Hillary and the New York Post

Let me be very clear about my biases here. I HATE the New York Post. My disdain for it goes back to the Summer of Sam in 1977, when the paper indicated, in screaming red letters that the killer had been caught. More egregious, though, was when some photographer slipped into the NYC morgue in December 1980 and took a picture of the deceased John Lennon, a photo that the Post, in its infinite taste, published on the front cover.

So when NewsCorp, a/k/a Rupert Murdoch, bought it a few years back, it only solidified my disdain for the rag. Though to be fair, its sports coverage is decent. Understand that I don’t actually READ the paper; those headlines are generally enough. And on those rare occasions when I HAVE read it – usually an abandoned copy on a bus – my suspicions about the newspaper’s character, or lack thereof, are confirmed.

I’m not a great fan of Hillary Clinton. Sure, she was wrong on the Iraq war, but my disdain actually predates that. I didn’t vote for her in 2000 or in 2006. I think part of it is that she’s one in a line of carpetbaggers who came into New York State merely as a matter of convenience, so that they could run for the U.S. Senate. Remarkably, the last three were actually elected: Robert Kennedy in 1964, James Buckley (brother of William F., who had denounced RFK six years earlier for the same reason), and HRC in 2000.

Still, the vitriol that she engenders is astonishing to me. They hate her because she’s too tough. They hate her for using Rodham in her name. They hate her because she didn’t leave Bill over Monicagate. They hate her for reasons I’ve heard explained and STILL don’t understand. It almost seems that she has personally insulted them, the way many right-wing magazines and books have keyed on her. I mean, she’s not my pick for President, but yeesh!


And among her nastiest, and most persistent, critics is the slimeball tabloid New York Post, which seems practically obsessed with her, based on these newspaper covers from successive days (January 3-8, 2007). Other New York State papers cover the Presidential campaigns; the Post covers it largely in relationship with the fortunes (or misfortunes, so they hope) of “Hill” (rhymes with Bill). I read a story some months ago about her in the Post. The details now escape me, but it was clearly opinion, and negative opinion at that, posing as a “news” story.
So, when she cries, or almost does, one can practically hear the Post editors smacking their lips. “Hill cracked! We got to her! She’s going down!” But a funny thing happened: Hillary won in New Hampshire. And according to this piece, and others, it was BECAUSE she cried, or almost did. She allowed herself to be “real” and the voters, especially the women voters, responded.

And, peculiarly, I was glad she won in New Hampshire. Anyone denying that there is this sexist double standard isn’t looking very hard. The man can cry and be sensitive yet manly and Presidential, but the woman who cries is probably “in a tizzy” and can’t be trusted with heading the government. This is the balancing act Hillary Clinton has been trying to maintain for a long time, but letting her emotions show seems to have helped her, at least for one day.

ROG

2007 movies

Pitiful.

I saw 14 movies in 2007. I’m not talking 14 movies in a movie theater, though most of them were. I mean 14 movies TOTAL in 2007.

Only two were on video: Raging Bull and the original Hairspray, probably when Carol and Lydia were away.

One was on a wide-screen TV at a resort: Spider-Man 2.

Four were movies I saw in movie theaters that came out in 2006: The Queen; The Pursuit of Happyness; Volver; and Notes on a Scandal.

Finally, seven of them were movies I saw in movie theaters in 2007 that I actually saw in 2007. No Michael Clayton or Lars and the Real Girl or Away from Her or No Way Out or I’m Not There or Ratatouille or the new Hairspray or Enchanted, all of which came and went in this market. Seeing videos just doesn’t seem to work in our one-TV household.

So here’s the paucity of my 2007-released films, ranked by what I liked best.

7) The Simpsons Movie: I liked the pig, I liked the Disney touch with the sex scene. I especially loved Bart going to Flanders for advice. But, as I think back on it, there was too much time when not much happened.

6) Knocked Up: Gross. But often funny.

5) The Namesake: quite touching, though it sags in the middle.

4) Once: The movie musical for people who hate movie musicals.

3) Waitress: I always hated the term “chick flick.” Vibrant character study, and Keri Russell was luminescent.

2) Sicko: Less Moore + incontrovertibly broken health care system = better Moore pic.

1)The Savages: Great acting, specific script. Think I mentioned it recently.

Anyway, I’m planning to take off a day a month this year and see a movie, either at the cinemas or at home.
***
I was reading Ken Levine’s piece about why Walk Hard: The Dewey Cox Story bombed at the box office, a movie that, had I seen thrice as many movies this year as I did, probably would have made the cut. Maybe it was the middling reviews, or the fact that the target audience didn’t see the reference material, the movies “Ray” and especially “Walk the Line.” But the primary reason for the b.o. failure was that no one knew what it was supposed to be about. I subscribe to the latter school of thought, though in fact, I didn’t see either reference movie myself.
Here’s a scene:

ROG

TV Theme Songs

Greg picked his Top Ten TV Themes recently, and I thought I’d do the same. I figured it’d be an easy post, but the more I thought about it, the more I decided that comparing themes with vocals and themes without just wouldn’t cut it for me. The vocals should give you a sense of the story, while the instrumental should set the mood.

So, two lists, both in alphabetical order:

Instrumentals

The Andy Griffith Show – called “The Fishing Hole”, it features whistling. In harmony. Sets the rural tone of the show.
Captain Kangaroo – a very welcoming theme for kids.
The Dick van Dyke Show – that chime or xylophone just at the point that Rob Petrie either trips on the ottoman or doesn’t is so very clever.

The Fugitive – the sense of a man on the run is palpable.
Hawaii 5-0 – no wonder it was a hit.
Hill Street Blues – great Mike Post tune.
Law and Order – so good that Dick Wolf tries to use variations of it for his other L&O shows.

M*A*S*H – mournful start (though ends more upbeat) to the first dramedy.
The Odd Couple – feels like couple of divorced men trying not to kill each other.
Perry Mason – sets the serious tone. Actually, I prefer the end theme, which is an extended version of the opening is this wonderful orchestral piece that stands up as MUSIC, not just a TV theme.

Rockford Files – yet another great Mike Post tune.
Sanford and Son – rather sounds like a junk yard.
Seinfeld – that popping in the end reminded me that the show was supposed to be about nothing.
That’s 13, isn’t it? Well, I didn’t major in math in college.

Vocalists

Beverly Hillbillies- you certainly knew the story, even if you never watched the show.
Branded – a one-season show on NBC starring Chuck Connors and I STILL remember the theme from 40 years ago, and I bet my sisters do, too. Yeah, it’ll probably seem corny now, but at the time, it was really cool. I think it was the broken sword.

Car 54, Where Are You? – for some reason, reminds me of Fred Hembeck.
Cheers – about a perfect blend of song and show.
Gilligan’s Island – classic.
It’s About Time – also by Sherwood Schwartz, who did Gilligan and The Brady Bunch.
The Jeffersons- a dee-luxe apartment in the sky. Hallelujah!
Mad About You- a song better than the show that invokes the show’s title.
Maverick – the legend of the west -“luck is the lady that he loves the best”.
Moonlighting – whatever Greg said. Though it in fact, it violates my own rule of telling the story. I don’t care.
Mr. Ed – because I still remember verbatim the damn thing 40 years later.
Top Cat – maybe this stands in for all those great H-B cartoons, but I loved it.
WKRP in Cincinnati – what Greg said.
And 13 of these.

There are a couple variations on themes, both instruments, that bear mentioning. The JEOPARDY! theme in the beginning is OK, but the “thinking music” is iconic. ABC News’ intro is functional, but the variation they use for the In Memoriam section of This Week with George Stephanopoulis is haunting to me.

Tom the Dog commented on Greg’s post about shows that have different closing themes than the opening. Except for All in the Family (Those Were the Days and Remembering You) and Frasier, nothing’s coming to mind. Sure there are variations on the theme (Gilligan’s Island with different lyrics, the Jeffersons’ slower version with humming but no vocal), but absolutely different songs? Can you think of any others?

ROG

Movie Review: The Savages


Carol and I went to see the new movie The Savages, starring Laura Linney and Philip Seymour Hoffman, two of my favorite actors, back on December 29 at The Spectrum Theatre in Albany. Then we got in the car to pick up Lydia from Grandma and Grandpa’s house in Oneonta. When we got home, I flipped on Ebert & Roeper. Roeper and New York Times film critic A.O. (Tony) Scott were giving their Top 10 Picks for 2007. Number 9 on Scott’s list was The Savages, which he described as a “comedy.” A comedy?

The story is about a couple adult children at opposite ends of New York State, Wendy Savage (Linney) in NYC and brother Jon (Hoffman) in Buffalo, forced to deal with their estranged father (Philip Bosco), now in decline, as well as each other. Hilarity does not ensue, but the movie does have quite a few comic moments. The story, on the surface, could be both conventional and depressing; the fact that it is neither is due to the fine screenplay by Tamara Jenkins and the main actors, who were – how do I put it? – specifically Wendy and Jon.

Of course, a viewer also brings himself or herself to the screening, and I could not help but notice that the architecture of Buffalo was noticeably upstate New York; the movie was filmed in the Buffalo area, NYC and Arizona. Also, I couldn’t help but recall disagreements one of my sisters and I had about my father’s end of life issues.

Still, I enjoyed this film immensely. I’ll say again – it’s NOT a downer, but an affirmation of life, which sounds corny, and I don’t care. However, I do think the title is weak; it suggests a much different film from that offered.

It’s rated R, largely for language, a couple tame sex scenes and an early scene which I won’t describe, except to say it’s not violent. An R rating covers a lot of ground, I’m reminded. My wife went to see The Kite Runner the day before, and she found that PG-13 movie far more disturbing than The Savages.

ROG

Johnny Otis


Dear Near Twin:

I was listening to your 2007 in review podcast. Enjoyable as usual. But I was surprised to find that I cast the the deciding vote in the the naming of Cast THIS, Pal! Cool.

You played a Christmas cut by Johnny Otis, who you said you weren’t familiar with. Since you are THE #1 music guru of the inestimable Lefty Brown, I thought I’d share this with you.

Johnny Otis is a guy born in 1921 of Greek heritage (given last name: Veliotes) who immersed himself in rhythm and blues. He rather reminds me a little of Ahmet Ertegun, another person of eastern Mediterranean heritage, in his case Turkish, who co-founded Atlantic Records.

Johnny Otis was a band leader, producer and A&R man who “discovered” Etta James, Jackie Wilson and Hank Ballard (who wrote “The Twist”). He produced Etta’s first hit, Roll With Me, Henry (The Wallflower), oft-covered since, as well as Big Mama Thornton’s original recording of Hound Dog three years before Elvis Presley’s version.

Otis had his own recording success doing Willie and the Hand Jive, which went to #9 on the pop charts in 1958. Eric Clapton covered it in 1974, and it went to #26. You might remember the song from the movie Grease.
Here’s Johnny performing it with Marti Adams and the Three Tons of Joy:

Though Hand Jive was his only pop hit, the Johnny Otis Orchestra had several R&B hits, usually with other vocalists such as Little Esther and Mel Walker.

He was elected to the Rock and Roll Hall of Fame as a non-performer in 1994. Here’s something from the Wikipedia post on him:
Frank Zappa has cited Otis as the inspiration for his distinctive trademark facial hair, stating in an interview conducted by Simpsons creator Matt Groening and Guitar Player magazine editor Don Menn that “it looked good on Johnny Otis, so I grew it.”

Otis maintains a popular radio show on KPFA, called The Johnny Otis Show.

There’s a singer named Shuggie Otis, who was/is a psychedelic soul/funk guy – I have one of his albums – who wrote and performed Strawberry Letter #23, later a hit for the Brothers Johnson. I did not know that Shuggie is Johnny Otis’ son.

Anyway, Gordon, thanks for the inspiration for the post.

All the best,
ROG

Ramblin' with Roger
Social media & sharing icons powered by UltimatelySocial