R.U.: There wasn’t a huge amount of techno-utopianism in Mondo, particularly after the first few issues. But it was kind of a selling point and got us into mainstream media as they salivated over things like VR and smart drugs. I got into the habit of telling reporters that I’d rather watch Ren and Stimpy on caffeine than go into VR on smart drugs, but they would usually just quote something upbeat. Even though they were married and absolutely devoted to each other, the big free love thing hit pretty hard,” Porter says. A DJ Sprinkles set is as much about the gaps between the samples as the beats that move the floor. Their sets are a balance of euphoria and transcendence, music theory and historical interrogation.

Claire: The thing that impresses me most is the sheer density. Interviews with Debbie Harry, George Clinton, Frank Zappa, Deee-Lite, Stephen Wolfram, Genesis P-Orridge, Tom Tom Club, William Burroughs…in one issue alone! Find sources: "List of Curb Your Enthusiasm recurring roles"– news · newspapers · books · scholar · JSTOR ( July 2012) ( Learn how and when to remove this template message) R.U.: The aesthetics and politics of the web at the start was kind of a mix of two things: 1) American—mostly white, mostly male—boomer idealism about virtual communities and global brains and good, free, open communication that could lead toward positive change and common understanding and 2) an even more dominant Gen X sensibility of reflexive irony and evasiveness of politics and (the aforementioned) boomer idealism in favor of silly things largely unencumbered by political concerns. There was awareness, but concern seemed like an emotion that could be pushed away with ironic distancing.Chamber pours Rahne and Shan some coffee. Then Douglas and Mondo enter the house. Chamber gives them coffee, too. Mondo declines the coffee saying that he saw how Fauna created those coffee beans. Claire: It seems that the window of time between the emergence of cyberpunk as an authentically transgressive literary movement and the co-opting of the genre by mainstream media was vanishingly short. You were always on a line between embodying and parodying cyberpunk. R.U.: I’m glad you noted the nature of Mondo 2000—that it combined boomer idealism and Gen X irony and snark. In the first editorial of High Frontiers, the magazine that we were before we became Mondo 2000, I closed with a section titled ‘The Irony and the Ecstasy,’ in which I mildly deflated the sermonizing about psychedelic– and techno- optimism. I mentioned David Bowie and Andy Warhol and being at play with ambiguity. Since that first magazine appealed mainly to the psychedelic culture, I think it zipped right past most of the readers. It would take Mondo to bring in a new generation of people who were less self-serious than most of the boomers. Fred and Toody Cole sat facing each other, being super sweet, defeating The Sup’s butt-hurt. Meanwhile, a giant, goofy cut-out Rodney Dangerfield face watched us everywhere we went with Mona Lisa eyes.

One girl seized my notepad: “You’re doing very hasty things … I’m sitting in a chair – fantabulous.” At the pre-party, as Larry and McEnroe get drunk their enthusiasm for the Freak Book gets louder and the crowd quiets just in time to hear them shouting "What a freak!" the moment Heather Mills (11) enters. The two are ejected from the party just as the Greens and Cheryl drive by. Cheryl's parents ( Paul Dooley and Julie Payne, seasons 1–5) are the devoutly Christian parents-in-law of Larry, which often leads them to disagreements with him. Cheryl's father is often very loud and likes to sing Christmas carols. They first appeared in the season 1 episode, "Beloved Aunt".

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Claire: I think it’s a little bit of both. Certainly we need the gusto of those heady early cyber days, but I’m not sure how we reclaim a ‘libertine left’ energy in a world where context has collapsed so spectacularly. In "Vow of Silence", Tessler asks Larry to participate in a charity gig, to which Larry attempts to get out of by claiming he will be in New York. After Tessler finds Larry at his office, Larry once again claims he's going to New York. Tessler then offers his friend's vacant apartment for Larry to stay at, forcing Larry to actually go to New York. Paulekas offered people like Des Barres a place to crash and a hot meal — a pot of stew was on the stove most nights. “The truth is these people didn’t fit into society. He took in outsiders like stray dogs, but he respected everyone,” says Robert Aminzade, who first glimpsed the Freaks as he tripped on LSD at the Easter 1967 Love-In at Elysian Park. He got to know Paulekas in the 1970s when he worked as a substitute teacher/school bus driver in the Cotati area. Richard Lewis (as a fictionalized version of himself, season 1–) is a neurotic stand-up comedian who has recently recovered from alcohol and drug problems. Richard is one of Larry's oldest and closest friends, both having moved from New York City to Los Angeles to pursue careers in comedy. Despite this, his relationship with Larry is often volatile and complicated. Richard frequently becomes the victim of Larry's follies, causing Richard to blame Larry for almost everything wrong in his life. He is usually more sensible and moral than Larry. He has also had numerous very attractive girlfriends over the course of the show, which Larry tends to offend or clash with in some way. Lewis first appeared in the show's first episode (after the pilot), "The Pants Tent". And maybe that’s Vito’s true legacy: giving those he encountered a license to freak, to express themselves creatively, untethered to the restrictions of conformity.

Doctor Morrison ( Philip Baker Hall, seasons 4, 7) is a doctor who treats Larry for a cut he got when Mel Brooks hit him in the head with a door in "Mel's Offer". He returned in "The Hot Towel" to treat a hand injury Larry received due to a hot towel on a flight that Larry thought was "put in the microwave". He ended up giving Larry his personal number to ease the communication between the two, but regretted the decision instantly. He first appeared in "Mel's Offer". The police knew about Vito, and they didn’t like him,” says Porter. “They were trying to get him on something. It was people calling the police on him and so on, [saying,] ‘I don’t know where my daughter is. I think she’s over at Vito’s.’” We cut to Douglas and Mondo. Douglas has Mondo attempt to connect with Krakoa and talk to the living island. Mondo tries connecting to Krakoa. Mondo then says that he is not getting anything.Claire: Even in its day, there was something marvelously anachronistic about Mondo. It was an impossible object: a print magazine about how technology was going to dematerialize 20th-century culture, including, implicitly, print magazines!