New York New York

New York, New York. Situated on the upper left corner of The Strip and Tropicana. Excalibur is its southern neighbor and MGM Grand eastern neighbor. A mimicking landmark of its own right, including the miniature Freedom Goddess. A very impressive one-of-a-kind facade. A facade, literally. A close up of the facade one sees building skins stitched together, giving away its impostor nature. Notice the roller coaster. It's real. The ride is $12 and lasts less than a minute. I haven't been on a ride for over a decade, i actually hopped in for the experience. This is not the only roller coaster winding atop buildings in Vegas. There are at least 3 more standing out atop buildings on the Strip, one at the BoardWalk, another at Sahara and also at Stratosphere tower.

Few aspects of the Freedom Goddess: frontal and side. Out of all shoes, she is wearing a sandal. Sweet. For one, her dress code conveys to us she is a free-thinker. Two, it conveys a alluring sexiness that is natural. Comes to think of it, she is wearing a robe. Today in USA for example, judges wore robes, but more as a uniform of imposition, and they also don a wig. Effectively a superiority imposing regalia in today's society. The freedom goddess wears a robe probably only because it is the most natural and least imposing of all attires. Throughout history, animals mutates, and social contexts also mutates.

A checkup on Encarta we learned that she is 46 m tall, standing on a podium that is 1 meter taller than herself. It commemorates the alliance between France and US during the American Revolution (1775 to 1783), completed in 1884-07. The French people donated the money for the statue itself, and the pedestal is built from funds raised by newspaper publisher Joseph Pulitzer. The statue was first exhibited in Paris, then dismantled and reassembled at the current location in New York. What is more interesting, is that a sonnet “The New Colossus” by American poet Emma Lazarus was inscribed in bronze at the base in 1903, it goes:

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land:
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost, to me,
I lift my lamp beside the golden door!”

Quite a daring song. It by figurative contrast sullies the Greek esteem, and exhibits the female-loving nature of human animals, and as a national monument has the audacity to state “welcome the poor and homeless and wretched refuse” of other nations.

The US nation and its history is quite something. It literally is a nation of immigrants, from the Indian-genociding WASPs of Europe to imported slaves of Africa to the poor and have-nots of Asia and Hispanics. By happenstance, they are all here, and by happenstance coexistence and freedom becomes their/our central theme. “E Pluribus Unum” was the motto. Though, printed on every legal tender “In God We Trust” is the new motto and insult to every American who are not religiously affiliated with the Christian God, together with sundry pledges of God in national ceremonies. Lately in 2003 sprang a moron George W Bush together with his cohorts who are killing some tens of thousands of people for his power and in the name of his God, and wants a all-powerful nation of police state in the name of “justice” and “the American people”.

A note about the female-loving nature of human animals. This can be seen in English language by the sex attributed to inanimate objects. For example, ships, nations, or some other object of love or esteem, are invariably “she” or “her”. The mainstream wisdom sometimes explicate that becase we want to exalt the status of women or motherhood, for they are the bearer of human progeny or perhaps mother nature. But at the base level, it's really because, for the large part and history, the world and arts and artifacts are ruled or created by the virile sex, and it so happens that men love pussys by god. So in men's writings or when a man wants to eulogize his country or flag or ship or other objects of love, it's always SHE.