Here's a lengthy response that someone who went to high school in my hometown sent to me publicly on Facebook (related to yesterday's post):
Liberal groups are almost always coordinated and funded by centralized groups whereas the tea-parties where almost all spontaneous local uprisings by pissed off citizens. Sand? We don't need no stinking sand! Propaganda? Dude . . . I think you may be subsisting on it.A. Governments are necessary entities, not persons.B. Governments produce nothing. They are always a sum-zero to sum-negative net creators. The only true wealth is created by producing something worth more than it's inherent cost.C. The more control you give any government the more control it will demand and ultimately take. Our founding fathers understood this impeccably.D. If you have a $1.00 problem it will always take a governmental entity at least a $1.50 to TRY and fix it, which it seldom ever does. At least not without creating numerous collateral new problems.... E. EVERY re-distribution experiment to date has failed to even begin to compete with the over-whelming success of free enterprise. Anyone want to live in North Korea, Russia, China, Cuba, or Venezuela? How many East Germans died trying to get to West Germany before the wall came down?F. Ever gotten a job from a poor person?G. I have more bullet points but it's way past my bed-time!
Friday, January 15, 2010
Thursday, January 14, 2010
Talking about my generation--and their responses.
Posted this as a status update to Facebook earlier today:
I'm sorry to say this--but I'm still having a hard time with people I know from high school being suckers for right-wing propaganda and putting heads in the Tea Party sand.
Received a response saying (in essence) that I drank liberal Kool-Aid.
Then I posted the following:
Don't think that I drank Kool-Aid. I find things to disagree with both on left and right. Just think that the Republcans should do something besides supporting passive-aggressive fascism, yelling SHUT HIM UP! re Obama and ousting people who might dare to have more moderate views. Saying it again--too many people I've known in high school and at [Midwestern State University] in Wichita Falls have turned into adults who don't ask questions and turn too much of their lives over to other people because "they know more than we do." And they don't do their chidren and grandchildren any favors when they just expect their values to be unanimously followed and, in some cases, don't love them when they [their children and grandchildren] may turn out differently.
Received some serious responses from people I've known about Obama's danger to the "American Way of Life", "Obama sucks", and that the Left started all the mudslinging. Then, the posts became more jokey since jokes are a great way to neutralize opinions people think are Wrong.
You've just heard the pulse of the nation courtesy of certain members of the high school graduating classes of 1976 and 1977--and 1979 as well.
I'm sorry to say this--but I'm still having a hard time with people I know from high school being suckers for right-wing propaganda and putting heads in the Tea Party sand.
Received a response saying (in essence) that I drank liberal Kool-Aid.
Then I posted the following:
Don't think that I drank Kool-Aid. I find things to disagree with both on left and right. Just think that the Republcans should do something besides supporting passive-aggressive fascism, yelling SHUT HIM UP! re Obama and ousting people who might dare to have more moderate views. Saying it again--too many people I've known in high school and at [Midwestern State University] in Wichita Falls have turned into adults who don't ask questions and turn too much of their lives over to other people because "they know more than we do." And they don't do their chidren and grandchildren any favors when they just expect their values to be unanimously followed and, in some cases, don't love them when they [their children and grandchildren] may turn out differently.
Received some serious responses from people I've known about Obama's danger to the "American Way of Life", "Obama sucks", and that the Left started all the mudslinging. Then, the posts became more jokey since jokes are a great way to neutralize opinions people think are Wrong.
You've just heard the pulse of the nation courtesy of certain members of the high school graduating classes of 1976 and 1977--and 1979 as well.
Wednesday, January 13, 2010
Pat Robertson, hate and Haiti.
With all the death, devastation and misery that Haiti's currently suffering, the citizens of that country need a lot more than U.S. televangelist/former Presidential candidate Pat Robertson (THE 700 CLUB) fake-folksy babbling about some kind of pact with Satan that the country allegedly engaged in, causing the horrors of the recent earthquake.
Unfortunately, followers of Robertson only have to hear words like "Satanic" and their brains disappear and they become zombie-like slaves to the Reverend's hateful theology practiced in the name of Jesus.
Face it, Pat Robertson is a blasphemer. And he doesn't speak for Jesus--for a desire to get and hold an Earthly empire, instead--just like the late Jerry Falwell.
Unfortunately, followers of Robertson only have to hear words like "Satanic" and their brains disappear and they become zombie-like slaves to the Reverend's hateful theology practiced in the name of Jesus.
Face it, Pat Robertson is a blasphemer. And he doesn't speak for Jesus--for a desire to get and hold an Earthly empire, instead--just like the late Jerry Falwell.
Saturday, January 9, 2010
Letting Vic Richie have the last word on the Jay/Conan talk-show turf-fest.
Take a look at Nikki Finke's DEADLINE story from Thursday about NBC plotting to move Jay Leno back to 11:35 p.m. and Conan O'Brien to 12:05 a.m.
http://www.deadline.com/hollywood
And scroll down quite a long way in the Comments section to read what Vic Richie says about the whole mess.
Paraphrasing Vic: He's quite right to complain about overpaid execs who make stupid, shortsighted decisions and then go home to their elegant big houses (which they're not likely to lose).
Except he says it so much better than I (or a hundred other legitimate TV "critics") can.
http://www.deadline.com/hollywood
And scroll down quite a long way in the Comments section to read what Vic Richie says about the whole mess.
Paraphrasing Vic: He's quite right to complain about overpaid execs who make stupid, shortsighted decisions and then go home to their elegant big houses (which they're not likely to lose).
Except he says it so much better than I (or a hundred other legitimate TV "critics") can.
Thursday, January 7, 2010
The unauthorized review of Rick Lupert's WE PUT THINGS IN OUR MOUTHS.
Having been inside a glass house recently when G. Murray Thomas wrote a "you're not trying hard enough" review of my 2008 chapbook yellow tree red sky, I'll try to tread carefully.
For those who don't know who SoCal poet Rick Lupert is, this useful website will provide an introduction: http://www.poetrysuperhighway.com/
Continuing to speak neutrally, I can say that Rick, at his best when hosting poetry readings or performing his own work, has the kind of quick wit and ability to "read the room" that would certainly overshadow some alleged comedians.
And Rick, in recent years, has decided to take advantage of his professional likability and give readers a series of "how I see the rest of the physical world" observational poetry volumes.
In the past, this approach gave us the good, memorable "I'm in Israel" FEEDING HOLY CATS; now, it delivers another "I'm in Europe" tome called WE PUT THINGS IN OUR MOUTHS.
I now know enough about the craft of writing poetry to not say that Rick doesn't try (or try hard enough) when he writes his wry, no-longer-than-a-page poems (which sometimes depend on their titles for full humorous impact).
But it might be best for Rick to declare a moratorium on continuing his "funny travel poet" niche (or "brand" as the young people say nowadays) and consider being more consistently well-rounded in his choice of subjects (a recent piece on mortality he submitted to the BLUE JEW YORKER was quite funny and poignant at the same time). The on-the-road formula, loved by Rick's fanbase, may not seem so fresh here to those previously unacquainted with his poetry.
To give an example of one of the better poems in MOUTHS, here's a few lines from "Giant Wooden Shoe Couple":
Everybody already took pictures
in the giant wooden shoe at the first stop.
The giant shoe here sits lonely and unphotographed.
Maybe this second giant wooden shoe
is married to the first one and they just
work in different places.
Too often, there are two-to-four line poems that vary from flat to moderately funny--and depending on the titles to carry them across the finish line.
And there's not enough of the more serious pieces where Rick's gift for brevity works for the subjects and expands their emotional impact. Two of the best here are "To Anne Frank" and "Oh Amsterdam".
To be fair to Rick, he has altered his persona with the years to where he and wife Addie (a sometimes-supporting character in some of the pieces) now remind one of the younger George Burns and a smart, wise variant of Gracie Allen.
One just wishes, though, that he'll move on a bit from travel-as-subject and concentrate more on the everyday world and life as a suburban husband and father. Some of his best work--past and present--have come from these subjects.
Maybe someday, he'll again fill a book the size of WE PUT THINGS IN OUR MOUTHS with poems of that nature.
For those who don't know who SoCal poet Rick Lupert is, this useful website will provide an introduction: http://www.poetrysuperhighway.com/
Continuing to speak neutrally, I can say that Rick, at his best when hosting poetry readings or performing his own work, has the kind of quick wit and ability to "read the room" that would certainly overshadow some alleged comedians.
And Rick, in recent years, has decided to take advantage of his professional likability and give readers a series of "how I see the rest of the physical world" observational poetry volumes.
In the past, this approach gave us the good, memorable "I'm in Israel" FEEDING HOLY CATS; now, it delivers another "I'm in Europe" tome called WE PUT THINGS IN OUR MOUTHS.
I now know enough about the craft of writing poetry to not say that Rick doesn't try (or try hard enough) when he writes his wry, no-longer-than-a-page poems (which sometimes depend on their titles for full humorous impact).
But it might be best for Rick to declare a moratorium on continuing his "funny travel poet" niche (or "brand" as the young people say nowadays) and consider being more consistently well-rounded in his choice of subjects (a recent piece on mortality he submitted to the BLUE JEW YORKER was quite funny and poignant at the same time). The on-the-road formula, loved by Rick's fanbase, may not seem so fresh here to those previously unacquainted with his poetry.
To give an example of one of the better poems in MOUTHS, here's a few lines from "Giant Wooden Shoe Couple":
Everybody already took pictures
in the giant wooden shoe at the first stop.
The giant shoe here sits lonely and unphotographed.
Maybe this second giant wooden shoe
is married to the first one and they just
work in different places.
Too often, there are two-to-four line poems that vary from flat to moderately funny--and depending on the titles to carry them across the finish line.
And there's not enough of the more serious pieces where Rick's gift for brevity works for the subjects and expands their emotional impact. Two of the best here are "To Anne Frank" and "Oh Amsterdam".
To be fair to Rick, he has altered his persona with the years to where he and wife Addie (a sometimes-supporting character in some of the pieces) now remind one of the younger George Burns and a smart, wise variant of Gracie Allen.
One just wishes, though, that he'll move on a bit from travel-as-subject and concentrate more on the everyday world and life as a suburban husband and father. Some of his best work--past and present--have come from these subjects.
Maybe someday, he'll again fill a book the size of WE PUT THINGS IN OUR MOUTHS with poems of that nature.
Warner Brothers--and other studios likely to come--decide to change the video rental game.
http://news.cnet.com/8301-31001_3-10426792-261.html
http://community.netflix.com/forum/topics/netflix-bends-over-for-warner?xg_source=activity
Interesting--Hollywood studios want to forcibly revive the old ways of doing DVD business by breathing life into sagging in-store sales and rentals from chains like Blockbuster and Hollywood Video (plus what few independent video stores remain). At the same time, there seems to be a cluelessness about just how much of a demand there will be in the recession climate... for consumers to keep paying an average of $20 apiece for movies on DVD--outside of surefire hit titles like THE HANGOVER and THE BLIND SIDE.
And, of course, Netflix will probably continue spinning the "hey, we get a lot of older content to stream on computers, set-top boxes and newer DVD players" talking point.
The question is: Will WB provide Netflix with quality older content--or just dump a lot of revenue-stream-exhausted stuff like THE IN CROWD, THE POSTMAN and BALLISTIC: ECKS VS. SEVER?
http://community.netflix.com/forum/topics/netflix-bends-over-for-warner?xg_source=activity
Interesting--Hollywood studios want to forcibly revive the old ways of doing DVD business by breathing life into sagging in-store sales and rentals from chains like Blockbuster and Hollywood Video (plus what few independent video stores remain). At the same time, there seems to be a cluelessness about just how much of a demand there will be in the recession climate... for consumers to keep paying an average of $20 apiece for movies on DVD--outside of surefire hit titles like THE HANGOVER and THE BLIND SIDE.
And, of course, Netflix will probably continue spinning the "hey, we get a lot of older content to stream on computers, set-top boxes and newer DVD players" talking point.
The question is: Will WB provide Netflix with quality older content--or just dump a lot of revenue-stream-exhausted stuff like THE IN CROWD, THE POSTMAN and BALLISTIC: ECKS VS. SEVER?
Tuesday, January 5, 2010
Random trivial thoughts on pop culture.
1. After the widely lambasted solo project with Timbaland producing, I'm curious how much interest there may be in Chris Cornell reuniting Soundgarden later this year. Also wondering if any new material will be generated--or if it's a Pixies-esque just-play-the-old-stuff tour.
2. If Warren Beatty's so annoyed by the likely-irreverent upcoming bio from Peter Biskind, maybe it would have been a good idea to have just said nothing at all (as Artie Lange is currently doing regarding his hospitalization; Beatty had superattorney Bert Fields issue a "I didn't authorize Biskind's book" denial after Biskind and publicist apparently leaked a five-figure estimate of the number of women Beatty has been intimate with).
3. It's safe to say that Colin Firth is this year's Richard Jenkins--a fine actor who will get no more than a "thanks for your body of work" Academy Awards nomination for the film he's in. The collolary to this axiom is that, as with Jenkins and THE VISITOR, Firth is head-and-shoulders superior to the film he's in (Tom Ford's A SINGLE MAN).
2. If Warren Beatty's so annoyed by the likely-irreverent upcoming bio from Peter Biskind, maybe it would have been a good idea to have just said nothing at all (as Artie Lange is currently doing regarding his hospitalization; Beatty had superattorney Bert Fields issue a "I didn't authorize Biskind's book" denial after Biskind and publicist apparently leaked a five-figure estimate of the number of women Beatty has been intimate with).
3. It's safe to say that Colin Firth is this year's Richard Jenkins--a fine actor who will get no more than a "thanks for your body of work" Academy Awards nomination for the film he's in. The collolary to this axiom is that, as with Jenkins and THE VISITOR, Firth is head-and-shoulders superior to the film he's in (Tom Ford's A SINGLE MAN).
Saturday, January 2, 2010
Cinematic Underachievers of 2009.
In no particular order:
1. DRAG ME TO HELL--Sam Raimi got some ecstatic reviews for this underwhelming
cursed-woman-tries-to-get-uncursed tale, which at least occasionally evokes 60s American
International Pictures/William Castle product.
2. NINE--Someone needs to tell Rob Marshall that audiences post-CHICAGO are more
comfortable with movie musical conventions and the numbers-taking-place-inside-the-character's-head motif isn't necessary. And enough with the cross-cutting between the
numbers and "reality" already!
3. THE ROAD--Apparently interfered with by the Weinstein Company, John Hillcoat's
adaptation of Cormac McCarthy's man-and-boy-on-the-Post-Apocalyptic-Trail novel doesn't quite hit
the stark-but-human notes that THE PROPOSITION (Hillcoat's previous film) did.
4. WHERE THE WILD THINGS ARE--Spike Jonze's film of the Maurice Sendak book
(apparently also interfered with by Warner Brothers--witness the obvious tacked-on
ending) meant well and had some great voice work from the actors playing creatures.
But the oh-tres-hip decision to include a grating song score from Karen O (ironically, the Arcade Fire song used in the trailer worked much better) is enough to qualify this as an underachiever.
5. WHATEVER WORKS--After Woody Allen made VICKY CRISTINA BARCELONA his best film in a decade, he returned to New York and gave the world a dinner theater-level comedy which would have worked a lot less without Larry David in the lead role.
1. DRAG ME TO HELL--Sam Raimi got some ecstatic reviews for this underwhelming
cursed-woman-tries-to-get-uncursed tale, which at least occasionally evokes 60s American
International Pictures/William Castle product.
2. NINE--Someone needs to tell Rob Marshall that audiences post-CHICAGO are more
comfortable with movie musical conventions and the numbers-taking-place-inside-the-character's-head motif isn't necessary. And enough with the cross-cutting between the
numbers and "reality" already!
3. THE ROAD--Apparently interfered with by the Weinstein Company, John Hillcoat's
adaptation of Cormac McCarthy's man-and-boy-on-the-Post-Apocalyptic-Trail novel doesn't quite hit
the stark-but-human notes that THE PROPOSITION (Hillcoat's previous film) did.
4. WHERE THE WILD THINGS ARE--Spike Jonze's film of the Maurice Sendak book
(apparently also interfered with by Warner Brothers--witness the obvious tacked-on
ending) meant well and had some great voice work from the actors playing creatures.
But the oh-tres-hip decision to include a grating song score from Karen O (ironically, the Arcade Fire song used in the trailer worked much better) is enough to qualify this as an underachiever.
5. WHATEVER WORKS--After Woody Allen made VICKY CRISTINA BARCELONA his best film in a decade, he returned to New York and gave the world a dinner theater-level comedy which would have worked a lot less without Larry David in the lead role.
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