The Great Ganesha

I was trying my best to avoid blogging about it. I mean, The Great Ganesha has standards, for god’s sake. Well, okay, I don’t have any standards. But even I would have laid this to rest weeks ago. The 24/7 cable news channel coverage of anything and everything related to it is a bit much. Why drag it on for so long? And I didn’t really want to add to the garbage produced by the cable news channels.

But then I read this obit in The Economist. And in classic Economist style, they distill the issue down to its bare minimum, enhancing the important points, and yet bringing to the fore, the naked truth. So I had to share.

…what you saw first, on meeting Ms Smith, were the Breasts. There were only two of them, but they made a whole frontage: huge, compelling, pneumatic. They burst out of tight red dresses?preferably red?or teased among feather boas, or flanked a dizzying cleavage that plunged to tantalising depths. These were celebrated, American breasts, engineered by silicon to be as broad and bountiful as the prairie. With them, a girl from nowhere?or from Houston, Texas?could do anything. The body behind them waxed and waned, sometimes stout as a stevedore’s and sometimes almost waif-like, matching the little-girl voice; but the Breasts remained. ?Everything I have?, Ms Smith admitted, ?is because of them.?

…

She acted too, though it was the Breasts that stole every scene, full in Leslie Nielsen’s astonished face in ?Naked Gun 33 1/3?. The spotlight loved her, but unlike Marilyn she was not favoured by high-flying politicians; there was always too much of the tabloid queen about her, besides her tendency to start slurring and stumbling and writhing, as if on something illegal, in the presence of a microphone. Her fame came, in the end, from being in court. [link]

What can I say? That’s what I love about The Economist – they just call it as they see it.

Be Sociable, Share!

•