maybe Eminem is like an angry Adam and I am his sex-crazed Eve and together we can rule the world. Kind of like Wonder Twins. Or maybe it isn’t a rat but a rabbit. Rabbits indicate lots of sex, which leads me back to Freud, and me needing to have sex with Eminem, who might be my brother.

Runes (translated to Norwegian): I thought about my dreams and threw some stones. They read: Marshall elsker du og han ønsker å holde deg varm med hans rage. It’s cold in Norway.

Christian view: He needs to be saved. Maybe my life purpose is to smolder Marshall’s seething anger with a big, fierce, naked hug. Maybe I need to find God and if I do, maybe he’ll lead me to a San Francisco hotel room where I can drink juice. I’m really thirsty.

Annie Lennox: Sweet dreams are indeed, made of these. Maybe Eminem and I want to use and abuse each other. I think we can heal each other. It might be really good for us. Really.

Male friends: You need to stop dating crazy angry guys. You’re gonna end up in a trunk.

Female friends: You date wimps. You need to hit that shit. I bet he’s actually a really nice guy.

Yoda: If the dark side clouds everything then maybe Eminem’s dark public persona just casts a shadow over his sensitive, spiritual side. Maybe I should take him to yoga. And then go out for juice. And watch Star Wars.

Joseph Campbell: If dreamtime leads us to permanent fixtures in our psyches then maybe Eminem is a part of me, like a twin, and contrary to Freud’s wishes, we shouldn’t have sex because that would be incest or something and I’m pretty sure incest is illegal, especially for twins. Also, Campbell says dreams support our conscious lives so maybe Eminem is my sugar daddy and I should just ask him to support me and buy me the house he offered up in my 6th dream about him.

Oprah: If living my best life means that it doesn’t get better than sex dreams about Eminem than maybe I should leave it at that and not have sex with him. Maybe I’d end up on fire. Or in his trunk. With no juice. I wouldn’t like that.

Confucius: “What the superior man seeks is in himself; what the small man seeks is in others.” Maybe Eminem lost something in that first dream and he keeps coming back for sex because he’s trying to find it in my pants. Maybe I need an X-ray so I can find it for him and send it in the mail so the dreams stop.

Wizardry and other assorted magic. Namely, the wisdom of Albus Dumbledore: If it does not do to dwell on dreams and forget to live, then I think that maybe Dumbledore thinks the only way to make sense of the dreams is to live this all out, either through sex with Eminem or with a stand-in or body double or what have you. Dumbledore also says that happiness can be found in the darkest of times, if one only remembers to turn on the light. Slim Shady needs to come to the light, I think. And I think the light is in my pants and in his pants, too. But what does Dumbledore know? He got smoked by Snape. Maybe he don’t know shit.

Eminem: I think he’s reaching out to me, telepathically, and that maybe he’d see this as an opportunity to seize everything he ever wanted and have sex with me. And that I am his portal to show the world that he’s socially conscious and is a really gifted quilter and he needs me to help him set up some quilting classes through an adult education program. Or maybe I’m just more thirsty than I realize and I do, in fact, need some juice.

January 9, 2012

In These Deserts: War Stories From Afghanistan: Column 21: Epilogue by Nathan Bradley

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The best way to describe my opinion of the plot of the movie The Hurt Locker is as follows: imagine watching The Silence of the Lambs, except at inopportune dramatic moments the characters spring into a Bollywood song-and-dance number. Clarice Starling and Hannibal Lecter are inexplicably warbling in Hindi in his jail cell flanked by prancing elephants and choreographed dancers in lab coats. Then, it’s suddenly serious again, as if nothing had happened.

That said, when explaining the feeling of returning to the real world, there’s a part of the film that actually gets it completely right. Near the end, when Sergeant James can’t save the guy with the bomb locked to his body, the aftermath of the explosion and chaos suddenly cuts to a scene of James cleaning the gutters at his house, James wearing civilian clothes, James confused by the absurd plenty of a local supermarket. That is what it feels like.

My friends let me stay with them in a hotel in Anchorage on my first night home, and jet lag kept me awake and alert while two beers kept me almost dangerously intoxicated. I felt great—I felt nothing but hope and excitement. Within twenty-four hours, I had my truck out of storage and was scouting for a place to live. Within three days I had rented a house, and the absolute terror that I felt when I realized that I was sleeping unarmed gave me an indication that things might not be so easy.

In truth, the startled moments and the unease went away pretty quickly. The boredom, however, set in almost immediately upon returning to work, and though the month’s vacation that I spent in Washington, D.C. was a welcome reprieve, the frustrations of transitioning back to garrison life (and an office job) seemed overwhelming. I made up my mind that I was going to get out of the Army—the excitement was gone, the war seemed to be following an endless cycle, and my disappointment at the news was matched only by my desire to go back there, back to a place where I felt relevant.

I studied journalism in college, and it seemed an ideal profession to pursue. I fully intended to move to Kabul and start work as a freelancer. I contacted some old colleagues who worked in the Afghanistan-Pakistan region. They had some great advice: first, don’t try to contact the Taliban yourself. Second, make sure you have a lot of money saved up. Third, don’t expect work in the wintertime—the war practically shuts down in Kabul. Expatriates and government wonks can be snotty, they said, and don’t expect a good nightlife.

Still, it sounded better than getting up at 5 a.m. every morning to stand in the inevitably freezing Alaskan air, to prepare legion PowerPoint slides for training meetings, training synch meetings, command and staff meetings, brigade air operations meetings and the like. In the span of two weeks of traveling back from the war zone that had become my home, I had gone from T.E. Lawrence to Milton Waddams.

During a speech at West Point, Defense Secretary Robert Gates made a comment that stuck with me: “Men and women in the prime of their professional lives, who may have been responsible for the lives of scores or hundreds of troops, or millions of dollars in assistance, or engaging or reconciling warring tribes, may find themselves in a cube all day reformatting PowerPoint slides. The consequences of this terrify me.’’

That was me, and there was nothing to be done. Nobody liked their jobs: that was the dirty secret of what coming home actually meant. The consequences that I experienced were: contempt, bitterness, despair and a desire to drink to excess on a regular basis. My work was unpleasantly simple and mundane. I’d spend my idle time in the office researching apartments for sale in Buenos Aires, townhouses for sale in Washington D.C. or organic farming cooperatives in (no joke) Nagorno-Karabakh. I’d spend my weekends hammered reading the depressing Afghanistan updates posted on the New York Times by C.J. Chivers or Dexter Filkins. I hated every minute of it, and I was ready to leave it all behind to go somewhere and do something real.

That is, until the morning that I checked my email and discovered that the Army’s Human Resources Command had corrected a clerical error it made in 2007: the terms of my enlistment had been updated, and the earliest date on which I could exit the military had shifted from June 2011 to May 2014. It was all my own fault, but the information I had received every time I queried had clearly stated 2011. So, heart-set on finding a new occupation, I instead found myself staring at the next four years and the implications therein. It didn’t help much that a girl had broken my heart a few weeks before. Everything seemed to be in free-fall. I would have deployed back to Afghanistan in a heartbeat if they had just let me.

And then, unbelievably, the opportunity to write this column arose. Then, two days after I received word that I had the chance to publish my story, a unique opportunity to deploy to Central America and work in humanitarian assistance for six months arose, too. Of course I accepted. Looking back on this past year, it’s easy to imagine that none of it had ever been in doubt, that it was always going to transpire this way, but honestly it’s terrifying to think about what might have happened if it hadn’t. No one who survived the war is a stranger to blind fate, to the abritrary nature that decides who lives or dies, and so there’s no reason to dwell on it. That was just how it was.

Sharing my story has been an absolute privilege, even if the story wasn’t always positive. I’ve been particularly thankful to receive messages from other soldiers, especially the ones who deployed with me and who recognized themselves in my writing. They are the most terrifying jury of my peers that I could possibly imagine, and I hope I’ve done right by what took place.

Finally, an update on what’s happened since I left:

My interpreters Tony and Santos (the interpreter who helped me with Abdulhaq) are still in Afghanistan and working for the coalition. I hope that they get their visas in Fiscal Year 2012, but I have no influence. We still keep in touch via Facebook, and though I can’t do much from here, I’m thankful that they’re safe.

I wrote Brian’s parents a letter after he died, and I have since become friends with them. They and their family adopted my detachment and sent us dozens of care packages throughout our deployment. They are the most generous and kind people I have ever met.

My soldier Tony, with whom I went on leave, got out of the Army and is now in training to be a locomotive engineer. He had a rough year, too, but things are getting better, he says. He lives in Atlanta, and I’m going to go see him one of these days.

Khan is still there and still working for the governor’s office. He had the governor’s spokesman write out an email that he dictated; he says his kids still ask him when they can come over to his friends’ house to play again. I’m still holding out hope that I will get to talk to him again. I tried calling him on Skype once, but the connection is terrible and my Pashto is not much better.

Governor Katawazai is now the deputy chief of the Afghan National Directorate of Security. I’m sure he’s doing alright. He is a canny survivor above all things.

My battalion commander has become a huge supporter of my writing, and is a voice of reason when I feel like I’m going insane. We were all more than lucky to have so conscientious a person in charge of us over there. He’s still in the Army for now.

Most of my soldiers from the compound have left the military. I don’t blame them; they saw the ill-lubricated gears of the war grinding on an hourly basis. I still talk to most of them, and I envision us all as aging, cranky vets at some distant reunion. Some of them are back in Afghanistan already. All of the ones who stayed in our battalion will be back by the end of this year. I worry about all of them.

I never saw Abdulhaq again. All of my experience gives me the impression that he probably held on to that letter. Maybe I’ll see it again someday. Maybe I’ll even see him. I’m enrolled in a program that will have me studying intensive Pashto soon, and with luck I’ll actually learn that language well enough to truly communicate what I want to say. I know I’d recognize him if we ever crossed paths.

A few days after I published the column about Shams ul-Haq and Syed ur-Rahman, I received word from Tony that their father had been captured and beheaded by the local insurgency. Not even religious leaders are safe in that conflict, and it was a sad reminder of just how fragile things really are over there.

I contacted both Tony and Santos and asked them if they could get in contact with the family. I know that they must have cousins and uncles who will provide for them—kinship is important above all else there—but they just lost their father, the head of the household and the only one employed. The boys are just two of eight kids. I wanted to see if I might be able to send some money: a thousand dollars to try and keep them on their feet for the time being.

It’s extraordinarily hard to wire money to Afghanistan, and so rather than sending it directly to the boys (whose personal information I didn’t really know), I asked Santos if I could wire it to him instead and have him deliver it in cash. Getting the particulars of his bank account took about a week’s worth of back-and-forth messages on Facebook. In the meantime, I had to attend the 2011 U.S. Army Maneuver Conference in Columbus, Georgia, where I encountered my old company commander—not the awful one, but rather the one for whom I served as a platoon leader before deployment.

Waiting in the hallway before whatever afternoon speech fell next on the schedule, I asked him what he thought of my plan. I told him that I figured it was my obligation: I make in a week what an Afghan family makes in a year, and if the interpreters give them the money, I know it’s not going to the insurgency. He unequivocally disapproved, and was angry that I would even suggest it. In his opinion, it was just a means of making myself feel righteous, and in truth they were going to either make it or starve to death, and the sooner they figured out which, the better. I asked him what kind of employment he expected a ten-year-old and a twelve-year-old to find. “I know plenty of ANA commanders who would love to have them as chai boys,” he said, making reference to the almost ubiquitous practice of child sex abuse and victimization that takes place among Afghans. Almost everyone I know who’s deployed there has some story of encountering it.

All around us in the re-purposed ironworks of a convention center were defense contractor booths hawking new technologies: new optics for snipers, new drone aircraft, new camouflage, new armed combat vehicles, new assault rifles, new mortar tubes, new munitions, new armaments. The networking and glad-handing taking place between the lines in this conference would clearly lead to new acquisitons, to billions of dollars changing hands between the Department of Defense and the familiar names like Raytheon, Northrop Grumman, BAE Systems, General Dynamics, the companies whose skyscrapers loom over Arlington, Virginia and line the capitol like medieval siege towers. When the irony of the scene struck me, the solution became obvious. I sent the money.

January 6, 2012

Aliens With Benefits by Teddy Wayne

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Amigos, welcome to America! It’s okay, you can come out of hiding—we don’t care that you’re so-called “illegal aliens.” In fact, we love aliens, as long as they’re cute and cuddly, like E.T., or willing to work below minimum wage while being exploited at jobs most Americans won’t touch, like you!

Just because you’re here illegally doesn’t mean we’re withholding your slice of good ol’ American apple pie that you baked under a fast-food franchise’s heat lamp. There’s much controversy about whether you should be insured in our health care system. Well, you can put your mind at ease, after you’ve finished your 16-hour shift, because you’re covered for a host of ailments and preventative care treatments, such as lung-cancer screenings for all those toxic chemicals you’re inhaling in the factories or wherever to ensure that you can continue working until you retire at 85.

And what good is your health if you’re not able to enjoy it in your golden years? That’s why we’re instituting the new 401(k)(ia) plan for illegal aliens. For every cent you put into a pension from your $2.50 hourly wage, the government will take it, invest it, then give the original amount back to you in 40 years so that you don’t lose it—free of charge!

What about dental insurance, you ask? How do free toothbrushes every six months with our dentist’s phone number on them sound? Heck, we’ll even throw in some barely used floss.

A guy in our office also found a pair of backup glasses from eight years ago that just might fit a certain someone’s prescription.

Paying someone to take care of your kids during the day can be prohibitively expensive, so under the Illegal Alien Child Care Bill your children will be legally permitted to work alongside you. Don’t forget to snap a picture of junior’s first time helming the slaughterhouse deboner!

You will receive time off for all our major holidays: Flag Day and New Year’s Half-Hour.

We know you came to the United States for greater opportunity, to escape oppressive regimes, and because our reality shows are great and you should buy the wonderful products advertised in their entertaining commercials. Providing you with benefits is our way of saying, “You’re welcome!” and keeping you just enough above water to encourage your relatives back home to join in the fun and risk their lives crossing the border. In return, we simply ask that you work hard, abstain from bathroom breaks, and agree every election cycle to serve as a scapegoat.

Finally, you’ll receive the greatest benefit of all: a tax rebate (because your income will now be recorded and taxed in the highest bracket—hey, floss doesn’t grow on trees!). To guarantee you’re first in line, end-of-year filing is due January 1. We suggest using New Year’s Half-Hour to complete it.

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