Showing posts with label Hear Me Roar. Show all posts
Showing posts with label Hear Me Roar. Show all posts

Sunday, January 25, 2026

Who Wore It Better? Mid-Life Crisis Edition

Checking in quickly for an early, special edition of Who Wore It Best?

This year, George Clooney, Julia Roberts, and Brad Pitt, those high wattage movie star besties so dear to my Gen X heart, all starred in awards-conversation films featuring a full-fledged middle-age-turning-to-later-years What Is My Life's Work? crisis, with a bonus shared plot point of Who Does This Young Whippersnapper Think S/He Is? 

And I loved all of them. 


Only F1 has ended up with Oscar nominations, so Brad is going to have to carry this particular torch through the home stretch ("Wait for the straightaway!") but the Golden Globes did acknowledge George and Julia too. 

Jay Kelly - Hollywood, fake friends, Europe, awards, acting, sincerity, trains, career-spanning montage 

After the Hunt - academia, fake friends, pontificating, marriage, relationships, advisors, group think, ivory tower, identity, was-s/he-just-using-me? 

F1 - racing, real friends, fake fans, managers, family, co-workers, team building, car building, media, corporate sponsors, mavericks, mistakes, Europe, Las Vegas, Abu Dhabi, casino, podium finish, lessons learned 

Who Wore It Best?  

I LOVE THEM ALL 

#swan 


Monday, February 17, 2025

Completed Category: Documentary Shorts

Friends, enemies, countrypeople, et. al., it's one of those years where I'm going to insist that you absolutely need to watch the Documentary Shorts. 

Documentary Short Film
Instruments of a Beating Heart
Incident
I Am Ready, Warden
The Only Girl In The Orchestra 
Death By Numbers

This year we have: life, death, death, life, and death.

Issues include: racism, death penalty, killing of civilians by police, school shootings, sexism, grief, the meaning of life, creating art, and overcoming obstacles. 

You can see the Doc Shorts in select theatres this week and honestly, yes, it's worth dropping whatever you have to do or have scheduled the next few days.  Seriously, get a babysitter, take the afternoon off work, skip your church group - or heck, gather up and bring your church group - and hie thee to the cinema. 

Now, this is certainly a viewer-discretion-is-advised situation, but on the other hand, this is documentation of real life, and nobody really exercised discretion to prevent the real-life people from having to witness and/or experience terrible things up to and including being shot and killed. 

For those who cannot get to the cinema, please watch the ones that are available at home via streaming. Here is the link to Incident, which should be required viewing for you, your family, your neighbors, your friends, your enemies, and whoever else you can find strolling blithely around this Earth. https://www.youtube.com/watch?v=oW65ChIjur4 

Incident depicts the killing of a Black man by police in Chicago, and the things the officers both instinctively and calculatedly say and do in the minutes following the incident.  I want this one to win. I think it might. I've never seen a Doc Short quite like it, the way it uses and split screens the various body camera and CCTV camera footage. 

I Am Ready, Warden depicts the lead-up to the execution date for a death row inmate, with input from the condemned man, his murder victim's son, his own son, a church lady who has become his adopted godmother, and a Texas government official. I also want this one to win. It could. It crafts this story so, so, so very well. The "cast" of characters really immerse you in the swirling realities of one man's sentence to death. 

Death By Numbers  depicts the written and spoken reflections of Sam Fuentes,  one of the survivors who was injured in the Parkland, Florida school shooting a few years back as she prepares to testify and speaks to the killer at the sentencing and victim impact statement days in court. She's a great writer. I hope she continues to heal and survive, and to gift us with her words.  I mourn the friends and teachers she lost that day as well as everything that has been taken from her and from other dead and living school shooting victims.  

One of the "feel-good" ones of the bunch is The Only Girl In the Orchestra, uplifting despite the gasp-out-loud sexism and affecting consideration of questions of what should we do with our lives? I recommend it for anyone who has: played music, listened to music, lived in New York, lived as an artist, admired a family member, admired a teacher, watched classic Westerns (no, seriously), touched a stringed instrument, moved a piano, or celebrated the gift of being alive.  It's on Netflix. 

The other feel-good one is Instruments of a Beating Heart, despite the occasional kids crying after either not getting a part they auditioned for or making mistakes as they rehearse the parts they did get. This is an adorable slice of life little film about 7-year-olds preparing to perform "Ode to Joy" with tambourines and whatnot for the incoming first graders at their school in Japan. I adore it. I recommend it to anyone who has ever tried to do something, failed, or succeeded.  It's available here: https://www.youtube.com/watch?v=DRW0auOiqm4 

Order I want them to win:  THIS IS SO HARD
Maybe Incident or I Am Ready, Warden, then Instruments of a Beating Heart, as those three are such interestingly crafted documentary observances, and then the other two which are also A+ content if a bit more traditional let's-follow-this-person storytelling -- Death By Numbers  and The Only Girl In The Orchestra.  I will not be mad when any of these five win, except for the part where the other four have to not win.  

Order I think they will win:  I DON'T KNOW I said this is hard!!!!!! maybe Incident? 

Thursday, January 30, 2025

Completed Category: Supporting Actress

 We'll make this quick, because this category - so often a fraudulent mess - is a total fraudulent mess. 

Actress In A Supporting Role

Monica Barbaro *A Complete Unknown
Ariana Grande * Wicked
Felicity Jones * The Brutalist
Isabella Rossellini * Conclave
Zoe Saldana * Emilia Perez 

(Pretend that there are a tilde and an accent mark where they belong. 

The smart money, if you will, says Zoe Saldana will win or possibly Ariana Grande, maybe, just possibly.  Neither one of them deserves to win, because they are both co-stars in their respective movies. They are actresses in leading roles, and their nominations here are nonsense. 

Of the actual Supporting performances: 

Monica Barbaro is freaking fantastic, like the others in A Complete Unknown, which is way less of a traditional biopic and way more of a study of some humans who came together, talked, sang, loved, learned, clashed, and changed the world. 

Felicity Jones, I suspect, might become another Cate Blanchett/Michelle Williams/Meryl Streep type who can show up to work knowing a nomination is a real possibility.  She does a lot in The Brutal-est (I mean - they all do. Of all my criticisms, I've certainly not said that was an easy flick to make!) but it's all so brooding and dark and dismal - I'm not thinking she's going to be the dark horse who surges ahead here. 

Isabella Rossellini?  I love her in Conclave  and the way she sure has some stuff to say to all the pontiff-icating men is stand-up-and-cheer time, for sure.  I would love for her to sneak in and grab that Oscar away from the excellent, fraudulent stars. 

Order I saw the movies: 
Conclave, Wicked, A Complete Unknown, The Brutalist, Emilia Perez

Order I like them:  Similar!  3-way tie, then Brutal-est, then ugh

Order I want their SUPPORTING actresses to win:
Monica for A Complete Unknown, Isabella for Conclave, Felicity for The Brutalist

Order I think they will win:  Zoe, Ariana, Isabella, Monica, Felicity

Category fraud is so goddamn stupid. 


Monday, January 27, 2025

Completed Category: Directing

 Oh boy, let's kick off some completed category posts! 

Achievement in Directing

Anora *Sean Baker
The Brutalist * Brady Corbet
A Complete Unknown * James Mangold
Emilia Perez * Jacques Audiard
The Substance * Coralie Fargeat 

Directing is always so intense.  And in this category, there are always directors nominated for some very serious flicks, and some staggering accomplishments, and more often than not there is a "what the heck did I just watch," and sometimes those three things overlap. Ooh, like in a Venn diagram! 



As we will discuss several times throughout the course of this bloggage, The Brutalist  should henceforth be known as The Brutal-est, as it pummels you for four unmerciful hours. Well, that's not actually true: you get an intermission!  I like intermission at the theatre; I can easily go get my popcorn refill. Anyway, should Brady Corbet win for The Brutalist?  I mean, he really might do so.  And there are all sorts of #SeriousCinema reasons, but also he took years and years, apparently, to film the thing, and no one thought he could pull it off, of course. The Los Angeles Times called it a "whopper of a film."  At the very least!  And there were some things I liked about it very much - the Original Score for example, which is not this category, and the way he shot the early-on-in-the-flick men-paying-for-sex scene without making it about gazing at women's bodies. At all. This is the complete exact precise opposite of... 

Anora.  Well, well, well, what have we here? Sean Baker (who? I know. This category has all first-time-in-this-category nominees for the first time since James Cameron was the king of the world! Sean Baker is the director of The Florida Project, that's who, so we know he) has a way of getting his movies' long-haired, sharper-than-you-think-they-are, but-also-sharper-tongued, young women  to carry us through a motion picture.  In both of these films of his that I've seen, we watch these people who are a bit less "there but for the grace of god go I" and a bit more "good god, will someone, anyone, make some better choices, please!"  But Anora has captured a lot of viewers' hearts, and as one person I know put it, "That was way better than it had any right being."  I personally very much dig the misfit friends stories, and hooo-boy do we get one of those here.  I can't exactly say that I never wanted this long dark night of lost souls to end, but it was entertaining and propelled you right along. I am not here for anyone to blather on about mistreated "sex workers" and I do not feel sorry for the character Ani, nor her colleagues, and least of all would I ever feel a shred of sympathy for the many, many, many gross disgusting men both in the film and in the real world who buy human flesh. If I walked out of The Brutal-est saying "What just happened to me for four hours?" I walked out of Anora saying "Why are men."  That said, she (the main character) reminds me of the gals from Long Island I met when I lived in New York. Also, Sean Baker is Gen X! We need more Gen  X winners. Like maybe...

Coralie Fargeat!  Who's she?  She was born in the mid-1970s like the coolest kids were, she's French, and she directed The Substance.  I loved The Substance.  Yup, I'm sold.  Did it spiral just a wee bit out of bloody control as it careened toward its ending?  It did.  Do I forgive it this flaw? I absolutely do.  This film is a marvelous work and it's a wonder, but nothing at all like other films I've called "marvelous" or a "wonder" over the years.  It's wild and bizarre and so very L.A. and it tackles profound societal issues and it might earn Demi Moore - Demi Moore! she's one of those very-very-late Baby Boomers who feels like an honorary Gen-Xer - an Oscar. #TeamTheSubstance? Maybe. But I could also find myself on ... 

#TeamACompleteUnknown.  Wow, do I love me some Bob Dylan and some Joan Baez, which you already know if you've known me for more than about five minutes, not that anyone I know is reading this so I still have to document these things for posterity.  And this film with pitch-perfect (no pun intended) performances is not a traditional biopic; it's more of a study of some personalities that came together like atoms bonding and clashing and sharing electrons for a time and exploding into something more and sometimes causing damage and sometimes creating something heretofore undiscovered. It got three well-deserved acting nominations (more on Ed Norton, who is a revelation as Pete Seeger, in his category post coming soon), and the whole thing is so immersive and carefully considered and real, and someone like me whose go-to karaoke song has long been (like, for 2 decades+) Dylan's "Like A Rolling Stone" was primed and ready for A Complete Unknown, and yes, yes, I treasure it, and James Mangold's magnificent directing is a big reason why.   

You know what I don't treasure?  Emilia Perez. Why does this movie have to be. It is such a freaking trainwreck in so many ways, but oddly, it's not the Directing per se, just the whole entirety of the thing. I mean, don't get me wrong: director Jacques Audiard made a lot of terrible choices, such as making the film in the first place, pretending men can be women, collecting a bunch of terrible songs and terrible song-and-dance numbers and sprinkling them throughout the most implausible nonsense while pretending to take everything seriously, and pummeling the audience with a mix of zaniness and tragedy and plot holes. But it's not like Mamma Mia-shit-production values bad, nor like Everything Everywhere All At Once we-are-in-the-hands-of-10-year-old-boys bad; it's just bad-bad. 

Chronological order in which I saw the flicks over a month and a half:
Anora, A Complete Unknown, The Brutalist, Emilia Perez, The Substance

Order in which I like the flicks: 
A Complete Unknown 
The Substance
[--gap--]
Anora
[major gap]
The Brutalist
[major serious chasm gap]
Emilia Perez

Order in which I think they will win: 
The Brutalist, Anora, gods forbid Emilia Perez uggggh, A Complete Unknown, The Substance


I would be very happy to be wrong about my winner prediction!  But 4 out of 5 of these can win; the other will cause me to throw things at the TV. 

Sunday, February 25, 2024

Completed Category: Supporting Actress

 Yesterday I finally saw the new The Color Purple, thus completing a category!



In fact, I didn't just watch the new The Color Purple but instead made a day of it and watched the 1985 movie and then in the evening, this Awards Season's flick, which is an adaptation of an adaptation of an adaptation. You know, some Awards Season jabberers are really throwing around the nonsense that this new movie is "an adaptation of the book."  That is such a lie. For one thing it is based on the musical straight up. Like, your screenplay includes book and songs from the musical. Pretty sure those songs weren't in Alice Walker's book!  (I read it!)  And then, I suppose someone COULD skip over the 1985 film adaptation - but you didn't. It is absolutely referenced and incorporated in many ways.  Multiple cast members are on the record saying this. Let's be real. Anyway, none of that is the point of this post! 

EMILY BLUNT, Oppenheimer: She was fantastic in this. I know, I know, when is she not? But my goodness does she elevate her part to the very very most it can possibly be. You know Christopher Nolan wasn't going to write a killer female part in this manly male man-fest of maleness but Emily Blunt took what was written and made it the absolute most because she's one of the greatest actresses working today, period. I want her to win an Oscar! 

DANIELLE BROOKS, The Color Purple: She was definitely great. The whole talented cast of this was great, but I suppose we had to focus on someone and she sure was strong and confident and funny and heartbreaking and amazing in each of her scenes, so I am very OK with this nomination.  She also mentioned that in at least one scene she consciously paid homage to Oprah (who played the role in the 1985 film this is an adaptation of an adaptation of). Does that help her chances here? I say it couldn't hurt. 

AMERICA FERRERA, Barbie:  I almost forgot about this for a second! (or rather, a month, since the nominations came out)  Of course her monologue went viral last summer as everybody discovered Feminism 101 through Barbie, and listen: I am OK with Feminism 101 - y'all have to start somewhere! -  but she also had a little bit more going on in this film than just that.  Still, even if you score straight up zero picks on your ballot and lose your entire Oscar pool, if you take a side bet about which clip from Barbie will be shown for her clip for this category, you can still win something for the evening.  As for the actual award, here, I think she is in honor-to-be-nominated territory. 

JODIE FOSTER, Nyad:  Oh godz do I want her to win. However! I also have to point out that this was really pushing it on the Supporting vs. Lead thing, which you know is my pet peeve, and on which this year otherwise is doing very well overall.  Jodie really is a co-star of this movie. But she of course gets marketed as Supporting - and not because the role is in fact Character Who Supports The Other Star in her life and quests, but because this charade is the very favorite nonsense Awards Season charade we have to endure every year.  And because that is annoying, I won't be 100% mad when she doesn't win. But I also will be fine if she shocks the hell out of everyone and wins  - which could juuuuuuuust possibly happen because she is so well-liked and connected to SO.MANY. Academy voters, and because her performance was absolutely off-the-charts.  Pitch perfect every single second. 

DA'VINE JOY RANDOLPH, The Holdovers:  You know, as I was just typing her name, I wondered: what did kids with apostrophes in their names do for that bubble back when we filled in the bubbles on the standardized test and scantron answer sheets?  Huh. Have I really never talked about this?  Two of my close friends in high school had punctuation marks in their names. Anyway, Da'Vine (or is it Da'Vine Joy?) has been winning a few statues these past few months and it's looking likely that this will be another for her. It was the scene in the kitchen that did it, I think - but also she does throw a fair amount of sass to Paul Giamatti's character, which he richly deserves I might add.  Everyone loves a misfit friends story (at least I do) and she's a strong, kind, but also fun part of this one. 

Order I want them to win: 
Jodie Foster
Emily Blunt
Da'Vine Joy Randolph
Danielle Brooks
America Ferrera 

Order I think they will win: 
Da'Vine Joy Randolph
maaaaaaaybe Jodie Foster
Emily Blunt
America Ferrera 
Danielle Brooks

They were all so great!  What a cool-ass group of actresses. 

Seriously take that Barbie monologue side bet though, if you can get anyone foolish enough to go against you on it. 


Saturday, January 27, 2024

Completed Category: Actress In a Leading Role

 

Were you alive and well and on the internet this past week? Then you might have heard: Barbie was nominated for Oscars but Greta Gerwig and Margot Robbie were not nominated, although Ryan Gosling was, and therefore the Academy has re-enacted the entire plot of the film: patriarchy!  At least that was one narrative that was shared, and shared, and shared.  As I mentioned in my initial post about Nominations Day, I had kinda forgotten that when Barbie made a billion dollars last year, that meant a whole lot more moviegoers were going to show up with opinions in Oscar season about what the Academy "always" does and what it "should" or "needs to" do. 

The Actress In A Leading Role aka Best Actress category was one that I had completed before the nominations came out, turns out - with or without Barbie - and so I, too, had opinions this week. I also had some facts. One fact is that when there are five nomination slots and many contenders, there will always be somebody who is disappointed. 

Also, by the way? It is not a "snub" every time someone we wish had been nominated is not nominated. But people love to throw that word around. It makes them feel Oscar-y, I think. 

What I kept asking people was, Which of the five nominated Actresses in Leading Roles would you want un-nominated for Margot to get in?  I didn't mean it facetiously. I know which one I'd give the boot! Can you guess?  Let's take a look at the nominees. 

ANNETTE BENING, Nyad: I was SO glad to hear her name called. I was worried. I was worried because I thought it might be Margot, Natalie (Portman), Lily, Emma, and Carey. I have been worried lo these few Awards buzz months, because I thought Natalie was going to steal Annette's Oscar again, like in 2010 (Black Swan), and I was straight-trippin' on the fact that THEN Annette was in the movie with Julianne Moore (The Kids Are All Right) and NOW Natalie is in the movie with Julianne Moore (May December) and everyone was buzzing that Natalie was like totally in for sure and starting to drown out swimmer Nyad but then it didn't happen like that at all. Annette is nominated! Hurrah! for playing Diana Nyad, who finally swam all the way from Cuba to Florida after many attempts and who is a headstrong but also body strong woman who gives some people grief but also has done some for real stuff in her time on this here Earth. I frankly loved Nyad and I also think Annette's performance was a marvel, and I want her to finally win her Oscar so, so, so very much. I don't have high hopes because I see how the winds have shifted and everyone's all like "It's a race between Emma and Lily!" but you just never know. Maybe if she goes to bed early in England like Anthony Hopikins did?  (Speaking of former Oscar connections to co-stars eh...)  She's just so good. And she basically became a marathon swimmer for the role, earning the praise of real-life Nyad and changing her own life for the better.  Gooooo Annette! 

LILY GLADSTONE, Killers of the Flower Moon:  But yeah, then we have this extremely strong competition here, which is an incredible, layered, powerful, poignant performance from Lily in the devastating adaptation of the book that examined the investigation of the murders of dozens of Osage in the early 20th century. In this case, Lily was nominated while Leo (nardo DiCaprio) wasn't, and that shocked people too. But that wasn't a re-enactment of #patriarchy! so it didn't get as many memes. Anyhoo, Lily is fantastic because this whole story is so terribly complex and fraught and infuriating and she is somewhat of a center around which a lot of happenings orbit, and I never wanted to take my eyes off the screen. In hearing her talk about specific scenes and with everything I've learned about the research and details and participation of the Osage in this filmmaking, I cannot be mad if it wins anything or even if it won everything (it won't though) so I'm happy for Lily and her Golden Globe, and I hope she makes a ton more movies forever, but I still don't quite want her to beat Annette.  But can anyone beat Lily? 

EMMA STONE, Poor Things: Well, yes. And...ugh.  So, Emma gives a maniacal, deep-digging, off-the-charts performance in this batshit movie and I just - hate this so much. The movie is excruciating to watch for the first half and then it gets a bit more palatable but it's still really entirely weird and wrong, like every Yorgos Lanthimos film, but in this case we are being told it's a feminist story and that Emma's character Bella Baxter is empowered and that the movie is a "nuanced" look at what it means to be a woman. People (men) have actually used that word, "nuanced."  Yes, to describe Poor Things. Um, Poor Things is a lot of things, but it is decidedly not nuanced. Nor is it feminist. Speaking of patriarchy, in Poor Things, Bella's body is controlled by various men in various ways until she becomes "empowered" by selling herself in a Parisian whorehouse. Don't you just love it when men explain women's liberation? It's enough to make you want to go find a bunch of bros on a beach somewhere strumming Matchbox Twenty for way entirely too long. 

CAREY MULLIGAN, Maestro: Carey is almost at that Meryl Streep level - or if not quite there, maybe Cate Blanchett - where you just know she's going to bring the Oscar buzz and most likely get a nomination. Interestingly, Carey was a lot of the Barbie-opinion folks' choice to sacrifice her slot for Margot, which I canNOT agree with, particularly since some of the said folks professing that opinion also noted that they had not in fact seen Maestro yet. One said that Carey couldn't be a Leading Role nominee for a biopic about Maestro Leonard Bernstein. To anyone thinking that, I can only say: Watch the movie. It's about them, not him. Her role honestly outshines his in a lot of ways. And, she's really damn good. I had no idea what I was in store for and as soon as I watched it I was like, yup, Carey's in! But it might not be her year to actually hold the statuette in her hand. 

SANDRA HÜLLER, Anatomy of a Fall:  It's such an honor to be nominated, isn't it?  Really. I hope that Sandra enjoys every second of this year, her multiple nominated flicks (she's also in The Zone of Interest), and how transfixed everyone was by Anatomy of a Fall and its many, many lingering questions. It's a talky movie, and she takes us right to the heart of a character going through a bizarre, unsettling situation with a great deal at stake, who absolutely has to remain calm. It's quite a feat. I think we haven't seen the last of her 'round these Awards parts.  But I was honestly surprised that she got nominated and Margot did not - which still does not mean "snub." 

And so, this is the order in which I want them to win, my preference: 

---> Annette Bening <----  
(tie) Carey & Lily 
Emma (ugh ugh ugh to the movie) 
Sandra

But this is the order I think of likelihood of winning, ugh: 

Emma (ugggggh, by thismuch)
Lily  (ohhh so close)
Annette  😢
Carey
Sandra

Please please please let me be wrong. Please let everyone remember how much they love Annette and want to make up for all the times they've not awarded her. I will accept a faux-lifetime achievement win, seriously, if that's what it takes. 

Who's your pick for Best Actress In A Leading Role? 
Whose performance surprised you?
Which movie did you love? Or hate more than I hated enduring Poor Things? 

Monday, February 26, 2018

Twelve Days of Oscar, Day 6: Cinematography and Directing

For a lot of people, such as, you know, the people who maybe AREN'T obsessed with making a checklist of Academy Award nominees each year and being sure to watch them all (except when the song from Fifty Shades of What-the-hell-ever gets nominated because just no), there are categories that are variously called technical, minor, obscure, other... and then are the "big" ones. Setting aside the obsessive ones among us (ahem) for a moment, it does sadden me to divide things up that way, number one, because the creative, proficient, talented human being who did the work in a "lesser" category is just as valuable as the one who did the work in a "major" category, and number two because sometimes the winner in a "lesser" category delivers the coolest or most heartfelt speech of the night while the actors just rattle off a list of names which is SO ANNOYING but not quite as annoying as playing people off in the first place and have I mentioned that shut the fuck up please about how "long" and "boring" the annual ceremony is because no one is forcing you to watch please thanks?

My point (and yes, I do!) is that today we are looking at what is routinely considered a "major" category, Directing, along with Cinematography, which would never be considered lesser by anyone who likes film but is maybe a bit less paid attention to among the plebes.

Cinematography: Blade Runner 2049, Darkest Hour, Dunkirk, Mudbound, The Shape of Water

Directing:  Dunkirk, Christopher Nolan; Get Out - Jordan Peele; Lady Bird - Greta Gerwig; Phantom Thread - Paul Thomas Anderson; The Shape of Water - Guillermo del Toro

Well, we have two overlappers, Dunkirk and The Shape of Water. And as much as I have been reiterating everywhere and to anyone who will listen (and some who won't) that The Shape of Water is goddamn weird and so not my thing, I actually will have zero problem if Guillermo wins here for Directing, because I think he actually perfectly realized his (weird!) vision, with both finesse and technical competence and creativity. Even though it's just not necessarily for me.  That said, I would not award Cinematography to The Shape of Water. I think Directing is pretty much the only category I'd want it to win. As for Dunkirk, it could get Cinematography, which was definitely an achievement and a half, involving as it did big battle scenes, airplanes, cramped boat quarters, vast waterscapes, and just all kinds of skill.

But. There were other fantastic Cinematography nominees, specifically Blade Runner 2049 and Mudbound. I am pulling for Blade Runner 2049 in other technical categories but I think I'm totally behind Mudbound here. I thought that movie was just wonderful.Well done, and really visually engaging - there were some simply gorgeous shots of farm vistas and, well, mud... which looked a lot cooler than you might think!  The more I think about that film, the more I want it to win stuff.

Also, I would be letting you down as an Oscar trivia aficionado and feminist if I didn't mention here the fun fact that Mudbound cinematographer Rachel Morrison is the first woman ever nominated in this category and WHAT THE HECK TOOK SO LONG?!

Additionally, a new CNN story reports that she at first didn't even want to win because she wanted her competition, Roger Deakins, who is nominated for Blade Runner 2049, to win; this is his 14th nomination and he still has never won. Basically, I guess we can all be happy if either of those films wins for Cinematography, eh?

Darkest Hour is a weird nom here and I think it's a non-factor...I guess all the filming in underground spaces was skilled work and all, but...I don't think it will win.

Now, if Guillermo del Toro does not win for directing The Shape of Water, another distinct possibility is Get Out's Jordan Peele. There is a lot of love for this film and for the somewhat out-of-nowhere-ness of it, and for the fun-fact-ness of  Peele being the first African-American to be nominated at once for Best Picture (as a producer), Directing, and Screenplay. I don't personally think Get Out is the best film of the year, but I am not opposed to a Directing win here... I just think I'm a tiny bit more behind Guillermo's (weird!) visionary directing achievement. This category is very interesting because it also has Greta Gerwig, and we all know (don't we, though) how damn rare Directing nominations for women are, sheesh. I feel the same about her Lady Bird achievement as I do about Peele's, I think - it was great. I won't be mad and throw things if it wins, but I just don't think it was necessarily the best. While this category did have diversity this year, and thanks for that Hollywood amiright?!, there are still a couple of white guys - the aforementioned Nolan and Paul Thomas Anderson. Here's what I think about PTA winning for Phantom Thread: no. Just no, please. That movie is also weird, but more annoying weird than bizarre-o visionary fable weird. I am well aware that there are people, including a person I live with, who vehemently disagree with me on this point. Don't care. I'm 100% not about Phantom Thread.

And so....
Cinematography: My pick is Mudbound.  I think it might go to her or to Blade Runner 2049...but, hard to call. It's not out of the question that The Shape of Water sweeps a ton of categories, so...
Directing: I'm good with Guillermo for The Shape of Water. I think it will be him or possibly Nolan or Peele.

My Previous Days of Oscar:
Day 5: Adapted Screenplay and Original Screenplay
Day 4: Supporting Actor and Lead Actress
Day 3: Production Design and Costume Design

Day 2: Editing and Original Score
Day 1: Sound Mixing and Sound Editing


Monday, January 15, 2018

I Need to Read More Black Authors

It's MLK Day, a holiday to honor the life and work of Dr. Martin Luther King, Jr. It just so happens that on this particular MLK Day, the first since drumpty-the-vile-twit's inauguration, I mean usurpation of the White House, one might feel a little depressed, either when one contemplates the racism emanating from the mouth and thumbs of said vile twit or when one just looks around one's society at all the work still left to do in the attempt to secure freedom and justice for all.

But. As they say, start where you are.

Where am I? As usual, reading, thinking, and thinking about what to read.

This morning I posed the question of what would be a good Martin Luther King Day read -- something by the man himself, perhaps, or some books that increase understanding of what black people have suffered in U.S. society, what injustices have gone into creating and perpetuating the racism we still practice, what power structures are in place, and so on. A couple of days ago, I posted about the writers from "shithole countries" whose books I've read over the past year and asked my Fbriends what authors not from Norway they have been reading since the occupation began. Last night, as I thought about what book to read next, I decided to make a conscious effort this year to make sure less than half of the books I read are by white male authors.

Today, these thoughts led to curiosity about the exact numbers, of how many authors I've read are white males and how many are not. Luckily, we have Goodreads! Which means I was able to sign in to my account, where I've tracked the books I've read since joining the site in 2008, and go ahead and count 'em up. First, I did a quick tally for the 46 books I read last year, calendar year 2017, and it was: White Guys: 16, Not White Guys: 30. That's not so terrible, I thought (other than the fact that I read only 46 books last year, but that has already been addressed and my New Year's resolution to get back to higher number-of-books-read-per-year levels has already been enacted, fear not), and I was a little proud of myself that I had read more authors who were Not White Guys than I had read White Guys.

Pride, ya know, goeth before the fall.

I then checked out my 2016 numbers. First of all, I read only 42 books that calendar year, which is even lamer than 2017 but we all know how distracted I was by teaching...or drinking...or being driven to drink by teaching during 2016. Or by Quincy coming from China...or by the Cubs' World Series...or something. Anyway, that year it was White Guys: 15 and Not White Guys: 27. Still a similar ratio. Let's have a look at 2015, with 54 books read. White Guys: 32, Not White Guys: 22. Yikes! Now, to be fair (although why should you be?) you could recall that that was the year I read about ten books of Edwin Arlington Robinson poetry -- basically all of his poetry I could. *What do you mean WHY he won the Pulitzer Prize for Poetry three times people THREE and I had to read his collected poems for hundreds and hundreds of pages and ... yes, I said "had to"*  But even though that's just one White Guy taking up ten slots, it's also ten slots that didn't go to books by Not White Guys. So anyway....

Clockwise fr top left: Danticat, Colbert, Achebe, Adichie, Coates
I know -- we probably all know -- that in general I read a fair amount of books by women. But guess what -- the majority of them are white. Damn it.

After checking out these initial numbers, I decided on this particular Martin Luther King Jr. Day to continue perusing my Goodreads "Read" shelf to see how many black authors I read last year, in 2017. The answer is: five.

In case you're interested, they were Chinua Achebe, Chimamanda Ngozi Adichie, Brandy Colbert, Ta-Nehisi Coates, and Edwidge Danticat. One of them I had read before last year as well. Two I had been meaning to read for quite some time. But, well, that's not very many. Five black authors out of 46 books read.

Um...it gets worse. In 2016, I read one. (Assata Shakur)  In 2015? One. (Maya Angelou)

Yes, I've read authors from a variety of countries and of a variety of ethnicities and races, this year and last year and every year. And yes, I've read as many writers who are Not White Guys as are White Guys. But I need to do a whole lot better.

I mean, it's one thing when you sit in your canon-driven literature classes and read a lot of old/dead white guys (although to be fair -- and this time, I will be, to my teachers -- I was actually exposed to quite a lot of Not White Guys over the years, in my English major classes, I daresay at a better rate than in some of the rest of academia....) but now in my "real" life I am not beholden to a syllabus. I can read whatever I want by anyone. So. Why don't I read/haven't I read more black authors?

Now, I do love me a reading project. A lot of my reading projects are list driven, and a lot of those lists tend to get populated by some of the same Old/Dead White Guys over and over again. Just to name three of my life-reading-projects-in-progress, the Pulitzer-winning fiction, the Modern Library Top 100 Novels, and the 1,000 Books to Read Before You Die feature no shortage of White Guys. Still, there ARE other races and genders on those lists. And I don't JUST read books from those lists (obviously, or my projects wouldn't take me so long), so I do read other novels. But I pretty clearly need to start some kind of African-American novels project. Who's got a list for me?

And this is not to mention my oh-my-god-it's-been-going-on-so-long-but-is-almost-finished Prez Bios project, launched during the Dubya administration, in which I've been reading a biography of every U.S. president in order to see where we went wrong. I've made it through all the men (White Guys a-plenty!) up to Dubya himself now, and the vast majority of the biographies have been written by, you guessed it, White Guys. White Guys write a whole lot of our history. It's just, like, totally in their hands.

What are we all going to do about that?

All of your suggestions are welcome - suggestions of novels written by black authors, suggestions of non-fiction written by black authors, and suggestions for how we can all do more to speak truth to power, fight entrenched injustice, and keep working toward freedom and making Dr. King's dream a reality.

Tuesday, January 09, 2018

Oprah and the 2020 Vision

Well, I wasn't exactly plotting this as my Happy New Year! post, but since there are about fourteen different arguments I'm involved in on various Facebook threads regarding this topic, thought I might as well weigh in here for all and sundry...

We're here to talk about the Golden Globes, Oprah, and the trending idea of "Oprah for President."

First and foremost, it has come to my attention that a significant portion of y'all, whoever y'all may be (feel free to mis/interpret that to include yourself or not - I don't really care), missed the set-up in Golden Globes show host Seth Meyers' opening monologue. Just last night I had to explain this to someone in a bar who had no idea it had happened. I'll explain it again here, because if you're coming late to the party and claiming that the #Oprah2020 response to her lifetime achievement award acceptance speech is half-baked, you should probably know that you are the half-baked one, in that you have only been served half of this entree. To wit:

-In 2011, Seth Meyers and Barack Obama famously roasted and jabbed and mocked TheDonaldTrump at the White House Correspondents Dinner, where rich and powerful people do that to each other annually (usually including the current president, except not this past year because we don't currently have a president, just a usurping twit), and since then there has been a kind of ongoing half-joke rumor that Seth Meyers pitilessly mocking Trump to his face about wanting to be president is what cemented the decision in TrumptyDumpty's mind that he'd run. Is it true that Seth Meyers' words had that effect on Trump? Don't know/don't care. But it has been a recurring theme since then to ask Meyers about it in interviews (see, e.g., him on Fresh Air) and for him to half-jokingly/half-wistfully say maybe he accidentally is responsible for the disaster through which we're all now living. Ha.
-At the Golden Globes this past Sunday, January 7, 2018, Seth Meyers referenced his "responsibility" for #TrumptyDumpty and said that he doesn't know if it works, but just in case... and then he riffed along these lines: "Oprah, you can NEVER be president! You should not run in 2020! Tom Hanks, you can never ever be vice-president! You're too nice!"  Reaction shots of Oprah and Hanks in the crowd. Laughter all around. Then, Seth Meyers staring into the camera: "And now, we just wait and see."

Get it? It was funny, and brilliant, and spot fucking on, as comedy should be.

So if you missed that, you missed the entire planting of the night's seed, as it were.

Anyway, then later in the evening Oprah got the Cecil B. DeMille Award for her outstanding contributions to the world of entertainment. Remember when Meryl Streep got that award last year? I sure do. See, e.g., this most wonderful of Tweets. In keeping with the evening's/Hollywood's/the world's life moment theme of #TIMESUP and declaring a new day in terms of the shite women must endlessly face, especially when they dare to have power or have their voices heard (see, e.g., Hillary Rodham Clinton, you goddamn vast right-wing conspiracy that has absolutely ruined for the rest of us what could have been a perfectly nice life), Oprah gave a rousing speech that many, many, many of us found moving and inspiring. Because she is, among other things, moving, inspiring, smart, experienced, a leader, a visionary, talented, philanthropic, gutsy, bold, powerful, eloquent, life-affirming, and - not to be missed - a black woman. You're goddamn right I'd be happy to hand her whatever job she wanted.

I highly doubt she wants to be president. Neither does the unstable, decidedly non-genius, usurping twit currently pretending to do that job.

I am not starting or joining any #Oprah2020 campaign.

No, I don't think we should be plucking our presidential candidates out of the "world of entertainment" - see, e.g., Ronald Reagan and Pat Robertson, two such pluckees who should never have been presidential candidates.

But y'all (again, if you're not part of that y'all, don't take it personally, but if you are, please take it VERY personally indeed) made Hillary Rodham Clinton, one of the smartest and most qualified presidential candidates of all time, run against just such a pluckee and you acted like he had any business being there. Any of you who did that -- any of you who ever for so much as one second pretended he had a legitimate claim to being a qualified presidential candidate - goddamn you to hell.

All of the racism and misogyny that has built this nation has led us to this moment: we have an actual usurping twit unstable "button"-wielding cretin in charge of actual things, and instead of being outraged about that this week (and every week), you want to point out to me that it is ridiculous that people are hashtagging #Oprah2020.

Yes, it is ridiculous.

Your bed is made. Lie down.

Thursday, July 06, 2017

Terry Talks the Talk and Walks All the Walks

We need to talk about Terry Tempest Williams now. After you read my blog, run, don't walk, to your local bookstore and buy one of her books. Yes, you could "just go on Amazon" (shudder - does it have to be Amazon? Bookstores do have web sites, you know) but I'd like to think you might not
want to make this purchase from Amazon, if you think enough about all that Terry Tempest Williams is. So let's talk about her. Settle in. Get comfortable. But also? Get uncomfortable.

From http://www.coyoteclan.com/bio.html
Get uncomfortable, yes. Why do I say that? Because it will be to your benefit to get uncomfortable once in a while.

And it could possibly be to Earth's benefit as well. That's one of the points TTW made Wednesday night in her author appearance at Women and Children First bookstore, where she discussed  The Hour of Land: A Personal Topography of America's National Parks and the current state of the country, humanity, and the planet. She was talking about her recent semester as a visiting professor at Dartmouth and the toughest class she ever taught, she said, because of the way the people in the classroom challenged her. She described a classroom in which she was accused, sometimes rightfully, of not understanding young activists as much as she should or of needing to learn more about what it means to be queer, which she did, and in which people sometimes said things like, "All this talk of sexual assault is irrelevant to my life" or "My brown body does not matter in any of these books you have assigned." But, she said, instead of rupturing, they kept at it, and she learned from them, and they learned from each other. She said that she told them on the first day "This is not a safe space" and if they were looking for that they were in the wrong place. It was a supportive space - but not a safe space, because writing is not a safe space. (<--her words)

Also, our world is not a safe space right now. (<--my words)

But writing, among other courageous acts of resistance, may help us.


It would be hard for me to overstate the value of Terry Tempest Williams' words. Others agree with me. See, e.g., this bit of a book review from The New York Times. (right)

At the bookstore appearance, TTW talked about the land in Utah, her homeland, which she described as a formerly rich desert that has been mined so much it now looks like an exposed nervous system.

During the Q&A period, a young audience person from Florida asked how to cope when, in the young person's lifetime, the Everglades and Dry Tortugas National Park disappear underwater. "Don't look away," Terry said.

I think that's what we all do so damn much of, looking away. Because:
-It's uncomfortable.
-It's hard.
-I can't do anything about it.
-I just can't deal.

Click click click click click click ...

A frenzy of looking away. Our looking away takes many forms, and we can talk about some more of those in a minute.

Like many people, I first came to Terry Tempest Williams' writing with Refuge: An Unnatural History of Family and Place. It, and she, were big in the circles I ran in when I was 18, and I looked forward to reading it when it was assigned in my Women in Literature class taught by the inimitable Cecilia Konchar Farr during her last semester in Utah (that's another story for another time). I was in the small group that did our semester project on Refuge, and that project became a pilgrimage to the Bear River Migratory Bird Refuge, a class presentation done in the style of a church program (you'll understand why when you read the book), and then a protest demonstration. Cecilia dubbed us the "Refuge Radicals." You can see how all this is maybe a formative part of me, or perhaps an early recognition of all that I am.

But it's not about me--Refuge has spoken to so many people, with its tale of family, cancer, Earth, birds, cycles, destruction, and how we can go on. Terry Tempest Williams talked in this bookstore appearance about her Chinese translator of Refuge. TTW just recently got back from China. ("Beijing air," she said when she interrupted her reading for a small bout of coughing. "Also Salt Lake City air," she added.) The Chinese woman had commented that Terry's work was becoming more political and needed more beauty. Terry countered that that translator's work could maybe use more politics and less emphasis on beauty. They laughed. They are friends. They are each doing what they can, courageously.

We can be both compassionate and harsh. AT THE SAME TIME. I thrilled to hear TTW say that. I know that, and I know what it is to be put in a box, to be told if I'm one I'm not the other. Now, she clearly has a demeanor that would never be mistaken for mine; I'm sure you'll find her gentler, but don't you go thinking that she is not fierce. She fights, and with her life's work as a writer and naturalist she has fought and fought and fought for this land we are trampling, we the human race.

What are we racing toward?

Whatever it is, I don't think you need to worry about people's feelings getting hurt when I say things to them about the destruction on the path. To know me is to know that of all the possible motives for words and actions, wanton malice isn't mine. Maybe when someone says something "intense" we can benefit from hearing them instead of wishing they would speak the way we would have them speak.

"Smile." "Be sweet." Nah. Let's get uncomfortable. As TTW reminded us, we need to have the courage. Writing. Listening. Saying "That's bullshit."  Saying "Thank you, I understand you now. I've heard you."  ALL of these are necessary if we're going to have any hope whatsoever of saving our planet from human-wrought death and destruction. (Humanity itself, it has to be said, may not be worth saving.)

I know, I know, you think humanity is special, unique, privileged, chosen, blessed.  If you had heard Terry Tempest Williams talk about the bison she recently saw in Yellowstone, I think you might have shed tears along with me. I don't feel entitled to retell her story -- I hope you can hear it from her someday -- but I will tell you that in it, bison were grieving the loss of one of their own, and TTW reminded us that we are not the only species living, breathing, and grieving here with loved ones. My own deepest wish in this world is that you, each of you, each of us, will join in opening the cages and letting each being live the wild life it was meant to live. You might not be ready to listen to the trees and hear their message, as TTW did; you might not be ready to know how much the land matters, more than you are prepared to admit (she can help you, though). But I expect you to try to do better. And to not look away.

It's uncomfortable. It's hard. I can't do anything about it. I just can't deal.

It's uncomfortable to think about how much animals suffer because we, unlike the wolf Terry Tempest Williams observed in Yellowstone, don't go in for a quick kill with our jaws at the throat. We have a slow, laborious, monstrous industrialized meat process, from factory farm to slaughterhouse line where they are herded and trapped on conveyor belts, watching their fellows be killed in front of them, held tight with no escape possible, because we don't care how many billions of people there are -- we demand large animal livestock meat for all of them. It is one of the most environmentally irresponsible things we do in addition to being cruel. Do you think about this when you plan your meat menus? Or is it too "hard" to eat meat just once a week?  "Don't look away," Terry Tempest Williams said.

It's hard to live without:
-bacon
-driving
-electricity
-hot water
So we live a life of fossil fuel consumption. But we can think about it.  How else are you going to get better? Don't look away.

People tell me they love rabbits. Their child loves rabbits. And so what do they do? Get a "pet" rabbit, and lock it in a cage. Alone. A rabbit, for merciful god's sake, alone with no other companion of its species, locked in a cage.  How DARE anyone cage an animal as a pet? Where does such almighty hubris come from?

I expect better of you. I expect you to not look away when your friend/neighbor/associate puts a sentient being in a cage, or declaws a cat to "save" their precious furniture. It's furniture. An object you purchased, and you think it's better than a life. A living body. I expect so much better of humans, and I am so disappointed.

You can't do anything about it? Well, you can not look away when sentient beings suffer so that you can have:
-medicine
-a Coach bag
-iPhones
-milk

You just can't deal. But you sure can upgrade your smartphone! The planned obsolescence of technology rapes the earth. That's a fact. Don't look away from it.

Milk. Ye.Gods. Milk, seriously, is one of the most grotesque things humanity does. No other species suckles at the breast of a different animal unless it's a unique, life-threatening emergency. Humans, though? We've got an entire industry, a multi-million dollar industry, with one of THE most powerful lobbies known to man (and they are, largely, men with that power), that has you 100% convinced you need milk for nutrition (you don't), that if you've "got milk" you're all set (for being overweight and higher cancer risk, maybe), that milk does a body good (whose body? not yours, not the raped mother cow nor the calf taken away from her who was entitled to the milk her body produced, not the imprisoned body kept captive and not moving while it is milked, day in and day out, like a machine, by a machine, for years, just for your cereal and your latte in which you could replace the dairy product with soy milk, almond milk, oat milk, hemp milk, rice milk, cashew milk...)   DON'T look away! Don't! Look at this. Look at your part in it. Look at what it says about our (lack of) respect for the animals and the land.

Terry Tempest Williams didn't say anything about milk in the bookstore. I'm just demonstrating that we are participating in the destruction of our planet, on both micro and macro scales, daily, because of our sheer disregard for the lives all around us - of trees, grassland, cows, wolves, national parks...you name it.

With tears in her eyes, she answered the question about how to cope with the loss of our planet's land by saying, "I don't know. But don't look away."

This is my testimony. I'm not telling you to never consume an animal product. I know that life is suffering. I KNOW this is true. And I've read Ishmael by Daniel Quinn. Have you? I understand what it means to be a species on this planet. I don't think humanity quite does. The other species seem to understand that they aren't the only goddamned species. (And if god had any sense, he would damn us, I believe, humans being the rotten lot we are.) (I mean like if he existed and stuff.)

I am telling you you should read TTW's book about our national parks and think about what it means that we have an occupying U.S. administration actively dismantling any protections our public lands have.

You will now be able to go hunt grizzly bears. That's apparently how we "make America great again." It's an absolute horror show.

TTW praised Aldo Leopold and the Leopold family, who have tracked the changes for years and demonstrated that the climate is changing and altering the landscape. Aldo Leopold's A Sand County Almanac (so Midwestern!) is another book I read as an English major, as I was entering the world of Terry Tempest Williams, Edward Abbey, Wendell Berry, and all the Western naturalists who made me understand how much I loved my Arizona, Southwest, and West homelands, who made me see how much the "empty" lands and open spaces can teach us. All these writers have been warning us about the ways we're changing the climate, the landscape, the planet. For years. Listen. Let's not look away.

Terry Tempest Williams and I come from some of the same places, both geographical and religious. We have both grappled and questioned, each in our own ways. One thing our upbringing taught us, though, is the power of bearing testimony. It's remarkable, really, that a religion most people see as "cult-like" (it's not, and we'll have that discussion another day, too) actually hands over the bulk of the church meeting, once a month, to whoever wants to come up to the open microphone. Well, this Earth we're on needs a giant testimony meeting right now. Don't tell people to be quiet and "avoid politics." Don't look away. Don't tell people they're "not being nice." Don't worry about offending someone when you call them out on their behavior. Don't think of it as inappropriate to remind someone that by their lifestyle they're encouraging sweatshops, imprisonment, torture, hideous slaughter, trafficking, death, endangered species, and the flooding of our planet (Noah's ark, anyone?) I can't think of anything MORE appropriate than issuing the warning, loud and clear, from every bully pulpit - social media, face-to-face, or whatever else you can get your hands and vocal chords on.

This is my testimony, and I say it in the name of all that is good and holy in this universe: we've got to think about the land. We've got to think about Earth. We've got to think about the other species on it. Humanity might be doomed, or you might have a slight, tiny, glimmer of a chance. It would help you if you start listening to and understanding the likes of Terry Tempest Williams.

Sunday, June 11, 2017

This was the folk-music-icons weekend that was

Back in the day, by which I of course mean the late 1980s, I accumulated a few pen-pals. Yes, pen-pals -- remember those glorious days, of sitting down with pen and paper, writing a letter, and sending it off to your new "friend" who lived in another state or another country? I loved that hobby. Only one of my pen-pals lasted for years and years of correspondence -- she and I had quite a bit in common and a lot to say to each other, and even ended up both living in New York City at the same time years down the road and getting to meet and be friends in real life, which was in itself amazing. However, this particular story isn't about that pen-pal, but rather about a fleeting pen-pal with whom I briefly wrote letters and then lost contact forever but who, nonetheless, had an impact on my life through the act of sending me a particular cassette tape.

This particular fleeting pen-pal was named Nancy (I think? that's how long ago and fleeting this was) and was, again I think, from Oswego, NY.  I do hope I'm remembering that correctly and not mixing her up with someone else. Anyway, the fleeting pen-pal in question and I decided we would exchange tapes, and we sent each other lists of the albums that we owned and then let each other know which of the other person's we wanted and copied them onto blank cassettes and sent them to each other. (I know, hello, copyright laws, anyone?) We were young adolescents still with a manageable amount of albums, and I can't tell you what the hell else she sent me or what I sent her, but I very specifically remember one dark brown Memorex cassette she sent to me that had on one side a copied Cowboy Junkies album and on the other side Indigo Girls.

I even remember exactly where I was when I was looking at her letter with her list of albums and thinking, "Cowboy Junkies. Indigo Girls." I didn't really know what their music was going to be like -- anyone whose hit songs I knew and loved I had probably already acquired via Columbia House Record & Tape Club or from Sam Goody at Metrocenter mall, so browsing her list was a chance to try something new I wouldn't have otherwise stumbled upon. And this was the mother lode.

I played the hell out of that 90-minute, no-longer-blank cassette. I played it at home, in my parents' cars, and anywhere else I could get it in a tape deck. I loved those albums fiercely, and -- good future copyright law student that I was -- I eventually bought both of those albums properly, thus giving the artists and record companies their profits and more importantly getting my hands on the liner notes. And needless to say, that simple act of being intrigued by my pen-pal's album list -- I can still vividly see it in my mind's eye, can perfectly visualize her handwriting -- launched me on my lifelong Indigo Girls love and fandom.

What if I had never exchanged those handful of letters and cassettes with this random girl across the country? Would I have come to know Indigo Girls and Strange Fire, and then later, Nomads*Indians*Saints and Rites of Passage and all the rest? When? Would I have been too late? I once read a piece in Psychology Today that said studies indicate that the music you listen to during that adolescent time, like toward age 14 or so, resonates more deeply with you than anything you ever listen to in the future, no matter how much you like what you come across in the future. And among the cassettes I spent those early teen years playing over and over were Indigo Girls, Bob Dylan, R.E.M., Simon and Garfunkel,  Cowboy Junkies -- folkies who still speak volumes to me today.

I bring this up because some remarkable things happened this weekend. Tonight, Sunday, I attended a concert at the Chicago Theatre: Four Voices - Joan Baez, Mary Chapin Carpenter, and Indigo Girls. When this tour was announced a few months back my breath caught and I thought, this! This is something I cannot BELIEVE I am going to be able to witness! Now, of course I knew that they were all friends, and I know about Mary Chapin singing backing vocals on Amy and Emily's album and Amy and Emily singing backing vocals on Mary Chapin's around 1991, and I remember when the Girls performed with Joan Baez in the early mid-1990s for a benefit and she thanked them for letting her be an Indigo Girl for the evening and called them young whippersnappers, and I own the CD (yes, I eventually moved from cassettes to CDs) from the benefit where Indigo Girls and Mary Chapin and a bunch of other artists all performed with Joan Baez and planted roots for this blossoming friendship so I've heard them harmonizing in pieces and knew of their crossing paths but THIS - a tour called Four Voice, with lots of dates, coming to my town, playing cities near me - it was amazing news.

And it was an amazing concert, needless to say. There are so many highlights, and perhaps I'll tell about more of them in another post, but here let me just assure you that among the evening's joys was the final song of their main set, a cover of a particularly good, particularly relevant, Nobel prize-winning even! song that with their Four Voices became THE best performance of a song that I have witnessed being performed live, ever.

But there was also another little thing that happened at the beginning of this weekend. On Friday night, it just so happens, I saw Cowboy Junkies in concert at the Old Town School of Folk Music. For whatever reason, I had never got a chance to see them in concert before this weekend. Unlike Indigo Girls and Mary Chapin Carpenter, whom I've seen multiple times (Indigo Girls, dozens), I somehow had missed out on the Cowboy Junkies until just this past Friday. There was Margo Timmins, in all her fifty-something glory, and that voice! That achingly lovely voice, with all those heartbreaking, swirling Cowboy Junkies songs. That was the opening of my weekend, and then it ended with this other collection of voices, including the legendary Joan Baez, up there showing us what incredible things words and music can do.

And I thought, how odd, how odd indeed that my weekend was bookended by incredible, life- and music-affirming concerts featuring the two bands that were on either side of that blank cassette sent to me by pen-pal Nancy from Oswego, NY nearly thirty years ago.

And I thought, how beautiful, how beautiful indeed that we are gifted with time on this planet where we can make and share our art, where we can hoist our visions onto the world stage and where we can tuck recorded sounds gently into an envelope with a bit of extra postage and let them be carried across the miles to someone who needs to hear them, or where we can now just upload them with a few quick finger taps on a keyboard.

In spite of all of the hard things, and the misery that Margo openly jokes about (wondering aloud to her audience why anyone would come to a Cowboy Junkies concert expecting to hear happy songs), and some of the political happenings that Joan, Mary Chapin, Amy, and Emily talked about and sang about and alluded to, and just despite the ever-ongoing struggle -- in spite of these things, my god but isn't there some beauty to be found out there, to be brought into our lives thanks to the random simple chances we come across?


Sunday, December 18, 2016

One More Day Before the Storm

As Macbeth said, "Tomorrow and tomorrow and tomorrow..."  

But I do believe that tomorrow, Monday, December 19th, will in fact signify something.
The future, which occurs after the present

I've had this super-weird confluence of personal, professional, and political timing, which all seem to be coming to a frothy head tomorrow. So, when I woke up today (Sunday, December 18th) and Facebook was offering up Fb memories of our three-years-ago trip to Hong Kong Disney, I decided this image of me at Tomorrowland says something important.

Tomorrow means hope. It's not all gloom and doom creeping in at a petty pace, Macbeth. Now, Macbeth is my boy (i.e. favorite Shakespeare tragedy) and he certainly has it right that there are fools and poor players all around us strutting and fretting (ahem TheDnldWTFTrumpface ahem). But the very notion of tomorrow brings hope, as one of my OTHER favorite plays of all time reminds us. So, so, so much hope for the wretches whom Macbeth might call "walking shadows" as they contemplate revolution in Les Misérables:

"There's a new world for the winning/Do you hear the people sing?"

When the Electoral College meets tomorrow, will they hear? Will they do the right thing, the moral thing, the Constitutional thing, and use their best judgment to cast their votes, which means casting them so that TheDnldWTFTrumpface does not ascend to the presidency?

While that's happening politically, I also personally have a huge and emotional development tomorrow in my professional life. (No, the electors aren't going to elect me...that I know of!) One era is coming to an end, due in large part to reduction-in-force layoffs that came slamming into one of my gigs, but not entirely due to that, as I have seized upon a blessing-in-disguise opportunity to do some stuff when this particular new little era of mine dawns. AND, just to compound the personal/professional/tomorrow timing of it all, the last month and a half has been a whirlwind, a mighty and fierce whirlwind, of me working two and a half jobs, laying groundwork, and figuring out lots of big stuff, and all this has been happening since Monday, November 7, the first "One Day More," which led us to the horrible Tuesday, November 8 election day or more accurately the horrible Wednesday, November 9 Day After. So for one month and a half I have been in this intense stirring up of life and time (working every day, sometimes two jobs, plus other events, with no time to think but just go go go with eyes on the prize), with big developments, and meanwhile this parallel thing happening of Trumpface and the end of the world and the burgeoning fight for the #ElectoralCollegeExMachina moment we all need and then after a particularly intense last burst of the 36 hours from 11 a.m. Friday through 11 p.m. Saturday where I was just everywhere serving three or more masters and just go go go went went went I came home and rested.

Sleeping deeply.

And waking up today to Facebook memories of Tomorrowland and the imminence of tomorrow, December 19, when one big thing ends in my personal life, AND there is one superbig chance for the whole world in political life.

Sing it, Les Misérables:

"Tomorrow is the judgment day
Tomorrow we'll discover what our god in heaven has in store
One more dawn
One more day
One day more."


Sunday, November 13, 2016

Real "America" and the media the media the media the media the media

SO then. Here we are. Forty-seven percent of U.S.A. voters cast their precious ballots and made it so that with a popular vote loss but 290 electoral college votes to 228 (and still counting some states) TheDnldUGHTrump will occupy the White House and deprive Hillary Clinton of that opportunity. 

I mean, don't get me wrong: I'm pretty sure that 47% of all y'all out there make terrible choices on any given and every given day, so why should election day be any different? 

But today we are here specifically to address this idea that MrTrumpface somehow spoke to the concerns of "real Americans" with whom the media was out of touch.  

"The media" is an incredibly vague and fairly useless phrase, so I'll narrow it down at least a little to the talking head anchors and roundtable sitters on network news programs who spent the last year pretending Hillary Clinton's "widespread unpopularity" which they harped on excessively until it finally started growing -- sort of beating life into it --  was a news story, rather than any of the bazillion policy issues, policy statements, political issues, social issues, current events, tragedies, hopeful outcomes, etc. happening all around us in the nation that Hillary addressed month after month after month. Those media squawking heads salivated breathlessly as they manufactured dislike for Hillary Clinton and offered up freely their interest in non-issue email invented "scandals" and pretended the Drumpfster was a legitimate option for the presidency and then acted stunned and shocked on election night. That was stupid of them, and they were one of the top two targets of my election night (Facebook) wrath, along with the delusional/bamboozled people who actually cast votes for DT. 

But. 

As the Chicago Tribune's Steve Chapman points out here, the media "failure" is yet another story we are telling ourselves as some especially loud voices insist that "real Americans" have spoken. (If anything, the nation "has spoken" via popular vote for Hillary -- the electoral college, which hasn't yet spoken, may be called upon to speak for Drump.) What's worse, though, is the idea that some residents of the U.S.A. are "real" and some are not. AND, that if for some reason there WERE some who were real and some who were not, that the minority, the far far far smaller number, would be the real ones because they live somewhere where they have to drive a gas-guzzling car to get anywhere instead of being able to hop on public transportation. 

I mean, that's just silly.

It doesn't stop people from posting memes, though, with maps of the U.S. colored in red and blue by county vote, and it doesn't stop people from saying when they post those memes: "This is the people taking their country back!" Here's an example from The New York Times' presidential election results:  



When I pointed out to one poster of memes (of oh so many pro-Drumpf memes) that the "more red" areas consist also of more open space, highways, and cattle, while the blue areas are where there are more people, she helpfully reminded me that "I don't think the cows were voting! It was people!" 

Uh - my point exactly, lady. More people = blue areas. Fewer people = red areas. 

But who's "out of touch with the real" United Statesians? 

The media bashers like to say there are just a few liberal elite, a minority sitting in their elite New York penthouses and Malibu villas, making movies and hobnobbing with one another. 

Actually, there are tens of millions of people who live in cities. And tens of millions of people who voted blue in this particular election. And we are real. Who are you to say only Plains state farmland plowers are real? That's absurd. 

Imagine if you had a dozen people over to your house for a Super Bowl party (can't get more "real American" than that, now can you?) and realized at the last minute there was no soda pop so someone dashes out to get a 12-pack. He asks, should I get Coke or Pepsi? Yes, there are some people who don't drink soda and won't have either, but that's not his question. Coke or Pepsi? Let's say you take a vote. People are milling about, but at this moment three are sprawled on the couch in the giant living room watching pre-game jabber, and nine are standing clustered around the snack table in the small dining alcove because the snack food is interesting as is the conversation there. Two couch people vote for Pepsi and one for Coke. Living room, 2-1, Pepsi. Seven snack table people vote for Coke and two for Pepsi. Snack table, 7-2, Coke.  Total, 8-4 Coke vs. Pepsi. But the host says, well, the living room is bigger and takes up more area so in order to get the "real" vote we'll give them more say. Pepsi it is. 

Gross! (For those of us who don't care for Pepsi and can't beat the real thing.) But that's the argument I keep hearing put forward about why and how the electoral college represents rural areas' interests, and it's just as nonsensical as saying the people who take up more empty space are "real" while the people clustered together in a smaller physical space are not. 







Friday, July 08, 2016

Word #1 Word #2 Word #3

I'm back!

Yeah, it's been a while. The good ol' U.S.A. sure hasn't done itself any favors in the not-being-a-total-disaster department in the interim, now has it?

I hardly know where to begin, but they always say, well, start where you are, eh? So, sitting here at my laptop trying to make sense of everything happening this week in these United [sic] States, I took a picture of my shirt. Here it is:

Well, I didn't say it was a flattering picture, did I?
And I would like you to take a look at this shirt with its (cheeky? feisty? rebellious? assertive? feminist? empowering? simple? nuanced? you make the call!) slogan and consider the following questions.

Whether you are familiar with the shirt or have zero context, you can think about what its message is. You can ask yourself, does it mean that girls don't play anywhere else but here, that for example they don't play over there? Does it mean that playing is the only activity they engage in here? That they never dance, talk, sing, laugh, fight, breathe, meditate, or whatever else when they are "here," wherever "here" is, literally or metaphorically? Does it mean that boys don't play here? Or there? Or anywhere? In a box or with a fox? For god's sake OBVIOUSLY NO IT DOESN'T MEAN THESE THINGS. So why the !@#$%* is everyone so damn confused about #BlackLivesMatter all the time?

I can't understand why people interpret #BlackLivesMatter the insipid ways that they choose to interpret it. I can't understand why they read "only" in a sentence where "only" doesn't exist, or why they add "and therefore police lives don't" when that is not only clearly not said and not meant but also utterly nonsensical (for example, what if there's a black police officer? Is he just caught in a paradox of both mattering and not mattering for eternity?), or why they DON'T see the implicit preamble of "Whereas a lot of people, institutions, and systemic societal forces have been disregarding black lives, up to and including the murder of innocent black people, we're going to mention here that..."

But hey, guess what? Girls play here. And black lives matter.