'An alluring tour de force: a brilliant debut novel told with seamless authenticity and exquisite lyricism as the true confessions of one of Japan's most celebrated geisha. Speaking to us with the wisdom of age and in a voice at once haunting and startlingly immediate, Nitta Sayuri tells the story of her life as a geisha. Music video by Kitty performing Confessions of a Geisha. Onyx Records (C) 2012.
She sat for interviews with numerous personalities and writers, and eventually a book was written from these talks, The Erotic Confessions of Sada Abe. The book was a national bestseller, further propelling Abe to eternal infamy. However, Abe herself felt that the book portrayed her as a pervert. Memoirs of a Geisha is a treasure of a book, an unparalleled look at a strange and mysterious world which has now almost vanished. It is also, and unforgettably, a dazzling portrait of a singular and most seductive woman who tells her story in a compelling first person voice.
Hello friends. This post is a collection of quotes from the book - Memoirs of a Geisha by Arthur Golden. Memoirs of a Geisha tells with seamless authenticity and exquisite lyricism the true confessions of one of Japan's most celebrated geisha.
Life Of A Geisha
Quotes
When a geisha wakes up in the morning she is just like any other woman. Her face may be greasy from sleep, and her breath unpleasant. It may be true that she wears a startling hairstyle even as she struggles to open her eyes; but in every other respect she's a woman like any other, and not a geisha at all. Only when she sits before her mirror to apply her makeup with care does she become a geisha. And I don't mean that this is when she begins to look like one. This is when she begins to think like one too. - Memoirs of a Geisha, Chapter 5
A teahouse isn't for tea, you see; it's the place where men go to be entertained by geisha. - Memoirs of a Geisha, Chapter 7
We lead our lives like water flowing down a hill, going more or less in one direction until we splash into something that forces us to find a new course. - Memoirs of a Geisha, Chapter 9
Dreams can be such dangerous things: they smolder on like a fire does, and sometimes consume us completely. - Memoirs of a Geisha, Chapter 9
Waiting patiently doesn't suit you. I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things, and finds the secret paths no one else has thought about - the tiny hole through the roof or the bottom of a box. There's no doubt it's the most versatile of the five elements. It can wash away earth; it can put out fire; it can wear a piece of metal down and sweep it away. Even wood, which is its natural complement, can't survive without being nurtured by water. And yet, you haven't drawn on those strengths in living your life, have you? - Memoirs of a Geisha, Chapter 10
Now, stumbling along in life is a poor way to proceed. You must learn how to find the time and place for things. A mouse who wishes to fool the cat doesn't simply scamper out of its hole when it feels the slightest urge. - Memoirs of a Geisha, Chapter 10
We human beings are only a part of something very much larger. When we walk along, we may crush a beetle or simply cause a change in the air so that a fly ends up where it might never have gone otherwise. And if we think of the same example but with ourselves in the role of the insect, and the larger universe in the role we've just played, it's perfectly clear that we're affected every day by forces over which we have no more control than the poor beetle has over our gigantic foot as it descends upon it. What are we to do? We must use whatever methods we can to understand the movement of the universe around us and time our actions so that we are not fighting the currents, but moving with them. - Memoirs of a Geisha, Chapter 10
We all know that a winter scene, though it may be covered over one day, with even the trees dressed in shawls of snow, will be unrecognizable the following spring. Yet I had never imagined such a thing could occur within our very selves. When I first learned the news of my family, it was as though I'd been covered over by a blanket of snow. But in time the terrible coldness had melted away to reveal a landscape I'd never seen before or even imagined. - Memoirs of a Geisha, Chapter 13
The week in which a young girl prepares for her debut as an apprentice geisha is like when a caterpillar turns into a butterfly. It's a charming idea; but for the life of me I can't imagine why anyone ever thought up such a thing. A caterpillar has only to spin its cocoon and doze off for a while; whereas in my case, I'm sure I never had a more exhausting week. - Memoirs of a Geisha, Chapter 14
Keep in mind that an apprentice on the point of having her mizuage is like a meal served on the table. No man will wish to eat it, if he hears a suggestion that some other man has taken a bite. - Memoirs of a Geisha, Chapter 21
Grief is a most peculiar thing; we're so helpless in the face of it. It's like a window that will simply open of its own accord. The room grows cold, and we can do nothing but shiver. But it opens a little less each time, and a little less; and one day we wonder what has become of it. - Memoirs of a Geisha, Chapter 22
Neither you nor I can know your destiny. You may never know it! Destiny isn't always like a party at the end of the evening. Sometimes it's nothing more than struggling through life from day to day. - Memoirs of a Geisha, Chapter 25
Young girls hope all sorts of foolish things. Hopes are like hair ornaments. Girls want to wear too many of them. When they become old women they look silly wearing even one. - Memoirs of a Geisha, Chapter 25
I expect you to go through life with your eyes open! If you keep your destiny in mind, every moment in life becomes an opportunity for moving closer to it. - Memoirs of a Geisha, Chapter 26
Adversity is like a strong wind. I don't mean just that it holds us back from places we might otherwise go. It also tears away from us all but the things that cannot be torn, so that afterward we see ourselves as we really are, and not merely as we might like to be. - Memoirs of a Geisha, Chapter 29
Sometimes we get through adversity only by imagining what the world might be like if our dreams should ever come true. - Memoirs of a Geisha, Chapter 31
How curious it is, what the future brings us. You must take care, never to expect too much. - Memoirs of a Geisha, Chapter 35
Our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper. - Memoirs of a Geisha, Chapter 35
The turkey bones go into the trash, the Christmas lights come out of the attic, and on the day after Thanksgiving, the year-end blizzard of big, important, prestigious, expensive Oscar contenders commences. For the next four weeks, expect an avalanche of holiday movies. From what I've seen so far, the number of quality films far exceed those of previous years, with three of the very best films of 2005— Memoirs of a Geisha, Brokeback Mountain and Mrs. Henderson Presents—opening next week, all on the same day, no less. Let the countdown begin.
If films still aspire to visual art, Memoirs of a Geisha belongs in a museum. Director Rob Marshall proves that the talent he displayed in Chicago for telling a story rich in detail with clarity, freshness, passion and maximum opulence was no first-time stroke of good luck. The secret world of the geisha—the most exotic and revered women in Japan—kept novelist Arthur Golden's 1997 saga of romance and adventure on the best-seller list for two years. Gorgeously photographed, meticulously directed and hypnotically acted, Memoirs of a Geisha is luxurious, ethereal and intoxicating.
Told in lyrical revelations from the confessions of a geisha, like pages in a diary, it's a story that spans several decades, beginning on a rainy night in 1929, when two terrified little sisters are torn from their father's dirt-poor fishing cabin on the Sea of Japan, orphaned and transported to Kyoto. While her older sister is sold into prostitution, 9-year-old Chiyo is put to work as a servant in a geisha house in the hanamachi (geisha district).
Despite the cruelty of the chain-smoking housemother and the hardships of forced labor, Chiyo's life evolves around the ceremonial mysteries of the geisha. Years of education in and dedication to the art of the geisha eventually pay off. To her surprise, the girl finds herself the focus of an emotional tug of war between two renowned geisha—Hatsumomo, a hateful, jealous femme fatale who resents her youth and tries to destroy her spirit, and Mameha, a kind and legendary geisha who becomes her friend, sponsor and mentor.
Chiyo blossoms into the alluring Sayuri, an accomplished geisha who conquers the most distinguished and influential men of her time, but whose love for one unattainable man called 'The Chairman' remains unrequited. The Chairman, who once stopped on a bridge to buy an ice cream for a poor and hungry Chiyo when she was still a child and remained the object of her desire from a distance throughout her years growing into womanhood, is played by Ken Watanabe, the Oscar-nominated actor who stole The Last Samurai right out from under Tom Cruise.
Hatsumomo, Mameha and Sayuri are played by the three most beautiful and accomplished Asian stars in world cinema—Gong Li, Michelle Yeoh and Ziyi Zhang. Gong Li, the most famous and internationally celebrated of the three, makes her American film debut in English. She takes you to dark and dangerous places no geisha is supposed to go, breaks the rules with a forbidden sexual affair, and shows the glamour of the cloistered life of a geisha as well as the misery and sacrifice. She also shows the tragic ravages of age, which is the natural enemy of every geisha who outgrows her illusion. She's a Brontë character transported to Japan. The shocking way she ends up reminded me of the madwoman in the tower in Jane Eyre. In contrast, the wise and altruistic Mameha is played with great warmth and generosity by Michelle Yeoh, the star of Ang Lee's Crouching Tiger, Hidden Dragon. And the role of the charming, radiant Sayuri is assigned to Ziyi Zhang, who captivated audiences as the blind musician and martial-arts wizard in Zhang Yimou's House of Flying Daggers.
They all bring to throbbing life the different periods in a riveting, complex story as historical as it is fascinating. A geisha is not a prostitute. She is never allowed to marry. She is a woman of education and charisma, trained to be a glamorous and intelligent companion to men of wealth and influence. She must sing, dance, play a musical instrument, listen compassionately to her client's problems and opinions, laugh at his jokes, and perfect the art of serving tea. A geisha shares her mind and manners, not her body.
At 15, Sayuri becomes one of the lucky few who graduates from manual labor to become the protégé of the refined Mameha, who teaches her in a few months the skills it takes years to learn. The exhaustive research by Rob Marshall and screenwriter Robin Swicord pays off in scenes of both nuance and splendor, as we watch the arduous tasks of binding breasts and applying seductive wigs, kimonos and white rice powder.
Getting Things Done & OmniFocus 2. Here's the specific stuff. OmniFocus is the best way to implement GTD on Mac and iOS. Capturing in OmniFocus. The Inbox The Inbox is where capture happens. Anything can go here: the more you enter, the less you'll forget. GTD & OMNIFOCUS 3 SETUP GUIDE POPULATING OMNIFOCUS POPULATING OMNIFOCUS You are now ready to start populating OmniFocus with your work. ADDING NEW PROJECTS AND RELATED ACTIONS Let's start with an easy sample project so you get the idea. Click on the Projects button in the Toolbar. FocusGTD3 is the premier android application to synchronize with Omnifocus (3). on your Mac. (. FocusGTD is not affiliated with OmniGroup) YOUR TASKS IN YOUR POCKET FocusGTD reminds you when tasks become due. The OmniFocus interface is laid out to be as GTD-friendly as possible. However, that doesn't mean much until we know what we're looking for. This section will elaborate on the basics of GTD in OmniFocus. OmniFocus Through the Eyes of a GTD Practitioner 1 Inbox: This is a place to capture your stuff. Stuff is anything that has. Our best-practices guides for implementing GTD® with OmniFocus® 3 for Mac® for the desktop. Updated for the version 3 release of OmniFocus. Gtd omnifocus 3.
As the years pass, we watch Japan in its glory and defeat, in its violent victory and tears of surrender. From the balletic savagery of the sumo wrestling matches to the elegance and grace of the flowering cherry-blossom festival, from the summer picnics to the snowy cobblestones of winter, you get a tour of Japan you won't get on a discount tourist weekend. And through the story of a survivor, the culture and pride of a great country is celebrated and captured in the camerawork of Dion ( Chicago) Beebe, who deserves an Academy Award for the kind of visual artistry you rarely see on the screen today. Not since David Lean has a movie looked this magnificent.
But with all the shimmer of the kabuki and the subtlety of haiku to marvel at, I never lost interest in the lives in this geisha's profound memoir. After the hardships and dishonor of World War II, when the lute has been replaced by Frank Sinatra and the Andrews Sisters, she is the one who must resurrect the purpose of the geisha, get out the jade combs and crushed silk kimonos and pay back the ruined lives of the people who saved her from the bombs. Here, after nearly two and a half hours that I did not want to end, the ultimate power of a true geisha is tested again, in a finale that will reduce you to tears.
The moon rising over the sea. The bamboo and cedar shingles of a city of rooftops. The swirl of the parades and ceremonies. The art of fans. The music of John Williams and Yo-Yo Ma. So much to see and hear, yet the magic of Memoirs of a Geisha is the human way it touches the heart. The cumulative effect is like being knocked unconscious by the wing of a butterfly. Anydesk version 5.
Ch-ch-ch-anges!
On television, Felicity Huffman is one of the Desperate Housewives; off-screen, she is the wife of that fine actor, William H. Macy. His versatility has rubbed off, but that still might not prepare the audience for the shock treatment that awaits all who enter a film called TransAmerica. This gender-bender is a real trip, but maybe not the one everyone is dying to take.
Ms. Huffman plays a man in Los Angeles named Stanley Osbourne, who suffers from something called gender dysphoria. Now he lives the transsexual lifestyle of a woman named Bree. Bree wears pink suits, panty hose and a neck scarf to hide her Adam's apple and, after all the gene therapies, pre-op hormones and psychological evaluations, is only a week away from the penis removal that will free Bree forever and turn her into a real woman at last.
On the eve of his 'sexual-reassignment surgery,' the phone rings and a male hustler in a New York jail claims to be Stanley's son. Suddenly, Bree's shrink threatens to withhold the signature approving surgery unless she makes peace with the past. Slashing on extra lipstick, Stanley uses up some of his desperately needed savings and nervously heads east to bail out the kid, a 17-year-old named Toby (Kevin Zegers), who is the result of a forgotten episode of early sexual experimentation. Pretending to be a church missionary, Bree plans to drop off the handsome but psychologically damaged kid to his stepfather's house in Kentucky. Mistaking Bree for a conservative Jesus freak who converts street kids to the Bible, Toby goes along, hoping to land in Hollywood, pursue a career in X-rated gay porno flicks and find his father. He doesn't know that Bree is his father.
When Bree learns that the boy's mother committed suicide and his stepfather raped him, a queasy and totally alien feeling of parental responsibility creeps in. Toby turns tricks on the road to contribute to the gas money. Trying to keep up feminine appearances and extend some paternal compassion at the same time, Bree pulls over for a quick bathroom rest stop and accidentally exposes his johnson in the rearview mirror. The boy goes ballistic. A peyote junkie steals their car. An Indian (Graham Greene) drives them to Arizona, where Bree indulges in the humiliation of a family reunion with his vulgar, mortified right-wing parents (hilariously played by Fionnula Flanagan and Burt Young), who still call him Stanley. Lonely and more confused than ever, Toby (who still doesn't know Bree is his father) reaches out for affection and climbs naked into bed with the scandalized Bree to 'do the thing I do best.' There's more, but you're on your own.
Crudely directed by Duncan Tucker, TransAmerica is part road movie, part comedy, part heartbreaker and part self-indulgent sexual sideshow. A man who wants to be a woman, a boy who falls in love with a transsexual, and all of the relatives who can't figure any of it out at all—how they learn to grow and mature and change for the better is what this movie is about. Finding the right balance between farce and melodrama is a risk that isn't always satisfactorily resolved, but good acting and some witty writing help, and you gotta admit that Felicity Huffman is nothing if not fearless: She tackles the Bree/Stanley role like a desperate housewife trying to get a live rattlesnake out of her kitchen with a dustpan. America is changing, all right, but a zoned-out film like TransAmerica convinces you that it's changing too fast for society to keep up. Changes that creep you out are not good for a healthy box office.
Chiyo blossoms into the alluring Sayuri, an accomplished geisha who conquers the most distinguished and influential men of her time, but whose love for one unattainable man called 'The Chairman' remains unrequited. The Chairman, who once stopped on a bridge to buy an ice cream for a poor and hungry Chiyo when she was still a child and remained the object of her desire from a distance throughout her years growing into womanhood, is played by Ken Watanabe, the Oscar-nominated actor who stole The Last Samurai right out from under Tom Cruise.
Hatsumomo, Mameha and Sayuri are played by the three most beautiful and accomplished Asian stars in world cinema—Gong Li, Michelle Yeoh and Ziyi Zhang. Gong Li, the most famous and internationally celebrated of the three, makes her American film debut in English. She takes you to dark and dangerous places no geisha is supposed to go, breaks the rules with a forbidden sexual affair, and shows the glamour of the cloistered life of a geisha as well as the misery and sacrifice. She also shows the tragic ravages of age, which is the natural enemy of every geisha who outgrows her illusion. She's a Brontë character transported to Japan. The shocking way she ends up reminded me of the madwoman in the tower in Jane Eyre. In contrast, the wise and altruistic Mameha is played with great warmth and generosity by Michelle Yeoh, the star of Ang Lee's Crouching Tiger, Hidden Dragon. And the role of the charming, radiant Sayuri is assigned to Ziyi Zhang, who captivated audiences as the blind musician and martial-arts wizard in Zhang Yimou's House of Flying Daggers.
They all bring to throbbing life the different periods in a riveting, complex story as historical as it is fascinating. A geisha is not a prostitute. She is never allowed to marry. She is a woman of education and charisma, trained to be a glamorous and intelligent companion to men of wealth and influence. She must sing, dance, play a musical instrument, listen compassionately to her client's problems and opinions, laugh at his jokes, and perfect the art of serving tea. A geisha shares her mind and manners, not her body.
At 15, Sayuri becomes one of the lucky few who graduates from manual labor to become the protégé of the refined Mameha, who teaches her in a few months the skills it takes years to learn. The exhaustive research by Rob Marshall and screenwriter Robin Swicord pays off in scenes of both nuance and splendor, as we watch the arduous tasks of binding breasts and applying seductive wigs, kimonos and white rice powder.
Getting Things Done & OmniFocus 2. Here's the specific stuff. OmniFocus is the best way to implement GTD on Mac and iOS. Capturing in OmniFocus. The Inbox The Inbox is where capture happens. Anything can go here: the more you enter, the less you'll forget. GTD & OMNIFOCUS 3 SETUP GUIDE POPULATING OMNIFOCUS POPULATING OMNIFOCUS You are now ready to start populating OmniFocus with your work. ADDING NEW PROJECTS AND RELATED ACTIONS Let's start with an easy sample project so you get the idea. Click on the Projects button in the Toolbar. FocusGTD3 is the premier android application to synchronize with Omnifocus (3). on your Mac. (. FocusGTD is not affiliated with OmniGroup) YOUR TASKS IN YOUR POCKET FocusGTD reminds you when tasks become due. The OmniFocus interface is laid out to be as GTD-friendly as possible. However, that doesn't mean much until we know what we're looking for. This section will elaborate on the basics of GTD in OmniFocus. OmniFocus Through the Eyes of a GTD Practitioner 1 Inbox: This is a place to capture your stuff. Stuff is anything that has. Our best-practices guides for implementing GTD® with OmniFocus® 3 for Mac® for the desktop. Updated for the version 3 release of OmniFocus. Gtd omnifocus 3.
As the years pass, we watch Japan in its glory and defeat, in its violent victory and tears of surrender. From the balletic savagery of the sumo wrestling matches to the elegance and grace of the flowering cherry-blossom festival, from the summer picnics to the snowy cobblestones of winter, you get a tour of Japan you won't get on a discount tourist weekend. And through the story of a survivor, the culture and pride of a great country is celebrated and captured in the camerawork of Dion ( Chicago) Beebe, who deserves an Academy Award for the kind of visual artistry you rarely see on the screen today. Not since David Lean has a movie looked this magnificent.
But with all the shimmer of the kabuki and the subtlety of haiku to marvel at, I never lost interest in the lives in this geisha's profound memoir. After the hardships and dishonor of World War II, when the lute has been replaced by Frank Sinatra and the Andrews Sisters, she is the one who must resurrect the purpose of the geisha, get out the jade combs and crushed silk kimonos and pay back the ruined lives of the people who saved her from the bombs. Here, after nearly two and a half hours that I did not want to end, the ultimate power of a true geisha is tested again, in a finale that will reduce you to tears.
The moon rising over the sea. The bamboo and cedar shingles of a city of rooftops. The swirl of the parades and ceremonies. The art of fans. The music of John Williams and Yo-Yo Ma. So much to see and hear, yet the magic of Memoirs of a Geisha is the human way it touches the heart. The cumulative effect is like being knocked unconscious by the wing of a butterfly. Anydesk version 5.
Ch-ch-ch-anges!
On television, Felicity Huffman is one of the Desperate Housewives; off-screen, she is the wife of that fine actor, William H. Macy. His versatility has rubbed off, but that still might not prepare the audience for the shock treatment that awaits all who enter a film called TransAmerica. This gender-bender is a real trip, but maybe not the one everyone is dying to take.
Ms. Huffman plays a man in Los Angeles named Stanley Osbourne, who suffers from something called gender dysphoria. Now he lives the transsexual lifestyle of a woman named Bree. Bree wears pink suits, panty hose and a neck scarf to hide her Adam's apple and, after all the gene therapies, pre-op hormones and psychological evaluations, is only a week away from the penis removal that will free Bree forever and turn her into a real woman at last.
On the eve of his 'sexual-reassignment surgery,' the phone rings and a male hustler in a New York jail claims to be Stanley's son. Suddenly, Bree's shrink threatens to withhold the signature approving surgery unless she makes peace with the past. Slashing on extra lipstick, Stanley uses up some of his desperately needed savings and nervously heads east to bail out the kid, a 17-year-old named Toby (Kevin Zegers), who is the result of a forgotten episode of early sexual experimentation. Pretending to be a church missionary, Bree plans to drop off the handsome but psychologically damaged kid to his stepfather's house in Kentucky. Mistaking Bree for a conservative Jesus freak who converts street kids to the Bible, Toby goes along, hoping to land in Hollywood, pursue a career in X-rated gay porno flicks and find his father. He doesn't know that Bree is his father.
When Bree learns that the boy's mother committed suicide and his stepfather raped him, a queasy and totally alien feeling of parental responsibility creeps in. Toby turns tricks on the road to contribute to the gas money. Trying to keep up feminine appearances and extend some paternal compassion at the same time, Bree pulls over for a quick bathroom rest stop and accidentally exposes his johnson in the rearview mirror. The boy goes ballistic. A peyote junkie steals their car. An Indian (Graham Greene) drives them to Arizona, where Bree indulges in the humiliation of a family reunion with his vulgar, mortified right-wing parents (hilariously played by Fionnula Flanagan and Burt Young), who still call him Stanley. Lonely and more confused than ever, Toby (who still doesn't know Bree is his father) reaches out for affection and climbs naked into bed with the scandalized Bree to 'do the thing I do best.' There's more, but you're on your own.
Crudely directed by Duncan Tucker, TransAmerica is part road movie, part comedy, part heartbreaker and part self-indulgent sexual sideshow. A man who wants to be a woman, a boy who falls in love with a transsexual, and all of the relatives who can't figure any of it out at all—how they learn to grow and mature and change for the better is what this movie is about. Finding the right balance between farce and melodrama is a risk that isn't always satisfactorily resolved, but good acting and some witty writing help, and you gotta admit that Felicity Huffman is nothing if not fearless: She tackles the Bree/Stanley role like a desperate housewife trying to get a live rattlesnake out of her kitchen with a dustpan. America is changing, all right, but a zoned-out film like TransAmerica convinces you that it's changing too fast for society to keep up. Changes that creep you out are not good for a healthy box office.
Not Mine!
Confessions Of A Geisha
As a confirmed and dedicated bachelor, I can testify to the fact that when I see a movie as punishing as Yours, Mine and Ours, I did not make the wrong decision. This dirge is about 18 no-neck monsters of every age, all living in the same house. It's supposed to be a comedy. It's as funny as bamboo shoots under the fingernails.
Confessions Of A Geisha
Poor Dennis Quaid—he was on such a roll after Far From Heaven and The Rookie. He looks great and works hard not to make you hate him, but he probably wouldn't take his own kids to see this trash. In this idiotic remake of the lightweight 1968 charmer with Lucille Ball and Henry Fonda, he and Rene Russo are former high-school sweethearts, now widowed, who remarry in their 40's. She has 10 kids, he has eight. Apparently the only thing they didn't study in school was birth control. No problem about what kind of shoe to live in: He works for the Coast Guard, so he dumps them all in a run-down lighthouse. This architectural contrivance exists for no other reason than to provide a series of claustrophobic crises, none of which is remotely amusing.
Confessions Of A Geisha Girl
After some sexy get-acquainted stuff, the parents never seem to have much in common again, in or out of bed. He's a military dictator, like Robert Duvall in The Great Santini; she's a Dr. Spock libertine for the Oprah age, like everybody on The Brady Bunch. The rest of the movie belches out every cliché from Eight Is Enough to the second, bad Cheaper by the Dozen with Steve Martin. It's a fax of an already faded Xerox. (My advice: skip them all and rent the original 1950 Cheaper by the Dozen with Clifton Webb, Myrna Loy and Jeanne Crain.) The director is the creatively challenged Raja Gosnell, who made Scooby-Doo. This means a pet pig, vomit jokes, and Linda Hunt as a jackbooted Nazi nanny who craves professional wrestling. Not a fresh insight or genuine laugh in sight. Nothing here, in fact, for you, him, her, yours, mine, theirs or anybody's.
