Trudi ALTENBURG asked:




Take Me To The Lady Gaga Hermaphrodite Proof Video

Recently news has emerged that the young artist, Lady GaGa is a hermaphrodite. Whether said news is true or not is of course not confirmed, but alot of people are starting to get different ideas about the artist. Is she a man or woman? Watch the video and post your thoughts.

Take Me To The Lady Gaga Hermaphrodite Proof Video

The 23 year old artist originally from New York first shot to fame in mid 2008 with her debut album release entitled “The Fame”. Since then she’s become a worldwide craze especially among younger fans with No. 1 hits such as “Just Dance”, “Poker Face” and “Papparazzi”.

Before year 2008 she was signed to Def Jam records however was dropped after a couple of months after. She then joined Interscope Records as a write for some of Interscopes well known musical faces including Akon and Fergie.

She began on stage around 6 or 7 years ago with various different small time bands. However, in the the attempt to bring back pop she began taking drugs and working in burlesque shows so much so that her father couldn’t look at her for several months.

Take Me To The Lady Gaga Hermaphrodite Proof Video

Lady GaGa is renowned for her David Bowie-esque, Queen-influnced style and extravagent clothing which almost always involves her wearing either a very short skirt or dress.

Anyway, “enjoy” the video and remember to comment on what your opinion is

Watch Lady Gaga Hermaphrodite Proof Video



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david johnson asked:




Wonder what implants that very crucial, worth-giving-your-life, so-hard-to-set-right first impression on the persons’ mind that matters to you, the very first time you meet them? Gone are the days when it used to be one’s attire, hair-do, or may be the coins clinking back in his account. Presently, the answer lies in your eyes, or may be on it!

Designer sunglasses have always said to possess a lingo in them, which is just so hard to be circumscribed within any definition. It’s just that starting with the pioneering stars of silent movies to an average college guy, the craze for sunglasses has engulfed all.

Flyrr.com has got numerous brands that are literally worshipped by the gogs-admirers round the globe. The potpourri includes big daddies of the arena like Ray-Ban and Armaani which excel not just in selling sunglasses but also in shaping style.

Besides being associated with providing visual clarity and comforts, designer sunglasses are great in meeting their most expected functions like escaping from the glare, vision specialist, shield from dust and pollution and most importantly, concealing one’s true ****** expressions. While serving one’s protective and stylish needs, the sunglasses have become a key part of his daily life.

Armaani or rather the Armaani sunglasses on one’s eyes would easily make others go bananas over the oozing oomph out of this branded eye wear. The Armaani empire’s foundation was laid by Giorgio Armani in 1934 in a place about 50 miles south of Milan, Italy. After trying his luck in defense services and photography, Giorgio started working in a prominent Italian department store, La Rinascente. Working here proved to be bliss for him. In fact, his time here gave birth to a whole new fashion revolution. After being an intern under renowned designer, Nino Cerruti, for more than nine years, Giorgio ultimately set out to establish his own men’s wear label in 1974 shortly followed by his next steps in the world of women’s’ fashion. From that day to the second that just went, Armaani sunglasses are acknowledged all over the planet for its quality, comfort, technique and class.

Talking about its nearest rival, Ray-Ban sunglasses have indeed given life to a world composed of sensation, tradition and culture. Ray-Ban set its foot in the eyewear world by designing sunglasses for pilots in combat. With World War II spreading fire of fury and aggression around, Ray-Ban designed the first ever anti-glare aviator style sunglasses that employed polarized lens technology. With an intention to protect the pilot heroes of the sky with their vision in flight, Ray Ban finally rocked the world with its aviator style sunglasses. Ray Ban sunglasses are continuing shattering records of being among the most popular brand everywhere.

Designer sunglasses are surely the latest and the most ‘in’ thing in the town these days and certainly, these powerful tools prove to be smooth way to pop millions of eyes out all at the same time. Besides, Ray-Ban sunglasses and Armaani sunglasses have successfully made trademark of their surnames which are easily recognizable in any corner of the globe. Thanks to its glamour and versatility, the era of goggles is surely here to stay for long.



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meLê yamomo asked:




I’d like to begin by differentiating postmodern theatre from its preceding periodizing categorization, the ‘classical’ and the ‘modern’ drama. Classical drama is characterized by the value placed in the plot and its adherence to Aristotle’s laws of dramatic unities. In the nineteenth century we also observed how Hegelian philosophy filtered into modern drama with the movement of ‘man’/character at the forefront of dramaturgy in the character dramas of Ibsen, Strindberg and Chekov. We also see how Aristotle’s mimesis is taken to the heights in the period of naturalism as influenced by the Darwinian science in the stagings of modern theatre. Raymond Williams observes the perfection of tragedy in modern drama where the alienated predicament of the human being in a highly industrialized world is highlighted. He sees Beckett’s tragicomedies representing the reduction and degradation of the human beings in a new absurdist dramatic structure.

To Elinor Fuchs, it is in the postmodern theatre that we witness the “death of the character” and the eradication of the plot. In this statement we are reminded of Barthes’ announcement of the “death of the author”, Foucault stating the “death of man” and Lyotard hailing the dissolution of metanarratives. As rigid categorization and structures of modernism collapse, eclecticism now characterizes postmodernism. But unlike Jameson’s notion of pastiche and extreme consumerism of multi-national capitalism, critical postmodern theatre derives its theory from the post-structuralists’ insight on semiotics. De Saussure laid bare the very construction of the human language exposing its structure of signs and codes. Taking off from this, Derrida’s analysis of the subjectivity of man’s meaning-making has furthered the invalidation of metanarratives. Now as the validity of the sign-signified and code-meaning constructs of languages are put into question, postmodernists are forced to investigate the language construction itself. Ultimately, we come to realize that meaning and signification is subjective and should be contextualized. With this, categorizing boundaries set by modernism collapse as well.

How do all these reflect in postmodern theatre?

Raymond Williams notion of the theatre convention explains this. Conventions in theatre according to Raymond Williams are methods such as figurative speech, stage blocking, songs or dance through which specific dramatic objectives are achieved. He pointed out how conventions in the theatre whether, performative techniques or literary devices, are characterized by its acceptability by the audience and its relations to the specific given standards. With this, he stressed the fact how dramatic conventions are maintained as “terms upon which author, performers and audience agree to meet, so that the performance may be carried on.” Nicole Boireau expounded on the concept of dramatic conventions through the Hamletesque metaphor of the ‘Mousetrap’. From this, he claims that the truth can be accessed through the world of illusion; that it is only through theatricality that truth can be revealed. Theatre expresses reality through the use of artificial conventions. He explained that only through the reflective nature of drama and the dramatic conventions that truths presented in drama are validated . It is then through the same dramatic and theatrical conventions set as the medium in expressing truths, that the expressed truths can be validated. It is through the limitations and self-confined means of definition can the expressed truths substantiate.

Williams and Boireau’s explanation is a profound manifestation of structuralist and post-structuralist concept of laying bare language and systems of signs and codes. Although rooted in the Classical and Modern Theatre tradition, this is a postmodern realization of what Linda Hutcheon calls the self-reflexive nature of postmodern theatre.

With the dissolution of a ‘universal’ language, postmodern theatre is but provoked to look into historical and cultural contexts for a language to articulate itself. The same characteristic is seen in other art forms. Postmodern choreographers made dances about dance, inquiring on the very core of movement vocabularies that gave birth to choreographical works on walking, skipping, etc. This is also true in the experimentations on the various dance styles seen in Twyla Tharp’s combinations of jazz, ballet and ballroom. In the Philippines, this is seen in Agnes Locsin’s and Alice Reyes’ fusion of jazz and ballet and Philippine folk and ethnic movements. Postmodern architects see the history of architectural design as a diverse source of signs to be combined and recombined, thus Greek columns, Art Deco ornamentation and Modern Industrial materials are eclectically put together in a single building.

Postmodern theatre sees the various cultural and historical traditions as a vast source of signs. Kaye describes how postmodernism sees history as a store of signs available for postmodern theatre practice. In a recent production of Hamlet in Singapore, Hamlet was shown as a Noh actor Ophelia as a Balinese dancer. Or in the recent staging of Dulaang Habi’s musical Sa Kaharian ng Araw, audiences are taken into an seemingly incoherent worlds of a cabaret/rock concert, a Peking opera stage, and an extremely expressionistic theatrical world. The music is a mixture of Broadway influenced pop and rock songs, and fusion of classical and traditional Filipino ethnic and folk music. In the postmodern theatre, representations in acting style, costumes, production design, music and other elements are taken from different contexts.

With the collapse of the modernist boundaries, postmodern theatre takes on pluralism and multiplicity in style, approach and over-all process. This has been reflected in various approaches to production. Another important postmodern theatre practice is the use of inter-text, or what Jameson calls a culture of quotations, where various texts could be used to comment on each other. Such is in a production of Romeo and Juliet, where the play ends with the closing monologue by Puck from A Midsummer Night’s Dream. In Nick Pichay’s musical version of the Oyayi ng Ulan, the character Dugong complained about the accumulating garbage in the ocean. He remarked that the worst kind of garbage is the postmodern poetry of new poets- which of course includes Pichay himself.

With the similar collapse of the modernist notion of Aristotle’s linearity and the Hegelian logic of cause and effect, postmodern theatre is characterized by multi-dimensionality and simultaneity. A simplified example of this is Maria Irene Fornes’s Fefu and Her Friends where the audiences are divided into groups to see different scenes of the play happening in various places. Or in the seashore scene of the 2002 staging of Sa Kaharian ng Araw, past and present converge with the appearance of Paolo’s deceased parents in the same stage where Paolo lovingly recalls them. On the same space in the stage an actor fishes on one side, while another plays with a rain stick, while other actors waiting for their cue sit attentively on chairs onstage. Here, multi-dimensionality and simultaneity is not just seen in how the plot is (dis)arranged. Even the actors playing the characters go through different dimensions of performance and representation in the same time and space. The actor although dressed up for the character he is to portray sits on a chair on the side waiting for his cue, substantiate both as the actor and as the character. The person exist as both the actor and character simultaneously but in different dimensions – where at one point, while he waits for his cue he essentially is not part of the play but simultaneously, physically and intentionally, he is physically there.

As Fuchs sees the diminution of character and plot in postmodern theatre, she sees the other theatrical elements taking on equal importance with these elements. She sees that “each signifying element – lights, visual design, music, etc., as well as plot and character elements – stand to some degree as independent actor.” She pointed out that the Aristotelian elements survived but their classical and modern structural hierarchies ceased to operate. This attitude in theatre production takes its roots from the Brechtian Epic Theatre. Brecht earlier on said: “Today we see the theatre being given absolute priority over actual plays. The theatre apparatus’s priority is a priority of means of production… The Theatre can stage anything; it theatres it all” (Raymond Williams, p.280).

And as postmodern theatre see the “death of the author” (the playwright), the director now takes the central role as the theorist responsible for creating the language of a production.

Postmodern theatre is also differentiated from the modern theatre with its mode-of-production. The Industrial Revolution and the idea of mass-production and the division-of-labor affected music and theatre production. The symphony orchestra and the opera are megalomaniac inventions of modernism. The eighteenth century symphony captured the massive sound of modernism. Here music is produced by a big group of musicians who are divided into sections. The opera is an even bigger modernist creation. Such massive theatre production requires a complex web of ‘workers’/artists who work as a big company that include an orchestra, singers, dancers, clothes-makers, carpenters, etc. Even the art-products are now produced for mass consumption. While music used to be performed in courts and chambers, the symphony and the opera are staged in large opera houses that sit thousands.

This new paradigm in theatre production calls for a different attitude from the audience as well. In postmodern theatre, Aristotle’s notion of catharsis comes to extreme obscurity in postmodern theatre. Aesthetic experience becomes completely dependent upon the meaning making process. The aesthetic experience that transpires in the postmodern process is closer to Kant’s sublime. Unlike Aristotle’s cathartic drama that succumbs its audience to empathizing attitude towards the mimetic illusion of classical and modern drama, Kant states that distance is necessary in achieving aesthetic pleasure. Brecht in turn, proposes ‘complex seeing’ in theatre: “Complex seeing must be practiced… . Thinking above the flow of the play is more important than thinking from within the flow of the play” (Ibid., p281).

In as much as postmodern theatre is required to go through a dialogic process of taking theory into practice and back to theory for it to be able to express itself, postmodern audience then is also called to go through this process of meaning-making. Here, postmodern theatre forces its audience to always take on a critical stance in watching. Language-creation and meaning-making in postmodern theatre is never a simple one-on-one correspondence mode of cognition. With a wary stance towards subjectivity of language, postmodern productions then are manifested with recurring disruptions in its audience’s cognitive process. John Orr sees this as intentional dis-recognition/mis-recognition and he notes that these are often used as dramatic-shock effects. The audience is provoked to figure out what is ‘menacing’ and ’strange” in familiar objects onstage and they are prodded to “translate back the strangeness, as a performed disguise of the metonymic, into something they truly recognize, knowing there is no complete translation” (John Orr, p.32) .

In the elusive nature of postmodernism as a theory, DiGaetani sees the importance of having a terminology that can serve as a handle. He noted that “it is wonderful to have a term like postmodernism to describe the art” (John DiGaetani, p. xv). To Fuchs, the theatre has indeed what we can call now postmodern and she asserts that the sooner we grasp its methods we are “immediately at a better vantage point from which to view what used to be called ‘avant-garde’ theatre” (Elinor Fuchs, p.171).

Works Cited:

Boireau, Nicole. Drama in Drama. Macmillan Press: London, c.1997. John DiGaetani. The Search for Postmodernism: Interviews with Contemporary Playwrights. Greenwood Press: New York, 1991. Elinor Fuchs . Death of the Character. Bloomington: Indiana University Press, c.1996 John Orr. Tragicomedy and Contemporary Culture. Hong Kong: Macmillan Academic and Professional, Ltd., 1991 Raymond Williams. Drama from Ibsen to Brecht. Oxford University Press: New York, 1969 c. 1968.



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John Ugoshowa asked:




This program is very simple to download, entirely free and really works!

Requiring no sponsoring, no costs at all to join, once it has been set up, the only thing you do is leave your computer on and the system will just automatically run and you can trace your income by the second.

This program operates comparable to “click on a search engine and get paid” programs, with the exception of the following:

1.It is run automatically similar to auto surf, so there is no need for you to click on any link.

2.It does not provide you with only one search engine, but there are at least twenty one now running.

If you continually run your computer for twenty four hours a day, you may earn up to fifteen dollars a day. At the end of the month, when they will be adding up to two hundred more search engines, you may earn up to sixty dollars a day, not doing anything, just be online.

In addition, you get another five percent of your referrals running time; these referrals could go as far as four levels.

Every search engine builds up an independent total of your time surfing. You must reach sixty dollars before payment be done by each of the search engine.

Normally, when you are running your computer online for twenty four hours each day, without any referral, for you to reach sixty dollars, it would more or less take you up to two months, with the now running twenty four search engines. Now consider this, sixty multiplied by twenty four will equal to one thousand four hundred forty. This is how much you will make in two months, of doing nothing.

Signing up:

Take note of this URL, as you will use this as your sponsor:

http://www.ppcappraisal.com/register.php?fT=1&RefId=14387

1.Go to http://www.ppcappraisal.com/register.php?fT=1&RefId=14387 and fill out the form.

2.Where it is asking for the company name, put PPC appraisal

For the URL, put ppcappraisal.com

For tax ID, put N/A

Fill the rest of the form with your personal information

Take note that ppc appraisal does not accept any email address with full stops or non alphabetic characters in it. If you are in need of a new email address just for this intention, you can register at www.hotmail.com ; they offer a free account.

3.Log in (this will take you on to a menu)

4.Hit select all at the pages’ bottom.

5.Go back again to the bottom of the page and hit “select all” then “request”

6.There will be more than two pages that will appear. Do the same for all of the pages.

7.Go to your PPC account and click on “statistics” and observe the entire search engines appear and your total earnings.

8.Download “test 33″ (go to http://66.84.56.206/ppc/test33.exe) and make sure you save it to the desktop.

9.Log in to PPC appraisal, select campaigns on the menu.

10.Write down a copy of your portal URL

11.In the test33 browser, go to tools, analyst, act, setup; you will see two squares that are empty; on the lower left side, click append and wait for the pop up window to appear open.

12.Inside that window, type in set 1 and hit OK.

13.After which, it will fade away.

14.Go back to tools, analyst, act, hit set 1 and the url will load.

15.Go to tools, analyst and hit loop and then click on navigation.

16.At the bottom, click on the word “six” and this will open up six different search engines.

17.Now the test 33 will start on clicking all search engines.

18.Do not adjust any settings. You can minimize the window and still work on your normal computer wok. It will just continue on clicking the search engines and will never interfere with what you do. These are search engines that use up or get a run through this particular program. They are doing this and making payments to improve or increase their numbers so they can have a better chance to compete with google or yahoo.



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Jimmy Spier asked:




Building your own small greenhouse can be a very enjoyable and educational experience as well as economical especially when you are clever with tolls.

Select a well-drained and level lot or ground for your greenhouse. If you will be using it mainly during the summer for propagation of plants, then you can situate it in a partially shaded area to reduce heat buildup.

The “north side” of your yard, with a big deciduous tree is an ideal location. If there is no partly or moderately shaded area available, you can make use of a white plastic or shade cloth for cover so as to regulate the extent of sunlight that reaches your greenhouse interior.

If you will be using the greenhouse for beginning transplants or that you will be growing plants till they mature, your greenhouse should be put up in an area will it will have the highest sun exposure. Likewise, it must be situated where there is good air drainage; do not construct your greenhouse in low areas which are surrounded by buildings or woods. Consider also convenient water access and electricity.

No matter what kind and greenhouse dimensions you choose, take into consideration the time that you will have for managing the system.

Never be overly ambitious, as there are several new owners of a greenhouse that often realize they can not spend sufficient time as they had believed they would. However, it is not often true that a greenhouse requires continuous attention.

The greenhouse environment may be sustained with very minimal maintenance using automated controls that operates the ventilation, heating, humidity, artificial lighting and watering, should there be no one to look after it. A hobbyist must take into consideration installing automatic control system and begin with plants that are easy to care.

There are many prefabricated greenhouses available in the market that you can purchase, or your greenhouse maybe built out of very simple frames, though make sure that only certified plumbers and electricians must install your automatic systems.

Kits are widely available in various prices, materials and styles, but if you are an eager “do-it-yourselfer”, your small greenhouse may be affordably constructed for a comparatively small amount of cash. Lean-tos type of greenhouse can be built leaning against a garage or a house taking advantage of the existing wall, though one has to consider sitting space.

The major advantage when you choose to purchase a greenhouse kit, many details like how to deal with humidity, ventilation and leakage have been already dealt with and considered in the pattern. Someone who is constructing the greenhouse himself must consider all these so as to avoid problems that can result to untimely failure and plant loss. Here are tips to help you build and design your own small greenhouse.

1. Begin with an average design using materials that are easily available. Know your preferences. Attractive greenhouses may be constructed using recycled materials such as remilled wood, repurposed doors and window sashes.

2. Adapt to your area’s climate so as to make particular solutions that depends on your climate and location.

3. Plan a design that can use standard material sizes, most of which are available in “multiples of 4″.

4. Take into account your habits in gardening when planning the design. Growing vegetables is very different from growing vegetables.

5. You can set up timers and thermostats to regulate the precise heat or light needed.

6. Design and make a “back up” arrangement just in case of power failure or harsh weather conditions.

7. When you will be using wood, you can build the greenhouse from cedar, redwood or cypress, although regular wood treated and painted will also do. Make sure that you use wood that is pressure treated for framing, as it is an effective and economical.

8. Usually a greenhouse uses “glass-paned”, but polycarbonate plastic, fiberglass, plastic film and acrylic can be also used. Each of these materials has its disadvantages and advantages, so you need to research well to decide on one that is best for you.

9. Although permanent foundations are recommended to support the structure, flooring is really not necessary. Flooring poured with gravel up to a few inches deep will permit ample drainage. A flat stone or concrete walkway between seating will provides steady footing.

10. You greenhouse design should have enough room for tall plants and plants should only use half up to “two-thirds” of your greenhouse area and the rest is reserved for benches and your work area.

Have fun!



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Greg Haehl asked:




Since RC Helicopter flying takes every kids and kids at heart to the closest experience of flying a real helicopter it is undoubtedly thrilling and exciting experience. In terms if RC Helicopter sizes – here you can trim down your choices into gas electric mini micro and toy.But in the case you want to upgrade to ultralight you can easily get familiar with flying since you have already been with an engined-helicopter.

If you prefer building model helicopter for your personal gallery. Just follow the entire manual to the ‘t’ Do not get all excited when the heli is all put together you still have many hours of configuring / balancing / and adjusting everything. Homebuilt RC Helicopters are motorized (although wit less power) and can lift you off from the ground with the same experience you can get from a conventional full-size helicopter.

What kind of engines do RC Helicopters run on? Special remote control RC Helicopter engines. They come in 2-stroke and 4-stroke glow burning engines as well as 2 stroke gasoline models. If you descend to quickly you will enter your own down wash and the RC Helicopter will pull itself into the ground and need considerable collective to compensate. This is a bad condition. Model enthusiasts are notably quick to emulate full-size aviation achievements, but were not as successful with rotary wing aircraft, and it was not until 1968 that the first fully controllable R/C model helicopter appeared, built by Dr. Dieter Schluter of West Germany.

Full RC Helicopter guide at http://www.rchelicopterguide.info/heli/RC_Helicopter_Simulation.html. Spare parts; The basic formula is the cheaper the helicopter the cheaper the spares and the lighter the helicopter the less crash damage you will incur.

Besides. When you get good at flying your RC reverse the direction of the rudder. When you are good at this land while slowly pirouetting. Ok.



bridal shower favors

Greg Power asked:




Walter Zenga (New England Revolution)

The man they nicknamed Uomo Ragno (Spider-Man), was an ever present in the Inter Milan goal through the 1980’s, making no less than 328 appearances and appearing for his country 58 times.

Even more impressively, in Italia 90 set a record of keeping 5 consecutive clean sheets, totalling 518 minutes without conceding a goal, a record that still stands today.

He is now the manager of Serie A side Catania.

Richard Gough (Kansas City Wizards/San Jose Clash)

A no-nonsense centre half and one of Glasgow Rangers most successful ever players, winning 9 titles as part of the infamous ‘9 in a row’ team. Gough also amassed 61 appearances for the Scottish national side. His spell at Rangers was interrupted by a brief stint with Tottenham Hotspur, only to return to Rangers, becoming the first ever Scottish player to be sold for over £1,000,000.

He spent 2 years in the MLS with Kansas City Wizards and San Jose Cash, being named in the MLS XI of the Year whilst with the Wizards.

Lothar Matthaus (Metrostars)

Perhaps not just one of the greatest players in the history of the MLS, but in the history of soccer. Winning World Soccer Player of the Year, European Footballer of the year and Fifa World Player of the Year, Matthaus could play in defence or midfield, with a rocket right foot that earned him the status of Germany’s most capped player.

His managerial career, however, has not been as successful as his playing days, with short spells in Brazil, Austria and Serbia, and as of now in Israel as the manager of Maccabi Netanya.

Roberto Donadoni (Metrostars)

A vital key in AC Milan’s success through the 80s and 90s, when very few could argue against them being the best club side in the world (other than Barcelona’s dream team). Notorious for effortlessly running past players on the right flank, Donadoni collected 5 Serie A titles, 3 European Cups, 3 European Super Cups and 2 Intercontinental cups before moving on to the Metrostars, where he was named in the Best XI in the 1996 Season.

Now boss of the Italian national side, Italy are left with a mountain to climb in order to progress to the quarter finals after disastrous results against Holland and Romania.

Maurice ‘Mo’ Johnston (Kansas City Wizards)

Mo Johnston was a Scottish centre forward starting his career with Partick Thistle, and then spending a couple of seasons at Watford before his move to Celtic that would later earn him hatred across Glasgow.

Leaving Celtic for Nantes, vowing to never return to Scotland, Johnston reconsidered and done a U-Turn, claiming to sign for Celtic again at the end of the season. As the summer approached, Johnston changed his mind once more, this time signing for arch rivals Rangers. This infuriated Rangers fans as Johnston is an ex Celtic player and supporter, but worse still, he was Roman Catholic. Celtic fans turned on him, opting for the nickname of Judas, replacing his former moniker of MoJo, Rangers fans disliked him from the start.

Nevertheless, he scored 46 goals in 100 games, before moving back to England with Everton. This unsuccessful spell was followed by brief stints with Falkirk and Hearts, before joining the Kansas City Wizards, spending 5 seasons there.

Hw was more recently head coach of Metrostars, before being given his marching orders, taking over the helm of Toronto FC.

Mo Johnston’s last minute winner for Rangers vs Celtic, 1989

Denilson (FC Dallas)

At 21, Denilson became the most expensive player in the world when Spanish outfit Real Betis paid approximately $32,000,000 to Sao Paulo for his services. Renowned for his dazzling stepovers and skinning opponents on the left flank, he was regarded as one of the most promising players the game had seen.

Sadly, the promise he showed never really developed, mostly down to his selfish play by holding on the ball for too long, or as the UK would say, ‘ball-hogging’.

He only played 7 games for Dallas before returning to his native Brazil.

Carlos Valderrama (Tampa Bay Mutiny, Miami Fusion, Colorado Rapids)

Considered the greatest Colombian player of all time, his creativity and flare was only surpassed by his hair – a curly orange electrified afro. Elegant and intelligent with the ball at his feet, El Pibe (The Kid) never actually ran anywhere on the pitch, but with his level of skill, why bother? His status of legend was confirmed in 2006, when a 22 foot bronze statue of him was erected in his home town of Santa Marta. Brilliant.

Spending 6 years in the US, Valderrama still holds the record for the most assists.

Youri Djorkaeff (Metrostars)

Aptly nicknamed ‘Snake’, Djorkaeff was a cultivated attacking midfielder and formed a crucial partnership with Zinedine Zidane, resulting in France winning the 98 World Cup and Euro 2000.

Banging the goals in for Monaco, he spent one season at Paris St Germain before signing for Italian giants Inter Milan and Kaiserslautern, when somehow Bolton Wanderers persuaded him to sign.

He became Metrostars ‘MVP’ during his brief spell in the US, before an ankle injury forced him to retire.

Hristo Stoichkov (Chicago Fire, DC United)

Unpredictable and quite possibly insane, this tricky Bulgarian had everything: pace, mesmerizing dribbling and a devastating shot. Barcelona snapped him up from CSKA Sofia, where his temperament, passion and goal scoring record immortalized him as a Barcelona great.

He was also instrumental in Bulgaria’s unexpected run in the 94 World Cup, during which time they made it to the semi final, losing to Italy. Stoichkov also earned the Golden Boot, finishing joint-top with Russia’s Oleg Solenko.

David Beckham (LA Galaxy)

The man who needs no introduction, ‘Goldenballs’ is the most famous soccer player on the planet, who’s brand is more renowned than his free kicks and defence-splitting passes.

A style icon for every male in Britain whilst playing for Manchester Utd, Beckham’s commitments to his life away from soccer meant that his relationship with Sir Alex Ferguson was likely to deteriorate, as it did to the extent that Ferguson managed to kick a soccer boot at Beckham’s eye, requiring stitches.

Fast forward a couple of years, Beckham joins ‘Los Galacticos’, winning the Supercup in his first season. He had to wait until 2007 for a major honour though, when Real won the Primera league.

Whilst at Galaxy, his career has seen a couple of milestones, a 100th cap for the England national team, and a stunning 70 yard goal against Kansas City Wizards, almost mirroring his efforts for Man Utd against Wimbledon in 1996.



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