Saturday, September 30, 2006
Chaos is the enemy of hope
One or two of you may remember last year when I posted a link to a thought-provoking entry on the film "Chaos" on Roger Ebert's (good health, Roger) website. He wrote:
This was followed by another link to
The film was not well received, and is only now coming out on video. The producers have taken a rare position on how to sell their failed flick. They're arguing that their movie about two young women who
-is educational. Neat.
*Or at least "Footloose," which I'm betting has better music.
The message of futility and despair in "Chaos" is unrelieved
This was followed by another link to
what the editor of [Ebert's] web site calls "an unusual number of impassioned and thoughtful responses..."
The film was not well received, and is only now coming out on video. The producers have taken a rare position on how to sell their failed flick. They're arguing that their movie about two young women who
suffer through torture, rape and murder and, as some reviews have noted, not in that particular order.
-is educational. Neat.
Director/writer David DeFalco is ready to defend his baby as well, telling TMZ, "People give us slack that that's just our excuse for making a sick movie, but I don't see how anyone can deny that it's gonna affect you ... [it] may actually teach you something about real evil."
A choice of replies:
Does that storyline sound like it teaches you anything that most of us didn't get from "Hansel & Gretel?"*
And if it does, wouldn't most of us pick it up from things like war, perverts in congress, outspoken and high-profile homophobes on the Supreme Court, and book-burnings in the 21st century?
*Or at least "Footloose," which I'm betting has better music.
Friday, September 29, 2006
Hello
This might be a continuation of the "songs that make me cry" post. But here's it's a video. The song's fine but the video just fucking breaks my heart. It's just so perfectly how I feel.
OK...I've been sitting on this one for what I hope is a suitably respectful period of time
But doesn't anybody else think that no matter what the coroner's report says, Anna Nicole's son really died of a heightened sense of mortification? (Also known as "Molly Ringwald's Disease.")
Never been in love with no one, Sign up! Join the programme, Within me, within you, Feels like...
This is, for my money, the last good single by one of my favorite bands, Pop Will Eat Itself (now defunct).
That I think of it as a good single and not a great single is mainly down to the arrangement. Every time I hear it I wish that last chorus after the choir break (yes, a choir break) kicked in just a little bit harder and faster.
And the video starts out looking like it's going to be kind of weak as well.
Doesn't matter. The classic elements of the track overcome the second-rate.
And you who know my feelings on anime will no doubt be amused that there are, apparently, samples from Akira all over it.
PS: Oh, and this single version replaces the line "No hippy shit can try" with the more radio-friendly "PWE...I!"
Restlessness vs. resignation
ETA: Mark makes a similar point in his political comment for today. And I'd just like to say that my "uncalcuable damage" line below was written before I knew that Ms. Clinton had, apparently, said something quite similar.
Mark says:
To coin a phrase: They don't care, Mark.
Original post:
Maha writes:
For the record, I don't think the nation is salvageable. I just don't know where else to go. And I'll be glad to step out of the way..."Steppin' Out" was always one of the best Joe Jackson songs anyway. Tony Bennett's is wonderful too.
But I think it's ludicruous for any blogger to start telling "Democrats" or liberals what we should do. It doesn't matter what we do. It only matters what those "Democrats" in positions of responsibility and power are going to do.
And that is, as they've shown us with vicious regularity: Nothing. They don't care. A failed President from the opposing party, and Democrats don't care enough to mount a succesful fight against him. They don't care.
Or rather, they care, but not because a failed President is of uncalcuable damage to the people of the nation...but because they wish it was their guy failing. And all they know how to do is appease and bend to the guy who's got the title.
Or maybe, even, one or two of them do care about the damage caused...but not enough to actually risk their jobs over it by emulating Spencer Tracy ("Stand on the balls of your feet and tell the truth!")
They don't care.
Me, I do care, but I also see the writing on the old wall.
Mark says:
There certainly are other important Democrats who speak for a large part of the country who are saying that Bush is screwing up big-time: Kerry, Gore, Ted Kennedy, John Edwards, etc. There just don't seem to be very many who are in serious re-election campaigns at the moment saying it, which strikes me as odd. You'd think, with more than half the country saying Bush is doing a bad job, you'd have more than half the Democrats proclaiming that above a whisper.
To coin a phrase: They don't care, Mark.
Original post:
Maha writes:
In the last post I wrote that it’s time to decide if the nation is salvageable or not. Lots of people have decided it isn’t. As I said, these people may be right. But if you think it’s too late to fight, then please step out of the way. Some of us haven’t given up yet.
... It’s not just about defeating Republicans, but about making America safe for liberalism again...Instead of just reacting to the Republican agenda, we should be showing the nation an alternative way to look at issues. We should fight from a position of clarity and purpose rather than defensiveness. We should not, for example, try to counter the Religious Right with our own public displays of religiosity, but instead promise to preserve religious liberty by keeping government out of religion.
For the record, I don't think the nation is salvageable. I just don't know where else to go. And I'll be glad to step out of the way..."Steppin' Out" was always one of the best Joe Jackson songs anyway. Tony Bennett's is wonderful too.
But I think it's ludicruous for any blogger to start telling "Democrats" or liberals what we should do. It doesn't matter what we do. It only matters what those "Democrats" in positions of responsibility and power are going to do.
And that is, as they've shown us with vicious regularity: Nothing. They don't care. A failed President from the opposing party, and Democrats don't care enough to mount a succesful fight against him. They don't care.
Or rather, they care, but not because a failed President is of uncalcuable damage to the people of the nation...but because they wish it was their guy failing. And all they know how to do is appease and bend to the guy who's got the title.
Or maybe, even, one or two of them do care about the damage caused...but not enough to actually risk their jobs over it by emulating Spencer Tracy ("Stand on the balls of your feet and tell the truth!")
They don't care.
Me, I do care, but I also see the writing on the old wall.
Thursday, September 28, 2006
No!
Emma Watson is playing coy about signing up for the last two "Harry Potter" movies.
Emma, who plays Hermione Granger told Newsweek on a recent visit to the "Harry Potter and the Order of the Phoenix" set, " I don't know yet... I love to perform, but there are so many things I love doing."
Proof positive that the "celebrity sex tape" trend has officially gone too far
Anyone who enjoyed, in any way, certain video curiosities and experiments done by people like Paris Hilton...we owe the world an apology. Because it's led to this. Three words: Screech sex tape.
This is the kind of thing which could lead to the extinction of the human race because no one is going to want to have sex ever again.
TMZ has obtained portions of the latest celebrity sex tape, featuring former "Saved by the Bell" star Dustin Diamond, who played Screech. To say the least, the video is unique and, dare we say, entertaining.
David Hans Schmidt, who has become famous in the sex tape industry by peddling videos featuring Paris Hilton, Colin Farrell and others, claims ownership to the Screech tape. It was shot in a hotel. Diamond is holding the camera and narrating, as he engages two women in various combinations and positions.
The tape begins with Diamond in a bathtub, narrating what's to come. It ends with Diamond introducing one of the women to a "Dirty Sanchez."
This is the kind of thing which could lead to the extinction of the human race because no one is going to want to have sex ever again.
You know what word I don't know how to pronounce? Meme.
But I stole this one from Amanda...
1) One book that changed your life?
An Edge In My Voice, by Harlan Ellison.
2) One book that you have read more than once.
Most of the books I own I've read more than once-for financial purposes I tend only to buy books I know can stand up to re-reading. The rest I'll get from the library. That said, I'll name Against The Grain: Mad Artist Wallace Wood, edited by Bhob Stewart.
3) One book that you would want on a desert island?
Tolkien's The Hobbit.
4) One book that made you cry.
Whichever Pippi Longstocking book ended with it looking like Pippi was going to sail away to the south seas and leave her friends behind. I don't want to talk about it.
5) One book that made you laugh.
Seven Seasons of Buffy.
6) One book you wish had been written.
Ben Varkentine: The World Would Be So Much Easier If You'd Just All Accept He's Smarter Than You.
7) One book you wish had never been written.
Any number, I'm sure. But just because I tried to read it most recently, and I was sort of looking for an excuse to bash it about a bit here: The Anthology at the End of the Universe. Oh my god, what a stinking pile of crap this book was. Honestly, my expectations for the book were not that high-I've reviewed a few books from this publisher and in a word, they're hacks-but oh, my god.
8) One book you are reading currently?
I'm between new books at the moment (there's some waiting for me at the library, though), am re-reading Bill Carter's The Late Shift.
9) One book you’ve been meaning to read?
How To Win The Lottery. But seriously. Here's some of the books I have requested at the library...
10) What book do you routinely recommend but haven’t actually read?
None. I'm anal about that.
1) One book that changed your life?
An Edge In My Voice, by Harlan Ellison.
2) One book that you have read more than once.
Most of the books I own I've read more than once-for financial purposes I tend only to buy books I know can stand up to re-reading. The rest I'll get from the library. That said, I'll name Against The Grain: Mad Artist Wallace Wood, edited by Bhob Stewart.
3) One book that you would want on a desert island?
Tolkien's The Hobbit.
4) One book that made you cry.
Whichever Pippi Longstocking book ended with it looking like Pippi was going to sail away to the south seas and leave her friends behind. I don't want to talk about it.
5) One book that made you laugh.
Seven Seasons of Buffy.
6) One book you wish had been written.
Ben Varkentine: The World Would Be So Much Easier If You'd Just All Accept He's Smarter Than You.
7) One book you wish had never been written.
Any number, I'm sure. But just because I tried to read it most recently, and I was sort of looking for an excuse to bash it about a bit here: The Anthology at the End of the Universe. Oh my god, what a stinking pile of crap this book was. Honestly, my expectations for the book were not that high-I've reviewed a few books from this publisher and in a word, they're hacks-but oh, my god.
8) One book you are reading currently?
I'm between new books at the moment (there's some waiting for me at the library, though), am re-reading Bill Carter's The Late Shift.
9) One book you’ve been meaning to read?
How To Win The Lottery. But seriously. Here's some of the books I have requested at the library...
The first five pages : a writer's guide to staying out of the rejection pile /
by Lukeman, Noah.
My sister, guard your veil; my brother, guard your eyes : uncensored Iranian voices /
by Azam Zanganeh, Lila.
The devil's guide to Hollywood : the screenwriter as God /
by Eszterhas, Joe.
10) What book do you routinely recommend but haven’t actually read?
None. I'm anal about that.
I hap'ly do the favor of an intellectual reach-around
A blog called Wings For Wheels is taking a look at how a few different blogs are responding to Studio 60, with a nod towards yours truly for posting the Gilbert & Sullivan parody lyrics.
Wednesday, September 27, 2006
More than a few short words about tonight's episode of "Bones"
I really wasn't expecting this to be a weekly feature...
ETA: It's a small world after all. The below-mentioned Hart Hanson, creator/producer of "Bones," worked on my beloved "Cupid"...which was created and produced by Rob Thomas, now C/P of "Veronica Mars."
Stephen Nathan, Hanson's second or consulting producer, began his career as an actor. He created the role of Jesus in "Godspell" on the stage. The film version of that musical is one of my all-time favorite movies, although Nathan did not recreate the part for it.
Victor Garber took the role. The same Victor Garber who currently plays the lead in "Justice" which airs immidiately following "Bones." This has to be some kind of trivia first.
ETA, again: It's a small, small world. I learn from this article that a few years ago Michaela Conlin, who plays supporting character Angela, appeared on Bravo's "The It Factor Los Angeles."
I enjoyed that reality series about aspiring, auditioning actors, so I'm a little surprised I didn't remember her.
You'd think I would've remembered...
Look at those eyes, she's judging me, I know she is.
Original post: For the past two weeks in a row, the very first non-series regular to get any camera time in the episode (not counting faceless FBI agents and such at crime scenes) has been the killer.
Lord knows it's not like my main interest in this or most other series is the great mysteries over things like character and humor*...but still, watch it, Hart Hanson.
*Though again, when "Veronica Mars" was sparking, it had great mysteries and character and humor...
ETA: It's a small world after all. The below-mentioned Hart Hanson, creator/producer of "Bones," worked on my beloved "Cupid"...which was created and produced by Rob Thomas, now C/P of "Veronica Mars."
Stephen Nathan, Hanson's second or consulting producer, began his career as an actor. He created the role of Jesus in "Godspell" on the stage. The film version of that musical is one of my all-time favorite movies, although Nathan did not recreate the part for it.
Victor Garber took the role. The same Victor Garber who currently plays the lead in "Justice" which airs immidiately following "Bones." This has to be some kind of trivia first.
ETA, again: It's a small, small world. I learn from this article that a few years ago Michaela Conlin, who plays supporting character Angela, appeared on Bravo's "The It Factor Los Angeles."
I enjoyed that reality series about aspiring, auditioning actors, so I'm a little surprised I didn't remember her.
You'd think I would've remembered...
Look at those eyes, she's judging me, I know she is.
Original post: For the past two weeks in a row, the very first non-series regular to get any camera time in the episode (not counting faceless FBI agents and such at crime scenes) has been the killer.
Lord knows it's not like my main interest in this or most other series is the great mysteries over things like character and humor*...but still, watch it, Hart Hanson.
*Though again, when "Veronica Mars" was sparking, it had great mysteries and character and humor...
TV Departments
Tuesdays are a busy night for me, TV-wise.
Below average Girls department: According to Marc Berman,
Presumably most of that decay was from people who didn't like the way last year ended, but some (at least I'd like to think) must be people who don't want to see the Amy Sherman-Palladinoless GGs. And then there's me, who's both.
I didn't watch the SP, but I admit I dipped in during House commercial breaks. What I saw seems to go along with the gloomy assesments I'm seeing online.
Speaking of which department: House will be in repeats and such for the month of October, which is good (for me) because it means it won't be opposite Veronica Mars. Starting next week VM will be getting its last chance to win and keep the love of me and a few other million viewers.
For any latecomers: I thought the first season of Veronica Mars
was one of the best shows out there. Well-acted, smartly written; layered. But the writing on the second season spun wildly out of control, with time-wasting episodes focusing on characters I didn't care about.
I'm coming back, though. And one of the reasons I am is because writer/creator/producer Rob Thomas has been apparently candid in interviews and such about mistakes he thinks they made last year.
This is infinitely preferable to the impenetrably smug "we meant to do that" attitude taken by some other producers whose series have spun out. I'm hoping it means they've learned.
Weird coincidence department: I decided to try Law & Order: Criminal Intent, which I've never seen before, and as luck would have it, found a guest star this week was Anton Yelchin, formerly Byrd on Huff. So nice to see him on a good script again.
When a pretty face just isn't enough department: I've also been trying to keep an eye on Smith, zapping back-and-forth with Boston Legal.
After two episodes watched in this admittedly not wholly satisfactory way, I find myself reminiscing about something I said regarding the recently deceased That '70s Show.
One of the stars of Smith is Virginia Madsen.
Below average Girls department: According to Marc Berman,
In season-premiere news, the CW’s Gilmore Girls opened on a below average note with a 4.0/ 6 in the overnights (#4), 4.56 million viewers (#4) and a 2.0/ 6 among adults 18-49 (#5) at 8 p.m. Compared to its year-ago opener on the WB (Overnights: 5.3/ 8; Viewers: 6.22 million; A18-49: 2.8/ 8 on Sept. 13, 2005), that was a decrease of 26 percent in the overnights, 1.66 million viewers and 29 percent among adults 18-49
Presumably most of that decay was from people who didn't like the way last year ended, but some (at least I'd like to think) must be people who don't want to see the Amy Sherman-Palladinoless GGs. And then there's me, who's both.
I didn't watch the SP, but I admit I dipped in during House commercial breaks. What I saw seems to go along with the gloomy assesments I'm seeing online.
Speaking of which department: House will be in repeats and such for the month of October, which is good (for me) because it means it won't be opposite Veronica Mars. Starting next week VM will be getting its last chance to win and keep the love of me and a few other million viewers.
For any latecomers: I thought the first season of Veronica Mars
I'm coming back, though. And one of the reasons I am is because writer/creator/producer Rob Thomas has been apparently candid in interviews and such about mistakes he thinks they made last year.
This is infinitely preferable to the impenetrably smug "we meant to do that" attitude taken by some other producers whose series have spun out. I'm hoping it means they've learned.
Weird coincidence department: I decided to try Law & Order: Criminal Intent, which I've never seen before, and as luck would have it, found a guest star this week was Anton Yelchin, formerly Byrd on Huff. So nice to see him on a good script again.
When a pretty face just isn't enough department: I've also been trying to keep an eye on Smith, zapping back-and-forth with Boston Legal.
After two episodes watched in this admittedly not wholly satisfactory way, I find myself reminiscing about something I said regarding the recently deceased That '70s Show.
Why do they waste valuable camera time shooting anyone who isn't Laura Prepon?
One of the stars of Smith is Virginia Madsen.
Letters, oh we get letters
Well, as I kinda figured it might, my expression of pain that the mere existence of Bob Dylan had led to hideous folksingers setting up shop outside my window at 12:30 at night has attracted the attention of a Dylan-worshipper.
That's not my sarcastic name for him or her, BTW, it's what they called themselves:
Maybe. Although, when a man makes one's living as a MUSICIAN, it doesn't seem too off-base to care about his MUSIC at least as much as his WORDS, if not more. But hey, maybe I'm wrong. Never let it be said I can't admit that.
At times like these, I like to consult my musical betters, people whose credentials as songwriters are luminious. So let's go to the words of Paul Simon, who in 1983 was asked (from the book Rock Lives by Tim White):
Or to put it another way, in the words of Sir Duke, it don't mean a thing if it ain't got that swing.
That's not my sarcastic name for him or her, BTW, it's what they called themselves:
DYLANWORSHIPPER said...
Maybe if you listened to the WORDS you'd understand his appeal.
Maybe. Although, when a man makes one's living as a MUSICIAN, it doesn't seem too off-base to care about his MUSIC at least as much as his WORDS, if not more. But hey, maybe I'm wrong. Never let it be said I can't admit that.
At times like these, I like to consult my musical betters, people whose credentials as songwriters are luminious. So let's go to the words of Paul Simon, who in 1983 was asked (from the book Rock Lives by Tim White):
Who...do you believe has been a positive inspirational figure in rock?
"Dylan. He made us feel at a certain time that it was good to be smart, to be observant, that it was good to have a social conscience. These are all things that are out of fashion now. Real art remains when the fashion changes, but art can run conjuctively with fashion. Both can occasionally be quite intelligent at the same time."
Blessed with the hindsights of adulthood, what's the smartest thing you ever heard anybody in rock and roll say?[Long pause, small smile] "Be-bob-a-lula, she's my baby."
Or to put it another way, in the words of Sir Duke, it don't mean a thing if it ain't got that swing.
And now...a brief word from the boys and girls at Studio 60
For those of you who aren't watching (and why not?), this past monday's episode of Studio 60 On The Sunset Strip ended with the cast of the show-within-the-show, joined by a background chorus, performing this parody:
(Thanks to Pab Sungenis for posting the lyrics to the Aaron Sorkin mailing list.)
"Modern Network TV Show"
Lyrics by Aaron Sorkin
(to the tune of "Modern Major General") Music by Sir Arthur Sullivan
Cast: We'll be the very model of a modern network TV show
Each time that we walk into this august and famous studio.
We're starting out from scratch after a run of twenty years, and so
We hope that you don't mind that our producer was caught doing blow.
Chorus: They hope that you don't mind that their producer was caught doing blow.
They hope that you don't mind that their producer was caught doing blow.
They hope that you don't mind that their producer was caught doing mounds of blow.
Cast: Yes, it's hard to be a player when at heart you've always had a hunch
To bite the hand that feeds you is a scary way of doing lunch.
But still when we walk into this august and famous studio
We'll be the very model of a modern network TV show.
Chorus: But still when they walk into this august and famous studio
They'll be the very model of a modern network TV show.
Female Soloist (Harriet): I am a Christian, tried and true, baptized at age 11.
So unlike the lib'rals, gays, and Jews, I'm going straight to Heaven.
(She's joined by two other women in the cast): But if you feel that you've been cheated and our sordid content lets you down
We'll hap'ly do the favor of an intellectual reach-around.
Chorus: They'll hap'ly do the favor of an intellectual reach-around.
They'll hap'ly do the favor of an intellectual reach-around.
They'll hap'ly do the favor of a hundred dollar hooker's reach-around.
Harriet (spoken): "That wasn't the same thing we said!"
Chorus: They'll hap'ly do the favor of a verbal euphemistic reach-around.
Cast: We know the Evangelicals are lining up to tag our toe.
And then the corporations will not hesitate to pull their dough.
But still when we walk into this august and famous studio
We'll be the very model of a modern network TV show.
Chorus: But still when they walk into this august and famous studio
They'll be the very model of a modern network TV show.
Cast: But still when we walk into this august and famous studio
We'll be the very model of a modern network TV show.
(Thanks to Pab Sungenis for posting the lyrics to the Aaron Sorkin mailing list.)
Monday, September 25, 2006
Pride.
If you do a search for the words "anne hathaway is the most beautiful" on Pesquisa Google, the results you get are both from this blog.
I can pretty much retire now.
I can pretty much retire now.
It's that time of year again
The ALA's Banned Books Week is upon us. To celebrate, here are a few selections from a list of the Banned and/or Challenged Books from the Radcliffe Publishing Course Top 100 Novels of the 20th Century, with commentary where applicable.
I've been formulating a theory about something that's been kind of prickling at the back of my brain ever since the OJ trial. When we had nominally grown men and women using the euphimism "N-word" in the context of a courtroom trial.
Why do we get so bent out of shape about some words, even racially charged ones, regardless of their context? I think it's because we know, most of us, that race relations in this country are FUBAR. And worse, we're afraid we know that there's nothing we can do about it at this point. The wound goes too deep, yet too much time has gone by.
So if we can't do anything about that, well hey, at least we can ban a book because it uses a bad word, never mind that it uses it in the midst of an anti-racism story. That'll make us feel better.
I admit I kept an eye on which of these books have been banned or challenged in Tennessee, and what I found was this: Those Tennesseeans really hate John Steinbeck. They banned The Grapes of Wrath, too. Also, A Separate Peace by John Knowles. But then, Santa Cruz is one of the cities that challenged To Kill a Mockingbird, so far be it from me to say that stupid, wrongheaded behavior is limited to the bible belt.
That's right, baby. Burned in 2001. You know, the Harry Potter books occasionally attract the ire of one of these whackaloons (though none of them made this list, or the top banned books of 2005 which I'll get to in a moment).
But the Lord of the Rings books are still making Christians insecure almost 50 years after they were published. I'm just saying, you gotta have some respect for that. Now as promised, here are
As with Tolkien, I'm just pleased that Cormier and Blume are up there with J.D. Salinger when it comes to still offending the kind of people who ought to be offended, over 30 years after their books were first published.
I don't know "Whale Talk," but I read Crutcher's "Staying Fat For Sarah Byrnes" a few years ago and loved it. If were a betting man, I'd put my money on his still being on this list in another five, 10, 15, 20, 25, 30 years...
To Kill a Mockingbird, Harper Lee
Challenged in the Waukegan, III. School District (1984) because the novel uses the word "nigger." ...Challenged at the Park Hill, Mo. Junior High School (1985) because the novel "contains profanity and racial slurs:"...Challenged at the Santa Cruz, Calif. Schools (1995) because of its racial themes...Challenged at the Moss Point, Miss. School District (1996) because the novel contains a racial epithet...Returned to the freshman reading list at Muskogee, Okla. High School (2001) despite complaints over the years from black students and parents about racial slurs in the text...Challenged at the Stanford Middle School in Durham, N.C. (2004) because the 1961 Pulitzer Prize-winning novel uses the word "nigger." Source: 2004 Banned Books Resource Guide.
I've been formulating a theory about something that's been kind of prickling at the back of my brain ever since the OJ trial. When we had nominally grown men and women using the euphimism "N-word" in the context of a courtroom trial.
Why do we get so bent out of shape about some words, even racially charged ones, regardless of their context? I think it's because we know, most of us, that race relations in this country are FUBAR. And worse, we're afraid we know that there's nothing we can do about it at this point. The wound goes too deep, yet too much time has gone by.
So if we can't do anything about that, well hey, at least we can ban a book because it uses a bad word, never mind that it uses it in the midst of an anti-racism story. That'll make us feel better.
Of Mice and Men, John Steinbeck
The Knoxville, Tenn. School Board chairman vowed to have "filthy books" removed from Knoxville's public schools (1984) and picked Steinbeck's novel as the first target due to "its vulgar language:" ...Challenged as a summer youth program reading assignment in Chattanooga, Tenn. (1989) because "Steinbeck is known to have had an anti business attitude:" In addition, "he was very questionable as to his patriotism:' ...Challenged as appropriate for high school reading lists in the Shelby County, Tenn. school system (1989) because the novel contained "offensive language." ...Challenged at the Jacksboro, Tenn. High School (1991) because the novel contains "blasphemous" language, excessive cursing, and sexual overtones...Pulled from a classroom by Putnam County, Tenn. school superintendent (1994) "due to the language:' Later, after discussions with the school district counsel, it was reinstated. . Source: 2004 Banned Books Resource Guide, by Robert P. Doyle.
I admit I kept an eye on which of these books have been banned or challenged in Tennessee, and what I found was this: Those Tennesseeans really hate John Steinbeck. They banned The Grapes of Wrath, too. Also, A Separate Peace by John Knowles. But then, Santa Cruz is one of the cities that challenged To Kill a Mockingbird, so far be it from me to say that stupid, wrongheaded behavior is limited to the bible belt.
The Lord of the Rings, JRR Tolkien
Burned in Alamagordo, N. Mex. (2001) outside Christ Community Church along with other Tolkien novels as satanic. Source: Newsletter on Intellectual Freedom, Mar. 2002, p. 61.
That's right, baby. Burned in 2001. You know, the Harry Potter books occasionally attract the ire of one of these whackaloons (though none of them made this list, or the top banned books of 2005 which I'll get to in a moment).
But the Lord of the Rings books are still making Christians insecure almost 50 years after they were published. I'm just saying, you gotta have some respect for that. Now as promised, here are
the 10 Most Challenged Books of 2005:
“It's Perfectly Normal” for homosexuality, nudity, sex education, religious viewpoint, abortion and being unsuited to age group;
“Forever” by Judy Blume for sexual content and offensive language;
“The Catcher in the Rye” by J.D. Salinger for sexual content, offensive language and being unsuited to age group;
“The Chocolate War” by Robert Cormier for sexual content and offensive language;
“Whale Talk” by Chris Crutcher for racism and offensive language;
“Detour for Emmy” by Marilyn Reynolds for sexual content;
“What My Mother Doesn't Know” by Sonya Sones for sexual content and being unsuited to age group;
Captain Underpants series by Dav Pilkey for anti-family content, being unsuited to age group and violence;
“Crazy Lady!” by Jane Leslie Conly for offensive language; and
“It's So Amazing! A Book about Eggs, Sperm, Birth, Babies, and Families” by Robie H. Harris for sex education and sexual content.
As with Tolkien, I'm just pleased that Cormier and Blume are up there with J.D. Salinger when it comes to still offending the kind of people who ought to be offended, over 30 years after their books were first published.
I don't know "Whale Talk," but I read Crutcher's "Staying Fat For Sarah Byrnes" a few years ago and loved it. If were a betting man, I'd put my money on his still being on this list in another five, 10, 15, 20, 25, 30 years...
Bob Dylan should have been strangled in his own crib
Maybe that would have prevented the hopeless wannabebutnevergonna who set up his bleating voice, guitar and harmonica act across the street from my office not 15 minutes ago.
I must suffer and cry for slightly longer.
No $#$*&%$#$ "voice of his generation" is worth this.
I must suffer and cry for slightly longer.
No $#$*&%$#$ "voice of his generation" is worth this.
Sunday, September 24, 2006
Star Trek & the Holy Grail
Letters, oh we get links in letters...my friend Corey sent me this. See if it don't make you laugh.
"You tell 'im I'm coming! You tell 'im I'm fucking coming!"
So yeah, I've been thinking about Stephen Soderberg. There was a time when I found Sex, Lies and Videotape compelling-and I mean the movie-and I liked Traffic. Even though I'm not sure whether it pulls off all of its ambitions. Out Of Sight is, to date, the only movie to make me understand what's supposed to be so hot about Jennifer Lopez.
The first movie Soderberg directed (of those I've seen) that I think is really good is The Limey. And it might be surprising I like that one so much because, on paper, it has a lot of elements that tend to make me skeptical.
It's very stylized, with flashbacks and flash-forwards and flash-waybacks, sometimes-often!-all in the same scene. The plot-in four words, a man seeks revenge-could have been made into the kind of "thriller" we've all seen 10 times over.
And Lem Dobbs, the screenwriter, has complained about Soderbergh making changes that he-Dobbs-thought eliminated important character information. (He makes a few of these complaints on the more-acid-than-usual commentary track he shares with Soderberg on the DVD, a must-listen).
All these things together sound like they should add up to a movie which at best, I just wouldn't "get." But I do. I've watched it three times within the past four days-and I'd seen it twice a few years ago.
I think it's Roger Ebert who says, though he may have been quoting somebody, that the way a movie is about what it's about is more important than what it's about. I'm not sure that's always right, but it's definitely right about this one.
Without its star actor (Terence Stamp), or a different director and writer, the same movie could have so much style it simply skated away. With them, it's always tethered to a momentum which climaxes in an emotional train wreck that is quite simply unforgettable.
Getting back to Soderberg's career, Erin Brokovich is a movie that, as I said about Garden State, is good...but not that good. When the first things you remember about a movie are the clips played in ads nauseaum-they're called boobs, Ed-it can be a bad sign.
On the other hand, I'm almost as big a fan of Ocean's Eleven as I am of The Limey-which in a way it's the lighter side of. Less stylized in its direction but much moreso in its performances and setting.
The film has a seemingly effortless perfection-even though I know I lot of effort went into making it seem that way-so much so that I've avoided seeing the sequel. I simply don't want the balancing act, that the first accomplishes so gracefully, flawed.
(Plus, I'm convinced, the only way the climax of the first one works is if most of the crew never see each other again.)
Finally there's Bubble, Soderberg's most recent film to date, which I wrote about in passing here.
I've been reading a collection of interviews with Soderberg. One of the best is also archived at Salon:
But be warned! That interview contains spoilers for The Limey, so I strongly urge you to see that film before you read it.
The first movie Soderberg directed (of those I've seen) that I think is really good is The Limey. And it might be surprising I like that one so much because, on paper, it has a lot of elements that tend to make me skeptical.
It's very stylized, with flashbacks and flash-forwards and flash-waybacks, sometimes-often!-all in the same scene. The plot-in four words, a man seeks revenge-could have been made into the kind of "thriller" we've all seen 10 times over.
And Lem Dobbs, the screenwriter, has complained about Soderbergh making changes that he-Dobbs-thought eliminated important character information. (He makes a few of these complaints on the more-acid-than-usual commentary track he shares with Soderberg on the DVD, a must-listen).
All these things together sound like they should add up to a movie which at best, I just wouldn't "get." But I do. I've watched it three times within the past four days-and I'd seen it twice a few years ago.
I think it's Roger Ebert who says, though he may have been quoting somebody, that the way a movie is about what it's about is more important than what it's about. I'm not sure that's always right, but it's definitely right about this one.
Without its star actor (Terence Stamp), or a different director and writer, the same movie could have so much style it simply skated away. With them, it's always tethered to a momentum which climaxes in an emotional train wreck that is quite simply unforgettable.
Getting back to Soderberg's career, Erin Brokovich is a movie that, as I said about Garden State, is good...but not that good. When the first things you remember about a movie are the clips played in ads nauseaum-they're called boobs, Ed-it can be a bad sign.
On the other hand, I'm almost as big a fan of Ocean's Eleven as I am of The Limey-which in a way it's the lighter side of. Less stylized in its direction but much moreso in its performances and setting.
The film has a seemingly effortless perfection-even though I know I lot of effort went into making it seem that way-so much so that I've avoided seeing the sequel. I simply don't want the balancing act, that the first accomplishes so gracefully, flawed.
(Plus, I'm convinced, the only way the climax of the first one works is if most of the crew never see each other again.)
Finally there's Bubble, Soderberg's most recent film to date, which I wrote about in passing here.
For the first time in my experience, a film with, apparently, almost totally improvised dialogue worked for me. Why? I think because unlike movies like The Anniversary Party, this one wasn't cast with actors looking for an excuse to emote.
I've been reading a collection of interviews with Soderberg. One of the best is also archived at Salon:
When I see people who I think have become either cynical artistically or just competitive to the point of self-destruction, what they share is the loss of appreciation for anything that anybody else is doing. Seeing something good should make you want to do something good; if you're not careful, you can lose that. And that can hurt you. I still get a charge out of seeing a really good movie or reading a really good book or watching "The Sopranos" on TV.
But be warned! That interview contains spoilers for The Limey, so I strongly urge you to see that film before you read it.
The first person who makes a smart remark gets smacked right in the face
| You Should Be a Cherry Redhead |
 Sexy, dramatic, but still sweetly feminine. Perfect for getting out of the hair color doldrums! |
Or, "Why I don't think I'll be watching '24' next year."
I sense there are some people out there who simply like the idea of us torturing "the enemy" or even anyone who kinda looks like or might be part of "the enemy." These are the same people who are happy when they hear a car bomb went off in downtown Baghdad killing 80 people because they figure the odds are that there were probably a few terrorists or future terrorists in that eighty. Leave those people aside. Is there a sane case to be made for practices that fit a reasonable definition of torture? Has any genuine military authority come forth to make that case? Or is the only controversy here what constitutes "torture?"
--Mark Evanier
Saturday, September 23, 2006
Everyone stop
Pretty right-on article in Slate questioning the new positioning of Zach Braff as "voice of his generation." Excerpt:
I think the problem is not that Braff isn't talented-he is, but slightly moreso as an actor than a director, and much moreso as both those things than as a writer. But he's been given huzzahs quite out of proportion to his accomplishments--Garden State was good, but it wasn't that good.
It was a promising first film that made me curious to see what the man behind it would do next, and whether he would smooth out some of the rough edges I saw. I guess we won't know until we see another film that he directs and writes whether he belives his own bullshit.
Hat tip to Feministe.
Braff is tapped in to how young people consume, if not how they think. Sure, Garden State and The Last Kiss resemble overlong iPod ads with less adventuresome music choices. But the soundtracks that Braff compiled for both films have been remarkably successful—the Garden State CD sold more than a million copies, and The Last Kiss is currently No. 38 on Amazon. It makes sense that Braff is so popular on MySpace, a site that exists so people can list what they like—friends, celebrities, music, movies. Braff is, essentially, an aggregator. His soundtracks are lists of his favorite songs. Garden State was a list of funny anecdotes and off-kilter objects rather than a cohesive story. He might not have anything original to say, but Braff does offer this insight on our generation: We are inclined to mistake stuff for substance.
I think the problem is not that Braff isn't talented-he is, but slightly moreso as an actor than a director, and much moreso as both those things than as a writer. But he's been given huzzahs quite out of proportion to his accomplishments--Garden State was good, but it wasn't that good.
It was a promising first film that made me curious to see what the man behind it would do next, and whether he would smooth out some of the rough edges I saw. I guess we won't know until we see another film that he directs and writes whether he belives his own bullshit.
Hat tip to Feministe.
Have I asked you to buy me things from my Amazon.com Wish List this month?
If you look over to the right there and click the View my complete profile link you'll find, among other things, a link to it (updated just last night) If you're amazed at the quality of posts on this site (I know I am), please consider making a small donation to the Buy Ben CDs And Books Fund.
I thank you.
I thank you.
I don't mind telling you, I am a little bit surprised
| Joe Normal 39 % Nerd, 43% Geek, 43% Dork | ||||||||||||
| For The Record: A Nerd is someone who is passionate about learning/being smart/academia. A Geek is someone who is passionate about some particular area or subject, often an obscure or difficult one. A Dork is someone who has difficulty with common social expectations/interactions. You scored less than half in all three, earning you the title of: Joe Normal. This is not to say that you don't have some Nerd, Geek or Dork inside of you--we all do, and you can see the percentages you have right above. This is just to say that none of those qualities stand out so much as to define you. Sure, you enjoy an episode of Star Trek now and again, and yeah, you kinda enjoyed a few classes back in the day. And, once in a while, you stumble while walking down the street even though there was nothing there to cause you to trip. But, for the most part, you look and act fairly typically, and aren't much of an outcast. I'd say there's a fair chance someone asked you to take this test. In any event, fairly normal. Congratulations! THE NERD? GEEK? OR DORK? TEST | ||||||||||||
My test tracked 3 variables How you compared to other people your age and gender:
|
| Link: The Nerd? Geek? or Dork? Test written by donathos on OkCupid Free Online Dating, home of the The Dating Persona Test |
Friday, September 22, 2006
Teacher, teacher, can you teach me?
Caught the 1984 film "Teachers" On Demand recently. I'd seen it in the theater 22 years ago, and maybe once on video since. If ever there was a film to show the truth of "The good is the enemy of the great," this is the one. There is much that is good in it, but what's bad rings so hideously untrue that it drowns out the rest of it.
One thing that's good is its sense of time and place. I didn't go to an overcrowded high school in Ohio during the mid-'80s, yet that sense is so good that every time I have watched this movie, I feel as though I did.
Great soundtrack, too-all terse bass lines, hard-rock guitars, concise beats and melodic vocals. Bands like 38 Special you might not expect to be my cup of tea (though I contain multitudes), but a lot of material on the album,
-which I still have, is the exception that tests the rule.
The biggest problem is the script; it can't decide what tone it wants to have, and neither can one or two of the actors. The script mixes black comedy-a teacher dies sitting up at his desk and no one notices for a few periods-with moments we're supposed to take seriously and be moved by. That's hard to do, though not impossible when a director is in firm control of good material. This movie can't seem to decide where its head's at.
Then there's JoBeth Williams, who should have gotten some sort of award for most valiant performance by an actress. Struggling with one of the worst-written parts for a woman of all time, Williams works like hell to make it entertaining, but there's only so much you can do.
By the time the script requires her to try to make it belivable that a young, professional attorney would strip naked and run down the halls of a school (with class in session, yet) to make a point...
...well, I'm assuming she spent a lot of time between takes thinking nostalgically of the script for "The Big Chill" and sipping Vodka.
Side note: While searching for the above image, I discovered that a few years ago when trying to advertise "Boston Public"...
Those who forget history...
One thing that's good is its sense of time and place. I didn't go to an overcrowded high school in Ohio during the mid-'80s, yet that sense is so good that every time I have watched this movie, I feel as though I did.
Great soundtrack, too-all terse bass lines, hard-rock guitars, concise beats and melodic vocals. Bands like 38 Special you might not expect to be my cup of tea (though I contain multitudes), but a lot of material on the album,
-which I still have, is the exception that tests the rule.The biggest problem is the script; it can't decide what tone it wants to have, and neither can one or two of the actors. The script mixes black comedy-a teacher dies sitting up at his desk and no one notices for a few periods-with moments we're supposed to take seriously and be moved by. That's hard to do, though not impossible when a director is in firm control of good material. This movie can't seem to decide where its head's at.
Then there's JoBeth Williams, who should have gotten some sort of award for most valiant performance by an actress. Struggling with one of the worst-written parts for a woman of all time, Williams works like hell to make it entertaining, but there's only so much you can do.
By the time the script requires her to try to make it belivable that a young, professional attorney would strip naked and run down the halls of a school (with class in session, yet) to make a point...
...well, I'm assuming she spent a lot of time between takes thinking nostalgically of the script for "The Big Chill" and sipping Vodka.
Side note: While searching for the above image, I discovered that a few years ago when trying to advertise "Boston Public"...
Those who forget history...
All right, Tucci. You. Me. Outside. Now.
Stanley Tucci makes a lot of bad movies. I'll admit he was fine as Stanley Kubrick in the Peter Sellers bio-pic I mentioned here not long ago, but when I think of him what I think of is how miscast he was as Puck in the 1999 Midsummer Night's Dream (a film I otherwise liked, actually).
But now he's gone too far. Now he's getting too inappropriately "chummy"-and I mean that in a dislikable way-with the love of my life.
Via Saving Face.
No one talks to my future bride like that...
But now he's gone too far. Now he's getting too inappropriately "chummy"-and I mean that in a dislikable way-with the love of my life.
Actor Stanley Tucci couldn't keep his hands off co-star Anne Hathaway on the set of new fashion comedy The Devil Wears Prada--because he was fascinated with her breasts.
The actress reveals she had to eventually rebuke her co-star when he kept elbowing her in the chest, because she felt it was inappropriate, and it hurt.
She explains, "There was this one day where he kept elbowing me in the breast. He wasn't doing it to be like a dirty old man, but if we were doing a scene or I was just crossing to get to my mark (on the set) he would just smack me in my boob and elbow me.
"If you're a girl you know that hurts. So, after about the fourth time, I finally turned to him and said, 'Stanley can you please stay away from my t**s?'
"Stanley got really flustered and he said, 'What do you expect, you're flinging those melons around like it's harvest season!'"
Via Saving Face.
No one talks to my future bride like that...
Thursday, September 21, 2006
The Green Awning II: The Awning Goes West
So I saw Adaptation. The trusty RT consensus says it's
To a lesser extent this is also true of screenwriters like Charlie "bees knees" Kaufman, who wrote it, and is now considered worthy of being mentioned in the same breath with Raymond Chandler, with paychecks (and powers) given in the past only to screenwriters like Shane Black and Joe Eszterhas.
That these powers are a double-edged sword could not be better demonstrated than by the fact that Adaptation ever got made and released to theaters.
There's a story Mel Brooks used to tell to explain the notion of power in Hollywood. He called it "the green awning theory." Picture a young director who has just had a smash hit. I think Brooks used as his example Mike Nichols after The Graduate.
Nichols (or whoever) goes to a studio and he says
"For my next movie, I want to make The Green Awning."
"What's it about?"
"It's just a picture of a green awning. For an hour and 55 minutes."
"Will there be any rap music playing over this picture of a green awn-"
"No! No music. Just the picture."
"Will there be naked girls under-"
"Nothing underneath the awning."
"Will anyone learn a very impor-"
"No."
"Can we put any of the hot kids from the CW shows in-"
"No."
"They could arrive at a new maturi-"
"Listen to me very carefully. It's a green awning."
"For an hour and 55 minutes."
"That's right."
"Tell me more..."
The obvious strength of this theory in action is that it gives filmmakers an opportunity to take chances and be bold. The obvious weakness is that sometimes it leads to an hour and 55 minutes of a green awning.
By the way, "Dizzyingly original...loopy, multi-layered...both funny and thought-provoking" are all words reviewers use when they don't want to say utterly fails to tell a story.
Dizzyingly original...loopy, multi-layered...both funny and thought-provokingI'm sorry, I'm just not feeling it. I will say this, though. I've just been reading The Sundance Kids: How The Mavericks Took Back Hollywood, by James Mottram. His thesis is that the success of filmmakers like Spike Jonze (who directed Adaptation) has made them, in so many words, a new kind of establishment, or "power players" in Hollywood.
To a lesser extent this is also true of screenwriters like Charlie "bees knees" Kaufman, who wrote it, and is now considered worthy of being mentioned in the same breath with Raymond Chandler, with paychecks (and powers) given in the past only to screenwriters like Shane Black and Joe Eszterhas.
That these powers are a double-edged sword could not be better demonstrated than by the fact that Adaptation ever got made and released to theaters.
There's a story Mel Brooks used to tell to explain the notion of power in Hollywood. He called it "the green awning theory." Picture a young director who has just had a smash hit. I think Brooks used as his example Mike Nichols after The Graduate.
Nichols (or whoever) goes to a studio and he says
"For my next movie, I want to make The Green Awning."
"What's it about?"
"It's just a picture of a green awning. For an hour and 55 minutes."
"Will there be any rap music playing over this picture of a green awn-"
"No! No music. Just the picture."
"Will there be naked girls under-"
"Nothing underneath the awning."
"Will anyone learn a very impor-"
"No."
"Can we put any of the hot kids from the CW shows in-"
"No."
"They could arrive at a new maturi-"
"Listen to me very carefully. It's a green awning."
"For an hour and 55 minutes."
"That's right."
"Tell me more..."
The obvious strength of this theory in action is that it gives filmmakers an opportunity to take chances and be bold. The obvious weakness is that sometimes it leads to an hour and 55 minutes of a green awning.
By the way, "Dizzyingly original...loopy, multi-layered...both funny and thought-provoking" are all words reviewers use when they don't want to say utterly fails to tell a story.
Okay, the "Bush's rebound" thing
Eric Boehlert, author of Lapdogs, makes a couple of points in this column for Media Matters.
First of all, in the rush to publicize Bush's "rebound" in the polls to the mid-to-low '40s, a poll that keeps him in the 30s is being ignored. Second, in any other White House since Kennedy's, a rating in the low-to-mid 40's would not be seen as something to smile about.
Here's a few excerpts, but read the whole thing.
Too many people have too much invested in promoting the idea that Bush is anything other than what he is: A complete incompetent. And that's why the GOP isn't going to lose the midterms in a couple months.
First of all, in the rush to publicize Bush's "rebound" in the polls to the mid-to-low '40s, a poll that keeps him in the 30s is being ignored. Second, in any other White House since Kennedy's, a rating in the low-to-mid 40's would not be seen as something to smile about.
Here's a few excerpts, but read the whole thing.
The Journal has hardly been alone in straining to push a Bush-is-back angle. On Monday, The Boston Globe published the GOP-friendly article, "9/11 anniversary events boost White House," which cited two polls published last week that put Bush's job approval rating at 42 percent. Later in the piece, the Globe quoted pollster Andrew Kohut, president of Pew Research Center, yet the Globe noticeably omitted any reference to a new Pew poll that put Bush's rating at a dismal -- and unchanged -- 37 percent. The Globe, eager to write up Bush's' rebound, simply ignored any evidence to the contrary. (On Monday, ABC's The Note, a driving force in propping up the recent Bush-is-back press narrative, actually singled out the Globe journalist who wrote the misleading article as being "brilliant" and "ahead of the curve." That's how the press game works inside the Beltway; write something misleading that boosts Bush, and you're singled out for praise by your peers.)
Even if all the hopeful, GOP-fed chatter about a bounce were to hold true, it would mean the president would likely end the year right where he started it; around 42 percent. There's not a single White House aid or Republican campaign consultant who in January would have been happy with the president treading water for the entire year. But that's exactly what he's done and the press, unburdened by any historical context, now treats that like an emerging success story.
Just look at the all the press attention paid to Tuesday's Gallup poll showing Bush climbing up to a 44-percent approval rating. In any other recent administration, that kind of rating would be cause for embarrassment. But the media rules are different for Bush. Also note that last week's Pew poll showing Bush stuck at 37 percent received very little coverage. That's because for the Beltway press corps, evidence that Bush-is-back means big news, while evidence that Bush-is-still-down does not.
Too many people have too much invested in promoting the idea that Bush is anything other than what he is: A complete incompetent. And that's why the GOP isn't going to lose the midterms in a couple months.
Things I've found in books
One of the things that somewhere between amuses and annoys me is when you get a book from the library and find that some thoughtful person has written little notes in it. A commentary, their own reaction to some of the wordage contained within.
So yesterday I'm reading Professors, Politics And Pop by Jon Wiener, a collection of essays by the author of Come Together: John Lennon In His Time. Among them, a review of a then-new book by Jonathan Cott about Bob Dylan.
Wiener writes:
Now, my own feelings about Dylan are probably well-known to most of you (if not, they involve me not giving a ratfucking piss). But someone who had this book before me was, apparently, a Dylan fan who was simply not having that and so strove to express themselves and correct the record.
They have underlined the last sentence-"He's a great songwriter but a terrible poet"-and added the words
That's the economy, coherence and discrimination that I choose to see as typical of the Dylan fan's refined taste and ear for poetry.
So yesterday I'm reading Professors, Politics And Pop by Jon Wiener, a collection of essays by the author of Come Together: John Lennon In His Time. Among them, a review of a then-new book by Jonathan Cott about Bob Dylan.
Wiener writes:
In addition to his other absurdities, Cott repeats the moth-eaten cliche that Dylan is "America's greatest poet," which Ellen Willis dispensed with in 1969. "Poetry requires economy, coherence and discrimination," she wrote. Dylan turns out five images where one will do, his phrases are often tangled, his metaphors are silly and he tries to make everything rhyme. He's a great songwriter but a terrible poet.
Now, my own feelings about Dylan are probably well-known to most of you (if not, they involve me not giving a ratfucking piss). But someone who had this book before me was, apparently, a Dylan fan who was simply not having that and so strove to express themselves and correct the record.
They have underlined the last sentence-"He's a great songwriter but a terrible poet"-and added the words
what ever
That's the economy, coherence and discrimination that I choose to see as typical of the Dylan fan's refined taste and ear for poetry.
Wednesday, September 20, 2006
Stupid Canadian hosers
The CBC, which channel I get on my cable system by virtue of living right up close to Canada, showed The Life & Death of Peter Sellers tonight. I enjoyed that film when it first aired on HBO a couple of years ago (when I wrote about it on my old blog).
So I dipped in and out of it tonight, pausing here and there to enjoy a favorite scene or two. And I happened to be flipping past as they were approaching the ending, when the credits began to run.
They squished them to the bottom in favor of an ad for a documentary about some hockey game. Now, this practice is certainly not unknown in this country. But usually, the worst you can say about it is that it denies the many people who work on a film or television program but aren't "above the line" the only recognition they'll likely ever get.
But in Sellers it eliminates the under-the-credits scene which informs the entire film.
Stupid hockey-loving Canadian hosers.
So I dipped in and out of it tonight, pausing here and there to enjoy a favorite scene or two. And I happened to be flipping past as they were approaching the ending, when the credits began to run.
They squished them to the bottom in favor of an ad for a documentary about some hockey game. Now, this practice is certainly not unknown in this country. But usually, the worst you can say about it is that it denies the many people who work on a film or television program but aren't "above the line" the only recognition they'll likely ever get.
But in Sellers it eliminates the under-the-credits scene which informs the entire film.
Stupid hockey-loving Canadian hosers.
A few short words about tonight's episode of "Bones"
I am now officially sick of the "match wits with a serial killer to save a life" plot.
For those of you playing at home...
Four representatives of three different "Star Trek" series have now appeared on "Boston Legal." William Shatner, Jeri Ryan, Rene Auberjonois, and on last night's season premiere, Armin Shimerman of "Deep Space Nine" (and a recurring role on "Buffy") as a judge.
BTW, looking him up on IMDB, I learned he played, apparently, a role in the play-within-the-show of one of "West Wing's" fan favorite episodes, "Posse Comitatus." I say apparently because I've seen that episode, like all WW, many times and have never seen him.
But it's not at all unlike Sorkin & Schlamme to fill the "bench" on their series with actors who are capable of playing fuller parts; it's one of the reasons their shows are so rich.
(Fair warning: With a new Sorkin series on the air, my references to him may become more frequent if not messianic. I'll be back to normal by the time Tina Fey's series gets cancelled.)
BTW, looking him up on IMDB, I learned he played, apparently, a role in the play-within-the-show of one of "West Wing's" fan favorite episodes, "Posse Comitatus." I say apparently because I've seen that episode, like all WW, many times and have never seen him.
But it's not at all unlike Sorkin & Schlamme to fill the "bench" on their series with actors who are capable of playing fuller parts; it's one of the reasons their shows are so rich.
(Fair warning: With a new Sorkin series on the air, my references to him may become more frequent if not messianic. I'll be back to normal by the time Tina Fey's series gets cancelled.)
Tuesday, September 19, 2006
I've said it before and I'll say it again
I love Texas women. Here's one (Molly Ivins) remembering another (Ann Richards):
It's worth reading Molly's whole eulogy for Richards, at WorkingForChange.
At a long-ago political do at Scholz Garten in Austin, everybody who was anybody was there meetin' and greetin' at a furious pace. A group of us got the tired feet and went to lean our butts against a table at the back wall of the bar. Perched like birds in a row were Bob Bullock, then state comptroller, moi, Charles Miles, the head of Bullock's personnel department, and Ms. Ann Richards. Bullock, 20 years in Texas politics, knew every sorry, no good sumbitch in the entire state. Some old racist judge from East Texas came up to him, "Bob, my boy, how are you?"
Bullock said, "Judge, I'd like you to meet my friends: This is Molly Ivins with the Texas Observer."
The judge peered up at me and said, "How yew, little lady?"
Bullock, "And this is Charles Miles, the head of my personnel department." Miles, who is black, stuck out his hand, and the judge got an expression on his face as though he had just stepped into a fresh cowpie. He reached out and touched Charlie's palm with one finger, while turning eagerly to the pretty, blonde, blue-eyed Ann Richards. "And who is this lovely lady?"
Ann beamed and replied, "I am Mrs. Miles."
It's worth reading Molly's whole eulogy for Richards, at WorkingForChange.
Studio 60 on the Sunset Strip
You know I was anticipating this with all the hope of a young boy at Christmas. And I was trying to be prepared for some "post Christmas letdown." Would it take me a while to train my brain to recognize Matthew Perry and Bradley Whitford as characters other than Chandler Bing and Josh Lyman?
Took me less than an episode. These guys are good.
First reaction: I'm home again, Kathleen. It's as if I've been watching television in foreign countries for three years and I finally found a station where the people speak my language. Aaron Sorkin is on television again!
And you can tell-his recognizable themes, favorite names, and character types are already being set up. Funny, smart people working together in a high-pressure situation? Check. One of them is named Danny? Check. (Every Sorkin series has featured a regular or recurring character named Danny). Some of these are people who are extraordinarily competent in many situations but still struggle with addiction? Check. One of them is a woman in a position of great power and responsibilty who wears that well but is something of a klutz in her everyday life? And check.
Now I just have to get used to waiting a week between episodes and sitting through commercials, instead of just being able to pull out my West Wing DVDs any time I want.
Aaron Sorkin is on television again!
Took me less than an episode. These guys are good.
First reaction: I'm home again, Kathleen. It's as if I've been watching television in foreign countries for three years and I finally found a station where the people speak my language. Aaron Sorkin is on television again!
And you can tell-his recognizable themes, favorite names, and character types are already being set up. Funny, smart people working together in a high-pressure situation? Check. One of them is named Danny? Check. (Every Sorkin series has featured a regular or recurring character named Danny). Some of these are people who are extraordinarily competent in many situations but still struggle with addiction? Check. One of them is a woman in a position of great power and responsibilty who wears that well but is something of a klutz in her everyday life? And check.
Now I just have to get used to waiting a week between episodes and sitting through commercials, instead of just being able to pull out my West Wing DVDs any time I want.
Aaron Sorkin is on television again!
Lesbians in the House
House is one of those shows that give me really mixed feelings in its treatment of lesbian relationships. On the one hand, I've recently come to really like the show in general. It took me a while, as I've mentioned, to get past the incongruity (to me) of Hugh "Mr. Music" Laurie playing scruffysexycool. But I think the characterization, performances and writing are excellent.
Besides Laurie, I really like Lisa Edelstein and I'm glad to see her as a regular on a hit. She has just about the most important credit I can see in an actor, she had a recurring role on not one but two Aaron Sorkin/Tommy Schlamme series; that means she can pretty much do anything as far as I'm concerned.
A couple of days ago I completed a two-week process of watching the first two seasons on DVD. In one episode from each season, the medical "case of the week" involved a lesbian couple. The actresses who played them for the most part played it very "straight"-you should pardon the expression-and belivable.
And I like the fact that everyone in the show, all the other characters, took the relationships seriously and accepted them for what they are-good or bad, these women were in a relationship.
In the first season the lesbian couple featured were one of two sets of new parents whose babies had both come down with some unknown ailment. In diagnosing the children, House had to give one medication to one child and a different one to the other, and see if one got better. One did. One didn't. Guess which one.
Again, it was played very simply and movingly, and with great respect for the reality of the terrible loss these women had suffered. But you have to ask-I did anyway-would it have hurt the story if the gay couple had been the ones who got to take their baby home at the end of the day?
I don't think it would've.
I actually liked the second season episode featuring a lesbian couple-at first. A woman offers to donate a part of her liver to save her girlfriends life, unknowing (the doctors think) that her partner is planning to break up with her.
It presented an interesting moral dilemma-which has precedence, your sense of preservation or your sensitivity to another's feelings? But in a deeply cynical twist, we learn that she has known all along. The reason she chose to give up her liver is because she knows her girlfriend will never leave her now, out of guilt.
This resolution changed the picture of a lesbian couple from one prey to the same frailties and screwups as most of us into one in which one partner is trapped, the other manipulative to an arguably evil degree.
Once again we have a show in which lesbian always equals doomed to unhappiness. The writers do give some of the characters happy endings and a chance at new life. It's just that the two times they've dealt with lesbian characters so far, they've chosen not to do that.
On the other hand, I'll forgive almost anything for lines like this:
Only way to watch it, as far as I'm concerned.
Besides Laurie, I really like Lisa Edelstein and I'm glad to see her as a regular on a hit. She has just about the most important credit I can see in an actor, she had a recurring role on not one but two Aaron Sorkin/Tommy Schlamme series; that means she can pretty much do anything as far as I'm concerned.
A couple of days ago I completed a two-week process of watching the first two seasons on DVD. In one episode from each season, the medical "case of the week" involved a lesbian couple. The actresses who played them for the most part played it very "straight"-you should pardon the expression-and belivable.
And I like the fact that everyone in the show, all the other characters, took the relationships seriously and accepted them for what they are-good or bad, these women were in a relationship.
In the first season the lesbian couple featured were one of two sets of new parents whose babies had both come down with some unknown ailment. In diagnosing the children, House had to give one medication to one child and a different one to the other, and see if one got better. One did. One didn't. Guess which one.
Again, it was played very simply and movingly, and with great respect for the reality of the terrible loss these women had suffered. But you have to ask-I did anyway-would it have hurt the story if the gay couple had been the ones who got to take their baby home at the end of the day?
I don't think it would've.
I actually liked the second season episode featuring a lesbian couple-at first. A woman offers to donate a part of her liver to save her girlfriends life, unknowing (the doctors think) that her partner is planning to break up with her.
It presented an interesting moral dilemma-which has precedence, your sense of preservation or your sensitivity to another's feelings? But in a deeply cynical twist, we learn that she has known all along. The reason she chose to give up her liver is because she knows her girlfriend will never leave her now, out of guilt.
This resolution changed the picture of a lesbian couple from one prey to the same frailties and screwups as most of us into one in which one partner is trapped, the other manipulative to an arguably evil degree.
Once again we have a show in which lesbian always equals doomed to unhappiness. The writers do give some of the characters happy endings and a chance at new life. It's just that the two times they've dealt with lesbian characters so far, they've chosen not to do that.
On the other hand, I'll forgive almost anything for lines like this:
House: Tonight-L Word marathon.
Wilson: You watch The L Word?
House: On mute.
Only way to watch it, as far as I'm concerned.
Sunday, September 17, 2006
Random Flickr-Blogging: IMG_1272
In retrospect, Jimmy would admit that he could probably have come up with a better place to put his time-lapse photography camera than the women's room at a carnival just outside Chicago.
Original source.
You may think you see a family memory that will be looked back upon and cherished in years to come. I see a child experiencing something she'll one day be describing to a psychiatrist.
Original source.
"That's right...just raise the cage a few more inches...that's it...come on...uh-oh, that guy looks suspicious...uh...I mean...the wonderful thing about tiggers, is tiggers are wonderful things, our tops are made out of...there we go, keep raising the cage, sucker..."
Original source.
Slumped in his chair, George could deny it no longer: The punk look was dead.
Original source.
"I don't want to work, I just want to...wait a minute...that is my work! Damnit!"
Original source.
"Tune in again next week for another exciting adventure of Jane Bond, SuperSpy In Training!. Next week, Jane learns the hazards of utilizing too much massage oil before a gunfight in 'There's Many A Slip Twixt Cup And Hit!"
Original source.
Saturday, September 16, 2006
This is bizarre.
Okay. There's a woman named Jessica, she co-writes the blog Feministing. I've linked to it a couple of dozen times, both at this blog and my old one, usually finding it a source of both good humor and good ideas.
Jessica was invited, along with several other bloggers, to meet with Bill Clinton recently. As one would, they posed for a group photo with the former President. Right-wing bloggers are, apparently, in a state of agitation about this.
What has them so stirred up? Well, apparently, it's because Jessica, besides being a funny and smart writer, has these...things. On her chest. These round protruberances, the outlines of which show even when she's wearing a sweater. My god, how distasteful.
Sadly, I am not even making this up. The often-inspirational Amanda from Pandagon had this to say about a couple of Jessica's critics, Ann Althouse and someone called Dr. Helen.
(Quick sidebar: A strap-on costs a couple of hundred bucks? Man. I am out of the loop.)
Jill from Feministe, whose responses to previous fun-with-feminism moments I've also linked to in the past, goes into it here.
Jessica was invited, along with several other bloggers, to meet with Bill Clinton recently. As one would, they posed for a group photo with the former President. Right-wing bloggers are, apparently, in a state of agitation about this.
What has them so stirred up? Well, apparently, it's because Jessica, besides being a funny and smart writer, has these...things. On her chest. These round protruberances, the outlines of which show even when she's wearing a sweater. My god, how distasteful.
Sadly, I am not even making this up. The often-inspirational Amanda from Pandagon had this to say about a couple of Jessica's critics, Ann Althouse and someone called Dr. Helen.
Ann, unable to muster up anything to actually say about the luncheon, decided to invite her male readers to make gross comments about Jessica’s body. Naturally, the word “intern” was thrown around, because about 95% of wingnuts think “interns” are concubines for politicians. When Jessica linked back and told her, far more nicely than I would, to cram it up her tight ass, she decided to write an entire post on Jessica’s boobs. Ann is a Boob Woman, apparently. Dr. Helen, never one not to vie for a chance to bash on women in hopes of earning an honorary penis (for some reason, they haven’t awarded it yet, making her the most optimistic moron ever to walk the face of the planet—the Dr. doesn’t know she can buy a strap-on for a couple hundred bucks, I guess) has written a post inviting her male readers to abuse Jessica for the audacity of being a pretty young woman and also a writer who gets invited to lunch with a former President. Dr. Helen’s excuse is we feminists are opposed to men groping women in bars. This means we are supposed to avoid men who have consensual sex with women. Dr. Helen’s unwillingness to understand the concept of consent still boggles my mind.
(Quick sidebar: A strap-on costs a couple of hundred bucks? Man. I am out of the loop.)
Jill from Feministe, whose responses to previous fun-with-feminism moments I've also linked to in the past, goes into it here.
Friday, September 15, 2006
Suspicion of tradition so new wave
| You Are Lightning |
 Beautiful yet dangerous People will stop and watch you when you appear Even though you're capable of random violence You are best known for: your power Your dominant state: performing |
Something going wrong around...
Tom tagged me with a t'do list: name five songs that make me cry.
As is my wont, I've added one or two videos where appropriate and availible. This is, as they say, in no particular order...
Joe Jackson - Is She Really Going Out With Him? (live version from the Beat Crazy Tour of 1980): With "Sentimental Thing" from Blaze Of Glory a very close runner-up. What moves me so much about this performance of one of JJ's best-known hits is not so much the lyrical content (though god knows I've identified with that in my time) as the emotion of the performance.
It was recorded at the last gig Joe would play with his original lineup until the reunion Volume 4 album of 2003. As he repeats the last line of the chorus-"Something going wrong around here"-it builds into a final emotional screech, a yelp-"Something going wrong AROUND...."
...before the band takes off into a final vamp that becomes chaotic when Jackson climbs "over the drum kit and accidentally pulling a few wires out of their sockets in the process," according to his liner notes to the Live 1980/86 album.
Level 42 - Something About You: Specifically, an unfortunately uncredited remix that I have on one of my '80s new wave compilations. I like the single version, which is featured in the video below, but I love the remix. Whoever did it actually took some parts out of the song and I've never missed them, in fact the opposite.
There is a moment in this song where I can absolutely see my characters Annabel and Keitha dancing together. I won't tell you just what it is because, again, that moment's not really connected to the lyric of the song and it doesn't matter.
But it gets me almost every time-even just now thinking about it. It represents every hope and dream I have of where I want to take them-which sometimes seems so far away...
For the record, it has nothing to do with the fact that a scene in the video features a painter, which another of my characters, Colley, is. I only just discovered that myself.
Tears for Fears - Year Of The Knife: This album track from The Seeds of Love is for my All That Jazz moment, if you remember the big musical number before Joe Gideon dies.
Fixx - Secret Separation: This is the second-best single the Fixx ever recorded (it'd be the best if not for that instantly-dated drum sound) and their most emotionally and lyrically coherent.
Like all their records it benefits immeasurably from production by Rupert Hine, who knew how to do vocal and instrumental arrangements and overdubs that showed the band to their best possible effect. Herein the simple strummed guitar that leads to the last lines of the song.
This consists in part of the first line of the first verse and the last line of the chourus, repeated over and over in different voices:
Eurythmics - Shame: First things first: The person who posted the video for this to YouTube doesn't want it embedded, but if you go here you can see it. I would suggest you do, not only to hear the song but to see, IMO, the best video the two ever made (I believe Dave was the director).
As for the song, it's a beautiful rebuke to the idea of "the glamourous life." Now, normally I get prickly about the notion that it's always multi-billionaire rock stars like Sting and John Lennon who are telling us to "live here and be happy with less" or "Imagine no possessions."
So why do Dave and Annie get away with saying
-for promoting a lifestyle which, they say, "don't exist?" Well, maybe it's because they don't leave the bromides and bands upon which they were raised out of their finger-pointing.
As is my wont, I've added one or two videos where appropriate and availible. This is, as they say, in no particular order...
Joe Jackson - Is She Really Going Out With Him? (live version from the Beat Crazy Tour of 1980): With "Sentimental Thing" from Blaze Of Glory a very close runner-up. What moves me so much about this performance of one of JJ's best-known hits is not so much the lyrical content (though god knows I've identified with that in my time) as the emotion of the performance.
It was recorded at the last gig Joe would play with his original lineup until the reunion Volume 4 album of 2003. As he repeats the last line of the chorus-"Something going wrong around here"-it builds into a final emotional screech, a yelp-"Something going wrong AROUND...."
...before the band takes off into a final vamp that becomes chaotic when Jackson climbs "over the drum kit and accidentally pulling a few wires out of their sockets in the process," according to his liner notes to the Live 1980/86 album.
Level 42 - Something About You: Specifically, an unfortunately uncredited remix that I have on one of my '80s new wave compilations. I like the single version, which is featured in the video below, but I love the remix. Whoever did it actually took some parts out of the song and I've never missed them, in fact the opposite.
There is a moment in this song where I can absolutely see my characters Annabel and Keitha dancing together. I won't tell you just what it is because, again, that moment's not really connected to the lyric of the song and it doesn't matter.
But it gets me almost every time-even just now thinking about it. It represents every hope and dream I have of where I want to take them-which sometimes seems so far away...
For the record, it has nothing to do with the fact that a scene in the video features a painter, which another of my characters, Colley, is. I only just discovered that myself.
Tears for Fears - Year Of The Knife: This album track from The Seeds of Love is for my All That Jazz moment, if you remember the big musical number before Joe Gideon dies.
They say his famous final words
Came from the heart of the man
I made my bed on love denied
Now I ain't gonna sleep tonight
Too late for the young gun
To lead a simple life
(The sun and the moon, the wind and the rain...)
Fixx - Secret Separation: This is the second-best single the Fixx ever recorded (it'd be the best if not for that instantly-dated drum sound) and their most emotionally and lyrically coherent.
Like all their records it benefits immeasurably from production by Rupert Hine, who knew how to do vocal and instrumental arrangements and overdubs that showed the band to their best possible effect. Herein the simple strummed guitar that leads to the last lines of the song.
This consists in part of the first line of the first verse and the last line of the chourus, repeated over and over in different voices:
I'll bear one precious scar that only you will know
Passengers in time
Free me...
Eurythmics - Shame: First things first: The person who posted the video for this to YouTube doesn't want it embedded, but if you go here you can see it. I would suggest you do, not only to hear the song but to see, IMO, the best video the two ever made (I believe Dave was the director).
As for the song, it's a beautiful rebuke to the idea of "the glamourous life." Now, normally I get prickly about the notion that it's always multi-billionaire rock stars like Sting and John Lennon who are telling us to "live here and be happy with less" or "Imagine no possessions."
So why do Dave and Annie get away with saying
Shame
In the dancehalls and the cinema
On the TV and the media
-for promoting a lifestyle which, they say, "don't exist?" Well, maybe it's because they don't leave the bromides and bands upon which they were raised out of their finger-pointing.
Shame
And they said all need is love...
With the Beatles and the Rolling Stones
Thursday, September 14, 2006
I confess my first reaction to this information was...
...is this a joke?
Cross-dressing British comedian Eddie Izzard will be joining the cast of the George W. Bush-loving series 24 in the sixth season. How fair and balanced.
Also joining the cast will be actor James Cromwell, in the role of Jack Bauer's father.
Probably a good choice. Can you think of anyone better qualified to play Kiefer Sutherland's father? I can't.
Let's ask this guy. Sir, can you think of anyone better...
Okay sir, we'll catch you later...
Cross-dressing British comedian Eddie Izzard will be joining the cast of the George W. Bush-loving series 24 in the sixth season. How fair and balanced.
Also joining the cast will be actor James Cromwell, in the role of Jack Bauer's father.
Probably a good choice. Can you think of anyone better qualified to play Kiefer Sutherland's father? I can't.
Let's ask this guy. Sir, can you think of anyone better...
Okay sir, we'll catch you later...
The TV producers of Hollywood aren't listening to a wide enough selection of music
The West Wing episode "Posse Comitatus" features a montage set to the late Jeff Buckley's cover of Leonard Cohen's "Hallelujah" near its conclusion. The song also featured on the second season premiere of House, "Acceptance."
At the end of the Huff episode "Is She Dead?" the song "Delicate" by Damien Rice plays...which it also does in the background of the third second season episode of House, "Humpty Dumpty." To make this even slightly weirder, the refrain of "Delicate" is
Now these are both artful, great performances and songs...but there are millions of others. You'd think someone would have noticed.
At the end of the Huff episode "Is She Dead?" the song "Delicate" by Damien Rice plays...which it also does in the background of the third second season episode of House, "Humpty Dumpty." To make this even slightly weirder, the refrain of "Delicate" is
why'd you say hallelujah, if it means nothing to ya?
Now these are both artful, great performances and songs...but there are millions of others. You'd think someone would have noticed.
Wednesday, September 13, 2006
Random Confessions Of The '80s Man
On the commentary track for the new Special Edition DVD of Some Kind Of Wonderful, director Howie Deutch misidentifies Propaganda's "Dr. Mabuse," which plays under the opening credits, as "Do Anything" by Pete Shelley.
How to annoy the '80s man.
BTW, I know one or two of my vast reading audience are also Mystery Science Theater 3000 fans. This is the video for "Dr. Mabuse."
Tell me that's not a much, much, much, much cooler version of Manos, the Hands of Fate.
How to annoy the '80s man.
BTW, I know one or two of my vast reading audience are also Mystery Science Theater 3000 fans. This is the video for "Dr. Mabuse."
Tell me that's not a much, much, much, much cooler version of Manos, the Hands of Fate.
Tuesday, September 12, 2006
Monday, September 11, 2006
Seriously-Lindsay Lohan owns no underwear
(click to make pic bigger)
However, I admit that I like the fact she's standing under a sign with my old nickname when I was a kid on it. I'm a simple man in many ways.
A song and a few thoughts
Five years ago, after September 11, 2001, the first time I left the house, this is the song I put in my tape deck. Of course, the lyric can't give you the full effect. Especially as it's missing the recitation of "The Lord's Prayer" that runs throughought the song, ending with the haunting repitition of "God deliver us from evil."
But this gives you a rough idea.
--Mark Evanier.
--Mark Evanier (again)
--BAGnewsnotes.
There's a feeling by some bloggers today that it would "creepy" to blog about other, non-9/11 topics. Right or wrong, I do not share this feeling. Obviously I wanted to acknowledge the day, but I do not see how there is anything constructive in adopting a hushed, faux-reverent tone to my writings here.
As if showing that I have not "forgotten" the events of that day made one damn bit of difference. The quote from BAGnews above is quite correct: As long as George W. Bush remains in office, we-none of us-are doing anything to actually bring those responsible to justice.
And in a way it seems just as disrespectful a spit in the face of those who were lost, and their loved ones, to pretend otherwise.
But this gives you a rough idea.
I stand alone and watch the clock
I only wait for it to stop
And in the room locked up inside me
The cutout magazines remind me
I sit and wait alone in my room
And in my room against the wall
There is a picture very small
A photograph I took some years ago
It shows a picture of the room I know
I sit and wait alone in my room
The walls are white and in the night
The room is lit by electric light
I stand alone and watch the clock
I only wait for it to stop
The doors are shut and all the windows lock
The only sound is from the clock
I sit and wait alone in my room
The walls are white and in the night
The room is lit by electric light
--Yaz, "In My Room"
The more I am reminded of the pain of that day, the more I resent the folks who've tried to manipulate its memory. No event in my lifetime (I'm 54) brought Americans together the way our shared suffering brought us together that day. It is appalling not only that this unity has been lost but that the emotions of 9/11 have been reconfigured to demonize one another. The worst kind of partisans have claimed 9/11 as a club to use against the other side. The same thing has happened with the Iraq War: If you don't see things my way and vote for my side, you must be objectively pro-terrorist, plus you hate America and pray for our troops to be killed.
--Mark Evanier.
Roughly 3,000 people died on September 11 for no good, human reason. Countless others were injured and/or had their lives forever harmed in a myriad of ways...physically, emotionally, financially, etc. (I think there's an unfortunate tendency to talk about the number of dead as if that's the sole measure of damage that occurred.) I don't think we should look back at it all in a way that just makes us afraid it'll happen again. We usually do the wrong thing when we operate out of fear. But there's got to be a more constructive thing we can do with that memory than exploit it for short-term benefits.
--Mark Evanier (again)
Frankly, I don't see how 9/11 can be venerated in any legitimate collective way as long as George Bush is leading that process. Above all, BushCo's manipulation of the survivors and victims on the anniversary of this abhorrent tragedy shows the blasphemy of someone whose actions consistently demonstrate duplicity and a pure political motive.
--BAGnewsnotes.
There's a feeling by some bloggers today that it would "creepy" to blog about other, non-9/11 topics. Right or wrong, I do not share this feeling. Obviously I wanted to acknowledge the day, but I do not see how there is anything constructive in adopting a hushed, faux-reverent tone to my writings here.
As if showing that I have not "forgotten" the events of that day made one damn bit of difference. The quote from BAGnews above is quite correct: As long as George W. Bush remains in office, we-none of us-are doing anything to actually bring those responsible to justice.
And in a way it seems just as disrespectful a spit in the face of those who were lost, and their loved ones, to pretend otherwise.
They're on to me.
Your 'Do You Want the Terrorists to Win' Score: 91%
You are a terrorist-loving, Bush-bashing, "blame America first"-crowd traitor. You are in league with evil-doers who hate our freedoms. By all counts you are a liberal, and as such cleary desire the terrorists to succeed and impose their harsh theocratic restrictions on us all. You are fit to be hung for treason! Luckily George Bush is tapping your internet connection and is now aware of your thought-crime. Have a nice day.... in Guantanamo!
Do You Want the Terrorists to Win?
Quiz Created on GoToQuiz
Saturday, September 9, 2006
Could I have any higher regard for "Studio 60" before it even airs?
You wouldn't think so, given its cast and crew. But apparently, I can, because I just read in the selfsame EW that the writing staff includes Mark McKinney of The Kids In The Hall, who was hired to help out with the sketch writing for the show-within-the-show.
Come on, September 18!
Come on, September 18!
Friday, September 8, 2006
Oh boy, "Girls."
So I'm flipping through the Entertainment Weekly TV Fall Preview issue. In the writeup on the new, Sherman-Palladinoless season of Gilmore Girls, they describe Lauren Graham deleting lines and generally being more "collaborative" and "a more active participant in the process" than was apparently the norm in the past.
Well, great. Graham is a talented, commanding, sexy and funny actress...but I have yet to read a single interview with her that suggests she should be getting anywhere near that creative process.
But then, most actors shouldn't. Occasionally you find one who's capable of looking at "the big picture," but they're rare as un-plastic surgery-ed faces in Hollywood. For the most part, actors creative decisions are based on who they like (I want to make out with him, not him!) or what they think will make people like them (this won't make me look unsympathetic, will it?)
Well, great. Graham is a talented, commanding, sexy and funny actress...but I have yet to read a single interview with her that suggests she should be getting anywhere near that creative process.
But then, most actors shouldn't. Occasionally you find one who's capable of looking at "the big picture," but they're rare as un-plastic surgery-ed faces in Hollywood. For the most part, actors creative decisions are based on who they like (I want to make out with him, not him!) or what they think will make people like them (this won't make me look unsympathetic, will it?)
Cruelty, thy name is theatre
Sideways was one of the movies I loved most in the past couple of years; I was pleased when it was nominated for and/or won all those awards. One of the things it gets absolutely dead-on is the soul-shriveling experience of the struggling writer walking downstairs to check his mailbox every day and finding...nothing.
(I've been known to joke that Sideways
could have been made for me. I'm a struggling writer and I've had a crush on Virginia Madsen since 1985.)
So anyway, this evening, I go downstairs to check my mailbox. In it, I find an envelope with the return address of a theatre to which I submitted a couple of my plays a while back. Now, I don't mind so much these days, having one of my plays rejected.
Though obviously I'd be delighted if one of those messages in bottles I sent out so long ago suddenly brought me a production. But my ego isn't invested in my plays at the moment, not the way it is in my novel.
So I have no big problem with the fact that in the envelope was not a letter telling me they wished to produce one of my plays and send me some thousands of dollars. I do, however, think it was a bit chintzy of them to be sending me a fundraising letter.
I need Virginia Madsen to come and teach me about wine...
(I've been known to joke that Sideways
could have been made for me. I'm a struggling writer and I've had a crush on Virginia Madsen since 1985.)So anyway, this evening, I go downstairs to check my mailbox. In it, I find an envelope with the return address of a theatre to which I submitted a couple of my plays a while back. Now, I don't mind so much these days, having one of my plays rejected.
Though obviously I'd be delighted if one of those messages in bottles I sent out so long ago suddenly brought me a production. But my ego isn't invested in my plays at the moment, not the way it is in my novel.
So I have no big problem with the fact that in the envelope was not a letter telling me they wished to produce one of my plays and send me some thousands of dollars. I do, however, think it was a bit chintzy of them to be sending me a fundraising letter.
I need Virginia Madsen to come and teach me about wine...
Oh, Mr. Varkentine...come now!
I've been noticed by the web page for The Jack Benny 39 cent stamp campaign. I share space on the page with (among others) a couple of non-entities named Neil Gaiman and Mark Evanier. I'm sure they're proud to be associated with me, even in this meager way.
As I've mentioned before, Benny is one of my all-time favorites from the golden age of radio. Actually, he's one of everyone's favorites from the golden age of radio, and...holy cow. I just found out that YouTube has a couple of short clips of a filmed recording of The Jack Benny Program in 1942.
This is the second part:
I want to make a sidenote here to say a few words abour Rochester, a little "let the clicker beware" if you will. His routine with Benny in the above clip makes use of some racist stereotypes, something his portrayal was sadly not free of up through about the second world war. I'm posting it because I believe the routine is still funny, due largely to Eddie Anderson and Benny's gifts as comic actors.
In his book Prime Time Blues, Donald Bogle makes the case that Benny & Anderson were the originators of the black/white comedy team we've seen so many variants on since, and I agree. First in performance and then in writing, as the staff got more "hip" to the realities of the black experience of living in America in the first half of the 20th century, Anderson's Rochester always transcended stereotype.
Benny was the acknowledged master of comedy timing, but Anderson was nearly his equal at the skill. That is why, in my view, such troubling material as they performed still holds up...which is more than I can say for Amos and Andy.
That team was just as popular in their day if not more so, but nowadays it's just not funny anymore, at least not to me (and for reasons that have nothing to do with the racial content). Anderson's characterization can still be appreciated today, both if understood as in the context of its time and because, again, it's just so funny.
That's what I think, anyway. Your mileage, as they say, may vary.
As I've mentioned before, Benny is one of my all-time favorites from the golden age of radio. Actually, he's one of everyone's favorites from the golden age of radio, and...holy cow. I just found out that YouTube has a couple of short clips of a filmed recording of The Jack Benny Program in 1942.
This is the second part:
I want to make a sidenote here to say a few words abour Rochester, a little "let the clicker beware" if you will. His routine with Benny in the above clip makes use of some racist stereotypes, something his portrayal was sadly not free of up through about the second world war. I'm posting it because I believe the routine is still funny, due largely to Eddie Anderson and Benny's gifts as comic actors.
In his book Prime Time Blues, Donald Bogle makes the case that Benny & Anderson were the originators of the black/white comedy team we've seen so many variants on since, and I agree. First in performance and then in writing, as the staff got more "hip" to the realities of the black experience of living in America in the first half of the 20th century, Anderson's Rochester always transcended stereotype.
Benny was the acknowledged master of comedy timing, but Anderson was nearly his equal at the skill. That is why, in my view, such troubling material as they performed still holds up...which is more than I can say for Amos and Andy.
That team was just as popular in their day if not more so, but nowadays it's just not funny anymore, at least not to me (and for reasons that have nothing to do with the racial content). Anderson's characterization can still be appreciated today, both if understood as in the context of its time and because, again, it's just so funny.
That's what I think, anyway. Your mileage, as they say, may vary.
Wednesday, September 6, 2006
"I don’t want to be the person I will be if I stay here.”
Harry Anderson is leaving New Orleans.
Harry Anderson, the illusionist, comic and former star of sitcoms like “Night Court” and “Dave’s World,” has lived in New Orleans since 2000, when he left Hollywood with his wife, the former Elizabeth Morgan. They rode out Hurricane Katrina in the French Quarter, in the building that houses Oswald’s Speakeasy, Mr. Anderson’s nightclub. Their home, whose ground floor was given over to Sideshow, their magic and curiosity shop, was in another building in the Quarter.
In the weeks after the storm, even before the power was back, Mr. Anderson opened his club for what he called French Quarter Town Hall meetings. The weekly gatherings, which at first offered little more than camaraderie by candlelight and warm beer, evolved into a de facto government for a part of New Orleans that had experienced little flooding but could not begin cleanup and rebuilding because of the city’s overall paralysis.
So it is especially poignant that the Andersons have now decided to leave. But their story is not unique: many in this city are suffering the same continuing loss and strain that led these two to their decision. So their departure raises the question of whether others who can afford to leave, those who have not sunk every penny into a now-moldy house or a devastated store, will also move on.
One reason they were leaving, they said, was that the tourists were few and even fewer were coming to see “Wise Guy,” Mr. Anderson’s engaging one-man show at Oswald’s. “I had more people in my car last night,” he said to his piano player during a performance in May.
Mr. Anderson said friends and relatives from out of town are happy to hear that they are moving. “It’s been a universal response from people who aren’t here,” he said.
Their New Orleans friends, too, have been supportive, Ms. Anderson said, and no one has expressed hostility. “I feel a little bit better now because I feel something is going to happen,” Ms. Anderson said. “I’m glad we tried to stay, but I don’t want to be the person I will be if I stay here.”
Okay...I freely admit this is a cheap shot...but come on...
Via A Socialite's Life:
You know...a lot of great actors have played King Arthur. Joss Ackland...Mel Blanc...Pierce Brosnan...Graham Chapman...Sean Connery...Peter Cook...Tim Curry...John Gielgud...Richard Harris...Harry Shearer...Martin Sheen...Dave Thomas...
...to name just a few, in alphabetical order (thank you, IMDB). Now, Justin Timberlake. Good work, guys. We just got the English to forgive us for the whole Dick Van Dyke's Cockney accent in Mary Poppins thing.
I suppose we can't really blame young Justin. The poor boy ain't that bright:
Justin Timberlake...who will be voicing King Arthur in animated feature "Shrek The Third,"
You know...a lot of great actors have played King Arthur. Joss Ackland...Mel Blanc...Pierce Brosnan...Graham Chapman...Sean Connery...Peter Cook...Tim Curry...John Gielgud...Richard Harris...Harry Shearer...Martin Sheen...Dave Thomas...
...to name just a few, in alphabetical order (thank you, IMDB). Now, Justin Timberlake. Good work, guys. We just got the English to forgive us for the whole Dick Van Dyke's Cockney accent in Mary Poppins thing.
I suppose we can't really blame young Justin. The poor boy ain't that bright:
[Timberlake] finds himself dizzy when he tries to read books and scripts aloud - unless the text is always in the centre of the page.
He says, "I think I need to get my eyes checked. I don't have a problem reading scripts because all the text is in the middle of the page and you just scan down. "But there's something about going left to right, left to right that makes me dizzy."
A choice of replies.
One: He can't read left to right? Well, maybe there's a solution to that. Oh, Rabbi...
Two: Do all of you reading this know from just what state in our union Mr. Timberlake happens to hail, or would you like me to refresh your memory?
Tuesday, September 5, 2006
Now that, my friends, is comedy
Guerrilla artist Banksy hijacked a shipment of Paris Hilton cds and replaced the cd with a disc of his own music ... he also replaced the inner artwork with his own manipulated artwork. Here are a few photos of the jacked up artwork and the cd:
Banksy has replaced Hilton's CD with his own remixes and given them titles such as Why am I Famous?, What Have I Done? and What Am I For? He has also changed pictures of her on the CD sleeve to show the US socialite topless and with a dog's head. A spokeswoman for Banksy said he had doctored 500 copies of her debut album Paris in 48 record shops across the UK. She told the BBC News website: "He switched the CDs in store, so he took the old ones out and put his version in" ... But he left the original barcode so people could buy the CD without realising it had been interfered with. Banksy is notorious for his secretive and subversive stunts such as sneaking doctored versions of classic paintings into major art galleries. His spokeswoman said he had tampered with the CDs in branches of HMV and Virgin as well as independent record stores ... No customers had complained or returned a doctored version, he said.
Via Pink Is The New Blog.
Monday, September 4, 2006
Labo(u)r day address
I refuse to believe that the hardworking people of these United States would not have wanted me to get my mail on this, their day. That said, I'm stealing a tip from Blue Gal and using this as an excuse to post the video for one of my favorite Billy Bragg songs.
It's not as explicitly political as some of his others, though Billy being Billy, a nuclear submarine and painful headlines do make it into the second verse. Most importantly as far as I'm concerned, it features Kirsty MacColl (sigh) banging on a tambourine, shaking what her mama gave her, singing backup vocals and generally taking the piss out of Bragg.
God, I love her.
It's not as explicitly political as some of his others, though Billy being Billy, a nuclear submarine and painful headlines do make it into the second verse. Most importantly as far as I'm concerned, it features Kirsty MacColl (sigh) banging on a tambourine, shaking what her mama gave her, singing backup vocals and generally taking the piss out of Bragg.
God, I love her.
Sunday, September 3, 2006
Convergence
There was a month or so there, around 1984, when if you asked me who I would want to be if I could be anybody besides myself I would have said: Daryl Hall.
I also love theaters. Not "the theater," pls note (though I've loved that too in my time), but theaters. There is something romantic about a big, cavernous, empty theater.
And as you may remember, I'm also a sucker for water imagery. I think the ocean is beautiful and many of my favorite songs have overt or covert water associations.
What we have here is a few of my favorite things.
I also love theaters. Not "the theater," pls note (though I've loved that too in my time), but theaters. There is something romantic about a big, cavernous, empty theater.
And as you may remember, I'm also a sucker for water imagery. I think the ocean is beautiful and many of my favorite songs have overt or covert water associations.
What we have here is a few of my favorite things.
The lord taketh away, and the lord giveth.
As my friends and fans know, this season I expect to be saying "no, thank you" to Gilmore Girls after the departure of creator Amy Sherman-Palladino and her husband Dan. Ah, but there's good news tonight.
As it turns out, this does not mean I have to give up watching Lauren Graham speak great dialogue by a writer who is a genius or something like it.Thanks to her recently announced two-episode appearance on...(wait for it)...Studio 60.
As it turns out, this does not mean I have to give up watching Lauren Graham speak great dialogue by a writer who is a genius or something like it.Thanks to her recently announced two-episode appearance on...(wait for it)...Studio 60.
Random Flickr-Blogging: IMG_6074
Today I seem to be in the mood for a few romantic locales...
This is very much the kind of place I liked to play as a child when given the chance. A green and leafy glade, with stairs to run up and down and an archway for dramatic entrances. I would have figured out ways to "stage" Robin Hood or sumthin'....
See the lights, in the night sky...
This one makes me want to listen to a Ryuichi Sakamoto album. So I am.
Original sources here, here and here.
This is very much the kind of place I liked to play as a child when given the chance. A green and leafy glade, with stairs to run up and down and an archway for dramatic entrances. I would have figured out ways to "stage" Robin Hood or sumthin'....
See the lights, in the night sky...
This one makes me want to listen to a Ryuichi Sakamoto album. So I am.
Original sources here, here and here.
Saturday, September 2, 2006
“I’m still hopeful,” he said, “but it’s an act of will now..."
Michael Tolkin is the author of the book The Player, a sexy Hollywood satire which he adapted into the screenplay for the Robert Altman film of the same name. His other writing credits include episodes of the sitcom Taxi-pretty great credit as far as I'm concerned-and the thought-provoking The Rapture, which he also directed. And the inexplicably memorable Christian Slater skateboard action-flick, Gleaming the Cube.
Now he's published a book sequel to The Player, and talking up (in the New York Times) his idea that the real Hollywood players are seeing that game over sign...
Now he's published a book sequel to The Player, and talking up (in the New York Times) his idea that the real Hollywood players are seeing that game over sign...
“I don’t think America’s had a good movie made since Abu Ghraib,” Mr. Tolkin said, before clarifying that he’s talking about big movies, not the minuscule ones that have met the industry’s quotas for unembarrassing award nominees. “I think it showed that a generation that had been raised on those heroic movies was torturing. National myths die, I don’t think they return. And our national myth is finished, except in a kind of belligerent way.”
...Now, as [Tolkin's lead character]Griffin Mill explains, the world has turned off the fantasies that America once fed it: “When the moral lessons of the movies can’t blunt the pain or give you energy because you’re too poor or hungry or scared or trapped — so trapped that the Journey of the Hero is the story of how your oppressors won King of the Hill — you can’t be helped by anything except violence in the real world, but it’s the kind of violence the movies lay off on the villain, mass violence.”
Mr. Tolkin said his book is about “the destructive power of despair and hopelessness.” Which may just deter Hollywood producers from stampeding, as they did with “The Player,” to make the sequel into a movie.
“I’m still hopeful,” he said, “but it’s an act of will now. Reason tells you otherwise.”
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