Well, not really -- but, look, it's not completely out of the question. The rest of the Boston Phoenix staff is off on a summer picnic today, boating out to the Harbor Islands en masse for several hours of reflection and contemplation. We haven't heard from them in a few hours, so it's entirely possible that they've been eaten by crocodiles. And of course it's possible that someone got it on video.
In the meantime, we bring you this video that we found on National Geographic, which shows what happens when a baby hippos start gnawing on crocodiles. (Warning: super-cuteness alert!):
Truth be told, we were scouting out the Nat'l Geo site for signs of this Bjork/Sigur Ros show that they're streaming on the interwebs tomorrow, live from Iceland -- we're a little bummed we can't TIVO this thing, but if you happen to be in front of your browser tomorrow (instead of at the beach?) between the hours of 8 a.m. and 5 p.m., you may want to point yourself over here.
Let's talk about street art, shall we? "Street art," as a term, is so broad (as is the concept it represents), and there are so many different types of street art out there that it's easy to forget that some street art - a lot of it, in fact - has a point. Sometimes that point is direct and profound, and sometimes it's open to interpretation. Consider Shepard Fairey's Progress/Obama poster, or nearly anything Banksy does. It's like thousands of open-ended messages lining the streets of your city, just waiting for you to notice them. And there's no more overt way to convey a message via street art than to use words. For today's street art fix, feast your eyes upon the word-centric images below, all from the Boston area.
"1980 was the hostages' summer in Iran. While the diplomats did what they could with talks here and rescue attempts there, the Fun Shop rallied to the crisis in a direct, no-holds-barred fashion. Our big seller was a novelty postcard showing the ayatollah, in his turban and robe, sitting on a toilet. Take that, Khomeini. The way to victory, we knew, was through demoralizing the enemy."
“Rose maintains that Sarah Lawrence’s president at the time, Dr. Charles DeCarlo, was much less impressed by the quota revelation. She says DeCarlo refused to publish the Sarah Lawrence history she turned in...[T]hough DeCarlo never directly threatened her with dismissal, he made it clear that her job would be in jeopardy if she published...outside the college...
“But according to DeCarlo, the file material had no bearing on his decision not to publish...The manuscript was ‘sophomorically serious’ and ‘heavy-handed,’ DeCarlo says. ‘It just wasn’t good enough to be published, period.’ ”