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| blogging since Oct '01
This is Gordon Osse's blog.
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"He who does not at some time, with definite determination consent to the terribleness of life, or even exalt in it, never takes possession of the inexpressible fullness of the power of our existence."
all faces followers of
All colors, beams of
-- Akhenaton, "Hymn to the Sun"
Opt your children out of Pentagon harassment
WHO I WORK FOR: Mount Hope Wholesale
Wholesale nuts, grains, fruits and spices (and more) shipped from Cottonwood AZ
(Tell them you heard about them on Gordon's blog!)
WHAT I'VE SEEN LATELY:
(r) = re-viewing
God Told Me To (1976, Cohen)
Whispering City (1947, Otsep)
Times and Winds (2006, Erdem)
Dirty Money (Un flic) (1972, Melville)
10th District Court (2004, Depardon)
RFK Must Die: The Assassination of Bobby Kennedy (2007, O'Sullivan)
The Furies (1950, Mann)
In a Lonely Place (1950, Ray)(r)
The Adjuster (1991, Egoyan)(r)
Mad Men The Buddha of Suburbia Intelligence (2006, Haddock) Family Guy
SUGGESTED VIEWING: The Power of Nightmares: The Rise of the Politics of Fear (2004, Curtis) [available for streaming/download here]
"The press corps was under enormous pressure from corporate executives, frankly, to make sure that this was a war presented in a way that was consistent with the patriotic fever in the nation and the president's high approval ratings," Yellin said.
"And my own experience at the White House was that the higher the president's approval ratings, the more pressure I had from news executives — and I was not at this network at the time — but the more pressure I had from news executives to put on positive stories about the president, I think over time...." - andrea yellin
a lot's going on now i know, but this item about the mass murder of over (probably well over) 100,000 "leftists" in south korea in 1950 needs to be noted
The mass executions — intended to keep possible southern leftists from reinforcing the northerners — were carried out over mere weeks and were largely hidden from history for a half-century. They were "the most tragic and brutal chapter of the Korean War," said historian Kim Dong-choon, a member of a 2-year-old government commission investigating the killings.
Hundreds of sets of remains have been uncovered so far, but researchers say they are only a tiny fraction of the deaths. The commission estimates at least 100,000 people were executed, in a South Korean population of 20 million.
That estimate is based on projections from local surveys and is "very conservative," said Kim. The true toll may be twice that or more, he told The Associated Press.
US soldiers were present for at least some of the slaughter, and no doubt truman et al approved.
having just watched the post-war stray bullet, a korean movie banned for decades after its release in 1960 because of its honesty about soldiers' and civilians' trauma and want after the war, the deeply despairing mood is given new and illuminating context after reading this story.
AVC: Do you think there's any particular reason why stability and normalcy and family are so vitally important to you personally?
JC: Well, I think it's important to being a healthy person. So while you're here on the earth, you might as well enjoy it. And it's hard to enjoy things when you're crazy.
AVC: But it obviously isn't a drive for a whole lot of people in your industry. Even John, it seems. Which might have helped his career, if you compare his involvement in the film business at this point to yours.
JC: But I think we need to help these people, we need to help everyone understand that fame and money—it's just all the same things that everyone knows, religion knows, but religion ruins it. Not John, I think John is—I wasn't targeting him. Because I think he does know the importance of stability. I think people just get distracted, and you get very distracted when there's lots of fancy things around, and people have money. It's hard. Life's hard. Relationships are hard. If you can get distracted, you will.
Few Americans—professional journalists included—know anything about so-called Continuity of Government (COG) programs, so it's no surprise that the president's passing reference received almost no attention. COG resides in a nebulous legal realm, encompassing national emergency plans that would trigger the takeover of the country by extra-constitutional forces—and effectively suspend the republic. In short, it's a road map for martial law.
While Comey, who left the Department of Justice in 2005, has steadfastly refused to comment further on the matter, a number of former government employees and intelligence sources with independent knowledge of domestic surveillance operations claim the program that caused the flap between Comey and the White House was related to a database of Americans who might be considered potential threats in the event of a national emergency. Sources familiar with the program say that the government's data gathering has been overzealous and probably conducted in violation of federal law and the protection from unreasonable search and seizure guaranteed by the Fourth Amendment.
Visually, structurally, and thematically, Inland Empire and The Straight Story represent polar opposites in Lynch's body of work. But curiously, for all the obvious differences between the two films, there is at least one interesting correlation between them: the sound of a train whistle. In the earlier film, this is represented musically in Angelo Badalamenti's guitar and violin score, and in the latter film it is still more ghostly and subliminal, present only as a distant, disembodied (but seemingly diegetic) sound effect. Trains, with their inexorable forward momentum and direction, would seem an obvious symbol of linearity itself for the former film, but we never see the train in Inland Empire. It calls out at decisive moments—heard in the background as rabbits converse obliquely, sounding at the moment in which Laura Dern decisively trades her movie-star mansion for a blue-collar bungalow, or eulogized by the chorus of whores as "The Loco-motion." But this train never pulls into view, and whether it is literal or figurative, it is no doubt menacing, commanding the synchronized movements of the whores, seemingly representing something at once sexual and coercive, a path (to destitution? to prostitution?) from which one cannot divert, a prescribed set of actions (as in a screenplay), or a compulsion. In Inland Empire, both Dern's character and the spectator try to follow this train of thought, but ultimately lose the plotline. For Lynch, this atemporal narrative existence can be frightening or even messy, but it can also be euphoric or even silly. On the one hand, Dern's frantic wandering through time and space suggests total chaos, but it ultimately seems to free her from a master narrative of spousal abuse and control, sexual and professional exploitation, and social immobility. And ultimately, for Lynch, Inland Empire also liberates his cinema from a constrictive and circumscribed filmmaking model.
Bob was extraordinarily generous. I don’t mean he gave away art — though he did that, too — but he was generous with his time and with his ideas and spirit. He started Change Inc., a foundation that awards grants to emerging artists who can’t pay their rent, utility or medical bills. No questions asked.
He was, of course, famous for making art out of everyday junk he found on the street. One summer I went down to Captiva Island, Fla., where Bob had his main studio. I stayed across the road in one of the houses he had “saved,” and I spent a week or so writing a few songs. When I returned to New York, I left behind a pair of worn-out tennis shoes. A ghostly image of them showed up in a painting not long after.
co-composer with her husband Louis of the proto sound-designed soundtrack to ForBidden Planet.
. . . in 1955, the Barrons crashed an art party in Manhattan for the wife of Dore Schary, the president of MGM. They told him about their unusual recordings. Ten days later they were driving to Hollywood, where Mr. Schary signed them for Forbidden Planet.
The score drew critical praise, but a dispute with the American Federation of Musicians prevented the Barrons from receiving credit for it; their work was referred to as "electronic tonalities." That slight was soothed in 1997, when Mrs. Barron was given the Seamus Award of the Society for Electro-Acoustic Music in the United States.
A remarkably rich, rewarding, and restful experience, Hou’s latest is a film like no other—in the simplicity of its lines, colors, and framing, and in the complexity of how those elements compound and contextualize its emotional subject matter, Flight of the Red Balloon can, in my mind, be compared to the works of Matisse. Despite this elevation, the film, miraculously, doesn’t feel like an artist’s grand summation, but rather just another in a long line of purely wrought canvases; it never calls attention to its own technique or turns its endless flow of lovely, complicated compositions into recognizable set pieces, and instead allows its three principal characters to navigate its spaces with ease. The very elements that many feared might have tripped Hou Hsaio-hsien up (being out of his country and native language) here become strengths: a trust in his actors to inhabit their own, distinct daily lives without strict authorial pressure, and a view of Paris that’s just outsider-ish enough to be slightly awed but aestheticized enough to not become travelogue. Also, Hou’s feelings for the original Lamorisse film feel more like the warm regards of a distant admirer than the impassioned homage to a hallowed national treasure.
that's a painting by the way, but i liked it better than the stills i found.