From Dark Star Pictures and Uncork’d Entertainment comes the story of a church that’s been called “the most aggressively preposterous theology the world has ever known!”

“Bobs are part of the joke that, once you get over the butt-hurt, you start laughing at it.” Focused on a self-proclaimed cult started in 1981, director/writer Sandy K. Boone and co-writer Jason Wehling look at the religion that hoped always to not quite go full Scientology but never shied away from tricking people just as much.

The film opens in a field populated by an eclectic gaggle of aging new wave, hippie, skeptic absurdists: tattooed, tie-dyed, role-playing. I can very much relate to this group. In the early ‘90s, we had the same: a tight cluster of punks, runaways, mavericks, art room recluses, theater kids and weed-smoking, acid-dropping musicians who read books, spliced movies together from two VCRs and played Tetris while scarfing down Froot Loops. We made up our own rules, languages, code names and handshakes. We named our own deities.

Whether we were operating in parallel to or the wake of the Church of the SubGenius, the ‘90s were the most fecund territorial for waging war against normies, being aggressively bizarre and oddly relishing in the possibility of the fall of society. Was it because of century fatigue, pre-millennial tension, nuclear and Cold War anxiety, the collision of the ‘80s excess with the dawn of the Internet? All of the above? None of the above? Penn Jillette points out that many simply didn’t realize that they were “building on tropes originated from the Church of the SubGenius.” Most certainly, the 2005 rise and free-speech/anti-Creationist movement of the Church of the Flying Spaghetti Monster – the Pastafarians – took cues from Dobbs.

Postmodernism, Reaganism, New Wave, punk, MTV, Saturday morning cartoons, fax machines, 2600-baud modems, latchkey kids, underground comics, west coast and east coast pop art, mixtapes, digital sampling, computer-generated art and straight-to-video pulp films were being thrown in a blender and then sawed in half with a chainsaw.

When founder Ivan Stang came up with the notion that they weren’t quite geniuses but sub-geniuses, the whole world clicked and things took off: a sudden combination of robot toys, zines, clip art, and the invention of a cult leader – Bob Dobbs, leader of said cult, represented by a 1950s man’s smiling face, smoking a pipe.

Finding the Freak Frequency

As a film, we have a great collection of nicely shot interviews, a quirky soundtrack, and lots and lots of montages of vintage ‘90s oddities. Arguably we can see the origins of the internet’s belligerent subcultures – the skeptical armchair critic with otaku tastes and “fuck ’em if they can’t take a joke.”

In this film, you will hear from the founders, original members and requisite celebrity cameos from the likes of Nick Offerman, Penn Jillette, Devo’s Mark Mothersbaugh and Jerry Casale, director Richard Linklater…all the expected suspects, raised on Frank Zappa and Captain Beefheart. The counterculture that came together to form a countercultural society. “We were trolls before they had that term, but CB radios used that term. We didn’t use (the radio) to help others; we used it to confuse strangers.”

Bob Dobbs

They coined the term “Slack,” a lifestyle choice that could loosely be defined as not giving any fucks. “Arch Doctor Saint Margaret,” “Saint Byron Werner,” “Pope Sternodox” all signed up for a dollar via a pamphlet canvassing new disciples. Other members of the cult included Simpsons creator Matt Groening, Repo Man director Alex Cox, and the more you think about it, most of the people who drove the Generation X revolution: David Byrne, The Residents, Pee-Wee Herman.

25 years later, Generation X is often left out of generational comparison statistics. Truly, a lost generation? Or one that has been inoculated by the white blood cells of Capitalism and the ideology of the nuclear family?

Losing My Religion

The film momentarily turns toward how the group is mainly a boys’ club – “the patriarchy strained through a cheese-cloth’ – but with the qualification that “Heck, I wanted to meet all the boys.” You can hear echoes of outlaw artist Robert Williams everywhere. Their first convention took place in Dallas and was billed as “the fastest-growing cult” on Channel 4 news. It also turned out to be a financial disaster.

Linklater comments on how often the “slacker” is attacked by society for being a drop-out, an outlier, a weirdo – all of which represent threats to the industrial complex. Of course, Linklater’s seminal work Slacker is a virtual manifesto of Bob Dobb’s dogma as well as a film that dismantled edited structures in much the same self-conscious or ironically laissez-faire way as the ‘60s New Wave filmmakers like Jean-Luc Godard, Alain Resnais, Agnès Varda and François Truffaut and such Italian works as Fellini’s 8 ½ or Michelangelo Antonioni’s trilogy on modernity and its discontents: L’Avventura, La Notte and L’Eclisse.

By act two, the film begins to address the rising fame of the cult, growing egos and a publishing deal. Bookstores didn’t sell it in the comic book section but rather alongside other religious texts. As Offerman points out, it was “older, wiser miscreants telling us that human-made organizational systems are as flawed as you’d suspect, because…they’re made by us.”

We look back at the horrors and manias of cults like Jonestown, Waco, the “pinks,” the megachurches, the snake oil salesmen that pervaded the era. In so many ways, the precursors to the mania that has infected America in the second decade of the 2000s: a bonfire doused in the gasoline of algorithm-driven social media machines, commandeered by political operatives, corporations and lobbyists to incite partisanship with all the lunacy of religious fervor.

In the film’s third act, we explore the effects of playing with fire. You see, to suspend one’s lifestyle in a suspension of disbelief that walks the tightrope between community, satire and allegiance to the tribe is a slippery path.

“If you can’t take the joke,” Offerman explains of the cult’s catchphrase, “then please go fuck yourself.” Yet, mix this idea of giving community to outcasts who are emotionally driven by resentment, anger and disenfranchisement, and you have the potential for aggressive toxicity. Such cultures invariably fracture between those who take the words literally and those who use it as a guideline.

“The internet did so much to kill the old ways of doing things…people exposed to it can longer distinguish between fantasies and tripe.” As the documentary moves into the Columbine era, it becomes frighteningly clear that things can come back to haunt you. There were promotional missteps. There were prompts. Bomb threats to their conventions. Being added to national security watchlists.

“In the end, it is about confronting the dark things, pulling the fangs out of them, and making them a joke.”

“The internet did so much to kill the old ways of doing things,” – “people exposed to it can longer distinguish between fantasies and tripe.” As the documentary moves into the Columbine era, it becomes frighteningly clear that things can come back to haunt you. There were promotional missteps. There were prompts. Bomb threats to their conventions. Being added to national security watchlists.

“In the end, it is about confronting the dark things, pulling the fangs out of them, and making them a joke.”

This Is the End

Then 9/11 comes and marks the end of times. Indeed, it was the end of innocence. I will leave the rest of the film for you to discover. Needless to say, it offers a fascinating story about a time that seems both irretrievably lost and paradoxically now surrounds us to the degree that, as Douglas Rushkoff states, makes the Alternative the normie and the normies the outsiders.

The more I think about it, the more I realize that the ‘90s were just a giant cult of Bob Dobbs. Shit got real weird, and sometimes it was hard to separate from reality. “Bob is great in reasonably sensible doses,” reflects one of the Church’s most staunch long-term members.

I recently listened to the reading of disgraced lawyer Michael Cohen’s book about his life as Donald Trump’s consiglieri. He lays down one damning, scandalous bombshell after another, confirming every suspicion and every accusation that has been leveled at the infamous President. And yet, no one is talking about the book. The revelations, scandals, conspiracy theories and transgressions have all become so commonplace that society’s outrage has been fatigued and these gross indecencies, injustices, and flat-out crimes have been normalized.

“It’s very easy to slice the world up, and pit everyone against each other,” cautions Linklater. As the film turns to the present, one can only wonder at the movement’s prescience, its role as a harbinger, and how that may have sown important roots in forming an intellectual bulwark against contemporary propaganda. In the very way that the group played with its own wobbly margin between reality and satire, it highlights how easy schadenfreude, the desire for inclusion and spectacle, focused through the lens of fear, can transform into a dangerous cocktail of unconditional devotion to demagogues.

The film’s coda addresses the hyper-socialized world we now inhabit. A world in which no moment is lived offline, where every act is captured and posted, every meal, joke, exchange, passing thought, emotional ripple. A world that will not have time to watch this movie or read this article.

But if you somehow do, J.R. Bob Dobbs and the Church of the SubGenius can be viewed from the comfort of your pandemic-driven social isolation, while the cult of Donald Trump doubles down across North America. Regardless of his place in office, the new cult of the SubGenius has been birthed.

Check out the trailer below

J.R. “Bob” Dobbs and the Church of the SubGenius is available in virtual theaters October 16 and available on Demand October 20, 2020.

The post Review: J.R. Bob Dobbs and the Church of the SubGenius – A Documentary appeared first on TheCulturepin.com.

NOTE: The following should be spoiler-free. It may not be recommended for devout followers who haven’t yet seen the episode, but I really have taken measures to avoid giving anything away.

I am going to be uncharacteristically emotive and offer little insight for the typical Culturepin post, but I really needed to capture and share the amazing feeling of buoyancy after watching tonight’s episode of Lost – “What They Died For.”

It is not only for the relief in having bold answers at last, or for the myriad connections and subtexts provided. I have debated, opined and otherwise pontificated at length on some of the social media platforms I frequent, only with friends, and never at any great length publicly, so I will not go into my take on what the mythology, story arcs or implications of ABC’s hugely successful epic series ultimately means. There are so many sites that have squeezed every last drop of possibility out of the material.

I just really wanted to take a moment, as the series comes to a close, to commend the people who made the show on what they have accomplished; to engage us in a fascinating, captivating, thrilling, mesmerizing story often quite literally around a campfire (albeit one we see on the television screen, an electronic campfire in itself) in a way that at least I haven’t felt since my grandfather used to put me to sleep with bedside tales culled from Greek mythology.

Tonight’s episode was beautifully acted (Terry O’Quinn was simply incredible, as were Mark Pellegrino, Michael Emerson, Henry Ian Cusick and even Evangeline Lilly – all completely adept at harlequin-type vacillations in motive and emotional structure) beautifully lit (Ben Linus’ hellfire orange glow in the secret room while talking with Flocke, or the ethereal tonality of the prisoners in the paddy wagon as Desmond makes his offer) and brilliantly scored by Michael Giacchino. The makeup was excellent, and the sound design as meticulous as ever.

Many shows take time, even seasons, to catch their stride, but Lost seemed to be quite well formed right out of the gate. Most of the characters already felt well rounded, and though admittedly the actors were getting to know the characters even as they were getting to know one another within the world of the play, it felt unusually present. But now, six years later, and on the eve of its death, the whole is reaching new heights.

Now don’t be fooled into thinking that I am uncritical or not skeptical about many points concerning the series let alone this last season. There have been stronger and weaker episodes, certainly. But every so often I would take a step back and simply marvel at the scope of what was being accomplished and presented within 47 minutes of television entertainment on a weekly basis. And then, there were times, like at the end of tonight’s show in particular, where I realized I hadn’t taken a breath in minutes. As the show ended I was completely in awe. I felt my body tingling, my heart thumping, and this strange sort of euphoria at the end of an incredible tale.

I am certain my buzz will dull considerably with time, and so again, I wanted simply to catalog this amazing feeling of excitement for posterity, because what I just witnessed was nothing short of a wonder, a gift.

Thanks guys.

Post your reaction to this episode or the ideas above in the comments section.

The post What Lost S6Ep16 “What They Died For” Did For Me appeared first on TheCulturepin.com.

Shortly after the Wachowski Brothers released a film called The Matrix in 1999, I got a job on a film shooting in Hendersonville, North Carolina about summer camp and spent a beautiful month and a half in a small cottage reading Ray Kurzweil’s The Age of Spiritual Machines: When Computers Exceed Human Intelligence. It was a potent combination – the movie and the book; what the Matrix was doing for me spiritually, Kurzweil’s book seemed to be prepared to manifest on Earth.

Cut to a decade later, where I will be attending my fifth consecutive NAB Show – the largest tech and entertainment media show of its kind in the world – and have the opportunity to see Kurzweil actually speak in person for a power session entitled “The Acceleration of Technology in the 21st Century: the Impact on Media, Communications, and Society.”

Kurzweil will begin the session with a presentation on how information technology is transforming traditional industries, including media and entertainment, into infotech businesses. He will explore how the exponential growth of technology and the influx of new chip-driven tools is upending free enterprise as we know it and paving the way for an unparalleled change in human history. After his presentation, Kurzweil will be joined on the stage by Professor Donald Marinelli for a special discussion highlighting topics that directly impact Hollywood and the entertainment technology arena.

This is precisely what I have been asked to speak about throughout most of my career – the confluence of technology and the arts – so you can imagine how excited I am to hear these two go on about it.

To give you a better idea about Kurzweil’s relevance (besides the fact that he invented speech recognition technology) he has been described as “the restless genius” by The Wall Street Journal and “the ultimate thinking machine” by Forbes and ranked 8th among entrepreneurs in the United States by Inc. magazine. PBS included Kurzweil as one of 16 “revolutionaries who made America,” along with other inventors of the past two centuries. He is a six-time national bestselling author whose works include “The Age of Spiritual Machines” and “The Singularity is Near.” Which reminds me, Kurzweil also recently spearheaded the opening of The Singularity University where he invites the world’s foremost thinkers, doctors and technicians to figure out how to live forever, in harmony, probably with robots. And he is totally serious. And he might even pull it off.

Donald Marinelli is a tenured professor of drama and arts management at Carnegie Mellon University and is also the executive producer of that institution’s Entertainment Technology Center (ETC). The ETC is recognized internationally as Carnegie Mellon’s “Dream Fulfillment Factory.” Its emphasis is on bringing artists and technologists together to work on substantive, real-world projects combining the latest digital media technologies with myriad artistic, educational, and entertainment efforts. Marinelli’s book “The Comet & the Tornado” will be released on April 6th.

This event joins an impressive line-up of previously announced keynote conversations, including Dana Walden and Gary Newman, Chairmen of Twentieth Century Fox Television (TCFTV); and Stan Lee, the iconic comic book visionary who co-created Spider-Man, The Incredible Hulk and The Fantastic Four.

“A key theme of this year’s NAB Show is transmedia: developing, integrating and monetizing content for multiplatform distribution,” said Chris Brown, executive vice president, conventions & business operations for NAB Show. “Stan Lee has epitomized the concept of transmedia with his amazing creations, which have been turned into smash hit feature films, television series and innovative digital content.”

Did I already mention how excited I am?   This is like Christmas for prognosticators like me, never mind robotics fans. And manifesting dreams.  And wanting to live forever.  And SEO types.  And comic books.

The NAB Show will take place 10-15 April, 2010 in Las Vegas (exhibits open 12 April). It is the world’s largest electronic media show covering filmed entertainment and the development, management and delivery of content across all mediums. Complete details are available at www.nabshow.com.

The post Inventor Ray Kurzweil and Comic Book Icon Stan Lee To Speak at 2010 NAB Show In Vegas appeared first on TheCulturepin.com.

Now that the stream is closed, we want to share some videos from the streets on inauguration day.

Inauguration at Times Square

Inauguration from the National Mall

Up to four million people are expected to attend the Presidential Inauguration of Barack Obama in Washington DC on January 20th, with 25,000 law enforcement officials on the scene. Cellular networks have been pleading with their customers to minimize the use of cell phones during the event, claiming they have already stretched their resources to their breaking limits in anticipation of the bandwidth surge.  The event is projected to easily outpace the numbers of the Superbowl in terms of viewership.

Runs from 11:30 a.m. to 12:30 p.m. ET. Program is as follows:

• Call to order and welcoming remarks — Dianne Feinstein.
• Invocation — Dr. Rick Warren.
• Musical selection — Aretha Franklin.
• Oath of office administered to vice-president-elect Joe Biden.
• Musical selection — John Williams, featuring Itzhak Perlman, Yo-Yo Ma, Gabriela Montero, Anthony McGill.
• Oath of office administered to president-elect Barack Obama by Chief Justice John Roberts.
• Inaugural address.
• Poem — Elizabeth Alexander.
• Benediction — Rev. Joseph E. Lowery.
• National anthem.

Post your comments to join in the discussion. What do you think about the event?

The post Watch and discuss the Presidential Inauguration on TheCulturepin.com appeared first on TheCulturepin.com.

Compact fluorescent light bulbs have long been known to contain poisonous liquid mercury, but a study released earlier this year shows the level of mercury vapor released from broken bulbs skyrockets past accepted safety levels.

Following a story reported by WND last year about a Maine woman quoted $2,000 for cleaning up a broken fluorescent bulb, or CFL, in her home, the Maine Department of Environmental Protection studied the dangers of broken CFLs and the adequacy of recommended cleanup procedures.

The results were stunning: Breaking a single compact fluorescent bulb on the floor can spike mercury vapor levels in a room – particularly at a child’s height – to over 300 times the EPA’s standard accepted safety level.

Furthermore, for days after a CFL has been broken, vacuuming or simply crawling across a carpeted floor where the bulb was broken can cause mercury vapor levels to shoot back upwards of 100 times the accepted level of safety.

Read the rest of that article here: 1 broken bulb pushes contamination to 300 times EPA limits

And yet January 12th 2009 cover story of TIME magazine featured a warning that the world must begin to seriously consider its energy crisis, and that the time to fix it is now.  Here is how the article opens:

This may sound too good to be true, but the U.S. has a renewable-energy resource that is perfectly clean, remarkably cheap, surprisingly abundant and immediately available. It has astounding potential to reduce the carbon emissions that threaten our planet, the dependence on foreign oil that threatens our security and the energy costs that threaten our wallets. Unlike coal and petroleum, it doesn’t pollute; unlike solar and wind, it doesn’t depend on the weather; unlike ethanol, it doesn’t accelerate deforestation or inflate food prices; unlike nuclear plants, it doesn’t raise uncomfortable questions about meltdowns or terrorist attacks or radioactive-waste storage, and it doesn’t take a decade to build. It isn’t what-if like hydrogen, clean coal and tidal power; it’s already proven to be workable, scalable and cost-effective. And we don’t need to import it.

This miracle juice goes by the distinctly boring name of energy efficiency, and it’s often ignored in the hubbub over alternative fuels, the nuclear renaissance, T. Boone Pickens and the green-tech economy. Clearly, it needs an agent. But it’s a simple concept: wasting less energy. Or more precisely, consuming less energy to get the same amount of heat for your shower, light for your office and power for your factory.

[snip]

There are two basic ways to save energy without deprivation or daily effort. We can use more efficient machinery, like fuel-efficient cars that guzzle less gas, or those pigtailed compact fluorescent light bulbs that use 75% less power than traditional bulbs, or state-of-the-art refrigerators that are three times as efficient as 1973 models.

Article source: America’s Untapped Energy Resource: Boosting Efficiency

Interestingly, back in September, 2008, WorldNetDaily had a follow up on the incumbent campaign to promote the CFL:

Amidst all the current financial chaos, amidst global pandemonium and the spiraling economy, amidst the dangers from terrorism … you’ll be glad to know that the U.S. government is still hard at work protecting us from a threat so vile, so evil and so dangerous that it dwarfs all those other petty international and domestic concerns we face as a nation.

I refer, of course, to the incandescent light bulb.

[snip]

As an aside, it’s never been explained to me why, if compact fluorescent light bulbs are so superior, they warrant their own personal disposal facility to keep from poisoning the air, groundwater, etc. Nor has it apparently occurred to anyone that the energy required to conduct this specialized recycling of CFLs and corral the dangerous mercury completely offsets the potential energy savings over incandescents. The extra time, energy, cost and gas requirements for people to deliver their used CFLs to recycling facilities also counterbalance any individual savings in energy consumption. And how about the fact that almost all CFLs are manufactured in China under staggeringly hazardous and environmentally dangerous conditions by non-union state slaves?

[snip]

I don’t mean to cast doubt in anyone’s mind about the true environmental benefits of CFLs. After all, doubtless the medical complaints, the potential for groundwater contamination and the EPA requirements for cleaning up a broken CFL are all just right-wing nutjob conspiracy tactics to get We the Sheeple to bitterly cling to our incandescents just like we bitterly cling to our guns and religion.

The transition from incandescent to CFLs won’t be easy, of course. Mandated transitions never are. People tend to approach these things kicking and screaming because most folks have an annoying habit of wanting to think for themselves. Fortunately, the government schools are working on squelching that penchant, and in a few more generations we’ll be just like those genetically altered kids in the Star Wars “Attack of the Clones” movie. Can’t wait.

Don’t be alarmed when some houses burn down after CFLs are installed in circuits with dimmer switches or in track lighting (where they often smoke and cause fires). Also, people with light-sensitive medical conditions may suffer migraines, seizures, vertigo related to heart disease and other maladies. Even some green sites warn against a total ban on incandescent light bulbs, but doubtless they’re secretly in the pay of big oil companies or something. Besides, who cares? We should all do our part to save the earth, no matter what it takes or who has to suffer or die.

Article source: I guess I’m just a dim bulb

And so here we see again the extremes of opinion and typical alarmist polarities as a fundamental change in lifestyle is proposed.  So what is the stance of perhaps a moderate?

Strangely, it comes from a site called Ask Treehugger:

I quote:

Question: I have been in the process of converting to an all CFL household only to find out by trial and error (and some googling) that CFL’s fail very quickly in track lighting and recessed fixtures. In my online searches I have stumbled upon some real horror stories about people who have broken the bulbs in their homes which has resulted in thousands of dollars worth of cleanup to remove the mercury.

Response: Although mercury is a toxic pollutant, mercury exposures from broken CFLs are not likely to harm you and your family. This is due to several factors, including the amount and duration of your exposures and the specific type of mercury that you are exposed to.
Mercury in CFLs are present as elemental (or metallic) mercury. Once spilled, you can be exposed to elemental mercury by touching it, after which it can be eaten and/or absorbed through your skin. More importantly for health, you can also be exposed to mercury through the air, as elemental mercury vaporizes readily (essentially becomes a gas) and can thus be inhaled into your lungs. Breathing elemental mercury into your lungs is generally more dangerous than if you ate the mercury or absorbed it through your skin. Once inhaled, the mercury vapor can damage the central nervous system, kidneys, and liver.

These toxic effects are why any mercury spill should be handled carefully, including one that results from a CFL breaking. Having said this, careful handling does not mean that expensive or complicated clean-up of the spill is needed or that you should be worried about you or your family’s health, if a CFL were to break in your home.

This is because CFLs contain relatively small amounts of mercury — EPA estimates this amount to be 4-5 milligrams (mg) in a typical CFL. A spill of this amount of mercury is not likely to present any excess risk to you or your family. A quick back-of-the-envelope calculation shows why.

Read the rest of the article here:  Ask TreeHugger: Is Mercury from a Broken CFL Dangerous?

But don’t be fooled by the se;f-conscious name of the source; the article is written by Helen Suh MacIntosh, a professor in environmental health at Harvard University.

In response to this thread, Freedom v.3.0 user Teens pointed out:

Just as an FYI – whatever rigorous testing you think products and chemicals are put through before they can be introduced to industry or to the public does not exist. A bare minimum of testing is conducted on consumer products and little to no testing is conducted on chemicals.

When something is discovered to be toxic it is the result of independant testing conducted by concerned scientists/public interest groups and the validity of such tests are immediately called into questioned by the companies promoting the product. So much (unwarranted) controvery is created and the regulating bodies take years to sift through the test results. The time it takes for a product to be taken off the market or deemed as toxic is laughable.

So where does that leave us? Ideally with a a slightly better informed set of considerations so that we can make our own decisions and come to our own conclusions.

I recently purchased a Sun Blaster bulb for my home so that I can grow some indoor herbs for my cooking, as I love gardening but have no yard. The package promotes the 75% savings (of what I don’t know, presumably energy? Electrical costs?), high output and of course “healthy energy efficient indoor lighting.”

Warnings on the back of the package caution:

• Minimum operating temperature is 8 degrees C/18 degrees F
• Use in dry location only
• Not for use in total enclosed / recessed fixture
• Do not use with dimmer or adjustable circuit
• Lamp contains mercury disposal properly (sic)

And then lists the following website: www.lamprecycle.org that turns out to be an information resource for what when and where to recycle, as opposed to a recycling center in itself.  I recommend checking it out and following some of the outbound links, particularly so as to find a recycling solution for your own CFL’s.

Summary:

Companies once sold nuclear fallout shelters, green-colored Palmolive and even duct tape to protect us from the scourges of humanity and nature (usually humanity).  Now the compact florescent bulb is taking center stage as the solution to “oil” and global warming.  There is some merit to that, as I suppose there is to living in a bomb shelter in the event of a nuclear holocaust.  But be informed when making your decision.  Recognize that as the alarms go off, companies will rush to capitalize on the heightened emotional climate and this rush may lead to not only sub-standard and knock-off, illegitimate products, but also a bum-rush by ill-informed consumers that could create more problems than solutions.

Skip forward ten years to the new cover of TIME wherein we are asking ourselves what to do with the millions of CFLs in homes and landfills containing trace mounts of mercury that we now have to clean up.

Cooler heads will prevail.

The post The Salvation and the Grave Danger of Compact Flourescent Bulbs appeared first on TheCulturepin.com.