Because everybody has a web presence, you ought to know what it really says about them.

I don't even know if beach volleyball is being considered for the Olympics, but a whole lot of this action would get me to watch. And really, what's this about being one of the best players in the world? I think he'd have blocked, dodged, or did anything but take it square in the pie if that was the case.
Speaking of prophylactics, the phrase "avoiding pregnancy" has become a euphemistic way of saying that you're going to avoid the Olympics. In Chinese, "bi-yun", means contraception. "Ao-yun" means the Olympics. So bi-yun in the context of the Games is a sort of double entendre meaning avoiding the Games.
What Bush and Batman Have in Common
By ANDREW KLAVAN
A cry for help goes out from a city beleaguered by violence and fear: A beam of light flashed into the night sky, the dark symbol of a bat projected onto the surface of the racing clouds...
Oh, wait a minute. That's not a bat, actually. In fact, when you trace the outline with your finger, it looks kind of like . . . a "W."
There seems to me no question that the Batman film The Dark Knight, currently breaking every box office record in history, is at some level a paean of praise to the fortitude and moral courage that has been shown by George W. Bush in this time of terror and war. Like W, Batman is vilified and despised for confronting terrorists in the only terms they understand. Like W, Batman sometimes has to push the boundaries of civil rights to deal with an emergency, certain that he will re-establish those boundaries when the emergency is past.
And like W, Batman understands that there is no moral equivalence between a free society -- in which people sometimes make the wrong choices -- and a criminal sect bent on destruction. The former must be cherished even in its moments of folly; the latter must be hounded to the gates of Hell.
The Dark Knight, then, is a conservative movie about the war on terror. And like another such film, last year's 300, The Dark Knight is making a fortune depicting the values and necessities that the Bush administration cannot seem to articulate for beans.
Conversely, time after time, left-wing films about the war on terror -- films like In The Valley of Elah, Rendition and Redacted -- which preach moral equivalence and advocate surrender, that disrespect the military and their mission, that seem unable to distinguish the difference between America and Islamo-fascism, have bombed more spectacularly than Operation Shock and Awe.
Why is it then that left-wingers feel free to make their films direct and realistic, whereas Hollywood conservatives have to put on a mask in order to speak what they know to be the truth? Why is it, indeed, that the conservative values that power our defense -- values like morality, faith, self-sacrifice and the nobility of fighting for the right -- only appear in fantasy or comic-inspired films like 300, Lord of the Rings, Narnia, Spiderman 3 and now The Dark Knight?
The moment filmmakers take on the problem of Islamic terrorism in realistic films, suddenly those values vanish. The good guys become indistinguishable from the bad guys, and we end up denigrating the very heroes who defend us. Why should this be?The answers to these questions seem to me to be embedded in the story of The Dark Knight itself: Doing what's right is hard, and speaking the truth is dangerous. Many have been abhorred for it, some killed, one crucified.
Leftists frequently complain that right-wing morality is simplistic. Morality is relative, they say; nuanced, complex. They're wrong, of course, even on their own terms.
Left and right, all Americans know that freedom is better than slavery, that love is better than hate, kindness better than cruelty, tolerance better than bigotry. We don't always know how we know these things, and yet mysteriously we know them nonetheless.
The true complexity arises when we must defend these values in a world that does not universally embrace them -- when we reach the place where we must be intolerant in order to defend tolerance, or unkind in order to defend kindness, or hateful in order to defend what we love.
When heroes arise who take those difficult duties on themselves, it is tempting for the rest of us to turn our backs on them, to vilify them in order to protect our own appearance of righteousness. We prosecute and execrate the violent soldier or the cruel interrogator in order to parade ourselves as paragons of the peaceful values they preserve. As Gary Oldman's Commissioner Gordon says of the hated and hunted Batman, "He has to run away -- because we have to chase him."
That's real moral complexity. And when our artistic community is ready to show that sometimes men must kill in order to preserve life; that sometimes they must violate their values in order to maintain those values; and that while movie stars may strut in the bright light of our adulation for pretending to be heroes, true heroes often must slink in the shadows, slump-shouldered and despised -- then and only then will we be able to pay President Bush his due and make good and true films about the war on terror.
Perhaps that's when Hollywood conservatives will be able to take off their masks and speak plainly in the light of day.
The keyboard players in my band were spacier than Sun Ra, more abstract than John Coltrane and brought more sheer, squalid anarchy to the stage than GG Allin and the Sex Pistols combined. When they weren’t playing music they were either feeding, fighting, or shitting on the floor – and they managed to do a lot of that onstage, too. But they didn’t just act like barnyard animals, they were barnyard animals: the keyboard players in my band were two chickens named Kitty Wells and Patsy Cline.
I played percussion on a modified vintage typewriter miked up loud enough to sound like the thunder of an angry God. At that volume, the space bar and shift keys rumbled like a kick drum, and the letter keys snapped like a tight snare. My friend Tim Gordon (the band’s other human being) played the guitar and bass semi-simultaneously, wearing the guitar up by his collarbone and the bass slung low at his hips – he’d loop the bass notes through a pedal and play rhythm guitar against himself while I thumped and cracked the typewriter. Once we hit a stride of sorts, we’d pull a blanket off the top of the cage where Kitty Wells and Patsy Cline sat with two little Casio Keyboards.We’d glue chicken feed to the keys we wanted them to hit the most, the ones in tune with Tim. But really, whatever the chickens played was up to them – we just tried to follow along as best we could. We told ourselves that we were influenced by classic country, John Cage, dub reggae and Gonzo the Great. But really, we just tried to create listenable backing rhythms while two birds with brains the size of your pinkie nail took center stage.
A lot of people over the years have asked me “but why? Why’d you even DO this in the first place?” Sometimes you fall in love with an idea and it just grips you tight and won’t let you go until you give birth to it.Thomas Edison, it was the light bulb. For George Mallory, it was Mount Everest. For us, it was chickens playing keyboards. And really, the only answer is because. But you know, as fascinating as all of this may sound, it was IMPOSSIBLE to get shows. Everyone loved hearing about the band, but nobody wanted to book us. We’d been handing tapes out all over town, but couldn’t get any traction anywhere. People would listen, and say “yeah, you guys are alright, man …” then just trail off.
It’s true. Richmond, VA is a rock and roll town through and through – home to Lamb of God, GWAR, Avail, and a disproportionate number of shitty punk bands. It was the capitol of the Confederacy and it’s doing the same thing with punk rock that it does with the Confederacy: sits around its carcass on life support just drinking and talking about the good old days, waiting for it to rise again. No matter how funny or cool people said our idea was, when came down to it, none of the chain-wallet Mafia that ran that town wanted to let us open for them – we were, admittedly, a tough act to follow. And I mean, as cool as the idea is, we weren’t exactly top-billing material, either. Bars and restaurants were right out as venues, too. Although it is fine for them to serve chicken piece-by-piece in a basket, two live ones on stage violate all manner of food and alcohol restrictions.
We started looking for farms to take Kitty Wells and Patsy Cline to, farms that probably wouldn’t butcher them.
Then one day, a show came through. We met these guys who were huge Sun Ra fans and totally got what we did – and invited us to open for them at an art gallery in town a month later. We kicked into gear, big time. Me and Tim and the chickens started practicing twice a day. When you’re in a band with superstars like those two ladies, you kinda have to work around their schedule – feeding times, in this case. Chickens are basically feather-coated solar-powered robots, and they wake up with the sun, crowing for food. When it’s dark for a few minutes, they power down.
Me and Tim got up every morning about an hour before sunrise and set up our amps, practiced a little together as the sun crept toward the ladies’ cage. They’d wake up and crow, we’d pop two keyboards and mikes in there, drop some feed on the keys and have a full band rehearsal until the chickens got full. Then we’d go off to work, come home, make some dinner, and have a sundown rehearsal.
The thing is, that wasn’t enough for me. I have far more ideas than actual skills, and I needed all the practice I could get. We were already getting up at 5 am to practice and doing it again at night, but I was still panicking. I was giving this thing everything I had and it just wasn’t enough. We were supposed to perform onstage with live chickens in a few weeks’ time and I was terrified that we were going to look ridiculous.
Then Tim hit on it: we started putting the chickens to sleep. If you put a chicken’s head under your armpit and stroke it softly, it will think it’s nighttime and go right to sleep. We’d done this when they got to fighting too much, and we started doing it during breakfast and dinner rehearsals. It worked a treat, too: The armpit trick performed a ctrl-alt-delete on the chickens’ brains, and they woke up every time thinking it was a brand-new day. They also forgot they’d eaten, and came to with the breakfast instinct each time. We stopped it once they started moving kinda slow, but we could eke out another 30-45 minutes each practice that way.Practices were grueling. It was hot in our little apartment, and the chickens had pecked each other up pretty good. All they did was fight. Tim and I were fighting too, exhausted from all the early rising. Just because something is funny doesn’t mean it’s not serious, and we were exhausted and freaking out.
Then, disaster. The day before the show, the gallery manager called me and tried to cancel it altogether. She said the board had heard we were bringing barnyard animals in to perform and freaked out. They were afraid the chickens would get loose and fly around and claw up the artwork or peck the sculptures or something. So, sorry, better luck next time, she said, like we could just up and go play somewhere else.
I lost it a little bit.
I said listen. I have been keeping two chickens in a 2 bedroom apartment for over a month. I have gotten up at 5 am for a month to rehearse with my bandmate and some chickens. I am exhausted, and literally henpecked, and furthermore CHICKENS CAN’T FLY, THAT’S WHY WE ARE ABLE TO CATCH AND EAT THEM SO EASILY. I can’t remember what all else I said, but I just kept hammering away at her until we were both silent, panting from a battle of wills.
She let us go on.There’s not but one or two cool things to do a month in Richmond, and that night we were IT. The gallery was packed, and small towns being what they are, everybody had heard all about the drama already. Folks showed up all gossipy and excited, just looking for a fight.
We came out in matching red, white, and blue tuxedoes with the chicken’s cage wrapped in an American flag. This was before 9/11, when you weren’t such an asshole for doing that. We warmed up and hit our stride, and when we saw the crowd look like they were grooving a little, I whipped that flag away and the chickens woke up and started crowing and pecking. Tim threw some chicken feed in there and they went nuts – we’d skipped morning rehearsal so the birds would be nice and hungry, and they played like hell.
Then, the crowd got the fight they were looking for. Kitty Wells was standing with one foot on her keys, making this steady drone, all Velvet Underground style, pecking away at a piece of corn on one of the high notes. And Patsy Cline decided she wanted that very same piece of corn. They both pecked at it for a while, making this amazing drone, punctuated with staccato notes – then they just went for each other’s eyes.
They crowed and puffed up, flapping their wings and howling as they jumped up and down on the piano keys. It was like fucking Jerry Springer. The crowd leapt to their feet and was like “OOOOOooo!” and started chanting and whistling. We kept playing until we saw a little chicken blood hit the keyboards, at which point we each grabbed a bird and jammed her head under our armpit and took a bow.
This may have been the crowning achievement of my musical career, and I wasn’t even the star. Patsy Cline and Kitty Wells stole the show, took their paychecks and vanished. Like so many anonymous session musicians, they spent the remainder of their short, wretched lives scratching for food, having babies they’d never meet and dying in the tremendous shadow of their own legend.
Now I’m here in New York – and every year or so me and Tim talk about getting the band back together and playing on the subway platforms.
The following recording is ripped from a tape of our first live performance, back in 1998. We refined some stuff — a LOT of stuff — before the story above took place. You’ll hear Tim playing the bass, me speaking and manipulating the vocals and drum machine, and Kitty Wells and Patsy Cline playing the keyboards. We hadn’t yet figured out that feeding time needed to be showtime, so their involvement’s a little more spare than in later performances. I can remember being enamored with Ministry, Sun Ra, King Tubby and Nation of Ulysses at the time, and I think those influences are pretty clear here. I can also remember being fairly full of myself as an art student, and that’s more than apparent.
To the best of my knowledge, this is our only existing recording, though I would really, really like to be wrong. It’s nothing you’re going to pump in the club or listen to on your iPod while you’re training for a marathon, but ten years later, I still find this to be a pretty interesting piece. Here it is:
Royal Quiet Deluxe, April 1998
Some years later, my friend Eric Browne and I were rehearsing to rehydrate the long-dead Royal Quiet Deluxe. It never happened. But we did get this track out of all our hard work — something you may find much more listenable. I am playing percussion and manipulating the whooping sounds. I have NO idea how we did this, and we could probably never do it again.
Mushroom
Golden Shellback is a coating that lets you spill, pour, or submerge your gadget in a liquid and have it survive.
Rad.
Golden Shellback says it will protect against oils, water-based liquids, synthetic fluids, dust and dirt. Here's a segment on Golden Shellback which has footage of cellphones and CB radios functioning normally under a foot of water (Golden Shellback claimed the CB sat underwater for 455 consecutive hours). Apparently, the coating is applied in a vacuum and covers both the inner and outer components of a gadget, which doesn't conduct electricity. Golden Shellback hopes the protective coating will be available soon, and expect the service to cost between $50-$75 depending on the size of the gadget. .
Wrong: (Adverb) In an unsuitable or undesirable manner or direction.Never have the pretty girls from Hanson looked so butch. America's sweethearts? There's going to be some really filthy pron being watched to get rid of all this bromoerotic garbage.
What. The fuck.
Seriously now. There is so much going on in this picture that disturbs me, I'm almost at a loss. First of all, why are three adolescent boys who are allegedly A) straight, B) virgins and C) brothers draped on each other like it's the cover of a fucking spank mag? I mean, the one on the left is literally in the process of seductively ripping off the shirt of the one in the middle, while the one in the middle is holding onto the tie of the one on the right like it's a leash. Kinky.
Second of all, what are a bunch of Grade A Turds like the Jonas Brothers doing on the cover of Rolling Stone in the first place? I understand that Rolling Stone is hardly the bastion of pop culture relevancy these days, but it's like they've just completely given up at this point. Death row inmates in Texas are less resigned than this.
A passerby noticed the man in the driver's seat of the black Lincoln Town Car near Peck and Rooks roads about 7:50 p.m. and notified employees at a nearby truck shop. A maintenance worker from the shop who went to investigate said a parking ticket on the car was marked as being written about 11 a.m., said Chantelle Amaya, assistant manager at L.A. Freightliner."The poor man was out there all day," Amaya said.
Amaya said workers at the shop called for help after knocking on the window of the locked car and getting no response.
Authorities were not immediately able to say whether the man was in his car at the time the ticket was issued or if he had returned to it later. Street signs forbid parking on that side of the street from 11 a.m. to 3 p.m. Tuesdays to allow street cleaning, and overnight parking is prohibited.
Los Angeles County Sheriff's Deputy David Zarda said he was not sure when the car was ticketed or why the man was not spotted in the car earlier. He said the street has become congested because of growing businesses and big rigs tying up multiple parking spaces.
Workers said it is not uncommon to see cars parked illegally during the day or left overnight. Truckers from the port often park their big rigs on the street or leave their cars there temporarily while they work, they said. The Peck Road entrance to the southbound 605 Freeway is less than a block from where the man's body was found.
Tow truck companies also tow wrecked cars from the nearby freeway and abandon them on the street for days at a time, said Tony Simpson, operations manager at Whittier Transfer and Storage Co. Simpson, 36, said he has been e-mailing sheriff's officials weekly to complain about cars illegally parked in his lot or those that appear abandoned, which are often broken into.
Zarda said he has received only one report of tow trucks dumping cars on the street and none about car break-ins.
Simpson, who arrives for work at 6 a.m., said he did not notice the man in the car Tuesday, although he did see the car later in the morning but did not notice anyone in it. He found out that the man was found dead Wednesday morning, after an employee called him asking if he knew whether the road was still blocked because of investigations.
The area receives a moderate amount of foot traffic because a horse trail is nearby, but it is unusual to see people sitting in their cars, Simpson and other local workers said. "It's just very deserted here," said Angie Villanueva, a secretary at Whittier Transfer, which is across the street from where the car was found.
Los Angeles County coroner's spokesman Ed Winter said the man was in his 70s. His identity has not been released because relatives have not been notified.
It was unclear how long the man had been dead or what caused his death. Authorities plan an autopsy no sooner than Thursday, Winter said. The case is being investigated by Los Angeles County Sheriff's Department homicide detectives, which authorities said is routine given the circumstances. There were no obvious signs of foul play, sheriff's officials said.
In December, an elderly woman was found in the front passenger seat of a crumpled car in a San Fernando Valley tow yard. The woman had been left in the car for a day after paramedics removed her son from the same vehicle after a crash.
Simpson said that after he learned that the body had been found in the car near Pico Rivera, he wondered about a noise he heard about noon shortly after the street sweeper passed through: repeated honking from a nearby car. Uncertain of which direction it was coming from, Simpson said he went back to work without looking around for the source of the honking. At his job Wednesday, Simpson said he wondered now: "God, what if it was the man honking for help?"
Legal sources said sister Sharon needed £100,000 to help her bring up her three children. They said Bale, 34, snubbed the plea and a row flared in his suite at the Dorchester Hotel in London’s West End. Sources said Jenny (Bales mom) inflamed the situation by hurling insults about his wife Sibi, 38. Sharon and Jenny, a part-time clown from Bournemouth, left the hotel on Monday morning and, on the way to their Dorset home, stopped at a Hampshire police station and reported Bale for assault. Sharon, who works in computer programming, has two daughters — aged ten and 12 — from a previous marriage and a baby from a new relationship.
“A little reflection will show that humbug is an astonishingly wide-spread phenomenon — in fact almost universal.” — P.T. Barnum’s Humbugs of the World
Humbug is a term infrequently used in design. It is an archaism straight out of the 19th century, meaning hoax or nonsense. The word has strong associations with Dickens’ Scrooge and the ultimate showman and hoaxer himself, P.T. Barnum. In this time of cultural recycling, it is a word perhaps best used to describe Steampunk, a subculture supposedly born out of a mash-up of DIY (do-it-yourself), Victoriana, punk, science fiction, Japanese anime and the urge to re-skin one’s computer as 19th century bric-a-brac. If the number of recent articles in the mainstream press is any reliable barometer (The New York Times, Boston Globe, Paper, and Print all have featured the movement in the past year), Steampunk is the next big thing. This appears to be the result of a fascination with remixing historical and contemporary aesthetics, as if all eras can be collapsed into the present. What is most interesting and disappointing about Steampunk is the odd DIY design culture that it has engendered.Dissatisfied with their out of the box Dells or Apples, Steampunkers have declared war on mass production. Their solution? Nineteenth-century Victorian England. A strange choice to say the least. Recalling an era that is the ground zero of mass production, the cultural inflection point from the artisan to the manufactured is an odd way to escape the evils of silicon chips, instant obsolescence and homogeneous design, devoid of the human hand. I haven’t figured out whether cracking open your computer, attaching it to an Underwood typewriter, then inserting it into a combination Victorian mantel clock/desk and calling it “The Nagy Magical-Movable-Type Pixello-Dynamotronic Computational Engine” is some sort of daft wit or evidence of a pedantry bordering on the pathological. Steampunkers may have dubious taste, but one cannot accuse them of lacking a sense of humor. However, the jig is up: as a design aesthetic, Steampunk is still nascent, a set of interesting ideas that have been given the spotlight far too soon.
Subculture or not, Steampunk appears to have achieved the level of a cottage industry on the web. From The Steampunk Workshop to the Aether Emporium there seems to be no end of sites showing off these farragoes. Guitars embellished with gears, countless keyboards and LCD monitors embroidered with brass fittings and feet, and objects which merely seem to be fulfilling the formula of: brass + wood grain = Victorian. Conversely, there seems to be a distinct fascination with exposing mechanisms, peering inside the shells of things. This is a popular, almost hackneyed post-modernist trope, an idea about dismantling received structures and conventions that have run rampant through every conceivable medium over the last half century: the turning of buildings inside-out to expose ductwork and utilitarian structures once hidden; the meta-fictional narrative where the conventions of the narrative structure are continually exposed and corrupted; clothing that bares every seam, stitch and piece of fabric, etc., ad nauseam. The Steampunkers seem to take all this a bit more literally. Sean Orlando of the Kinetic Steam Works ingenuously observes, “The wonderful thing about a steam engine is that you can follow the path of power generation and function beginning with the fire box and boiler, follow the plumbing, valves, gauges, gears, d-valves, pistons, eccentric shafts and fly-wheels all the way from the source of power to the final outcome of kinetic potential.” One could easily argue that following the etched surface of a printed circuit board would provide no less a fascinating visual "map" of the processes of a computer or electronic device.
Yet as Peter Berbergal of the Boston Globe notes, “In all of the new Steampunk design there is a strong nostalgia for a time when technology was mysterious and yet had a real mark of the craftsperson burnished into it.” Never mind the fact that the Victorian era was a time of demystification: Darwin’s theory of natural selection upset centuries of received religious knowledge about human origins, and the mechanization of virtually everything meant you could produce objects, designs and books ten or twenty times faster and distribute them to the very ends of the earth. As Philip Meggs, commenting on the beginning of the Industrial Revolution, has succinctly put it: “Handicraft almost completely vanished. The unity of design and production ended." The world had suddenly become smaller. If Steampunkers are looking to the past for some sort of inspired return to a prior era, then they are running in slack parallel with their ancestors. The Victorians were cultural raiders without peer. Rococo, Tudor, Gothic Revival and the umpteenth generation of Neo-Neo-Classicism were not enough. They went abroad to bring back the ill-gotten gains of their imperial aesthetic loot. Moorish ornaments, Ukiyo-e, Chinese porcelain, hieroglyphics all found their way into Victorian eclecticism. Form before concept.
Despite the formal clumsiness of most Steampunk objects, there is a certain conceptual zing to them: the immediate thrill of a counterfactual come to life. What if Charles Babbage’s steam powered difference engines (think of a computer with mechanical gears instead of silicon chips) had been completed and mass produced in the 1820s? VoilĂ ! It would look exactly like this “antiqued” Powerbook, the mutant spawn of a 19th century Sears catalog and the Apple Industrial Design Group. Or perhaps not. If one gets past the patina, the quaintly burnished woodwork, the problem is that Steampunk is far too enamored of the look, the surface skin of an derivatively small chunk of the Victorian era filtered through Terry Gilliam’s Brazil and Jules Verne, whose illustrated “scientific romances” seem to have formed the ur-aesthetic for Steampunk. But the inspiration gets butchered in the process. There is nothing yet in Steampunk that can remotely compare visually to Gilliam’s dystopian epic or the ornamental splendor of the Hetzel edition of Verne. In comparison, Steampunk is humbug design, scrap-booking masquerading as the avant-garde.
There also is the larger issue of what exactly the Victorian influences are doing on the level of meaning. If Terry Gilliam’s Brazil is really a touchstone for Steampunkers, does that not imply that they are substantively misreading Gilliam's use of the Victorian? In Brazil, it is fairly clear that these aesthetic anachronisms are instruments of oppression and surveillance: the omnipresent, naked CRT monitors with magnifying glass attached and typewriter keyboards give a sweatshop aura to every office. Or, the labyrinthine ductwork that emerges from the walls clumsily conceals the infra-structural guts of a society that is cheap, totalitarian, and constantly at war (the lack of finish and recycled nature of most contraptions in the movie seems to indicate war time shortages and rationing). I would even argue that Brazil is less influenced by Victoriana in its aesthetic than say film noir and a funhouse version of Blitz-era London. Was not Brazil once described by Gilliam as “Walter Mitty meets Franz Kafka”? But these nuances seem to be lost on the Steampunkers, who obsessively fixate on a few oddly-styled gadgets from the film.
Steampunking, with its commerce driven, faddish re-skinning of their own history, is closer to Disney than punk or sci-fi. A laptop styled like a Eastlake sideboard is merely a threat of bad taste, not a threatening reaction to massive social and economic disenfranchisement. In its essence Steampunk seems suburban in its attitude: nostalgic for an imagined, non-existent past, politically quietist, and culturally insular hidden behind cul-de-sacs of carefully styled anachronisms that let in no chaos or ferment. The larger, more impossible questions are missing. How would the Victorian imagination conceive and execute a functioning computer? The answer must be more interesting than adding wood veneers to your laptop or turning a mouse into a contraption of gears that looks more like a medieval torture device.
We are being taken for rubes. At worst, the Steampunkers seem to be mediocre hobbyists with great publicists. It seems fine to me that an obscure niche of DIY hobbyists want to create an imaginary Victorian present, no matter how insular or simpleminded it might be. Reality is what you make of it, even if it is apparent that some people prefer reality to look like a discarded sci-fi movie prop. It is entirely another thing for the press, in their endless “style” trolling, to claim Steampunk as some sort of important movement. If the press behaves as a gaggle of inept tastemakers, then the uncritical pimping of Steampunk must serve as a “mission accomplished.” What it boils down to is that instead of inventing something new, the Steampunkers have mastered one of the oldest of arts: that of self-promotion. P.T. Barnum, that 19th century master of theater, hoax and hype, would be proud.