“Pet camel kills Australian woman
A woman in Australia has been killed by her pet camel after the animal may have tried to have sex with her”
The woman was found dead at the family’s sheep and cattle ranch near the town of Mitchell in Queensland.
The woman had been given the camel as a 60th birthday present earlier this year because of her love of exotic pets.
The camel was just 10 months old but already weighed 152kg (336lbs) and had come close to suffocating the family’s pet goat on a number of occasions.
On Saturday, the woman apparently became the object of the male camel’s desire.
It knocked her to the ground, lay on top of her and displayed what the police delicately described as possible mating behaviour.
“I’d say it’s probably been playing, or it may be even a sexual sort of thing,” the Associated Press news agency quoted Queensland police Detective Senior Constable Craig Gregory as saying.
Young camels are not normally aggressive but can become more threatening if treated and raised as pets.
Thursday, August 23, 2007
Monday, August 20, 2007
Dwarf’s penis gets stuck to vacuum cleaner
Dwarf’s penis gets stuck to vacuum cleaner
A dwarf performer at the Edinburgh fringe festival had to be rushed to hospital after his penis got stuck to a vacuum cleaner during an act that went horribly awry.
Daniel Blackner, or Captain Dan the Demon Dwarf, was due to perform at the Circus of Horrors at the festival known for its oddball, offbeat performances.
The main part of his act was for him to appear on stage with a vacuum cleaner attached to his member with a special apparatus.
The attachment broke before the performance and Blackner tried to fix it using extra-strong glue, but unfortunately let it dry for only 20 seconds instead of the 20 minutes required.
He then joined it directly to his organ. The end result? A solid attachment, laughter, mortification and … hospitalisation.
“It was the most embarrassing moment of my life when I got wheeled into a packed A&E with a vacuum attached to me,” Blackner said.
“I just wished the ground could swallow me up. Luckily, they saw me quickly so the embarrassment was short-lived.”
Tuesday, August 7, 2007
Airline asks, 'Is that a monkey in your ponytail?'
NEW YORK (CNN) -- Passengers aboard Spirit Airlines Flight 180 from Fort Lauderdale, Florida, to New York's LaGuardia International Airport had an unexpected travel companion Wednesday: a small monkey.
A passenger who originally departed from Lima, Peru, and connected in Fort Lauderdale had been hiding the small monkey in his ponytail, under his hat, according to Spirit Airlines spokeswoman Alison Russell.
During the flight, the monkey crawled out of its hiding spot, forcing the owner to hold it in his hands, where the unexpected visitor was soon spotted by fellow passengers and crew members, Russell said.
The Port Authority Police Department was contacted by Spirit Airlines, and officials met the owner and the monkey at the gate.
Port Authority spokesman Pasquale DiFulco released a statement saying the monkey was never loose in the airport, as originally reported.
"We've contacted health officials, and man and monkey will be turned over to appropriate officials. He was never on the loose in the airport," DiFulco said.
A passenger who originally departed from Lima, Peru, and connected in Fort Lauderdale had been hiding the small monkey in his ponytail, under his hat, according to Spirit Airlines spokeswoman Alison Russell.
During the flight, the monkey crawled out of its hiding spot, forcing the owner to hold it in his hands, where the unexpected visitor was soon spotted by fellow passengers and crew members, Russell said.
The Port Authority Police Department was contacted by Spirit Airlines, and officials met the owner and the monkey at the gate.
Port Authority spokesman Pasquale DiFulco released a statement saying the monkey was never loose in the airport, as originally reported.
"We've contacted health officials, and man and monkey will be turned over to appropriate officials. He was never on the loose in the airport," DiFulco said.
Friday, August 3, 2007
Dead wife in coffeetable
Jeff Green is a 32-year-old American living in Arizona. Jeff's beloved wife recently died, causing Jeff to suffered great pain. Consequently, he did something quite unusual. He said, "I could no longer take the pain that my wife's death caused me, so I brought her back home." This is where Jeff's story has a twist. His wife Lucy had been born with a heart condition that cut off her life at the young age of 29. Her last words to Jeff had been, "We will meet again in heaven." But These words were insufficient to alleviate Jeff's despair.
At the funeral, in desperation, Jeff decided that he could not let Lucy leave him. "I called the cemetery caretaker and explained my feelings. I spoke with the authorities and got special permission to take my wife home with me. They thought it was strange, but I'd rather have her at home than 6 feet underground. Lucy had a great sense of humour and I'm sure she would appreciate being my coffee table." Jeff ordered a special glass case that eliminates decomposition of the dead body. "It cost me about $6,000.00, but it was worth it."
Some of his friends and relatives have stopped visiting Jeff but his true friends respect his decision and continue. Some even comment that it is a "nice piece of furniture".
Police: Child Eats Mother's LSD-Laced Candy
WEST BEND, Wis. -- A West Bend mother faces charges including child abuse after police said her 2-year-old daughter ate LSD-laced candy that her mother left out.
According to the criminal complaint, 23-year-old Donielle Maki bought 10 hits of LSD on Tuesday that came in the form of Sweet Tarts.
It says Maki took the LSD home with her, put her daughter to bed and passed out on the couch.
The complaint said when Maki woke up the next morning, her daughter was holding one of the LSD-laced Sweet Tarts in her hand and said, "I like these, Mommy."
That's when Maki grabbed them from the toddler's hand, the complaint says, and saw that only eight of the 10 candies were left.
The West Bend Police Department was called in when the 2-year-old was admitted to St. Joseph's Hospital to be treated for accidental ingestion of LSD.
The criminal complaint says she was transferred to Children's Hospital, where she received intravenous detoxification.
Maki faces charges including child abuse, possession with intent to deliver LSD and possession of narcotic drugs.
She's scheduled to appear in court on Aug. 22.
The child has been released from the hospital and is with her father, 12 News reported
According to the criminal complaint, 23-year-old Donielle Maki bought 10 hits of LSD on Tuesday that came in the form of Sweet Tarts.
It says Maki took the LSD home with her, put her daughter to bed and passed out on the couch.
The complaint said when Maki woke up the next morning, her daughter was holding one of the LSD-laced Sweet Tarts in her hand and said, "I like these, Mommy."
That's when Maki grabbed them from the toddler's hand, the complaint says, and saw that only eight of the 10 candies were left.
The West Bend Police Department was called in when the 2-year-old was admitted to St. Joseph's Hospital to be treated for accidental ingestion of LSD.
The criminal complaint says she was transferred to Children's Hospital, where she received intravenous detoxification.
Maki faces charges including child abuse, possession with intent to deliver LSD and possession of narcotic drugs.
She's scheduled to appear in court on Aug. 22.
The child has been released from the hospital and is with her father, 12 News reported
Thursday, August 2, 2007
Athens queen bee(hive) returns to keep the party going
Athens queen bee(hive) returns to keep the party going
http://atlanta.creativeloafing.com/gyrobase/Content?oid=oid%3A273251
"We're gonna listen to the new record," says Cindy Wilson excitedly, only moments after greeting her visitor at the front door of her north Atlanta home. As a member of the Athens-born art project called the B-52's for the past 30 years, the pop icon is instantly recognizable as the bewigged, bewitching, big-eyed blond blend of Nancy Sinatra's sensual purr, Lene Lovich's serrated new-wave yelp and Yoko Ono's angular, art-damaged attack.
Tonight, however, she's in subdued, domestic mode; there's no towering beehive over her long, straight hair, and instead of an outrageous dress she's in a tasteful top and pants. She resides in comfy suburbia with her family, the role she originally left the band for in the early 1990s, only to return to the fold a few years later. Safely away from the scores of rabid fans who squeal with delight whenever she spouts "Love Shack's" famous "tiiin roof – rusted!" break, she's relaxed and positively glowing with the anticipation of playing the new album from the B-52's.
And it is a big deal, arriving 15 years after the release of the Cindy-less Good Stuff and a whole generation since her last full studio recording on 1989's Cosmic Thing. Fans anxious to hear the new music will get a sneak preview during the group's current tour, which stops in Atlanta at Chastain Park Aug. 1. "It's the best thing we've ever done," Cindy enthuses as she retreats to the memorabilia-lined basement of her spacious home, disc in hand. Her children are busy watching cartoons, playing computer games and teasing their hyperactive dog as her husband, artist/musician Keith Bennett, drops the CD into a player behind the bar.
Hearing artists say their newest album is the best thing they've ever done usually elicits a healthy measure of jaded skepticism in this writer, having endured the unwarranted glee of countless hopeful musicians since around the same time the B-52's first appeared on "Saturday Night Live" in 1980. But even with a proper game face on, it's hard to ignore Wilson's childlike delight as she curls up barefoot on the couch while the throbbing dance track "Pump" fills the room.
After each song, she giggles proudly, and her unbridled enthusiasm is undeniably contagious. The 12 songs alternately pulse and rock with a thoroughly modern sheen, thanks to in-demand producer Steve Osbourne (KT Tunstall, U2), the signature sound of the band balancing insistent dance-club grooves, and Keith Strickland's inventive guitar flourishes and goofy pop-culture narratives.
The vocals from Wilson, Fred Schneider and Kate Pierson are playful, sinewy and dynamic. The material is sassy, hooky and kitschy. And the whole thing sounds remarkably like it could be a lost project from sometime in the late '80s, yet it doesn't rely on tired retreads or obvious rip-offs from the past.
Standouts from the first listen include "Funplex," "Juliet of the Spirits," the anthemic "Hot Corner" and "Let's Keep This Party Going On." Overall, there seems to be at least five strong-enough-to-be-hit singles. The rest are well-crafted album cuts with no obvious filler. It could very well become the band's best-received album of its career – if it's properly promoted and heard.
And that's an "if" Wilson is acutely aware of.
"This is the worst time in the world to put out a record," she sighs, surrounded by an impressive collection of band-related artifacts, oddball knickknacks, '60s collectibles and awards. "We should have our heads examined for even trying to do something new the way things are now, but that's just the way it's happened." Half the album was recorded at John Keane's studio, she says, not far from the spot the band debuted on Valentine's Day 1977. "We'd recorded in the Bahamas but never in Athens," she continues. "There's an 'Athens vibe,' even though it's changed so much over there. I think it's the magical kiss we needed."
But why did it take so long? "Everybody's in a different city now. It's not like we all lived in New York, like when we did Cosmic Thing." Over a four-year period, the B-52's met in various locations, often in Atlanta, and collaborated during intense, three-day writing sessions.
As her son gently requests a bedtime story and the dog hops on the couch with a slobbery chew toy, she adds, "We're bringing everything that's happened to us in 30 years to this record. There's a maturity to it, but we're not about to grow up. It's still us, you know."
Since the music exists only as a completed master with no cover art, title or distribution deal, the only way fans can hear the new songs is live on tour, mixed in with the hits. "This summer we're taking it out on the road, doing about half of [the album], to see the crowd reaction. So far it's been great, people really like all the new songs."
With a new album currently being shopped to labels, and a busy summer and fall tour schedule ahead, it'd be easy to call the B-52's new wave of activity a comeback, but don't. Wilson says it's far more personal than that. "It's like a 'Here, [a] present,'" she concludes as she leads her kids off to bed, "Or, with the new songs, it's like 'Here, here's a present.' It's a party."
http://atlanta.creativeloafing.com/gyrobase/Content?oid=oid%3A273251
"We're gonna listen to the new record," says Cindy Wilson excitedly, only moments after greeting her visitor at the front door of her north Atlanta home. As a member of the Athens-born art project called the B-52's for the past 30 years, the pop icon is instantly recognizable as the bewigged, bewitching, big-eyed blond blend of Nancy Sinatra's sensual purr, Lene Lovich's serrated new-wave yelp and Yoko Ono's angular, art-damaged attack.
Tonight, however, she's in subdued, domestic mode; there's no towering beehive over her long, straight hair, and instead of an outrageous dress she's in a tasteful top and pants. She resides in comfy suburbia with her family, the role she originally left the band for in the early 1990s, only to return to the fold a few years later. Safely away from the scores of rabid fans who squeal with delight whenever she spouts "Love Shack's" famous "tiiin roof – rusted!" break, she's relaxed and positively glowing with the anticipation of playing the new album from the B-52's.
And it is a big deal, arriving 15 years after the release of the Cindy-less Good Stuff and a whole generation since her last full studio recording on 1989's Cosmic Thing. Fans anxious to hear the new music will get a sneak preview during the group's current tour, which stops in Atlanta at Chastain Park Aug. 1. "It's the best thing we've ever done," Cindy enthuses as she retreats to the memorabilia-lined basement of her spacious home, disc in hand. Her children are busy watching cartoons, playing computer games and teasing their hyperactive dog as her husband, artist/musician Keith Bennett, drops the CD into a player behind the bar.
Hearing artists say their newest album is the best thing they've ever done usually elicits a healthy measure of jaded skepticism in this writer, having endured the unwarranted glee of countless hopeful musicians since around the same time the B-52's first appeared on "Saturday Night Live" in 1980. But even with a proper game face on, it's hard to ignore Wilson's childlike delight as she curls up barefoot on the couch while the throbbing dance track "Pump" fills the room.
After each song, she giggles proudly, and her unbridled enthusiasm is undeniably contagious. The 12 songs alternately pulse and rock with a thoroughly modern sheen, thanks to in-demand producer Steve Osbourne (KT Tunstall, U2), the signature sound of the band balancing insistent dance-club grooves, and Keith Strickland's inventive guitar flourishes and goofy pop-culture narratives.
The vocals from Wilson, Fred Schneider and Kate Pierson are playful, sinewy and dynamic. The material is sassy, hooky and kitschy. And the whole thing sounds remarkably like it could be a lost project from sometime in the late '80s, yet it doesn't rely on tired retreads or obvious rip-offs from the past.
Standouts from the first listen include "Funplex," "Juliet of the Spirits," the anthemic "Hot Corner" and "Let's Keep This Party Going On." Overall, there seems to be at least five strong-enough-to-be-hit singles. The rest are well-crafted album cuts with no obvious filler. It could very well become the band's best-received album of its career – if it's properly promoted and heard.
And that's an "if" Wilson is acutely aware of.
"This is the worst time in the world to put out a record," she sighs, surrounded by an impressive collection of band-related artifacts, oddball knickknacks, '60s collectibles and awards. "We should have our heads examined for even trying to do something new the way things are now, but that's just the way it's happened." Half the album was recorded at John Keane's studio, she says, not far from the spot the band debuted on Valentine's Day 1977. "We'd recorded in the Bahamas but never in Athens," she continues. "There's an 'Athens vibe,' even though it's changed so much over there. I think it's the magical kiss we needed."
But why did it take so long? "Everybody's in a different city now. It's not like we all lived in New York, like when we did Cosmic Thing." Over a four-year period, the B-52's met in various locations, often in Atlanta, and collaborated during intense, three-day writing sessions.
As her son gently requests a bedtime story and the dog hops on the couch with a slobbery chew toy, she adds, "We're bringing everything that's happened to us in 30 years to this record. There's a maturity to it, but we're not about to grow up. It's still us, you know."
Since the music exists only as a completed master with no cover art, title or distribution deal, the only way fans can hear the new songs is live on tour, mixed in with the hits. "This summer we're taking it out on the road, doing about half of [the album], to see the crowd reaction. So far it's been great, people really like all the new songs."
With a new album currently being shopped to labels, and a busy summer and fall tour schedule ahead, it'd be easy to call the B-52's new wave of activity a comeback, but don't. Wilson says it's far more personal than that. "It's like a 'Here, [a] present,'" she concludes as she leads her kids off to bed, "Or, with the new songs, it's like 'Here, here's a present.' It's a party."
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