Tag Archives: reference

Oprah Begs Viewers to Ditch Grammys For OWN, Nielsen Far From Pleased

Oprah Winfrey took to Twitter last night to ask Nielsen viewers to watch her cable network OWN instead of the Grammy Awards, a pathetic move that drew criticism from her OWN followers and the market research company alike. “Every 1 who can please turn to OWN especially if u have a Nielsen box,” she tweeted Sunday at the start Oprah’s Next Chapter and the mega-rated Grammys. She later added, “Commercial Grammy people… u can turn to OWN.” The tweets caused a backlash on the social networking site, with some readers – fans of O, no less – accusing her of “begging for viewers” and being “desperate.” Oprah followed up with a flurry of defensive replies that were apparently in response to reader criticism: “The word ‘please’ is used as courtesy not a beg.” “‘Desperate’ not ever a part of my vocabulary” … “‘Unethical’ us a little harsh don’t u think? Seemed like it made sense to me. Sorry if you’re offended.” The original tweet has since been deleted. Networks are not allowed to specifically target Nielsen subscribers. Policy prohibits “attempts to single out panel members … to change their viewing habits.” “In accordance with our policies, Nielsen is reviewing this with our clients and may withhold, breakout and/or make a note in the ratings,” a Nielsen rep told EW . “We take any violation of our policy seriously.” Given that 39.9 million people watched the 2012 Grammys , a more effective punishment might be simply releasing OWN’s miniscule ratings instead. Oprah Winfrey has since released this statement: “I removed the tweet at the request of Nielsen. I intended no harm and apologize for the reference.”

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Oprah Begs Viewers to Ditch Grammys For OWN, Nielsen Far From Pleased

Herman ‘Touch Caucasian Cakes’ Cain: “I Dropped Out Of The Presidential Race Because Of Gutter Politics, Stupid People, & Keeping Family First”

Your boy Herman Cain is bizzzack and he and his 9-9-9-isms hit the stage at the CPAC conference where he discussed a plethora of things such as teleprompters, gutter politics, and the Bible: In the most anticipated address of the day on Thursday, Herman Cain compared himself to the biblical David, who slew Goliath. Cain said he dropped out of the presidential race because he values his family, and then offered the strong analogy. “There were two reasons I dropped out of the race – gutter politics and, No. 2, I chose to put family first,” he said. “And in making that decision, I knew that we together could change Washington, D.C., from the outside and from the bottom up even if your David didn’t make it to the White House.” The crowd didn’t immediately seem to know which David that Cain was referring to, but later in his comments, it became clearer that his reference was to the Bible. Cain also took time out of his speech to recognize Samuel Joseph Wurzelbacher, a.k.a. “Joe the Plumber,” who is waging a quixotic campaign for Congress in a very tough Ohio district. “Some of us choose to get off the sidelines, and I admire that,” Cain said. “I don’t regret the move that I made, but there’s more than one way to skin a cat.” Check out the video of his speech below… Even more folks at this CPAC 2012 were going in on Barack Obama: In his speech opening the CPAC conference, Florida Sen. Marco Rubio (R) touched on every leg of the so-called three-legged stool: national security, the economy and social conservatism. It was a jokey speech filled with barbs at Democrats — liberals now call themselves “progressive, which I thought was an insurance company” and “It’s hard to get a teleprompter in this town, there’s a guy who uses a lot of them.” He took multiple shots at Supreme Court Justice Ruth Bader Ginsberg and former president Jimmy Carter. Obama, he said, “looks like he’s a really good father, he’s a really good husband, but he is a terrible president.” SMH. Source

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Herman ‘Touch Caucasian Cakes’ Cain: “I Dropped Out Of The Presidential Race Because Of Gutter Politics, Stupid People, & Keeping Family First”

Rep. Schakowsky: Erik Prince Of Blackwater Tried To Intimidate Me

http://www.youtube.com/v/N3SI2D4ZaYA

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Jan Schakowsky says that former Blackwater CEO Erik Prince has “attempted intimidation” of her in response to Schakowsky’s campaign to reduce U.S. reliance on private military contractors in Iraq and Afghanistan…. Broadcasting platform : YouTube Source : TPMmuckraker Discovery Date : 30/11/2011 16:57 Number of articles : 2

Rep. Schakowsky: Erik Prince Of Blackwater Tried To Intimidate Me

ZiiLABS Jaguar Reference Tablet Gets a Taste of Ice Cream Sandwich

http://www.youtube.com/v/ReI5y4Ju5cA

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We’ve been seeing a bunch of unofficial Ice Cream Sandwich ports over the past couple of weeks, but how about something a bit more official? The ZiiLABS Jaguar is not a consumer tablet, but the reference platform for the ARM-based ZiiLABS ZMS-20 chipset was recently filmed showing off some Ice Cream Sandwich goodness. The ZMS-20 Broadcasting platform : YouTube Source : Android Phone Fans Discovery Date : 30/11/2011 18:09 Number of articles : 2

ZiiLABS Jaguar Reference Tablet Gets a Taste of Ice Cream Sandwich

Usher Collaborator Rico Love Calls Kelly Rowland’s ‘Motivation’ ‘Truly Organic’

Lil Wayne ‘jumped on it,’ Raymond v. Raymond writer tells Mixtape Daily. By Alvin Blanco, with reporting by Rob Markman Rico Love Photo: TTLL Behind the Beats: Rico Love If more people read the credits behind some of R&B’s biggest hits, Rico Love should be a household name. Born Richard Preston Butler Jr., the former Florida A&M University student is now one of the music industry’s most-sought-after singer/songwriters. After writing hits for Usher (“There Goes My Baby”), Beyonc

John Legend, The Roots Talk ‘Powerful’ Wake Up! LP

‘He really, really exercised … the rawness,’ drummer ?uestlove says of pushing soul singer on upcoming joint collection. By Jayson Rodriguez, with reporting by Steven Roberts John Legend and ?uestlove Photo: MTV News John Legend and the Roots hooking up for a collaborative project hardly seems like a stretch. For one, the two acts have past works steeped in soul music, from John’s solo efforts to the band’s work with artists like Erykah Badu and D’Angelo. But according to Legend, their new album, Wake Up!, was anything but a gimme. The LP is a collection of vintage cover tracks with a few contemporary edits, and the singer admitted the studio sessions forced him, in a pivotal way, to stretch beyond his comfort zone. “I think this album is bold and it’s different than anything that I’ve done but I don’t think people will think it’s out of my sphere of what I do, because it’s very soulful,” Legend told MTV News. “It incorporates gospel, it incorporates hip-hop, funk, reggae; it’s very classic. It’s inspired by music from the ’60s and ’70s, all these are things you would expect me to do. And all these are things you would think the Roots are a phenomenal band and production team to do it with, and so it works really well in that regard. I think it will feel very powerful to Roots fans, John Legend fans, and all of the above people who haven’t listened to us before, because the collaboration felt very natural, it felt very right.” Although both John Legend and the Roots share a connection that stems from their Philadelphia backgrounds — the singer attended college in the area and the bandmembers hail from the city — joining forces wasn’t a simple process. Roots drummer Ahmir “?uestlove” Thompson said he’s selective about who he works with, limiting the list to a few veterans. But Legend, he said, shares a common palette when it comes to musical tastes. “As far as doing a full-fledged record with a singer, a lot of times I shy away from singers because a lot of them don’t have the seasoning and the reference points that I look for when I do work with particular singers,” ?uestlove explained, citing his ’70s-era soul music influences. “So it was fun working with John,” he added. “John is a double-edged sword: He has a velvety smooth voice, but here, he really, really exercised — much to my delight and much to his chagrin — the rawness.” What do you think of John Legend and the Roots coming together for an album? Let us know in the comments!

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John Legend, The Roots Talk ‘Powerful’ Wake Up! LP

Newsweek Puff Piece on Al Sharpton Distorts Reality

The transformation of Reverend Al Sharpton from street provocateur to civil rights eminence ranks as one of the more remarkable image makeovers in American public life. And mainstream journalism has played a central role. Anyone doubting as much should read the recent (August 2) cover story of Newsweek magazine,  “The Reinvention of the Reverend.”  Written by Allison Samuels and Jerry Adler, the article is a fawning and misleading portrait of the Harlem-based preacher/politician. The piece doesn’t quite beatify Sharpton. But it does make a highly selective use of information, some of it factually wrong, in stating the case for “the Rev,” as he is commonly known, as a moral conscience of the nation. It also stands as an example, as if any more were needed, that “diversity” in the newsroom isn’t about a diversity of opinion.  Reverend Sharpton, as National Legal and Policy Center often has noted, has a long history of public demagoguery in the service of civil rights. In the spring of 2009 NLPC released a lengthy Special Report (which I had written) documenting how Sharpton has used his social standing among many fellow blacks to transform a crime, or an allegation of it, into collective moral grievance. His style follows a distinct pattern. First, he receives word of a black or blacks allegedly victimized by white civilians or cops. Should he be sufficiently outraged, he will insist on serving as that person (and his or her family’s) “adviser.” At that point, he will launch a nonstop media-focused campaign in the streets designed to mobilize public opinion in favor of the victim and against the opposition. In his mind, blacks continue to be second-class citizens, their cries for justice all but ignored by powerful elites. Thus, these elites must feel the heat of the street. In his 2002 autobiography, “Al on America,” he writes (pp. 93, 95): “To many in America, racism is a thing of the past. It’s something that happened ‘back then.’ To millions of blacks in this country, it is something we live with every day…(T)he outcome of my marches is one of the reasons why I will always be considered ‘controversial’ in some circles – because I rip the veil off Northern established liberal racism.” It’s true that Al Sharpton doesn’t project the buffoonish swagger and menace that launched his career as an A-list provocateur around 25 years ago and carried him through the Nineties. To some extent, that’s a product of aging. Now 55, he would look doubly foolish remaining in his old guise, pompadour hairstyle intact. But more significantly, he doesn’t have to project menace. He knows he can accomplish far more with his America-is-still-racist-country message by affecting statesmanlike dignity. Over the years the man has cultivated many friends and allies in the top echelons of politics, business, labor, philanthropy, clergy and entertainment. His New York-based nonprofit organization, National Action Network, enjoys generous financial support from corporations such as Coca-Cola, Home Depot, Macy’s, Toyota and Wal-Mart. He has become a Democratic Party kingmaker in New York City. And he’s reached across that proverbial aisle, befriending such conservative politicians and media stars as Republican National Chairman Michael Steele, former House Speaker Newt Gingrich and Fox News Channel talk show host Bill O’Reilly. With the help of his top aide and media consultant, Rachel Noerdlinger (herself an underrated figure), he’s become The Man to See. Not less than eight times since President Obama’s inauguration, he’s been a White House guest. At his core, Rev. Sharpton is still the same man, something he doesn’t hesitate to point out. The Newsweek article quotes him: “My mission, my message, and everything else about me is the same as always. The country may have changed, but I haven’t.” But his evolution in style, as opposed to beliefs, has everything to do with why mainstream media, generally dismissive of Sharpton during the Eighties, Nineties and even his run for the presidency in 2004, now appears almost lovestruck. No longer an embarrassing spectacle, he’s become Sensible and Dignified, a pragmatic facilitator of an overdue “national conversation” on race. Even more than Jesse Jackson, he is the presumptive heir to Martin Luther King, wielding his church- and street-bred wisdom to “heal” America. Typical of this view is an article appearing this March in the Wall Street Journal by Peter Wallsten titled, “Obama’s New Partner: Al Sharpton,” which hopefully took note of Sharpton’s emergence as a key confidante of President Obama. Now here come Newsweek’s Allison Samuels and Jerry Adler with a full-fledged cover story. It’s a puff job – often informative and nuanced, but still a puff job whose intent is image enhancement. Lead author Samuels herself is black; she in fact had authored a post-election celebration piece in 2008 in that magazine’s heralding the impending arrival of Michelle Obama as First Lady ( “What Michelle Means to Us” ). This latest article, not unexpectedly, takes any number of facts out of context and inserts some suspect ones. Consider the opening sentences: If the Rev. Al Sharpton didn’t exist, he would have had to be invented. In fact, the novelist Tom Wolfe has claimed he did invent him, in the character of the Reverend Bacon, a supporting figure in The Bonfire of the Vanities. Each generation of black America gives birth to its own incarnation of the charismatic preacher-activist who confronts the white power structure in the streets and talks circles around it on Meet the Press. Just a few months after the fictional Bacon made his appearance in 1987, the real Sharpton burst onto the national stage as the fiery advocate for Tawana Brawley, a New York teenager who claimed to have been raped by a gang of white men, including a policeman. This is wishful thinking. If Al Sharpton, whose syntax is often wanting, “talks circles” around lackeys of the white power structure on “Meet the Press” or any other political TV talk show, few have noticed. And Tawana Brawley didn’t simply “claim” to have been gang-raped; she fabricated a massive hoax which Sharpton chose to believe against all sound evidence to the contrary. Moreover, one hardly can imagine Tom Wolfe, an exceedingly sharp-eyed observer of the colliding social worlds of New York City, claiming that his composite literary creation, Reverend Reginald Bacon, “invented” Reverend Sharpton. If anything, it was the other way around. By the time “The Bonfire of the Vanities” appeared in bookstores in 1987, Sharpton already had become a national public figure, having made mayhem in the streets of New York in trying to railroad “subway vigilante” Bernhard Goetz and do likewise to the putative perpetrators of the death of a young black man, Michael Griffith, in the Queens neighborhood of Howard Beach. Sharpton, having absorbed first-hand the convictions and theatrical styles of Adam Clayton Powell, Martin Luther King, Jesse Jackson, and James Brown (among others), invented his own persona and ran with it. He needed no help from Tom Wolfe. The authors’ snow job becomes even more blatant when they assess the impact of his campaigns over the years: Sharpton has been right much more often than wrong in his choice of causes, dating back at least to the 1989 murder of Yusuf Hawkins, a black teenager who paid with his life for the mistake of walking down the wrong block in Brooklyn. Many African-Americans will be forever grateful to Sharpton for taking on the thankless task of defending the victims of Bernhard Goetz, who opened fire on four unarmed black teenagers in the subway. But he also has made some grave missteps. In 1991, during a tense confrontation between blacks and Orthodox Jews in Brooklyn, he notably failed to calm tensions with a remark about “the diamond merchants in Crown Heights.” In 1995 his reference to “white interlopers,” at a protest against the eviction of a popular Harlem music store, was followed by a fatal arson attack on the white-owned business that held the lease. Each of these statements misrepresents the facts, if not in letter then certainly in spirit. The phrase “right much more often than wrong” is a huge stretch. The authors give just two examples of his being “right.” Let’s a have a look at the case of Yusuf Hawkins. His fatal shooting one evening in August 1989, as I explained at length in the NLPC Special Report, was indeed a crime. But the sequence of events leading up to it makes clear this was as much a case of mistaken identity as it was a wanton act. Only a few among the crowd of white male teens was materially involved. Moreover, the group earlier had been threatened by a local white teenaged girl who reacted to members’ disapproval of her dating a black male by vowing to sic a group of his black friends on them. The young whites had good reason to be nervous when they encountered Mr. Hawkins and three black companions. They guessed wrong, of course. But the shooter’s action did not reflect on the whole Bensonhurst neighborhood. Oblivious to context, Rev. Sharpton and his minions thought it did. For many months thereafter, he routinely held protest marches through the neighborhood, holding up the community as a haven of hate. The ceaseless provocations would produce another crime in January 1991; an enraged white spectator stabbed Sharpton in the staging area of a planned march, nearly fatally. The case for Sharpton as a hero in the wake of the arrest of Bernhard Goetz is even more preposterous. By any reasonable definition, Goetz had acted in self-defense when he shot four young menacing blacks who had surrounded him in a New York City subway car on the afternoon of December 22, 1984. His “victims” – Barry Allen, Troy Canty, James Ramseur and Darrell Cabey – already by then had amassed a combined nine criminal convictions. Two of the “unarmed” youths, moreover, were packing sharpened screwdriver shanks. Their intent, as Cabey himself admitted at Goetz’s civil trial, had been to rob Goetz. To describe Goetz, a mild-mannered white electronics repairman, as having “opened fire” on these criminals is true only in the narrowest sense. Any number of blacks, one might add, publicly defended Goetz, including civil rights leader Roy Innis. If defending Goetz’s assailants was a “thankless” task, it’s because Sharpton didn’t deserve any thanks – especially since it was his intent to send Goetz to prison. Even where the authors Samuels and Adler admit Sharpton’s campaigns were ill-advised, they parse their language to minimize his role in egging on mobs, even if he wasn’t there in person. The “tense confrontation” between blacks and Orthodox Jews in Brooklyn’s Crown Heights in August 1991, in fact, was a case of predator fitfully encountering resistance from prey. Roving bands of blacks had gone on a rampage in the wake of a local black boy accidentally struck and killed by a passing car occupied by Jews. What ensued was a full-fledged riot, not simply a confrontation. One of the rioters stabbed an unarmed Jew to death. To say Sharpton “failed to calm tensions” gives him far too much credit. He helped create them. One wonders if Samuels and Adler would describe the Rape of Nanking as a “tense confrontation” between Japanese and Chinese. As for the fatal arson attack on a retail store in Harlem in December 1995, the Newsweek authors conveniently omit the fact that the attack (actually a combination of arson and gunfire) was committed by a black and that it claimed the lives of seven innocent people plus that of the murderer, Roland Smith aka “Abubunde Mulocko.” They also omit the fact that the white-owned retailer holding the lease on the black-owned record store (actually it was a sublease – a black Pentecostal church was the landlord), Freddy’s Fashion Mart, was white-owned. That’s why it was targeted in the first place. Sharpton, for his part, did more than simply denounce a “white interloper” on a radio broadcast months earlier. He also had sent one of his lieutenants, Morris Powell, a man with a history of mental instability, to organize menacing pickets in front of Freddy’s Fashion Mart to prevent the “racist” eviction of that record store which had operated at the same location for some 20 years. The murders were the culmination of months of Sharpton-directed intimidation. The authors, of course, don’t deny Sharpton’s faults (as if we don’t all have a few). But on balance, they conclude, his legacy is highly positive. Here’s how they wind things up: It is, of course, the fate of people like Sharpton to be misunderstood, and his own tendency to get carried away while addressing a crowd has contributed to it at times…He is out there alone, still standing on the same principle he first enunciated in his housing project in Brooklyn: poor people have the same rights as rich ones, to justice in the streets and in the courts. If he didn’t exist, we might, in fact, need to invent him. We’ll probably be seeing a lot more media revisionism like this. And we probably won’t have long to wait. Rev. Sharpton is prime organizer and scheduled lead speaker at a “March on Washington” on August 28 to commemorate the 47th anniversary of Martin Luther King’s “I Have a Dream” speech. The event will start with a rally at Washington, D.C.’s Dunbar High School and follow with a march to the site of the Martin Luther King Memorial now under construction on the National Mall. Having become the acknowledged standard bearer of King’s message, Sharpton’s stock probably will rise higher than ever. The problem is that his hobby horse, a “national conversation” on race, will continue to be one-sided. And if there is anything people like Sharpton don’t like, it’s when opponents inject inconvenient facts into the narrative. Crossposted at the blog of the National Legal and Policy Center

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Newsweek Puff Piece on Al Sharpton Distorts Reality

Kanye West’s ‘Power’ Video: A Cultural Cheat Sheet

Clip pays homage to Renaissance painting, M.C. Escher, ‘House Of Flying Daggers.’ By Gil Kaufman Kanye West (file) Photo: Kevin Mazur/ WireImage Most music videos aim to overwhelm you with quick cuts, big explosions, clever editing tricks and flashy sets that look really expensive. Then there’s Kanye West’s clip for “Power.” Never one to follow trends — peep how he’s already reinvented the art of Tweeting in just a week — West’s 90-second clip is less a video and more a moving painting in which a grim-faced ‘Ye stands center stage while a galaxy of saintly and devilish female figures surround him. Director Marco Brambilla said his intention was to create a video “portrait” that would “visualize power … to do a portrait of what power would look like in a sort of timeless way.” We spent way too much time studying what feels like a trailer for a larger piece of conceptual art and broke down the imagery in the video. If it’s been a while since your last art history class, get ready to go to school: Dragonlance: An image of a sword descending into a crown hovers over Kanye’s head, bringing to mind Volume Two of Douglas Niles’ series “The Crown and the Sword: The Rise of Solamnia,” in which Sir Jaymes Markham commands the orders of the Rose, Sword and Crown. M.C. Escher’s “Waterfall”: The Dutch artist famous for making eye-popping images in which gravity and space were twisted into pretzels sketched an image in 1961 in which the water at the base of a waterfall appears to be flowing uphill against gravity before reaching the top of the fall, much as the water pours towards the sky out of two urns held by maidens in the Kanye clip. Chiaroscuro: The monochromatic clip plays with this Renaissance style of painting, in which the artist used sharp contrasts between light and dark to highlight the drama on the canvas. Often, unseen sources of light would illuminate the subjects; in the clip, Kanye appears to have an inner glow that manifests in his eyes and the sword and crown above him cast a light on the entire scene. Jean-Leon Gerome: The French painter known for his love of historical painting with Greek mythological themes created an image entitled “Head of a Woman with the Horns of a Ram,” which is not unlike the albino-like female figures sprouting long, pointy horns who frame ‘Ye. “House of Flying Daggers”: Though he’s transposed the action from China to ancient Greece, Brambilla might be paying homage to the 2004 action-romance “House of Flying Daggers” with the scene at the end of the video, in which two combatants are flying through the air in mid-sword fight as white bursts of light fill the screen. Ed Moses’ “HOLA”: This features a haunting single eye glowing behind a swirl of heavy brush marks that some have compared to the mask of a superhero. In “Power,” Kanye’s eyes have an eerie glow as he stares unblinkingly, also not unlike actor Idris Elba’s Heimdall in the upcoming movie “Thor.” Michelangelo: From the rows of Ionic columns surrounding him to the floating parade of gauzy-shift wearing Greek men and women who drift into the frame, Brambilla is clearly taking some inspiration from the classic frescoes painted by Italian Renaissance painter and architect Michelangelo. Q-Tip: The legendary rapper and member of A Tribe Called Quest released an album called The Renaissance in 2008. He said the reference to that period was more than just an album title and a sign of his unwavering commitment to keeping his art pure. Ancient Egypt: Yeezy once again rocks the unbelievably fat chain he wore at the BET Awards earlier this year. Its giant pendant is an image of Horus — the Egyptian god of the sky, war and protection. What images do you see in Kanye’s “Power” video? Let us know by below. Related Artists Kanye West

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Kanye West’s ‘Power’ Video: A Cultural Cheat Sheet

Guam to Tip Over Reference by Hans Johnson, Congress

Last week, Hank Johnson, Congress, said in reference that it is possible for a Guam tipping over incident due to overpopulation. Apparently, this statement created a huge buzz all over the internet world and the America. Hans Johnson, Congress, interrogates the Commander of the United States Pacific Fleet about the size of Guam and why they are putting more and more marine families on it. In a very intense discussion, Hans Johnson of the Congres s expresses his concern, he stated a reference on Guam tipping over as follows: “My fear is that the whole island will become so overpopulated it would tip over and capsize.” Robert Willard’s response, “We don’t anticipate that.” Hank Johnson of the Congress has this to say about his statement as published in his website. “The subtle humor of this obviously metaphorical reference to a ship capsizing illustrated my concern about the impact of the planned military buildup on this small tropical island.” So did Hank Johnson, Congress really think that Guam would be tipping over and capsize? Well he can tell a lot and defend himself and that but everyone will probably think of Hank Johnson of the congress who thought that it is possible for guam tipping over and capsize to actually happen. Guam to Tip Over Reference by Hans Johnson, Congress is a post from: Daily World Buzz Continue reading

Pam Anderson’s Tits in a Tube Dress of the Day

There’s always something funny about seeing a 40 year old dressed like a teenage girl in an inappropriate outfit she bought at American Apparel to wear to her high school dance to show off her newly grown tits. It’s like part of me wants to scream at her to give it the fuck up already, like I’ve done many times when the vintage, antique, expired strippers try to get me to get a lap dance from them so many time at discount stripclubs I go to, not to use stripping as another reference point, but it is a big part of my life…I mean I guess I could compare her to the sluts in the rich part of town who spend their husband’s money getting Yoga pussy in tight pants and tank tops who you see on the street, but that’s not as much fun cuz those women don’t give me the time of day, they just scowl and clench their purses, whereas strippers let me pay them to feel it….either way, Pam Anderson’s gotta retire before her hepatitis makes it too late…. Pics via PacificCoastNews

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Pam Anderson’s Tits in a Tube Dress of the Day