From word 2007
A test entry from word 2007. Type it, then click and publish it. Hum.
Nov 26, 2008
Sturm und Drang
Sturm und Drang
From Wikipedia, the free encyclopedia
"Storm and Stress" redirects here. For other uses, see Storm and Stress (disambiguation).
Sturm und Drang (the conventional translation is "Storm and Stress"; a more literal translation, however, might be storm and urge, storm and longing, storm and drive or storm and impulse) is the name of a movement in German literature and music taking place from the late 1760s through the early 1780s in which individual subjectivity and, in particular, extremes of emotion were given free expression in response to the confines of rationalism imposed by the Enlightenment and associated aesthetic movements.
The philosopher Johann Georg Hamann is considered to be the ideologue of Sturm und Drang, and Johann Wolfgang von Goethe was a notable proponent of the movement, though he and Friedrich Schiller ended their period of association with it, initiating what would become Weimar Classicism.
Counter-Enlightenment
Main article: Counter-Enlightenment
French Neoclassicism, a movement beginning in the early baroque, and its preoccupation with rational congruity, was the principal target of rebellion for authors who would be known as adherents to the Sturm und Drang movement. The overt sentimentalism and need to project an objective, anti-personal characterization or image was at odds with the latent desire to express troubling personal emotions and an individual subjective perspective on reality.
The ideals of rationalism, empiricism, and universalism traditionally associated with the Enlightenment were combated by an emerging notion that the reality constructed in the wake of this monumental change in values was not an adequate reflection of the human experience and that a revolutionary restatement was necessary to fully convey the extremes of inner pain and torment, and the reality that personal motivations consist of a balance between the pure and impure.
[edit] Origin of the term
The term Sturm und Drang first appeared as the title to a play about the ongoing American Revolution by German author Friedrich Maximilian Klinger, published in 1776, in which the author gives violent expression to difficult emotions and heralds individual expression and subjectivity over the natural order of rationalism. Though it is argued that literature and music associated with Sturm und Drang predate this seminal work, it is this point at which historical analysis begins to outline a distinct aesthetic movement occurring between the late 1760s through the early 1780s of which German artists of the period were distinctly self-conscious. Contrary to the dominant post-enlightenment literary movements of the time, this reaction, seemingly spontaneous in its appearance, came to be associated with a wide breadth of German authors and composers of the mid to late classical period.[1]
Sturm und Drang came to be associated with literature or music aiming to frighten the audience or imbue them with extremes of emotion until the dispersement of the movement into Weimar Classicism and the eventual transition into early Romanticism where socio-political aims were incorporated (these aims asserting unified values contrary to despotism and limitations on human freedom) along with a religious treatment of all things natural.[2] There is much debate regarding whose work should and should not be included in the canon of Sturm und Drang; there being an argument for limiting the movement to Goethe, Herder, Lenz and their direct German associates writing works of fiction and philosophy between 1770 and the early 1780s.[3]
The alternative perspective is that of a literary movement inextricably linked to simultaneous developments in prose, poetry, and drama extending its direct influence throughout the German-speaking lands until the end of the 18th century. Nevertheless, it should be noted that the originators of the movement viewed it as a time of premature exuberance which was then abandoned in later years for often conflicting artistic pursuits.[4]
Characteristics
The protagonist in a typical Sturm und Drang stage work, poem, or novel is driven to action not by pursuit of noble means nor by true motives, but by revenge and greed. Further, this action to which the primary character is drawn is often one of violence. Goethe's unfinished Prometheus exemplifies this along with the common ambiguity provided by the interspersion of humanistic platitudes next to outbursts of irrationality.[6] The literature with Sturm und Drang has an anti-aristocratic slant and places value on those things humble, natural, or intensely real (i.e. painful, tormenting, or frightening).
The story of hopeless love and eventual suicide presented in Goethe's sentimental novel The Sorrows of Young Werther (1774) is an example of the author's tempered introspection regarding his love and torment. Friedrich Schiller's drama, Die Räuber (1781), provided the groundwork for melodrama to become a recognized dramatic form through a plot portraying the conflict between two aristocratic brothers, Franz and Karl Moor. Franz is portrayed as a villain attempting to cheat Karl out of his inheritance, though the motives for his action are complex and initiate a thorough investigation of good and evil. Both of these works are seminal examples of Sturm und Drang in German literature.
[edit] Notable literary works
Johann Wolfgang von Goethe (1749–1832):
Zum Schäkespears Tag (1771)
Sesenheimer Lieder (1770–1771)
Prometheus (1772–1774)
Götz von Berlichingen (1773)
Clavigo (1774)
Die Leiden des jungen Werthers (1774)
Mahomets Gesang (1774)
Adler und Taube (1774)
An Schwager Kronos (1774)
Gedichte der Straßburger und Frankfurter Zeit (1775)
Stella. Ein Schauspiel für Liebende (1776)
Die Geschwister (1776)
Friedrich Schiller (1759–1805):
Die Räuber (1781)
Die Verschwörung des Fiesko zu Genua (1783)
Kabale und Liebe (1784)
An die Freude (1785)
Jakob Michael Reinhold Lenz (1751–1792)
Anmerkung über das Theater nebst angehängtem übersetzten Stück Shakespeares (1774)
Der Hofmeister oder Vorteile der Privaterziehung (1774)
Lustspiele nach dem Plautus fürs deutsche Theater (1774)
Die Soldaten (1776)
Friedrich Maximilian Klinger (1752–1831):
Das leidende Weib (1775)
Sturm und Drang (1776)
Die Zwillinge (1776)
Simsone Grisaldo (1776)
Gottfried August Bürger (1747–1794):
Lenore (1773)
Gedichte (1778)
Wunderbare Reisen zu Wasser und zu Lande, Feldzüge und lustige Abenteuer des Freiherren von Münchhausen (1786)
Heinrich Wilhelm von Gerstenberg (1737–1823):
Gedichte eines Skalden (1766)
Briefe über Merkwürdigkeiten der Literatur (1766–67)
Ugolino (1768)
Johann Georg Hamann (1730–1788):
Sokratische Denkwürdigkeiten für die lange Weile des Publikums zusammengetragen von einem Liebhaber der langen Weile (1759)
Kreuzzüge des Philologen (1762)
Johann Jakob Wilhelm Heinse (1746–1803):
Ardinghello und die glückseligen Inseln (1787)
Johann Gottfried Herder (1744–1803):
Fragmente über die neuere deutsche Literatur (1767–1768)
Kritische Wälder oder Betrachtungen, die Wissenschaft und Kunst des Schönen betreffend, nach Maßgabe neuerer Schriften (1769)
Journal meiner Reise im Jahre (1769)
Abhandlung über den Ursprung der Sprache (1770)
Von deutscher Art und Kunst, einige fliegende Blätter (1773)
Volkslieder (1778-79)
Vom Geist der Hebräischen Poesie (1782–1783)
Ideen zur Philosophie der Geschichte der Menschheit (1784–1791)
From Wikipedia, the free encyclopedia
"Storm and Stress" redirects here. For other uses, see Storm and Stress (disambiguation).
Sturm und Drang (the conventional translation is "Storm and Stress"; a more literal translation, however, might be storm and urge, storm and longing, storm and drive or storm and impulse) is the name of a movement in German literature and music taking place from the late 1760s through the early 1780s in which individual subjectivity and, in particular, extremes of emotion were given free expression in response to the confines of rationalism imposed by the Enlightenment and associated aesthetic movements.
The philosopher Johann Georg Hamann is considered to be the ideologue of Sturm und Drang, and Johann Wolfgang von Goethe was a notable proponent of the movement, though he and Friedrich Schiller ended their period of association with it, initiating what would become Weimar Classicism.
Counter-Enlightenment
Main article: Counter-Enlightenment
French Neoclassicism, a movement beginning in the early baroque, and its preoccupation with rational congruity, was the principal target of rebellion for authors who would be known as adherents to the Sturm und Drang movement. The overt sentimentalism and need to project an objective, anti-personal characterization or image was at odds with the latent desire to express troubling personal emotions and an individual subjective perspective on reality.
The ideals of rationalism, empiricism, and universalism traditionally associated with the Enlightenment were combated by an emerging notion that the reality constructed in the wake of this monumental change in values was not an adequate reflection of the human experience and that a revolutionary restatement was necessary to fully convey the extremes of inner pain and torment, and the reality that personal motivations consist of a balance between the pure and impure.
[edit] Origin of the term
The term Sturm und Drang first appeared as the title to a play about the ongoing American Revolution by German author Friedrich Maximilian Klinger, published in 1776, in which the author gives violent expression to difficult emotions and heralds individual expression and subjectivity over the natural order of rationalism. Though it is argued that literature and music associated with Sturm und Drang predate this seminal work, it is this point at which historical analysis begins to outline a distinct aesthetic movement occurring between the late 1760s through the early 1780s of which German artists of the period were distinctly self-conscious. Contrary to the dominant post-enlightenment literary movements of the time, this reaction, seemingly spontaneous in its appearance, came to be associated with a wide breadth of German authors and composers of the mid to late classical period.[1]
Sturm und Drang came to be associated with literature or music aiming to frighten the audience or imbue them with extremes of emotion until the dispersement of the movement into Weimar Classicism and the eventual transition into early Romanticism where socio-political aims were incorporated (these aims asserting unified values contrary to despotism and limitations on human freedom) along with a religious treatment of all things natural.[2] There is much debate regarding whose work should and should not be included in the canon of Sturm und Drang; there being an argument for limiting the movement to Goethe, Herder, Lenz and their direct German associates writing works of fiction and philosophy between 1770 and the early 1780s.[3]
The alternative perspective is that of a literary movement inextricably linked to simultaneous developments in prose, poetry, and drama extending its direct influence throughout the German-speaking lands until the end of the 18th century. Nevertheless, it should be noted that the originators of the movement viewed it as a time of premature exuberance which was then abandoned in later years for often conflicting artistic pursuits.[4]
Characteristics
The protagonist in a typical Sturm und Drang stage work, poem, or novel is driven to action not by pursuit of noble means nor by true motives, but by revenge and greed. Further, this action to which the primary character is drawn is often one of violence. Goethe's unfinished Prometheus exemplifies this along with the common ambiguity provided by the interspersion of humanistic platitudes next to outbursts of irrationality.[6] The literature with Sturm und Drang has an anti-aristocratic slant and places value on those things humble, natural, or intensely real (i.e. painful, tormenting, or frightening).
The story of hopeless love and eventual suicide presented in Goethe's sentimental novel The Sorrows of Young Werther (1774) is an example of the author's tempered introspection regarding his love and torment. Friedrich Schiller's drama, Die Räuber (1781), provided the groundwork for melodrama to become a recognized dramatic form through a plot portraying the conflict between two aristocratic brothers, Franz and Karl Moor. Franz is portrayed as a villain attempting to cheat Karl out of his inheritance, though the motives for his action are complex and initiate a thorough investigation of good and evil. Both of these works are seminal examples of Sturm und Drang in German literature.
[edit] Notable literary works
Johann Wolfgang von Goethe (1749–1832):
Zum Schäkespears Tag (1771)
Sesenheimer Lieder (1770–1771)
Prometheus (1772–1774)
Götz von Berlichingen (1773)
Clavigo (1774)
Die Leiden des jungen Werthers (1774)
Mahomets Gesang (1774)
Adler und Taube (1774)
An Schwager Kronos (1774)
Gedichte der Straßburger und Frankfurter Zeit (1775)
Stella. Ein Schauspiel für Liebende (1776)
Die Geschwister (1776)
Friedrich Schiller (1759–1805):
Die Räuber (1781)
Die Verschwörung des Fiesko zu Genua (1783)
Kabale und Liebe (1784)
An die Freude (1785)
Jakob Michael Reinhold Lenz (1751–1792)
Anmerkung über das Theater nebst angehängtem übersetzten Stück Shakespeares (1774)
Der Hofmeister oder Vorteile der Privaterziehung (1774)
Lustspiele nach dem Plautus fürs deutsche Theater (1774)
Die Soldaten (1776)
Friedrich Maximilian Klinger (1752–1831):
Das leidende Weib (1775)
Sturm und Drang (1776)
Die Zwillinge (1776)
Simsone Grisaldo (1776)
Gottfried August Bürger (1747–1794):
Lenore (1773)
Gedichte (1778)
Wunderbare Reisen zu Wasser und zu Lande, Feldzüge und lustige Abenteuer des Freiherren von Münchhausen (1786)
Heinrich Wilhelm von Gerstenberg (1737–1823):
Gedichte eines Skalden (1766)
Briefe über Merkwürdigkeiten der Literatur (1766–67)
Ugolino (1768)
Johann Georg Hamann (1730–1788):
Sokratische Denkwürdigkeiten für die lange Weile des Publikums zusammengetragen von einem Liebhaber der langen Weile (1759)
Kreuzzüge des Philologen (1762)
Johann Jakob Wilhelm Heinse (1746–1803):
Ardinghello und die glückseligen Inseln (1787)
Johann Gottfried Herder (1744–1803):
Fragmente über die neuere deutsche Literatur (1767–1768)
Kritische Wälder oder Betrachtungen, die Wissenschaft und Kunst des Schönen betreffend, nach Maßgabe neuerer Schriften (1769)
Journal meiner Reise im Jahre (1769)
Abhandlung über den Ursprung der Sprache (1770)
Von deutscher Art und Kunst, einige fliegende Blätter (1773)
Volkslieder (1778-79)
Vom Geist der Hebräischen Poesie (1782–1783)
Ideen zur Philosophie der Geschichte der Menschheit (1784–1791)
Holiday in times of Fear
FEDS: AL QAIDA PLANNING HOLIDAY SUBWAY ATTACK
AP
Last updated: 2:29 pm
November 26, 2008
WASHINGTON - Federal authorities are warning police of a possible terror plot against the New York City subway and train systems during the holiday season, prompting local officials to beef up security at stations.
Some New Yorkers Shrug Off Terror Alert
An internal memo obtained by The Associated Press says the FBI has received a "plausible but unsubstantiated" report that al-Qaida terrorists in late September may have discussed attacking the subway system.
A person briefed on the matter, speaking to The Associated Press on condition of anonymity because of the sensitivity of the intelligence-gathering work, said the threat may also be directed at the passenger rail lines running through New York, such as Amtrak and the Long Island Rail Road, which are particularly busy with Thanksgiving holiday travelers.
A U.S. counterterror official, also speaking on condition of anonymity because he was not authorized to do so publicly, said senior government officials have been briefed because the FBI very recently received credible information about possible attacks over the holiday season, and authorities are particularly concerned about this long holiday weekend.
FBI spokesman Richard Kolko confirmed only that his agency and the Homeland Security Department issued a bulletin Tuesday night to state and local authorities, and the information is being reviewed.
Department of Homeland Security spokesman Russ Knocke said the warning was issued as a routine matter, but added that there may be an increased police presence in New York and other large cities.
The internal bulletin says al-Qaida terrorists "in late September may have discussed targeting transit systems in and around New York City. These discussions reportedly involved the use of suicide bombers or explosives placed on subway/passenger rail systems," according to the document.
"We have no specific details to confirm that this plot has developed beyond aspirational planning, but we are issuing this warning out of concern that such an attack could possibly be conducted during the forthcoming holiday season," according to the warning dated Tuesday.
The Big Apple's tightly packed passenger trains and subway cars have long been a source of concern for cops - and a tempting target for would-be terrorists - but there is often disagreement as to how seriously authorities should take specific intelligence reports.
A Pakistani immigrant was arrested and convicted for a scheme to blow up the subway station at Herald Square in 2004. There was also a planned cyanide attack on the subways by al-Qaida operatives that authorities say was called off in 2002; another aborted al-Qaida plot to destroy the Brooklyn Bridge in 2003; and a plot to bomb underwater train tunnels to flood lower Manhattan, which was broken up in 2006 by several arrests overseas.
Three years ago, authorities weighed reports that bombers might try to use baby strollers to bring explosives into city trains. Many security officials later concluded that was a false alarm.
NYPD spokesman Paul Browne said they have received an unsubstantiated report and as a result have "deployed additional resources in the mass transit system."
While federal agencies regularly issue all sorts of advisory warnings, the language of this one is particularly blunt.
++++++++++++++====
parade, anyone?
Nov 17, 2008
Nov 13, 2008
Future of Academic Libraries
while doing a bit of research for my work I found this:
http://wic.library.upenn.edu/
The David B. Weigle Information Commons, on the first floor (west) of the Van Pelt Dietrich Library Center, supports collaborative learning and group activities using the latest technologies. Our program partners - CWiC, Weingarten Learning Resources Center and Writing Center - and Penn Libraries staff assist students with research, writing, public speaking and study strategies.
The Commons includes Group Study Rooms, Data Diner Booths, Alcove Meeting Areas, Seminar Room and the Vitale Digital Media Lab.
The Commons includes laptops, plasma display screens, video-recording rooms, clickers, media authoring capabilities (video, audio, imaging, web publishing) and an equipment lending program. The Commons provides one-on-one and small-group assistance with research skills, time & project management, writing, communication skills and technology . . .
http://wic.library.upenn.edu/
The David B. Weigle Information Commons, on the first floor (west) of the Van Pelt Dietrich Library Center, supports collaborative learning and group activities using the latest technologies. Our program partners - CWiC, Weingarten Learning Resources Center and Writing Center - and Penn Libraries staff assist students with research, writing, public speaking and study strategies.
The Commons includes Group Study Rooms, Data Diner Booths, Alcove Meeting Areas, Seminar Room and the Vitale Digital Media Lab.
The Commons includes laptops, plasma display screens, video-recording rooms, clickers, media authoring capabilities (video, audio, imaging, web publishing) and an equipment lending program. The Commons provides one-on-one and small-group assistance with research skills, time & project management, writing, communication skills and technology . . .
Nov 12, 2008
Leonard Cohen sings Hallelujah, fun with time travel
a song with a story: http://en.wikipedia.org/wiki/Hallelujah_(song)
a video from long ago, watch the clothing, the dress, keep in mind Cohen was born in 1934, and is still performing . . . see post beneath this . . . for a November 8th performance in the UK
LEONARD COHEN LYRICS
"Hallelujah"
Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this
The fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you
To a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah
Baby I have been here before
I know this room, I've walked this floor
I used to live alone before I knew you.
I've seen your flag on the marble arch
Love is not a victory march
It's a cold and it's a broken Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
There was a time you let me know
What's really going on below
But now you never show it to me, do you?
And remember when I moved in you
The holy dove was moving too
And every breath we drew was Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
You say I took the name in vain
I don't even know the name
But if I did, well really, what's it to you?
There's a blaze of light
In every word
It doesn't matter which you heard
The holy or the broken Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
I did my best, it wasn't much
I couldn't feel, so I tried to touch
I've told the truth, I didn't come to fool you
And even though
It all went wrong
I'll stand before the Lord of Song
With nothing on my tongue but Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah
enjoy!
a video from long ago, watch the clothing, the dress, keep in mind Cohen was born in 1934, and is still performing . . . see post beneath this . . . for a November 8th performance in the UK
LEONARD COHEN LYRICS
"Hallelujah"
Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this
The fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you
To a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah
Baby I have been here before
I know this room, I've walked this floor
I used to live alone before I knew you.
I've seen your flag on the marble arch
Love is not a victory march
It's a cold and it's a broken Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
There was a time you let me know
What's really going on below
But now you never show it to me, do you?
And remember when I moved in you
The holy dove was moving too
And every breath we drew was Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
You say I took the name in vain
I don't even know the name
But if I did, well really, what's it to you?
There's a blaze of light
In every word
It doesn't matter which you heard
The holy or the broken Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
I did my best, it wasn't much
I couldn't feel, so I tried to touch
I've told the truth, I didn't come to fool you
And even though
It all went wrong
I'll stand before the Lord of Song
With nothing on my tongue but Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah
enjoy!
Nov 11, 2008
Leonard Cohen Cardiff Nov 08
pirated from bootleggers.....
HALLELUJAH by Leonard Cohen Cardiff Nov 08
++++++++++++++++
Leonard Cohen. First We Take Manhattan. Cardiff CIA 08/11/08
+++++++++++++++
centuries previously.... the background is so 60s....
++++++++++++++++++++++
HALLELUJAH by Leonard Cohen Cardiff Nov 08
++++++++++++++++
Leonard Cohen. First We Take Manhattan. Cardiff CIA 08/11/08
+++++++++++++++
centuries previously.... the background is so 60s....
++++++++++++++++++++++
Nov 9, 2008
Nov 7, 2008
nyt's blueing of america map
this is image 3 of many, the blueing of america . . . superimpose an education attainment over this (so un PC, so elitists . . . but . . . . where would you rather be in a car accident? and need medical care - not including leaches??)
the famed NYT map of the BLUEING of America....
http://www.nytimes.com/interactive/2008/11/05/us/politics/20081104_ELECTION_RECAP.html?partner=permalink&exprod=permalink
Electoral Shifts
Shan Carter, Jonathan Corum, Amanda Cox, Farhana Hossain, Xaquín G.V.
Updated: November 5, 2008
http://www.nytimes.com/interactive/2008/11/05/us/politics/20081104_ELECTION_RECAP.html?partner=permalink&exprod=permalink
Electoral Shifts
Shan Carter, Jonathan Corum, Amanda Cox, Farhana Hossain, Xaquín G.V.
Updated: November 5, 2008
++++++++++++
Nov 4, 2008
Election NIGHT Pizza
We ordered pizza online from Domino's and watched its progress from start to finish on the DOMINO pizza mometer!.
As soon as its in the delivery car I get plates and pour a couple sodas!
Track your order in real time with Pizza Tracker:
just ordered
prep and bake
into the BOX!!
Into the delivery car!
As soon as its in the delivery car I get plates and pour a couple sodas!
Track your order in real time with Pizza Tracker:
just ordered
prep and bake
into the BOX!!Into the delivery car!
Track your order in real time with Pizza Tracker:
Nov 3, 2008
down the street . . . new fence, the red bush at sunset...
driving to work, or home . . . . before I hit the main road . . . 3 minutes from home. . .
the new fence
Pre election day calm . . . .
Pre election day calm . . . .
Nov 2, 2008
Nicolas calls Palin (canadian dj prank)
or
http://www.tagtele.com/videos/voir/28196
Les Justiciers Masques prank call Sarah Palin.
********************
Palin's prank call from fake French president
GOP vice presidential pick takes comedian's call, talks about Bruni, Cheney
updated 9:53 p.m. CT, Sat., Nov. 1, 2008
AP
MONTREAL - Sarah Palin unwittingly took a prank call Saturday from a Canadian comedian posing as French President Nicolas Sarkozy and telling her she would make a good president someday.
"Maybe in eight years," replies a laughing Palin.
The Republican vice presidential nominee discusses politics, the perils of hunting with Vice President Dick Cheney, and Sarkozy's "beautiful wife," in a recording of the call released Saturday and set to air Monday on a Quebec radio station.
Palin campaign spokeswoman Tracey Schmitt confirmed she had received the prank call.
"Governor Palin was mildly amused to learn that she had joined the ranks of heads of state, including President Sarkozy and other celebrities, in being targeted by these pranksters. C'est la vie," she said.
The call was made by a well-known Montreal comedy duo, Marc-Antoine Audette and Sebastien Trudel. Known as the Masked Avengers, the two are notorious for prank calls to celebrities and heads of state.
Hints to the jokeAudette posing as Sarkozy speaks in an exaggerated French accent and drops ample hints that the conversation is a joke. But Palin seemingly does not pick up on them.
He tells Palin one of his favorite pastimes is hunting, also a passion of the 44-year-old Alaska governor.
"I just love killing those animals. Mmm, mmm, take away life, that is so fun," the fake Sarkozy says.
He proposes they go hunting together by helicopter, something he says he has never done.
"Well, I think we could have a lot of fun together while we're getting work done," Palin counters. "We can kill two birds with one stone that way."
The comedian then jokes that they shouldn't bring Cheney along on the hunt, referring to the 2006 incident in which the vice-president shot and injured a friend while hunting quail.
"I'll be a careful shot," responds Palin.
'I can see Belgium'Playing off Palin's much-mocked comment in an early television interview that she had insights into foreign policy because "you can actually see Russia from land here in Alaska," the caller tells her: "You know we have a lot in common also, because except from my house I can see Belgium."
She replies: "Well, see, we're right next door to different countries that we all need to be working with, yes."
When Audette refers to Canadian singer Steph Carse as Canada's prime minister, Palin replies: "Well, he's doing fine and yeah, when you come into a position underestimated it gives you an opportunity to prove the pundits and the critics wrong. You work that much harder." Canada's prime minister is Stephen Harper.
Palin praises Sarkozy throughout the call and also mentions his wife Carla Bruni, a model-turned-songwriter.
"You know, I look forward to working with you and getting to meet you personally and your beautiful wife," Palin says. "Oh my goodness, you've added a lot of energy to your country with that beautiful family of yours."
'Lipstick on a Pig'The Sarkozy impersonator tells Palin his wife is "so hot in bed" and then informs her that Bruni has written a song for her about Joe the Plumber entitled "Du rouge a levres sur une cochonne" — which translates as "Lipstick on a Pig."
Democratic presidential candidate Barack Obama derided his Republican challenger John McCain's call for change in Washington as "lipstick on a pig," days after Palin made a lipstick joke at the Republican convention. The McCain-Palin campaign then released an ad implying Obama was calling Palin a pig with that remark.
The caller asks Palin if Joe the Plumber is her husband and adds: "We have the equivalent of Joe the Plumber in France. It's called Marcel, the guy with bread under his armpit."
He also tells the Alaska governor that he loved the "documentary" made about her and referred to a pornographic film with a Palin look-alike made by Hustler founder Larry Flynt.
She answers tentatively, "Ohh, good, thank you, yes."
The callers then reveal the prank and identify themselves and their radio station.
"Ohhh, have we been pranked?" Palin asks before handing the phone to an aide who ends the call.
Obama's campaign spokesman Robert Gibbs, commenting on the prank, said: "I'm glad we check out our calls before we hand the phone to Barack Obama."
_____________________
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