No one can tell me what's wrong
As I fall between the cracks
trying desperately to crack whats in my back
The day is long and the night is black
Friday, December 5, 2008
Friday, November 28, 2008
Annoying Blog Part III
A bit of wisdom/humor about Generation X.
One was a quote somewhere in which some slacker-type guy said "retreating in disgust is not the same as apathy."
The other was in Gen-X's enduring big accomplishment, The Onion. With all the ridiculous "where will the next Seattle be?" questions in the media, the Onion had a great story called "Harrisburg is Starting to Happen." It complemented an earlier story on "The TH scene." TH was Terre Haute, Indiana.
One was a quote somewhere in which some slacker-type guy said "retreating in disgust is not the same as apathy."
The other was in Gen-X's enduring big accomplishment, The Onion. With all the ridiculous "where will the next Seattle be?" questions in the media, the Onion had a great story called "Harrisburg is Starting to Happen." It complemented an earlier story on "The TH scene." TH was Terre Haute, Indiana.
Generation Hex
From what I remember, there were only two movies made about Generation X, during about the only time the media actually feigned an interest in us. That would be roughly circa 1991-1994.
If "Reality Bites" is any indication of that interest, be glad that we were quickly trampled by the children of the boomers (Gen Y?) and went back to being roundly ignored, which was the way we liked it.
The main question I had about "Bites" is why would anyone set a film about any kind of trend (besides "Urban Cowboy")in Houston? Did some guy pitching movies say "Houston is the next Seattle" and some kind of producers, uh, bit?
Seattle was indeed featured in "Singles," a movie I have little memory of, except for "Touch Me I'm Dick," which Matt Dillon's band did, and is a great takeoff of Mudhoney's "Touch Me I'm Sick."
But the cliche winner went to the first season of "Melrose Place," in which they actually tried to make it a sincere twentysomething show.
One character approached the other, a temp receptionist or something, and she told him "Hey, do you think this McJob's my Nirvana?"
Douglas Copeland wept.
If "Reality Bites" is any indication of that interest, be glad that we were quickly trampled by the children of the boomers (Gen Y?) and went back to being roundly ignored, which was the way we liked it.
The main question I had about "Bites" is why would anyone set a film about any kind of trend (besides "Urban Cowboy")in Houston? Did some guy pitching movies say "Houston is the next Seattle" and some kind of producers, uh, bit?
Seattle was indeed featured in "Singles," a movie I have little memory of, except for "Touch Me I'm Dick," which Matt Dillon's band did, and is a great takeoff of Mudhoney's "Touch Me I'm Sick."
But the cliche winner went to the first season of "Melrose Place," in which they actually tried to make it a sincere twentysomething show.
One character approached the other, a temp receptionist or something, and she told him "Hey, do you think this McJob's my Nirvana?"
Douglas Copeland wept.
Living Large with The Dog Whisperer
God help me. With everyone gone from the Thanksgiving party yesterday I'm alone, with a car, with at least some pathetic amount of cash, and I am rocking out.
I'm watching "The Dog Whisperer Marathon."
The question now is if I had a gun, would I blow away the TV or me?
I'm watching "The Dog Whisperer Marathon."
The question now is if I had a gun, would I blow away the TV or me?
Monday, November 24, 2008
The World Leader Pretend
It's gotten to the point where so many pundits are so sick of Bush that they are calling for a change in the date for the presidential inauguration.
At this point, many figure, Obama has appointed so many Washington insiders (a smart move away from radicals at the community level), that what's the point of waiting another two months for the coronation ceremony?
The lag between election and actual power is one which those groovy founders must of held upon, because at that time there were constant changes in European governments. The lag enabled everyone to cool off.
In the end, it's a smart move, ensuring that nutballs don't immediately take power in a fluke election.
As for Bush and his legacy ... he's ressurected the policy of preemtive military strikes, which is not bad so long as he (and we) know exactly what is being struck.
But let's allow Bush the last hurrah, as well as members of the totally confused and panicky Republican party.
At this point, many figure, Obama has appointed so many Washington insiders (a smart move away from radicals at the community level), that what's the point of waiting another two months for the coronation ceremony?
The lag between election and actual power is one which those groovy founders must of held upon, because at that time there were constant changes in European governments. The lag enabled everyone to cool off.
In the end, it's a smart move, ensuring that nutballs don't immediately take power in a fluke election.
As for Bush and his legacy ... he's ressurected the policy of preemtive military strikes, which is not bad so long as he (and we) know exactly what is being struck.
But let's allow Bush the last hurrah, as well as members of the totally confused and panicky Republican party.
Before the Box-Office Knows You're Dead
It was difficult to watch "Before the Devil Knows You're Dead." Mainly because I have either known or met the two principal actors. Phllip Seymour Hoffman was part of an off-Broadway show called "Shopping and Fucking," in which he performed with Justin Theroux, son of my late mother's best friend.
Ethan Hawke, later in "The Devil Knows You're Dead," would come around the ice cream store I helped tend in downtown Princeton. My co-worker was a fake-blond haired English tart. Quite attractive if you're into the slutty look (I was).
Ethan, in his Hun School blazer and pulled-down tie, would talk about how he wanted to come in sometime and see me boning the tart right over the ice cream counters (he was 15 at the time, I was 20). No such luck.
Nobody at the time could be considered a star. I shook Hoffman's hand quick and emotionless at Marion's across the street. I had no idea who he was.
I was watching the play with Justin's sister, who was beautiful but married. I sweated whenever she was around and alone and by her married-self because, like George Costanza, I didn't want to be an accessory to adultery. It probably was just my overactive mind.
It all worked all in the end, it seems. Justin became a big star, as did Hawke, and Seymour Hoffman; and Ms. Theroux moved to Carmel, CA.
Just keeping score.
Ethan Hawke, later in "The Devil Knows You're Dead," would come around the ice cream store I helped tend in downtown Princeton. My co-worker was a fake-blond haired English tart. Quite attractive if you're into the slutty look (I was).
Ethan, in his Hun School blazer and pulled-down tie, would talk about how he wanted to come in sometime and see me boning the tart right over the ice cream counters (he was 15 at the time, I was 20). No such luck.
Nobody at the time could be considered a star. I shook Hoffman's hand quick and emotionless at Marion's across the street. I had no idea who he was.
I was watching the play with Justin's sister, who was beautiful but married. I sweated whenever she was around and alone and by her married-self because, like George Costanza, I didn't want to be an accessory to adultery. It probably was just my overactive mind.
It all worked all in the end, it seems. Justin became a big star, as did Hawke, and Seymour Hoffman; and Ms. Theroux moved to Carmel, CA.
Just keeping score.
Tuesday, November 18, 2008
Simon Says Its Time to Move
Don't look for the news on page A1, look for it on page A17. Don't send non-violent drug offenders to prison. In the best-case scenario, it will take 20-30 years of nonstop attention to the ghettos to bring them into the mainstream economy.
These were the words of David Simon, creator and producer of the critically acclaimed, often brutal series "The Wire;" on Baltimore street life on cable, who spoke last week at Princeton.
Simon is not uttering these prophesies from the Hollywood Hills. He started as a reporter for the Baltimore Sun, wrote a book called "Homicide: a year in the streets of the Killing Fields," which NBC picked up briefly, then the last five years have been spent drawing together the streets, the mayor's office, and law enforcement working together on the drug war (brought to you by the people who fought the war on drugs; as the Onion has written, "Drugs win Drug War.")
"What we were striving for was a tragedy, like a Greek tragedy in which even the good get victimized." As someone noted before, in terms of the killing fields, "deserve ain't got nothin' to do with it."
It is a portrait, he said, of the end of an empire, meaning the US.
Simon said if you want the real news, don't follow the pack journalism of the front page. Again, look on page A17.
When I looked at a page 20 story in last Sunday's (or Monday's) NYT, it was about a 15-year-old girl who had been shot at her school by another girl. The school was not in the ghetto, and had no guards or weapons-checks at the door. The girl was black. I don't know about her assailant.
In other words, America, coming soon to a suburb like yours.
I'll return to this subject later. At this point, it is remarkable and probably necessary that Obama not throw the problems of the inner-city at mainstream America. Would have sent them running for their hunting rifles. We still don't know who the secretary of HUD and HHS are going to be, but I'd bet on a black or a woman, or perhaps both.
In summation, Simon said, "The question is are we one society or are we not? If we're not, let's hire more private security guards and build more gated communities. And let's come to terms with the fact that America only works for some of us."
These were the words of David Simon, creator and producer of the critically acclaimed, often brutal series "The Wire;" on Baltimore street life on cable, who spoke last week at Princeton.
Simon is not uttering these prophesies from the Hollywood Hills. He started as a reporter for the Baltimore Sun, wrote a book called "Homicide: a year in the streets of the Killing Fields," which NBC picked up briefly, then the last five years have been spent drawing together the streets, the mayor's office, and law enforcement working together on the drug war (brought to you by the people who fought the war on drugs; as the Onion has written, "Drugs win Drug War.")
"What we were striving for was a tragedy, like a Greek tragedy in which even the good get victimized." As someone noted before, in terms of the killing fields, "deserve ain't got nothin' to do with it."
It is a portrait, he said, of the end of an empire, meaning the US.
Simon said if you want the real news, don't follow the pack journalism of the front page. Again, look on page A17.
When I looked at a page 20 story in last Sunday's (or Monday's) NYT, it was about a 15-year-old girl who had been shot at her school by another girl. The school was not in the ghetto, and had no guards or weapons-checks at the door. The girl was black. I don't know about her assailant.
In other words, America, coming soon to a suburb like yours.
I'll return to this subject later. At this point, it is remarkable and probably necessary that Obama not throw the problems of the inner-city at mainstream America. Would have sent them running for their hunting rifles. We still don't know who the secretary of HUD and HHS are going to be, but I'd bet on a black or a woman, or perhaps both.
In summation, Simon said, "The question is are we one society or are we not? If we're not, let's hire more private security guards and build more gated communities. And let's come to terms with the fact that America only works for some of us."
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