39 | 38 | 37 | 36 | 35
34 | 33 | 32 | 31 | 30
29 | 28 | 27 | 26 | 25
24 | 23 | 22 | 21 | 20
19 | 18 | 17 | 16 | 15
14 | 13 | 12 | 11 | 10
9 | 8 | 7 | 6 | 5
4 | 3 | 2 | 1
24th | 23rd | 22nd | 21st | 20th
19th | 18th | 17th | 16th | 15th
14th | 13th | 12th | 11th | 10th
9th | 8th | 7th
Foundling Theory Fund
from the editor
Submit your article
The Mainly Annual
Postmodern Village Conference
and Techno Petting Zoo
Gulliver's Taverns: the Neighborhood Bar as Center for Communitarian Satire, a Happy Hour in Twenty Cocktails
by Porter d'Faux
D'faux's mixology perhaps outstripped his semiology, but ten drinks in, we doubt anyone could tell. Then again, our sense of togetherness was considerably enhanced.
HMS Pentagon: the Military-Industrial Complex as Gilbert and Sullivansian Farce, a Libretto
by Kathy Ikenhauer
Inherent in Ikenhauer's idea is why empire is its own economic inevitability, a notion so terrible as to be only properly dealt with through laughter, upbeat melodies, and prize-winning set-design. It's your only military model for a modern major musical.
Lawrence Welk, Chopped and Screwed: Champagne Music Meets Purple Drank and the Concept of the Slow Polka
by DJ Slew
It's no coincidence that Tulsa, along with Houston, is one of the originating locations of chopped and screwed hip-hop. Oklahoma Public Television is also the outfit primarily responsible for keeping the Lawrence Welk Show alive. Only in OK would this be okay.
Feral Williams: "Happy," Sappy, and the Savage Savior
by John Jack Ruesew
In an era of overproduced pop hits designed specifically to earworm their way into your brain, it's a little hard to accept that such tamed tunage could be in the manner of the noble savage. Yet as pop music draws on all the traditions without so much as a nod, it simultaneously keeps culture alive and utterly buries it in the amnesia of over-hype and hip-hop pastiche. Thus Ruesew resews the suture of meaning itself like a cry in the wild: the obvious reference in the midst of the culturally deaf.
Roland Barf: Existential Nausea as Cultural Entextualization, a Critique in Four Mythologies
by Clifford Merlot-Poncé
Et tu, Tel Quel?
The Confidence Ham: the Standup Comedian as Yankee Peddler and the Improv of American Life, a Bricolage
by Eugene Levy-Strauß
The topical set-up and the studied delivery of an unstudied pseudo-extempore set of riffs reveal how Americans are both completely genuine and totally fake all at the same time. Levy-Strauß's presentation was, then, authentic bullshit tooled from the very hide of the U.S.of A.--and, I might add, an incredible investment opportunity. Don't miss out! Offers like these come only once in a lifecrime.
"Didn't Yo Parent Company Teach Ya Any Manners?": Sole Proprietorships, the Broken Homes of Corporate Personhood
by Al Claria
The session began with question often asked since the Supreme Court's Citizens United decision: "Are corporations people?" Claria made the entire room answer "of course" in unison with the forced mirth befitting a pre-dawn Walmart stocking team meeting. He then railed against the relative ease of individuals setting up their own company, encouraging abstinence. Corporations should only be born out of the merger of two other firms, he said. Anything else goes against the grand old way.
Papers, Part 4