2-10: "The Happiest Girl" 2007.08.13 - Big Love TWoP Forums p1 :
-Could there be a creepier choice of song for Rhonda to sing, than 'The Happiest Girl'? I remember that song when it first came out; it's the song of an ecstatic young wife who loves her husband and her marriage and her life. To see Rhonda singing it, with a note of desperation, even pain, in her voice and face, was horrifying.
...When Bill suddenly came clean about the polygamy, when there were no more secrets to protect with lies, Barb seemed disoriented. That's her wheelhouse wheelhouse, and suddenly it wasn't needed anymore.
-Sad and powerful: Rhonda sings "Now you be careful, gotta go, I love you" and it cuts to Sarah.
-Who knew that a song about a happy girl could be so damn creepy?
Personally, I thought that song was creepy when Donna Fargo originally sang it.
-I have to agree with everyone who found the song to be perfect. Perfectly horrifying, but still perfect. I can't recall an hour of television that has filled me with more sadness and dread than this hour. Just a stellar episode. Absolutely unsettling and amazing.
-And that "Happiest Girl" was a creepy song even when it came out, in the 1970's, as an answer to the feminist movement.
Tuesday, January 29, 2008
Sunday, January 27, 2008
The Little Virtues - Google Book Search
Natalia Ginzburg Arcade Publishing ca-print-arcade_publishing 1989
... to me) impressions and cadences rise to the surface, is a sad, barren place. ...
He has made and education of it for himself and he does this with whatever attracts his curiosity; I don't know how to make myself and education out of anything, even those things that I love best in life; they stay with me as scattered images, nourishing my life with memories and emotions but without filling the void, the desert of my education.
He tells me I have no curiosity, but this is not true. I am curious about a few, a very few, things. And when I have got to know them I retain scattered impressions of them, or the cadence of a phrase, or a word. But my world, in which these completely unrelated (unless in some secret fashion unbeknown to me) impressions and cadences rise to the surface, is a sad, barren place. His world, on the other hand, is green and populous and richly cultivated; it is a fertile, well-watered countryside in which woods, meadows, orchards, and villages flourish.
Natalia Ginzburg Arcade Publishing ca-print-arcade_publishing 1989
... to me) impressions and cadences rise to the surface, is a sad, barren place. ...
He has made and education of it for himself and he does this with whatever attracts his curiosity; I don't know how to make myself and education out of anything, even those things that I love best in life; they stay with me as scattered images, nourishing my life with memories and emotions but without filling the void, the desert of my education.
He tells me I have no curiosity, but this is not true. I am curious about a few, a very few, things. And when I have got to know them I retain scattered impressions of them, or the cadence of a phrase, or a word. But my world, in which these completely unrelated (unless in some secret fashion unbeknown to me) impressions and cadences rise to the surface, is a sad, barren place. His world, on the other hand, is green and populous and richly cultivated; it is a fertile, well-watered countryside in which woods, meadows, orchards, and villages flourish.
Townes is sitting on the front steps of his home, petting his eager dog, Geraldine.
"I had this interview in North Carolina," Townes says, "with this guy who went to high school and worked part time for the local radio station. He was real nervous and didn't know how to work his cassette (recorder) and was running out of tape. I told him, 'I tell you what. I'll tell you a question to ask me, and you ask me that question. And right before you ask I'll flip on the cassette, and then you ask the question and as soon as I'm through answering you flip it off and we'll save tape.' He says, 'Okay, that's a good idea.' So he had it all ready, and I said 'Ask me if I have any interest in botany.' He says, 'Botany?' and I said, 'Yeah, botany. Ready, go!'
"And he says, 'Mr. Van Zandt, are you interested in botany?' And I said, 'Nope' and he flipped it off. I said, 'Ask me if I'm interested in aviation. Go!' 'Are you interested in aviation Mr. Van Zandt?' 'Nah.' It went on like that until the Baptist preacher whose office that was--we were using it as a dressing room--came and made me clean up all the wine bottles." getLevitation: Townes Van Zandt
"I had this interview in North Carolina," Townes says, "with this guy who went to high school and worked part time for the local radio station. He was real nervous and didn't know how to work his cassette (recorder) and was running out of tape. I told him, 'I tell you what. I'll tell you a question to ask me, and you ask me that question. And right before you ask I'll flip on the cassette, and then you ask the question and as soon as I'm through answering you flip it off and we'll save tape.' He says, 'Okay, that's a good idea.' So he had it all ready, and I said 'Ask me if I have any interest in botany.' He says, 'Botany?' and I said, 'Yeah, botany. Ready, go!'
"And he says, 'Mr. Van Zandt, are you interested in botany?' And I said, 'Nope' and he flipped it off. I said, 'Ask me if I'm interested in aviation. Go!' 'Are you interested in aviation Mr. Van Zandt?' 'Nah.' It went on like that until the Baptist preacher whose office that was--we were using it as a dressing room--came and made me clean up all the wine bottles." getLevitation: Townes Van Zandt
Friday, January 25, 2008
2-12: "Oh, Pioneers" 2007.08.26 - Big Love - TWoP Forums (last) p35:
-Bill, on the other hand, is essentially a hustler. He's always working an angle, playing chicken with two people at once hoping to jump out of the way at the last minute so his adversaries will destroy each other. Take away the three homes, business wardrobe, and Lincoln fetish, and you've got that throwaway kid determined to make the people who exiled him sorry. Hustlers are interesting.
-Bill and Roman: Why'd you run me off? Didn't want you around. I was just a boy. But look at you now.
-Last year we didn't know who outed Barb, this year's cliffhanger is how will Roman beat the Feds.
-My money is still on Roman to come out on top in the power war with Alby. But it would be nice if he had a few more allies, not just Bill and Joey. You know, somebody from Juniper Creek, not just the Church of Stupid. Plus.
p33-34
-I know that polygamy has been practiced here and there for thousands of years, but has The Principle - the idea that a man can only get into the highest heaven if he has at least three wives and a woman only if she's married to a man qualified to bring her there - actually been practiced that long?
-Shelshka the short answer to your question is "no". As far as I understand "The Principal", it's unique to Mormon beliefs as opposed to the practice of polygamy.
-Those who practice the Principle believe that Joseph Smith had a divine revelation explaining that Exaltation (the highest level) had always been available to some but that the modern world of the 19th century had turned away from "righteousness" and that in order to repopulate the world with "righteous souls" those seeking Exaltation should now have at least 3 wives.
-Something I wondered about - Ana seems a bit too old to be a "new and shiny" wife for Bill. Not old in my world, just Bill's. I looked up Branka Katic on imdb.com; she's 37. That's also a bit past peak fertility. I think she was an odd choice for the role.
-IMO Katic was an ideal choice for the role because Ana was never meant to be Margene: Part Deux. Ana is a woman who is starting over, a woman old enough to have had a whole other life half a world away. Furthermore, I don't think Bill's attraction to Ana was purely physical, although she obviously melts his butter. I got the feeling he was also drawn to her sly wit, intelligence, and nurturing disposition. If Margene is his naughty girl, Nicki his good girl, and Barb the girl he can actually talk to, then Ana might be the hat trick. cool. what does that mean? As for the fertility issue, it's not over 'til it's over.
Also, perhaps Bill's attraction to a somewhat age-appropriate woman is just another way to differentiate him from the kind of polygamists who exploit underage girls.
-I like to point out that Scarlett was sixteen years old when she first caught Rhett’s eye. When people realize that, it often creeps them out a bit, but it doesn’t make them suddenly redefine Rhett Butler as a pedophile.
-Scarlett was 16 when Rhett saw her (with "breasts well-developed for her 16 years"), 16 when she married wimpy Charles Hamilton, 17 when she had her first kid (not in the movie), 20ish when she married wimpy Frank Kennedy, and something like 22 when Rhett finally got her. She was 28 when he walked out.
-Ana could bring some things to this family ...as another wife or even just as Margene's friend....that a younger and more conventional character couldn't. Her foreignness, independence, education, fluency in languages, and worldliness are lacking with everybody else in the BL universe. I'm interested to see how she'll fit or not in this strange world.
Ana is proof that Europe exists.
-Bill, on the other hand, is essentially a hustler. He's always working an angle, playing chicken with two people at once hoping to jump out of the way at the last minute so his adversaries will destroy each other. Take away the three homes, business wardrobe, and Lincoln fetish, and you've got that throwaway kid determined to make the people who exiled him sorry. Hustlers are interesting.
-Bill and Roman: Why'd you run me off? Didn't want you around. I was just a boy. But look at you now.
-Last year we didn't know who outed Barb, this year's cliffhanger is how will Roman beat the Feds.
-My money is still on Roman to come out on top in the power war with Alby. But it would be nice if he had a few more allies, not just Bill and Joey. You know, somebody from Juniper Creek, not just the Church of Stupid. Plus.
p33-34
-I know that polygamy has been practiced here and there for thousands of years, but has The Principle - the idea that a man can only get into the highest heaven if he has at least three wives and a woman only if she's married to a man qualified to bring her there - actually been practiced that long?
-Shelshka the short answer to your question is "no". As far as I understand "The Principal", it's unique to Mormon beliefs as opposed to the practice of polygamy.
-Those who practice the Principle believe that Joseph Smith had a divine revelation explaining that Exaltation (the highest level) had always been available to some but that the modern world of the 19th century had turned away from "righteousness" and that in order to repopulate the world with "righteous souls" those seeking Exaltation should now have at least 3 wives.
-Something I wondered about - Ana seems a bit too old to be a "new and shiny" wife for Bill. Not old in my world, just Bill's. I looked up Branka Katic on imdb.com; she's 37. That's also a bit past peak fertility. I think she was an odd choice for the role.
-IMO Katic was an ideal choice for the role because Ana was never meant to be Margene: Part Deux. Ana is a woman who is starting over, a woman old enough to have had a whole other life half a world away. Furthermore, I don't think Bill's attraction to Ana was purely physical, although she obviously melts his butter. I got the feeling he was also drawn to her sly wit, intelligence, and nurturing disposition. If Margene is his naughty girl, Nicki his good girl, and Barb the girl he can actually talk to, then Ana might be the hat trick. cool. what does that mean? As for the fertility issue, it's not over 'til it's over.
Also, perhaps Bill's attraction to a somewhat age-appropriate woman is just another way to differentiate him from the kind of polygamists who exploit underage girls.
-I like to point out that Scarlett was sixteen years old when she first caught Rhett’s eye. When people realize that, it often creeps them out a bit, but it doesn’t make them suddenly redefine Rhett Butler as a pedophile.
-Scarlett was 16 when Rhett saw her (with "breasts well-developed for her 16 years"), 16 when she married wimpy Charles Hamilton, 17 when she had her first kid (not in the movie), 20ish when she married wimpy Frank Kennedy, and something like 22 when Rhett finally got her. She was 28 when he walked out.
-Ana could bring some things to this family ...as another wife or even just as Margene's friend....that a younger and more conventional character couldn't. Her foreignness, independence, education, fluency in languages, and worldliness are lacking with everybody else in the BL universe. I'm interested to see how she'll fit or not in this strange world.
Ana is proof that Europe exists.
Questions: What we'd like to know is.... Big Love - TWoP Forums p2:
-I'm a lot more curious about Barb's family-of-origin backstory than that of the Creekers.
Why wasn't Nancy helping Barb when she had cancer? Why didn't the obviously well-off and socially-prominent Dutton clan step in to loan Bill money, or send Nancy or Cindy, or pay for a nurse, when Barb was recovering?
If Barb's family had acted in a manner which seems to be consistent with what we've seen and heard of them so far, then a whole lot of the Henricksons' current problems would be non-existent. No need for Roman to send Nicki in as nurse/spy, no need for Bill to go to Roman when he needed money, no need for him to turn back to the Compound at all.
Of course, I realize that if this was the case, there would be no show. But I think, having introduced these members of Barb's extended family and portrayed them the way they've chosen, the writers should definitely address this -- where was Mom when Barb was sick? Why didn't the Duttons help Bill and Barb financially, instead of apparently leaving them with no better option than going to Roman to ask for assistance?
yes this is what I went to this thread wondering about ~ the situation when Barb got sick, how Nicki came to be sent to help, how Barb came to agree to Bill marrying Nicki.
I may be forgetting some bits of explanation that have been offered on the show.
-My speculation, based on Bill's behavior, is that maybe Barb's family looked down on him for being from Juniper Creek and having strong polygamous roots. So much that he refused going to them for help and instead went back to JC out of pride.
-I'm a lot more curious about Barb's family-of-origin backstory than that of the Creekers.
Why wasn't Nancy helping Barb when she had cancer? Why didn't the obviously well-off and socially-prominent Dutton clan step in to loan Bill money, or send Nancy or Cindy, or pay for a nurse, when Barb was recovering?
If Barb's family had acted in a manner which seems to be consistent with what we've seen and heard of them so far, then a whole lot of the Henricksons' current problems would be non-existent. No need for Roman to send Nicki in as nurse/spy, no need for Bill to go to Roman when he needed money, no need for him to turn back to the Compound at all.
Of course, I realize that if this was the case, there would be no show. But I think, having introduced these members of Barb's extended family and portrayed them the way they've chosen, the writers should definitely address this -- where was Mom when Barb was sick? Why didn't the Duttons help Bill and Barb financially, instead of apparently leaving them with no better option than going to Roman to ask for assistance?
yes this is what I went to this thread wondering about ~ the situation when Barb got sick, how Nicki came to be sent to help, how Barb came to agree to Bill marrying Nicki.
I may be forgetting some bits of explanation that have been offered on the show.
-My speculation, based on Bill's behavior, is that maybe Barb's family looked down on him for being from Juniper Creek and having strong polygamous roots. So much that he refused going to them for help and instead went back to JC out of pride.
GOOD Magazine | Not TV: Object lessons in HBO’s sustained brilliance.
By Jack Lechner
“I think that when your sole goal is to be good,” Carolyn Strauss, 43-year-old president of HBO Entertainment, says, “when everyone who’s working there has that frame of reference, then, right away, you’re dealing with something special."
So HBO’s business model is to sell quality, or the perception of quality, directly to the viewer, and that model in turn assures quality.
HBO’s single most critically acclaimed series is not The Sopranos, but The Wire, which gets a fraction of the ratings of the mob drama. David Baldwin, HBO’s executive VP of program planning: “We don’t have to have mass, broad audience hits. Because I have one segment of my audience base that do think [The Wire] is absolutely brilliant, and will not miss it, and that’s a large part of their faith in HBO: that we could make something like this—the story of why urban America is failing—that no one else would touch.”
In the late 1980s, HBO took a leap with Tanner ’88, directed by Robert Altman and written by Doonesbury’s Garry Trudeau, in which a fictional presidential candidate—more than 20 years before Ali G and Borat—interacted with real people during election season. The first great HBO series, Tanner had a BBC-style limited season, running as a complete 11-episode arc rather than year-round and open-ended. It premiered in February, 1988, ignoring the longstanding TV tradition of launching new shows in September. It was driven by strong-willed creators rather than a studio or a committee. And for HBO, Tanner’s most striking innovation was perhaps that its difference from network television could be measured in its intelligence and artistic ambition.
HBO assumed its present shape in the late 1990s, when it stepped up its initiative to create original series, largely in response to the sudden popularity of DVDs. HBO’s broadcast agreement for feature films originated in the days of videotape, a medium that people tended to rent rather than buy. Theatrical movies would start playing on HBO six months after they came out on video, which was usually six months after their theatrical release. But then consumers began to buy new releases on DVD, half a year before the HBO window. This meant that for much of its audience, HBO was showing old movies.
Broadcast networks were having their own financial crises, thanks to the dispersal of eyeballs to cable, the internet and video games. With the decrease in audience came a commensurate drop in advertising revenue, and that affected the networks’ ability to finance high-quality drama series. HBO was all too happy to step into the breach, with shows like Oz (something for the guys), Sex and the City (something for the gals), and then the behemoth hit The Sopranos (something for just about everybody who could afford cable). More than 25 years after its founding, the golden age of HBO had finally arrived.
Every golden age comes with its own anxieties, though, not least among them how long it can be sustained. HBO stands for something now—viewers have standards and expectations they associate with it, and executives can’t quite make things up as they go along anymore, especially after creating a model that can be imitated. Showtime is making real noise, with shows like Weeds, Dexter, and The L Word. (Not coincidentally, Showtime’s current president of entertainment is Robert Greenblatt, one of the producers of Six Feet Under.) Meanwhile, the FX network is striving to be “the HBO of basic cable,” and even the broadcast networks have gotten into the act, with “new and different” shows like Lost and The Office.
HBO has had to start behaving like a regular television network. After years of avoiding the vast and expensive inefficiencies of the Hollywood black hole called “development,” HBO has commissioned numerous scripts and potential series pilots.
HBO’s final advantage is probably its managerial stability. The average tenure of an executive in HBO senior management is 20 years. Maybe it’s the absurdly luxurious package of perks, ranging from lavish 401K plans to full-service private dining rooms; or maybe it’s just the feeling that to leave HBO is to trade down. Either way, HBO is the Roach Motel of television: executives walk in, but they don’t walk out.
Sheila Nevins has been head of documentaries for HBO for all of 27 years, but she still approaches every day with brio. “You know how you touch something and it has electricity?” she tells me. “Well, that’s sort of what it’s like to be at HBO. It’s like your skirt gets caught to your slip all the time.”
By Jack Lechner
“I think that when your sole goal is to be good,” Carolyn Strauss, 43-year-old president of HBO Entertainment, says, “when everyone who’s working there has that frame of reference, then, right away, you’re dealing with something special."
So HBO’s business model is to sell quality, or the perception of quality, directly to the viewer, and that model in turn assures quality.
HBO’s single most critically acclaimed series is not The Sopranos, but The Wire, which gets a fraction of the ratings of the mob drama. David Baldwin, HBO’s executive VP of program planning: “We don’t have to have mass, broad audience hits. Because I have one segment of my audience base that do think [The Wire] is absolutely brilliant, and will not miss it, and that’s a large part of their faith in HBO: that we could make something like this—the story of why urban America is failing—that no one else would touch.”
In the late 1980s, HBO took a leap with Tanner ’88, directed by Robert Altman and written by Doonesbury’s Garry Trudeau, in which a fictional presidential candidate—more than 20 years before Ali G and Borat—interacted with real people during election season. The first great HBO series, Tanner had a BBC-style limited season, running as a complete 11-episode arc rather than year-round and open-ended. It premiered in February, 1988, ignoring the longstanding TV tradition of launching new shows in September. It was driven by strong-willed creators rather than a studio or a committee. And for HBO, Tanner’s most striking innovation was perhaps that its difference from network television could be measured in its intelligence and artistic ambition.
HBO assumed its present shape in the late 1990s, when it stepped up its initiative to create original series, largely in response to the sudden popularity of DVDs. HBO’s broadcast agreement for feature films originated in the days of videotape, a medium that people tended to rent rather than buy. Theatrical movies would start playing on HBO six months after they came out on video, which was usually six months after their theatrical release. But then consumers began to buy new releases on DVD, half a year before the HBO window. This meant that for much of its audience, HBO was showing old movies.
Broadcast networks were having their own financial crises, thanks to the dispersal of eyeballs to cable, the internet and video games. With the decrease in audience came a commensurate drop in advertising revenue, and that affected the networks’ ability to finance high-quality drama series. HBO was all too happy to step into the breach, with shows like Oz (something for the guys), Sex and the City (something for the gals), and then the behemoth hit The Sopranos (something for just about everybody who could afford cable). More than 25 years after its founding, the golden age of HBO had finally arrived.
Every golden age comes with its own anxieties, though, not least among them how long it can be sustained. HBO stands for something now—viewers have standards and expectations they associate with it, and executives can’t quite make things up as they go along anymore, especially after creating a model that can be imitated. Showtime is making real noise, with shows like Weeds, Dexter, and The L Word. (Not coincidentally, Showtime’s current president of entertainment is Robert Greenblatt, one of the producers of Six Feet Under.) Meanwhile, the FX network is striving to be “the HBO of basic cable,” and even the broadcast networks have gotten into the act, with “new and different” shows like Lost and The Office.
HBO has had to start behaving like a regular television network. After years of avoiding the vast and expensive inefficiencies of the Hollywood black hole called “development,” HBO has commissioned numerous scripts and potential series pilots.
HBO’s final advantage is probably its managerial stability. The average tenure of an executive in HBO senior management is 20 years. Maybe it’s the absurdly luxurious package of perks, ranging from lavish 401K plans to full-service private dining rooms; or maybe it’s just the feeling that to leave HBO is to trade down. Either way, HBO is the Roach Motel of television: executives walk in, but they don’t walk out.
Sheila Nevins has been head of documentaries for HBO for all of 27 years, but she still approaches every day with brio. “You know how you touch something and it has electricity?” she tells me. “Well, that’s sort of what it’s like to be at HBO. It’s like your skirt gets caught to your slip all the time.”
...HBO Original Programming: A Short History...
Wednesday, January 23, 2008
2-6: "Dating Game" 2007.07.16 - Big Love TWoP Forums p12:
-Barb does not really believe in plural marriage, which is why she's so intent on 'helping' people - it compensates for her unhappiness. But she does know how to be the Boss Lady. Nicki believes in it, but in warped way - everything with Nicki is about power and manipulation, which reflects her upbringing. Margene really does believe in the ideal of it - sisterhood, family, sharing. It's touching. But ultimately I think she will get her heart broken, because none of her spouses - Bill, Barb and Nicki - take her seriously.
p12:
-Margene didn't feel insecure or threatend in part because she is open to true sisterhood in this type of arrangement.
-My current theory: Margene is living in the 21st century. Barb is living sometime in the late 20th century. Nicki has one foot in the 19th and one in the 21st. huh, that's apt. Bill is firmly planted in the 19th century, but on a completely different planet.
p13
-"Remind her that earthly increase is the due of every righteous man"
It's odd how genuine I find Don even when he's spouting such BS as this.
-Count me in on the Don fans here. His character has an innate kindness that comes thru.
p14
-As much as I did like Ana and Margene's interaction, and I really would like Margene to have a healthy friendship, I was pretty sure nothing would happen with Ana. After all, the show has three clear representations from various factions of wives. First there's Barb, who acquiesced to Bill's desire to live the principle, possibly because of love for him, possibly because she feared losing him too. Then there's Nikki, who was brought up from moment one being taught this is the life to live (and for the flip side, had her exposed to the most toxic forms of it, what with her father leaving wives at Conoco stations, so she reveres and fears) and then Margene, who represents what any outsider fourth wife would. The only wife present who chose solely on her own terms. She wasn't pressured into the situation, she doesn't have a religious calling, she chose this.
2-9: "Circle the Wagons" 2007.08.06 - TWoP Forums p1:
-"holding in anger causes cancer" Hee! Only Lois.
-Also I'm loved how Lois gave a tidbit of information about Sarah and Scott to Barb and then abruptly hung up. The entire family is manipulative, I love it.
-Lois is so manipulative she meets herself coming and going on who to stab in the back next.
walking in fr the car (few episodes back). Joey: Where's Wanda? Lois: I had her committed. state psychiatric. somebody had to. it was very hard on me.
-Joey had the best line of the evening: “I’m just trying to be practical, not celestial!” Joey's sweet, isn't he.
-Lois will live to be 100 if someone doesn't get pissed off at her and shoot her. Helpless old lady, my ass.
-Barb does not really believe in plural marriage, which is why she's so intent on 'helping' people - it compensates for her unhappiness. But she does know how to be the Boss Lady. Nicki believes in it, but in warped way - everything with Nicki is about power and manipulation, which reflects her upbringing. Margene really does believe in the ideal of it - sisterhood, family, sharing. It's touching. But ultimately I think she will get her heart broken, because none of her spouses - Bill, Barb and Nicki - take her seriously.
p12:
-Margene didn't feel insecure or threatend in part because she is open to true sisterhood in this type of arrangement.
-My current theory: Margene is living in the 21st century. Barb is living sometime in the late 20th century. Nicki has one foot in the 19th and one in the 21st. huh, that's apt. Bill is firmly planted in the 19th century, but on a completely different planet.
p13
-"Remind her that earthly increase is the due of every righteous man"
It's odd how genuine I find Don even when he's spouting such BS as this.
-Count me in on the Don fans here. His character has an innate kindness that comes thru.
p14
-As much as I did like Ana and Margene's interaction, and I really would like Margene to have a healthy friendship, I was pretty sure nothing would happen with Ana. After all, the show has three clear representations from various factions of wives. First there's Barb, who acquiesced to Bill's desire to live the principle, possibly because of love for him, possibly because she feared losing him too. Then there's Nikki, who was brought up from moment one being taught this is the life to live (and for the flip side, had her exposed to the most toxic forms of it, what with her father leaving wives at Conoco stations, so she reveres and fears) and then Margene, who represents what any outsider fourth wife would. The only wife present who chose solely on her own terms. She wasn't pressured into the situation, she doesn't have a religious calling, she chose this.
2-9: "Circle the Wagons" 2007.08.06 - TWoP Forums p1:
-"holding in anger causes cancer" Hee! Only Lois.
-Also I'm loved how Lois gave a tidbit of information about Sarah and Scott to Barb and then abruptly hung up. The entire family is manipulative, I love it.
-Lois is so manipulative she meets herself coming and going on who to stab in the back next.
walking in fr the car (few episodes back). Joey: Where's Wanda? Lois: I had her committed. state psychiatric. somebody had to. it was very hard on me.
-Joey had the best line of the evening: “I’m just trying to be practical, not celestial!” Joey's sweet, isn't he.
-Lois will live to be 100 if someone doesn't get pissed off at her and shoot her. Helpless old lady, my ass.
Tuesday, January 22, 2008
Sincerely Yours, Hollis Green - TWoP Forums:
BIG LOVE's offered a few takes on the polygamous patriarch.
Bill is the (relatively) benign model, hiding his clan in the open of the suburbs, allowing his wives a (relatively) large amount of discretion and power.
Roman's the corrupt, absolute master of a small town, which he intentionally keeps dirt poor ah, playing the part of victim to religious persecution at the same time he's running "reeducation camps" and arranging child brides.
And Hollis Green is the nightmare, the wild man in the wilderness, stocking up automatic weapons, branding people who won't do business with him, sending crazed starved women out to assassinate his enemies, waiting for the "ascendancy" of himself and his brother (sister? ~ wife? Hollis does call Selma "my brother"in 2.8 on phone call to Bill about betraying them) Selma as God's chosen.
Sarah said she didn't see much difference between Bill's households and the Juniper Creek compound. huh. Don asked, if Roman, Hollis, and Bill are the only ones going after Weber gaming, what does it say about Bill?
BIG LOVE's offered a few takes on the polygamous patriarch.
Bill is the (relatively) benign model, hiding his clan in the open of the suburbs, allowing his wives a (relatively) large amount of discretion and power.
Roman's the corrupt, absolute master of a small town, which he intentionally keeps dirt poor ah, playing the part of victim to religious persecution at the same time he's running "reeducation camps" and arranging child brides.
And Hollis Green is the nightmare, the wild man in the wilderness, stocking up automatic weapons, branding people who won't do business with him, sending crazed starved women out to assassinate his enemies, waiting for the "ascendancy" of himself and his brother (sister? ~ wife? Hollis does call Selma "my brother"in 2.8 on phone call to Bill about betraying them) Selma as God's chosen.
Sarah said she didn't see much difference between Bill's households and the Juniper Creek compound. huh. Don asked, if Roman, Hollis, and Bill are the only ones going after Weber gaming, what does it say about Bill?
Saturday, January 19, 2008
Introspection of a Plural Wife (at Heart):
Big Love: Ana, Prospective 4th Wife
For me, creating a polygamous relationship is all about being open with everyone involved; it is important during the "courtship" process that all the parties spend time together, getting to know each other, both together and individually. Building a polygamous relationship means that there is a group relationship and several dyadic relationships that need to be fostered and maintained in a balance. If one grows stronger faster than the others, it creates insecurity and an imbalance in the group relationship. It's important for the husband to spend private time with each woman, for the woman to spend private time with each other, and for the group to spend time together, too. That balance can be challenging to maintain but working at it from the very beginning, before the marriage takes place, can strengthen it and help create channels of problem solving in advance of problems arising.
My husband and I did not kiss before we were married. I had a friend who was completely scandalized by this. It was hard for her to accept that I was becoming a polygamist, but she seemed more upset that I hadn't even kissed him! She was very concerned that we wouldn't be compatible once we did kiss, but I assured her that I had everything I needed to assure myself that we were right for each other. I had a personal "witness" from God that this was my mate, which I had received after several years of prayer, religious study and some fasting. Once I received that, I embraced my new family with everything I had and fell madly in love with them all, husband, wife and three kids (and one on the way).
'Big Love' First Episode, Season Two
The best part of the show was the interaction of the family members with each other regarding Barb's leaving, or possibly permantently leaving, the family. As I said in an earlier blog, I can absolutely relate to Margene's statement that she didn't think she could stay married to Bill and Nicki without Barb. "I don't know if I can be married to Bill & Nicki if I'm not married to you " - something I find so lovely in this bond between heterosexual women married to one another
Nicki's comment to Bill that this was not just his marriage, that it was their marriage, too, struck a chord in me. Even though each woman is married to Bill, they are all married to each other and are impacted by each other's choices.
I suffered immense grief at my sister-wife's decision to divorce. I was also frustrated with the change in the relationship with my husband, going from polygamy to monogamy. I felt that monogamy was thrust upon me against my will. When I had decided to marry into my family, I became the second wife and for all the ups and downs and joys and heartaches, I wanted the other wife there. I loved her and their children, and envisioned our future together. When she left, I lost my friendship with her because so many things became sour and hurtful. I didn't grow up in a polygamous family and hadn't planned to marry into one or become a plural wife, but once I made the decision to embrace the practice, and do it, I wanted it to work. I didn't want my husband all to myself. In fact, having him around all of a sudden, every day and every night, interfered with time I had to that point in the marriage, set aside for myself, time I spent with family or friends, or pursuing personal interests. When I have explained this in the past to people, I sometimes get the response that I must not really love my husband or want him around, but that's not true. I see it very similar to what couples go through when one or both spouses retire from a career and are home more often in each other's space. They love each other but their lives are changing and the relationship will have to evolve to meet those changes.
In any case, I have now been monogamous for years and have settled into a one-one couple relationship that will have to be unsettled to some extent and re-created should we ever marry again (and I hope we do!).
Big Love: Ana, Prospective 4th Wife
For me, creating a polygamous relationship is all about being open with everyone involved; it is important during the "courtship" process that all the parties spend time together, getting to know each other, both together and individually. Building a polygamous relationship means that there is a group relationship and several dyadic relationships that need to be fostered and maintained in a balance. If one grows stronger faster than the others, it creates insecurity and an imbalance in the group relationship. It's important for the husband to spend private time with each woman, for the woman to spend private time with each other, and for the group to spend time together, too. That balance can be challenging to maintain but working at it from the very beginning, before the marriage takes place, can strengthen it and help create channels of problem solving in advance of problems arising.
My husband and I did not kiss before we were married. I had a friend who was completely scandalized by this. It was hard for her to accept that I was becoming a polygamist, but she seemed more upset that I hadn't even kissed him! She was very concerned that we wouldn't be compatible once we did kiss, but I assured her that I had everything I needed to assure myself that we were right for each other. I had a personal "witness" from God that this was my mate, which I had received after several years of prayer, religious study and some fasting. Once I received that, I embraced my new family with everything I had and fell madly in love with them all, husband, wife and three kids (and one on the way).
'Big Love' First Episode, Season Two
The best part of the show was the interaction of the family members with each other regarding Barb's leaving, or possibly permantently leaving, the family. As I said in an earlier blog, I can absolutely relate to Margene's statement that she didn't think she could stay married to Bill and Nicki without Barb. "I don't know if I can be married to Bill & Nicki if I'm not married to you " - something I find so lovely in this bond between heterosexual women married to one another
Nicki's comment to Bill that this was not just his marriage, that it was their marriage, too, struck a chord in me. Even though each woman is married to Bill, they are all married to each other and are impacted by each other's choices.
I suffered immense grief at my sister-wife's decision to divorce. I was also frustrated with the change in the relationship with my husband, going from polygamy to monogamy. I felt that monogamy was thrust upon me against my will. When I had decided to marry into my family, I became the second wife and for all the ups and downs and joys and heartaches, I wanted the other wife there. I loved her and their children, and envisioned our future together. When she left, I lost my friendship with her because so many things became sour and hurtful. I didn't grow up in a polygamous family and hadn't planned to marry into one or become a plural wife, but once I made the decision to embrace the practice, and do it, I wanted it to work. I didn't want my husband all to myself. In fact, having him around all of a sudden, every day and every night, interfered with time I had to that point in the marriage, set aside for myself, time I spent with family or friends, or pursuing personal interests. When I have explained this in the past to people, I sometimes get the response that I must not really love my husband or want him around, but that's not true. I see it very similar to what couples go through when one or both spouses retire from a career and are home more often in each other's space. They love each other but their lives are changing and the relationship will have to evolve to meet those changes.
In any case, I have now been monogamous for years and have settled into a one-one couple relationship that will have to be unsettled to some extent and re-created should we ever marry again (and I hope we do!).
Friday, January 18, 2008
Powell's Books - The Old Child & Other Stories by Jenny Erpenbeck:
The parable-like novella "The Old Child" describes a girl's mind as seemingly blank: picked up off the street with no discoverable past, she is taken to a children's home where she discovers she can "succeed by her silence".
In the title story, a 75-page novella, an adolescent-looking female amnesiac is taken off the streets and into a Dresden home for children. As the story unfolds, there are signs that the girl, a metaphorical East Germany huh, may not be so young after all, and that her attempts to freeze herself in time, and to forget, are failing.
Boldtype | December 2005 - Issue Twenty-Six
The Berlin Wall fell more than fifteen years ago now, but the shock accompanying the sudden reunification that followed has gone largely unexplored in fiction. Enter Jenny Erpenbeck, who grew up in East Berlin and wrote the title story of her strange and haunting The Old Child & Other Stories in the city after the collapse of the old order.
The old child, a large, slow, doughy girl, surfaces on the street, clutching a bucket and claiming not to remember her name or her history. Placed in an orphanage, the girl finds comfort in silence, despite the indignities to which her contemporaries subject her: spitting in her food, ripping her underwear from her body. Still, she fails to repress her past completely. It bubbles up in unwelcome memories and secret correspondence*, materializing finally on her face itself during a protracted illness.**
*Letters she writes: TO ME
YOU ARE DEAD TO ME. BEST WISHES, YOUR MAMA.
and mails by ~ pushing through slot into old crate in yard of the childrens home
**p74: Thanks to the strict diet, something happens that no one would have thought possible: the girl becomes thin. All over her body, the now superfluous skin begins to droop in folds, and her face takes shape in a monstrous way: It is becoming the face of an adult.
The doctors in the children's ward are the first to notice.
az-The Old Child & Other Stories
Interview - PEN translation grant
Washington Post review - WashingtonPost - Found in Translation:
It is in "The Old Child," however, that Erpenbeck most completely illustrates the raw potential and power of the parental body. Discovered on a street carrying an empty bucket, a 14-year-old girl remembers nothing of her name or past; she is taken by authorities to an orphanage, where she struggles to adjust her blockish, strangely uncooperative body to her surroundings and to the other children. With its contorted ending, "The Old Child" straddles parable and realistic narrative to ask, precariously: What happens to a child's identity when there has been no cradle in which to form it? Erpenbeck does not necessarily see a happily re-written ending for those who lose their way on the long path between birth and death. Read these sharp stories if you can get to only one of these books recommending this foremost of the books here reviewed?, but be forewarned: Erpenbeck will get under your skin.
Critical Compendium » The Book of Words, by Jenny Erpenbeck
The protagonist of Erpenbeck’s novella “The Book of Words” is also an unnamed girl for whom the world is a perplexing and unbearable place where everything seems in flux and the facade of civilization is eroding.
The parable-like novella "The Old Child" describes a girl's mind as seemingly blank: picked up off the street with no discoverable past, she is taken to a children's home where she discovers she can "succeed by her silence".
In the title story, a 75-page novella, an adolescent-looking female amnesiac is taken off the streets and into a Dresden home for children. As the story unfolds, there are signs that the girl, a metaphorical East Germany huh, may not be so young after all, and that her attempts to freeze herself in time, and to forget, are failing.
Boldtype | December 2005 - Issue Twenty-Six
The Berlin Wall fell more than fifteen years ago now, but the shock accompanying the sudden reunification that followed has gone largely unexplored in fiction. Enter Jenny Erpenbeck, who grew up in East Berlin and wrote the title story of her strange and haunting The Old Child & Other Stories in the city after the collapse of the old order.
The old child, a large, slow, doughy girl, surfaces on the street, clutching a bucket and claiming not to remember her name or her history. Placed in an orphanage, the girl finds comfort in silence, despite the indignities to which her contemporaries subject her: spitting in her food, ripping her underwear from her body. Still, she fails to repress her past completely. It bubbles up in unwelcome memories and secret correspondence*, materializing finally on her face itself during a protracted illness.**
*Letters she writes: TO ME
YOU ARE DEAD TO ME. BEST WISHES, YOUR MAMA.
and mails by ~ pushing through slot into old crate in yard of the childrens home
**p74: Thanks to the strict diet, something happens that no one would have thought possible: the girl becomes thin. All over her body, the now superfluous skin begins to droop in folds, and her face takes shape in a monstrous way: It is becoming the face of an adult.
The doctors in the children's ward are the first to notice.
az-The Old Child & Other Stories
Interview - PEN translation grant
Washington Post review - WashingtonPost - Found in Translation:
The protagonist of Erpenbeck’s novella “The Book of Words” is also an unnamed girl for whom the world is a perplexing and unbearable place where everything seems in flux and the facade of civilization is eroding.
Monday, January 14, 2008
Spider-Man 2 Movie Review: As I watched Sam Raimi’s continuation of his superhero epic I couldn’t help but see that Raimi seems to be throwing back to the 'Superman' franchise of the early 1980s. There are so many obvious comparisons but it was never fully fleshed out until I saw that star Tobey Maguire wore a pair of glasses after one his 'power-glitches'.
In both the sequels to 'Superman' and 'Spider-Man', the hero relinquishes his responsibility of being a superhero for the woman he loves. Both have problems getting their powers back when they decide they were foolish. Both heroes also have troubles stopping a train. Then there is the obvious homage to the 'Superman' films when Parker drops his glasses on the pavement and we see one of the lens break from the frames.
Even though Raimi has framed his franchise in the same way as 'Superman' he still seems to have improved on the concept.
Raimi has injected a lot of humor, zaniness in Parker’s life and a wonderful dynamic between him and the people around him. Raimi knows how to get us involved in these people’s lives. The humor is done with such delicacy that it doesn’t poke fun at the character but instead enhances our relationship with this struggling hero. It is the brilliant aspect of this sequel.
The performance from Tobey Maguire was utterly brilliant especially during the forever classic train-stopping sequence. Raimi allowed Tobey to be just a young man with extraordinary abilities and with that it became pure magic.
Sombrero Grande's Movie Mesa: At first I was a little upset with the ending--it seemed that just as things were really getting back into full swing, it was all over--but the more I thought about it the more I liked it. I really liked that the secret room where Norman Osborne kept all his Green Goblin equipment was behind the mirror that he would often argue with his other personality through. It’s as though the Green Goblin did truly exist on the other side of that mirror--a nice touch. It had never occurred to me while watching the first movie that we didn’t know how or where Norman was hiding all his “pumpkin” bombs, etc., but now we know. It all sets up Harry to assume the role of the Green Goblin in the next movie (or one down the line since I read there are a total of six Spider-Man movies planned) but after thinking about it I’m not so sure it does. We never see Harry’s face reacting to it all, so it’s hard to tell if he was amazed that now he has a means of finally destroying Spider-Man and avenging his fathers’ death, or if he’s shocked to discover the true reason Spider-Man killed his father...’cause Norman Osborne was the Green Goblin. In a way, I don’t want to know which way he was feeling--it’s more fun not knowing--but I’m sure I’ll find out soon enough when the publicity starts for Spider-Man 3 and they announce who the next villain will be. I’m actually hoping that Harry doesn’t turn into the Green Goblin Version 2.0, not only because I’d rather not see that dorky costume again, but also because I think Harry is stronger than that. The moment he unmasks Spider-Man and finds the face of his best friend beneath, Harry instantly drops the knife he was oh-so ready to plunge into the sedated superhero and steps back. His love of his friend is stronger than his lust for revenge. I hope that stays true. Sure it may disappoint your average “this movie’s boring” moviegoer who will expect to see Harry flying around tossing pumpkin bombs in the next installment, but these are smarter-than-average action movies.
In the last shot of the film, Mary Jane’s expression goes from “go get ‘em, tiger,” to something more fearful, like, “what have I gotten myself into?” just before the fade to black. I think that’s nice; it sets up some tension for the next movie where obviously Peter and Mary Jane can’t be in a “happily ever after” kind of relationship. Like the X-Men movies, Spider-Man and Spider-Man 2 have going for them the fact that they try to impose upon their characters “real-life” dilemmas to possessing super powers, and I think that’s great. Suddenly a kid who can crawl up walls and shoot super-strong webbing from his wrists feels much more human and accessible when we find out that he has trouble keeping a job delivering pizzas or keeping his grades up because he’s always running around feeling obligated to save someone.
In both the sequels to 'Superman' and 'Spider-Man', the hero relinquishes his responsibility of being a superhero for the woman he loves. Both have problems getting their powers back when they decide they were foolish. Both heroes also have troubles stopping a train. Then there is the obvious homage to the 'Superman' films when Parker drops his glasses on the pavement and we see one of the lens break from the frames.
Even though Raimi has framed his franchise in the same way as 'Superman' he still seems to have improved on the concept.
Raimi has injected a lot of humor, zaniness in Parker’s life and a wonderful dynamic between him and the people around him. Raimi knows how to get us involved in these people’s lives. The humor is done with such delicacy that it doesn’t poke fun at the character but instead enhances our relationship with this struggling hero. It is the brilliant aspect of this sequel.
The performance from Tobey Maguire was utterly brilliant especially during the forever classic train-stopping sequence. Raimi allowed Tobey to be just a young man with extraordinary abilities and with that it became pure magic.
Sombrero Grande's Movie Mesa: At first I was a little upset with the ending--it seemed that just as things were really getting back into full swing, it was all over--but the more I thought about it the more I liked it. I really liked that the secret room where Norman Osborne kept all his Green Goblin equipment was behind the mirror that he would often argue with his other personality through. It’s as though the Green Goblin did truly exist on the other side of that mirror--a nice touch. It had never occurred to me while watching the first movie that we didn’t know how or where Norman was hiding all his “pumpkin” bombs, etc., but now we know. It all sets up Harry to assume the role of the Green Goblin in the next movie (or one down the line since I read there are a total of six Spider-Man movies planned) but after thinking about it I’m not so sure it does. We never see Harry’s face reacting to it all, so it’s hard to tell if he was amazed that now he has a means of finally destroying Spider-Man and avenging his fathers’ death, or if he’s shocked to discover the true reason Spider-Man killed his father...’cause Norman Osborne was the Green Goblin. In a way, I don’t want to know which way he was feeling--it’s more fun not knowing--but I’m sure I’ll find out soon enough when the publicity starts for Spider-Man 3 and they announce who the next villain will be. I’m actually hoping that Harry doesn’t turn into the Green Goblin Version 2.0, not only because I’d rather not see that dorky costume again, but also because I think Harry is stronger than that. The moment he unmasks Spider-Man and finds the face of his best friend beneath, Harry instantly drops the knife he was oh-so ready to plunge into the sedated superhero and steps back. His love of his friend is stronger than his lust for revenge. I hope that stays true. Sure it may disappoint your average “this movie’s boring” moviegoer who will expect to see Harry flying around tossing pumpkin bombs in the next installment, but these are smarter-than-average action movies.
In the last shot of the film, Mary Jane’s expression goes from “go get ‘em, tiger,” to something more fearful, like, “what have I gotten myself into?” just before the fade to black. I think that’s nice; it sets up some tension for the next movie where obviously Peter and Mary Jane can’t be in a “happily ever after” kind of relationship. Like the X-Men movies, Spider-Man and Spider-Man 2 have going for them the fact that they try to impose upon their characters “real-life” dilemmas to possessing super powers, and I think that’s great. Suddenly a kid who can crawl up walls and shoot super-strong webbing from his wrists feels much more human and accessible when we find out that he has trouble keeping a job delivering pizzas or keeping his grades up because he’s always running around feeling obligated to save someone.
The Well Dressed Man With A Beard - A poem by Wallace Stevens - American Poems
After the final no there comes a yes
And on that yes the future world depends.
No was the night. Yes is this present sun.
If the rejected things, the things denied,
Slid over the western cataract, yet one,
One only, one thing that was firm, even
No greater than a cricket's horn, no more
Than a thought to be rehearsed all day, a speech
Of the self that must sustain itself on speech,
One thing remaining, infallible, would be
Enough. Ah! douce campagna of that thing!
Ah! douce campagna, honey in the heart,
Green in the body, out of a petty phrase,
Out of a thing believed, a thing affirmed: tell me about this punctuation (and the title what of)
The form on the pillow humming while one sleeps,
The aureole above the humming house...
It can never be satisfied, the mind, never.
It has mountains.
The mind has mountains. Hold them cheap may who ne'er hung there.
'No worst, there is none. Pitched past pitch of grief'. Hopkins, Gerard Manley. 1918.
After the final no there comes a yes
And on that yes the future world depends.
No was the night. Yes is this present sun.
If the rejected things, the things denied,
Slid over the western cataract, yet one,
One only, one thing that was firm, even
No greater than a cricket's horn, no more
Than a thought to be rehearsed all day, a speech
Of the self that must sustain itself on speech,
One thing remaining, infallible, would be
Enough. Ah! douce campagna of that thing!
Ah! douce campagna, honey in the heart,
Green in the body, out of a petty phrase,
Out of a thing believed, a thing affirmed: tell me about this punctuation (and the title what of)
The form on the pillow humming while one sleeps,
The aureole above the humming house...
It can never be satisfied, the mind, never.
It has mountains.
The mind has mountains. Hold them cheap may who ne'er hung there.
'No worst, there is none. Pitched past pitch of grief'. Hopkins, Gerard Manley. 1918.
| O the mind, mind has mountains; cliffs of fall | |
| Frightful, sheer, no-man-fathomed. Hold them cheap | 10 |
| May who ne’er hung there. |
Saturday, January 12, 2008
Non Sum Qualis Eram Bonae Sub Regno Cynarae (Latin to English translation glossary) Phonetics,Poetry & Literature, Art/Literary:
Non Sum Qualis Eram Bonae Sub Regno Cynarae
ah I was having difficulty, arrived at "Not to be as I was good under the reign of Cynara" and so searched ggl for the original title and "reign of"...
Could anyone please help with the pronunciation of the name in this quotation? It is taken from the First Ode of the Fourth Book of Horace. huh.
English translation: I am not the same as in the reign of fair Cinara
This is the translation by John Conington.
ah, Bonae is in genitive matching with Cynarae. I am not as I was in the reign of good Cynara.
(also) In Academic Latin, you would pronunce the Cyn- as 'kin'.
CI´NARA or CINARUS (Kinaros: Zinari), a small island in the Aegaean sea, NE. of Amorgos, named after the artichoke (kinara) which it produced.
Non Sum Qualis Eram Bonae Sub Regno Cynarae
ah I was having difficulty, arrived at "Not to be as I was good under the reign of Cynara" and so searched ggl for the original title and "reign of"...
Could anyone please help with the pronunciation of the name in this quotation? It is taken from the First Ode of the Fourth Book of Horace. huh.
English translation: I am not the same as in the reign of fair Cinara
This is the translation by John Conington.
ah, Bonae is in genitive matching with Cynarae. I am not as I was in the reign of good Cynara.
(also) In Academic Latin, you would pronunce the Cyn- as 'kin'.
CI´NARA or CINARUS (Kinaros: Zinari), a small island in the Aegaean sea, NE. of Amorgos, named after the artichoke (kinara) which it produced.
Days of Wine and Roses - Wkp disambiguation:
- Days of Wine and Roses (film), a 1962 film directed by Blake Edwards and starring Jack Lemmon
- "Days of Wine and Roses" (song), a song by Henry Mancini and Johnny Mercer
- Ernest Dowson (1867-1900), a popular quotation from his poem "Vitae Summa Brevis"
- They are not long, the days of wine and roses:
- Out of a misty dream
- Our path emerges for a while, then closes
- Within a dream. ~ Labyrinth by Edwin Muir.
and "gone with the wind", from Non Sum Qualis eram Bonae Sub Regno Cynarae, the third stanza of which reads:
- I have forgot much, Cynara! gone with the wind,
- Flung roses, roses riotously with the throng,
- Dancing, to put thy pale, lost lilies out of mind; 'and you're still on my mind'
- But I was desolate and sick of an old passion,
- Yea, all the time, because the dance was long:
- I have been faithful to thee, Cynara! in my fashion.
that's lovely, the whole verse. forgetting ~ dancing. flung with the throng. but that old passion ('belly sick with love for her for years' - Abe, Tender is the Night), desolate, yea 'oh yea' all the time -the dance was long- 'I am the Lord of the dance said He .. and I'll lead you all in the dance said He' (Christmas carolers? no... Christmas Revellers no Christmas Revels) - the Ivy & the Rose - 'all the way to Heaven is Heaven, because He said I am the Way' (St Therese). I have been faithful to thee, Cynara! in my fashion. all poetry is reminding.
The last line of this stanza is the last line of all four stanzas of the poem, and was the inspiration for the song title 'Always True to You in My Fashion' from 'Kiss Me, Kate' by Cole Porter.
In Margaret Mitchell's words, the first line of the (above) third stanza had the "far away, faintly sad sound I wanted" and so she called her only novel "Gone with the Wind."
Friday, January 11, 2008
Good Night, and Good Luck. (2005): Filmed in tight frames of black and white, 'Good Night, And Good Luck' also brings back the smoke-filled atmosphere of broadcast journalism and television in the 1950s. The film focuses around CBS journalist Edward Murrow and his attempts to take down Senator Joseph McCarthy through his news program, 'See it Now.' David Strathairn, playing Edward Murrow, gives one of the best performances of the year and is surely swimming in Oscar territory. Clooney makes his biggest leap in the film industry yet.
bought a cheap used dvd more than a year ago - watched tonite before watching FridayNightLights.
AudioRevolution DVD Review of "Good Night, and Good Luck": In interviews, George Clooney has stated that he’d always been drawn to Edward R. Murrow’s decision to take the fight to Senator McCarthy. What most people don’t know is that Clooney comes by the interest naturally. In college, he majored in journalism, and Edward R. Murrow’s career and onscreen, in-the-news fight against McCarthy had to be prime study material.
Starring as Fred Friendly, Clooney brings an honest delivery of Murrow’s right-hand man, never once upstaging Strathairn’s portrayal of the crusty newsman.
David Strathairn’s no-nonsense job as Edward R. Murrow really shines in this film. He has all the late newsman’s behaviors and mannerisms down to a T, including the cocked head looking at the camera while burning a cigarette.
Murrow, the real Murrow, came to the attention of the American radio listening public during World War Il. Stationed in London, he broadcast the news of the war effort with calm demeanor and created a stock phrase, “This…is London”, with the emphasis on the first word. His onscreen battle with Senator McCarthy was the stuff from which legends are made. Murrow also championed television as a vehicle for news and information rather than just an entertainment system.
.. Another sympathetic and telling role during the fight between McCarthy and Murrow was the plight of Don Hollenbeck, the night anchor on CBS. Hollenbeck had worked for PM (Picture Magazine) which was accused of leftist leanings because the magazine often championed the “little guy” and tried to ensure a fair treatment. Badgered in the press, deserted by his wife, Hollenbeck ended up taking his own life. Actor Ray Wise brings the reporter’s frailty and vulnerability to the screen in the few scenes he’s scattered throughout the film.
“Good Night, and Good Luck.” has no musical score, though there are songs scattered throughout. The singer who appears was shot on the stage with the other actors. The effect is charming and very evocative of the times the film represents. Even in the commentary sections by Clooney and Heslov, the same quiet tones seem to permeate the audio portions, making it easy to imagine the two men sitting in a sound stage putting the piece together.
Presidential Medal of Freedom Recipient Edward R. Murrow, CBS News Broadcaster
Awarded by
President Lyndon B. Johnson
September 14, 1964
A pioneer in education through mass communication, he has brought to all his endeavors the conviction that truth and personal integrity are the ultimate persuaders of men and nations.
He was very bright and as drama was unfolding in the European stage, he saw an opportunity for radio to bring events right into America's homes.
Murrow is not only known for his cogent point-of-view, but also for his clipped, slow but deliberate style of speaking. Gerald Nachman in his Raised on Radio says Murrow "picked up his basic speech patterns from his Quaker mother, who often spoke in inverted phrases like 'This I believe.'"
companion piece on the dvd was punctuated with quotations from Murrow, elegantly typed on the screen, incl:
Just because your voice reaches halfway around the world doesn't mean you are wiser than when it reached only to the end of the bar. I like the bar being the venue of men speaking, now ~replaced by broadcasting.
Most truths are so naked that people feel sorry for them and cover them up, at least a little bit. that's an int way to say. concealment. (H: disclosing unconcealment). as if (do we?) we conceal even when there is no special motive, no reason not to prefer to show the truth, but that it is the truth and therefore is naked, is bald - too shameful, just because apparent. open.
I also liked something said about Murrow in the piece, by the man I take to be Grant H the co-writer with Clooney, about Murrow reluctant to adapt "Hear it now" into "See it now" - because he preferred words, thought the visual engaged a different mental process.
not in the piece, but of int to me (but, a list of quotations is not a form I like)
The newest computer can merely compound, at speed, the oldest problem in the relations between human beings, and in the end the communicator will be confronted with the old problem, of what to say and how to say it.
The obscure we see eventually. The completely obvious, it seems, takes longer. heh. here's the rub: this would be more powerful (to me) in its axiomatic brevity if a closing to, or contextualized by, sentences without that punch (which it likely was). A list of quotes tends to be one after another like this, and the repetition of what is meant to be a standout syntax then seems impotent. (also what I feel a touch of when (re)reading Adam Phillips, GK Chesterton).
The politician in my country seeks votes, affection and respect, in that order. With few notable exceptions, they are simply men who want to be loved. ah. I know that personality. (though it may not be most politicians, I don't know. Nixon? like thorpe.)
bought a cheap used dvd more than a year ago - watched tonite before watching FridayNightLights.
AudioRevolution DVD Review of "Good Night, and Good Luck": In interviews, George Clooney has stated that he’d always been drawn to Edward R. Murrow’s decision to take the fight to Senator McCarthy. What most people don’t know is that Clooney comes by the interest naturally. In college, he majored in journalism, and Edward R. Murrow’s career and onscreen, in-the-news fight against McCarthy had to be prime study material.
Starring as Fred Friendly, Clooney brings an honest delivery of Murrow’s right-hand man, never once upstaging Strathairn’s portrayal of the crusty newsman.
David Strathairn’s no-nonsense job as Edward R. Murrow really shines in this film. He has all the late newsman’s behaviors and mannerisms down to a T, including the cocked head looking at the camera while burning a cigarette.
Murrow, the real Murrow, came to the attention of the American radio listening public during World War Il. Stationed in London, he broadcast the news of the war effort with calm demeanor and created a stock phrase, “This…is London”, with the emphasis on the first word. His onscreen battle with Senator McCarthy was the stuff from which legends are made. Murrow also championed television as a vehicle for news and information rather than just an entertainment system.
.. Another sympathetic and telling role during the fight between McCarthy and Murrow was the plight of Don Hollenbeck, the night anchor on CBS. Hollenbeck had worked for PM (Picture Magazine) which was accused of leftist leanings because the magazine often championed the “little guy” and tried to ensure a fair treatment. Badgered in the press, deserted by his wife, Hollenbeck ended up taking his own life. Actor Ray Wise brings the reporter’s frailty and vulnerability to the screen in the few scenes he’s scattered throughout the film.
“Good Night, and Good Luck.” has no musical score, though there are songs scattered throughout. The singer who appears was shot on the stage with the other actors. The effect is charming and very evocative of the times the film represents. Even in the commentary sections by Clooney and Heslov, the same quiet tones seem to permeate the audio portions, making it easy to imagine the two men sitting in a sound stage putting the piece together.
Presidential Medal of Freedom Recipient Edward R. Murrow, CBS News Broadcaster
Awarded by
President Lyndon B. Johnson
September 14, 1964
A pioneer in education through mass communication, he has brought to all his endeavors the conviction that truth and personal integrity are the ultimate persuaders of men and nations.
He was very bright and as drama was unfolding in the European stage, he saw an opportunity for radio to bring events right into America's homes.
Murrow is not only known for his cogent point-of-view, but also for his clipped, slow but deliberate style of speaking. Gerald Nachman in his Raised on Radio says Murrow "picked up his basic speech patterns from his Quaker mother, who often spoke in inverted phrases like 'This I believe.'"
companion piece on the dvd was punctuated with quotations from Murrow, elegantly typed on the screen, incl:
Just because your voice reaches halfway around the world doesn't mean you are wiser than when it reached only to the end of the bar. I like the bar being the venue of men speaking, now ~replaced by broadcasting.
Most truths are so naked that people feel sorry for them and cover them up, at least a little bit. that's an int way to say. concealment. (H: disclosing unconcealment). as if (do we?) we conceal even when there is no special motive, no reason not to prefer to show the truth, but that it is the truth and therefore is naked, is bald - too shameful, just because apparent. open.
I also liked something said about Murrow in the piece, by the man I take to be Grant H the co-writer with Clooney, about Murrow reluctant to adapt "Hear it now" into "See it now" - because he preferred words, thought the visual engaged a different mental process.
not in the piece, but of int to me (but, a list of quotations is not a form I like)
The newest computer can merely compound, at speed, the oldest problem in the relations between human beings, and in the end the communicator will be confronted with the old problem, of what to say and how to say it.
The obscure we see eventually. The completely obvious, it seems, takes longer. heh. here's the rub: this would be more powerful (to me) in its axiomatic brevity if a closing to, or contextualized by, sentences without that punch (which it likely was). A list of quotes tends to be one after another like this, and the repetition of what is meant to be a standout syntax then seems impotent. (also what I feel a touch of when (re)reading Adam Phillips, GK Chesterton).
The politician in my country seeks votes, affection and respect, in that order. With few notable exceptions, they are simply men who want to be loved. ah. I know that personality. (though it may not be most politicians, I don't know. Nixon? like thorpe.)
and.*.goes.with.*.and.*.goes.with.*. - Google Search
And Sadie goes with Abie And Abie goes with Davy And Davy goes with Howard And Howard goes with Charlotte And Charlotte goes with Shirley ... ***
andrejkoymasky.com/liv/fam/biof1/faye1.html - 13k -Cached
and sally goes with molly, and molly goes with... Opinión de evol-me sobre The L word del 11 de Septiembre de 2007. La evaluación de producto del autor: ...
www.ciao.es/The_L_word__Opinion_1372489 - 60k -Cached [ Translate this page ]
www.gokids.com.au/component/option,com_letterman/task,view/Itemid,1/id,13/ - 60k - Cached
Who goes with he and whom goes with him. For example, WHO is standing over there? HE is. ...
answers.yahoo.com/question/index?qid=20061011212422AAOICDX - 76k Cached
... breadth, and the solidity which goes with breadth, and the slowness of motion which goes with solid extension, and the dignity which goes with slowness ...
The Recreations of a Country Parson - Google Books Result - by Andrew Kennedy Hutchison Boyd - 1861 - 442 pages
glbtq >> arts >> Faye, Frances: long career spanned much of 20th C, openly bisexual entertainer Frances Faye recorded 12+ albums ...Her comic song "Frances and Her Friends" boldly glorified same-sex coupling. used as intro to an episode of The L Word ~ I think the episode where Jennie is watching at the aquarium, meets Gabe ~ so, late in first season. catchy tune:
***
I know a guy named Joey
Joey goes with Moey
Moey goes with Jamie
And Jamie goes with Sadie
And Sadie goes with Abie
And Abie goes with Davy
And Davy goes with Howard
And Howard goes with Charlotte
And Charlotte goes with Shirley
And Shirley goes with Pearly
And Pearly goes with Yetta
What a drag, what a drag
I'm not mad
I'm too hip to get mad....
And Sadie goes with Abie And Abie goes with Davy And Davy goes with Howard And Howard goes with Charlotte And Charlotte goes with Shirley ... ***
andrejkoymasky.com/liv/fam/biof1/faye1.html - 13k -
www.ciao.es/The_L_word__Opinion_1372489 - 60k -
www.gokids.com.au/component/option,com_
answers.yahoo.com/question/
... breadth, and the solidity which goes with breadth, and the slowness of motion which goes with solid extension, and the dignity which goes with slowness ...
The Recreations of a Country Parson - Google Books Result - by Andrew Kennedy Hutchison Boyd - 1861 - 442 pages
glbtq >> arts >> Faye, Frances: long career spanned much of 20th C, openly bisexual entertainer Frances Faye recorded 12+ albums ...Her comic song "Frances and Her Friends" boldly glorified same-sex coupling. used as intro to an episode of The L Word ~ I think the episode where Jennie is watching at the aquarium, meets Gabe ~ so, late in first season. catchy tune:
***
I know a guy named Joey
Joey goes with Moey
Moey goes with Jamie
And Jamie goes with Sadie
And Sadie goes with Abie
And Abie goes with Davy
And Davy goes with Howard
And Howard goes with Charlotte
And Charlotte goes with Shirley
And Shirley goes with Pearly
And Pearly goes with Yetta
What a drag, what a drag
I'm not mad
I'm too hip to get mad....
Amazon Online Reader : What Are People For?: Essays:
on Page 88: "... matter over. It has seemed to me increasingly that a poem-a good poem -exists at the center of a complex reminding, ... "
on Page 88: "... matter over. It has seemed to me increasingly that a poem-a good poem -exists at the center of a complex reminding, ... "
1-6 of 6 pages with references to reminding:
| 1. | on Page 34: |
| "... each reminding him of another, all riding on a current of exuberant delight and laughter . And this telling and the accompanying ..." | |
| 2. | on Page 88: |
| "... matter over. It has seemed to me increasingly that a poem-a good poem -exists at the center of a complex reminding, ..." | |
| 3. | on Page 90: |
| "... judgment. The context of love is the world. The standards of love are inseparable from the process or system of reminding that I am talking about. ..." | |
| 4. | on Page 91: |
| "... The Responsibility of the Poet 91 explain the reminding that is the source, or maybe we could say the location, of Donald Davie's poem "Advent." This poem has been ..." | |
| 5. | on Page 92: |
| "... it adds itself authentically to its pattern of reminding, and thus re-awakens it and makes it new. ..." | |
| 6. | on Page 166: |
| "... They cannot collect and store-because they cannot know-the pattern of reminding that can survive only in the living human community in its place. It is this pattern that is the life ..." |
katecutrer: Search results for inconsolable
what is getting you so down
dad thinking, not dissuaded, that that must have been a loss. the loss. but it feels, and maybe this does not mean it was not, but it feels, it does, like what I look for, like when I feel better. 'the moment of connection' ( is it an "intervention" when you speak?) -- the girl lying with the goose, menagerie, all of creation offended -all of creation responding- in this distress. the keening of the moon, sometimes, rising. it means this: this miracle among the animals.
mc with his 'what would it mean to...?' to have your formative moment, identification, your formation, be this. it means that I am saying, to Jaime, that I want my government to have in mind the moment when we crawl from the rubble, look around, come together, say: what now.
loss. but when this is that which, if lost, would leave me inconsolable. alone, not understanding that anyone is there or will return, then shall we not call that the loss and find another word for this.
inconsolable 2
all the silver in the kitchen would someday be Carol's and if my mother wanted it more than everything, if she picked the first star in the sky every night of her life and wished, she still could not have it, ever.
p.128 my copy Anywhere but Here
that is not what I meant, at all.
(she still could not have it, ever.)
and if I went to the gym everyday, and I ran and I swam, and I ate no sweets, I still would not have another body. I'd still have this body, this deformity.
Frog Hospital on Page 32: ... for the love that as children they had desired so, sought so, distorted themselves so to get but never got. I once rode eighty blocks with a cabbie who kept saying over and over, "And he never hugged me, and he never kissed me," until by Eighth Street he was weeping and I had to get out. It was unbearable.
on Page 130: ...It is unacceptable, all the stunned and anzious missing a person is asked to endure in life. It is not to be endured, not really.
inconsolable 1
...a little boy of two sobbing his heart out, leaning with his face against a screen door of his house. or behind a curtain or a tree; or lying face down on the floor. in our nursery school years ago, a little boy hid in the empty fireplace, unreachable, broken-hearted, his first day away from his mother--two years old, not understanding that she would return.
inconsolable
the immense, illiterate, consoling angels.
the giraffe with his head cocked petulantly, weeping, hold me.
becominginvolved a woman lies down with a goose. they love each other. bliss, terribly private. quietly deathly quiet. away.
privateness - an oval pond in the park and they sit down by it, sorry for the ducks but not for themselves.
privilegeofbeing - somewhere a man and a woman are making love up above the angels my love this morning as much as you...
All of creation in offended by this distress. It is like the keening sound the moon makes sometimes, rising.
menagerie - although it would mean this, this miracle among the souls of animals. And you.
thedayislikewidewater: Search results for inconsolable
cadence. poetry is reminding. among the souls of animals. inconsolable / what we ask for. the boy, two years old, first day away fr his mother, not undrstnding she wld return /animals are disappearance. what is not there, soon.
to z0801 my ... just posted
#
thedayislikewidewater: -inconsolable what we ask for.
this tragedy is unfixable.This is non-negotiable. (Is this what is known as integrity?). / l moore: not to be endured not really /In our nursery school years ago, a little boy hid in the empty fireplace, unreachable, broken-hearted, overwhelmed on his fir
to z0801 my ... 7 mins ago
#
thedayislikewidewater: Search results for abandon
not infrequent: re Bubble, The Keep, the church twc polygamy, Ms Winnicott, Veronica Mars, Connie Britton, Auden a love that does not abandon,CarlosDrummondDeAndrade: Lord, why did you abandon me if you knew I wasn’t God?
to z0801 my a ... 21 mins ago
inter back forth one to the other inter
cadence. poetry is reminding. among the souls of animals. inconsolable / what we ask for. the boy, two years old, first day away fr his mother, not undrstnding she wld return /animals are disappearance. what is not there, soon.
to z0801 my ... just posted
#
thedayislikewidewater: -inconsolable what we ask for.
this tragedy is unfixable.This is non-negotiable. (Is this what is known as integrity?). / l moore: not to be endured not really /In our nursery school years ago, a little boy hid in the empty fireplace, unreachable, broken-hearted, overwhelmed on his fir
to z0801 my ... 7 mins ago
#
thedayislikewidewater: Search results for abandon
not infrequent: re Bubble, The Keep, the church twc polygamy, Ms Winnicott, Veronica Mars, Connie Britton, Auden a love that does not abandon,CarlosDrummondDeAndrade: Lord, why did you abandon me if you knew I wasn’t God?
to z0801 my a ... 21 mins ago
inter back forth one to the other inter
Saturday, January 5, 2008
az- The Storyteller: A Novel: Books: Mario Vargas Llosa:
publishers weekly: The narrator tells of his college friend Saul Zuratas, a man obsessed with preserving the culture of the Machiguengas, a tiny, isolated tribe threatened both by rapacious rubber barons destroying the Amazon jungle and the missionaries who want to bring the Machiguengas into the 20th century. Saul, called Mascarita because of a disfiguring facial birthmark, and doubly an outsider because he is a Jew, has a particular sensitivity to this primitive tribe that seeks to live peacefully with the natural world. The narrative alternates the story of Saul's obsession with chapters relating the Machiguengas' myths, stories handed down by the hablador , or storyteller. Through a remarkable coincidence, the narrator discovers that the mystery surrounding the habladores can be traced to Saul, who has found his destiny among the tribe.
Clare liked this book, lent it to me ~ senior year ~ and I did not care so much for it. but I think of it, think of disappearing - here is a story of someone who found people to disappear to.
librjounrl: In alternating chapters, he tells the story of Saul Zuratas, a Peruvian Jew who becomes an habladore (storyteller) to the Machiguengas--a tribe still wandering the Amazon jungle--and the tribe's stories themselves.
cust rvws:
-A Peruvian writer explores his own past when he encounters a picture of a Machiguenga storyteller in an Italian gallery. He believes that ths storyteller in the photograph is not himself Machinguenga, but is instead a friend of his youth, Saul Zuratas.
A story about telling stories, and all the different ways that there are to tell (and receive) stories. From the Kafka parrot, to the narrator's stint as a television producer huh did not remember, to the storyteller's stories themselves, this is a book which struggles with identity and with the real. The character of Saul is notable for his lack of place and his struggle as both a monster and an angel to exist in the world of Peru.
-He understood what it meant to have no solid ground on which to stand. Saul Zuratas took it all the way. He abandoned the modern world and joined with a culture that was trying to avoid being assimilated.
-We need more Sauls!
-A modern man goes through a stunning transformation into that of a savage, seen from the viewpoint of an old friend staring at his picture in Florence, trying to imagine the journey his friend had taken upon himself, alone, scarred, and in the dense jungle of magic.
..a story about a Peruvian academic and outsider becoming a Machiguenga. an outsider, now a central member of an exclusive and ancient order, of the determination and resolve, ("that of a lunatic or a saint"), that drove him onward.
-A story of magic and pasion. In somewhere, in the Peruvian Amazon there's a man that preserves the memory of a tribe that the time and the progress?!? (nor the religion or the factories) have not killed yet. This tribe keep their miths alive because of this storyteller, who is always walking, looking for new stories to tell, there in the hughe jungle.
publishers weekly: The narrator tells of his college friend Saul Zuratas, a man obsessed with preserving the culture of the Machiguengas, a tiny, isolated tribe threatened both by rapacious rubber barons destroying the Amazon jungle and the missionaries who want to bring the Machiguengas into the 20th century. Saul, called Mascarita because of a disfiguring facial birthmark, and doubly an outsider because he is a Jew, has a particular sensitivity to this primitive tribe that seeks to live peacefully with the natural world. The narrative alternates the story of Saul's obsession with chapters relating the Machiguengas' myths, stories handed down by the hablador , or storyteller. Through a remarkable coincidence, the narrator discovers that the mystery surrounding the habladores can be traced to Saul, who has found his destiny among the tribe.
Clare liked this book, lent it to me ~ senior year ~ and I did not care so much for it. but I think of it, think of disappearing - here is a story of someone who found people to disappear to.
librjounrl: In alternating chapters, he tells the story of Saul Zuratas, a Peruvian Jew who becomes an habladore (storyteller) to the Machiguengas--a tribe still wandering the Amazon jungle--and the tribe's stories themselves.
cust rvws:
-A Peruvian writer explores his own past when he encounters a picture of a Machiguenga storyteller in an Italian gallery. He believes that ths storyteller in the photograph is not himself Machinguenga, but is instead a friend of his youth, Saul Zuratas.
A story about telling stories, and all the different ways that there are to tell (and receive) stories. From the Kafka parrot, to the narrator's stint as a television producer huh did not remember, to the storyteller's stories themselves, this is a book which struggles with identity and with the real. The character of Saul is notable for his lack of place and his struggle as both a monster and an angel to exist in the world of Peru.
-He understood what it meant to have no solid ground on which to stand. Saul Zuratas took it all the way. He abandoned the modern world and joined with a culture that was trying to avoid being assimilated.
-We need more Sauls!
-A modern man goes through a stunning transformation into that of a savage, seen from the viewpoint of an old friend staring at his picture in Florence, trying to imagine the journey his friend had taken upon himself, alone, scarred, and in the dense jungle of magic.
..a story about a Peruvian academic and outsider becoming a Machiguenga. an outsider, now a central member of an exclusive and ancient order, of the determination and resolve, ("that of a lunatic or a saint"), that drove him onward.
-A story of magic and pasion. In somewhere, in the Peruvian Amazon there's a man that preserves the memory of a tribe that the time and the progress?!? (nor the religion or the factories) have not killed yet. This tribe keep their miths alive because of this storyteller, who is always walking, looking for new stories to tell, there in the hughe jungle.
Television Studies - museum.tv/archives/televisionst:
Television studies is the relatively recent, aspirationally disciplinary name given to the academic study of television. .. The "television" of television studies is a relatively new phenomenon, just as many of the key television scholars are employed in departments of sociology, politics, communication arts, speech, theatre, media and film studies. If it is now possible, in 1996, to speak of a field of study, "television studies" in the anglophone academy, in a way in which it was not in 1970, the distinctive characteristics of this field of study include its disciplinary hybridity and continuing debate about how to conceptualise the object of study "television."
Television studies in the l990s, then, is characterised by work in four main areas. The most formative for the emergent discipline have been the work on the definition and interpretation of the television text and the new media ethnographies of viewing which emphasise both the contexts and the social relations of viewing. However, there is a considerable history of 'production studies' which trace the complex interplay of factors involved in getting programmes on screen. Increasingly significant also is the fourth area, that of television history. Not only does the historical endeavour frequently necessitate working with vanished sources--such as the programmes--but it has also involved the use of material of contested evidentiary status. For example, advertisements in women's magazines as opposed to producer statements. This history of television is a rapidly expanding field, creating a retrospective history for the discipline, but also documenting the period of nationally regulated terrestrial broadcasting--the 'television' of 'television studies'--which is now coming to an end.
-Charlotte Brunsdon
Television studies is the relatively recent, aspirationally disciplinary name given to the academic study of television. .. The "television" of television studies is a relatively new phenomenon, just as many of the key television scholars are employed in departments of sociology, politics, communication arts, speech, theatre, media and film studies. If it is now possible, in 1996, to speak of a field of study, "television studies" in the anglophone academy, in a way in which it was not in 1970, the distinctive characteristics of this field of study include its disciplinary hybridity and continuing debate about how to conceptualise the object of study "television."
Television studies in the l990s, then, is characterised by work in four main areas. The most formative for the emergent discipline have been the work on the definition and interpretation of the television text and the new media ethnographies of viewing which emphasise both the contexts and the social relations of viewing. However, there is a considerable history of 'production studies' which trace the complex interplay of factors involved in getting programmes on screen. Increasingly significant also is the fourth area, that of television history. Not only does the historical endeavour frequently necessitate working with vanished sources--such as the programmes--but it has also involved the use of material of contested evidentiary status. For example, advertisements in women's magazines as opposed to producer statements. This history of television is a rapidly expanding field, creating a retrospective history for the discipline, but also documenting the period of nationally regulated terrestrial broadcasting--the 'television' of 'television studies'--which is now coming to an end.
-Charlotte Brunsdon
Friday, January 4, 2008
List of Gilmore Girls episodes - Wkp
well some of season 2 & 3 I have not seen ... Dean breaking up with Rory. Rory graduating.
so it's nice that D gave me this and nice to have whole season per disc - but disc two is not working well, will not show me any of first half of season before epis 13. is this a reason that they usually put only three or four episodes per disc? or is that mostly in order to sell a more expensive item? and rent it, I guess, in more instances.
well some of season 2 & 3 I have not seen ... Dean breaking up with Rory. Rory graduating.
so it's nice that D gave me this and nice to have whole season per disc - but disc two is not working well, will not show me any of first half of season before epis 13. is this a reason that they usually put only three or four episodes per disc? or is that mostly in order to sell a more expensive item? and rent it, I guess, in more instances.
Holiday Coffee Caboodle by Coffee Masters®: This holiday gift contains: 6 Perfect Potfuls® of these freshly ground roasted coffees: Christmas Cookie, Cranberry Crème Brulée, Holiday Magic Blend, Merry Mocha Mint, Toasted Chestnut Creme, and Winter Frost.
Home > Specialty Roasted Coffees > Holiday Specialty Coffee
Cranberry Crème Brulée mm I tried this one first and liked it - The refreshing crisp flavor of cranberries is a perfect compliment to the buttery rich flavor of fresh dairy cream. A surprisingly delicious combination.
Holiday Magic Blend tried this & it seemed like regular coffee - blend of Central and South American coffees is sure to please everyone over the holidays – bright and complex in the cup, it finishes with a smooth sweetness.
Winter Frost having this right now, seemed nutty, why "frost"? - UNIQUE WHITE COFFEE BEANS! Delicious hazelnut coffee rolled in a white cocoa powder for a very distinct and Christmas-y cup of java!
Toasted Chestnut Creme saving this bcs I expect to like it - dreamy combination of smooth vanilla and the toasty, nutty flavor of chestnuts
Christmas Cookie probably good when want sweet - Cinnamon, nuts, and vanilla blended together with just the right amount of cream
Merry Mocha Mint chocolate mint ok - The twinkle in Santa’s eye is really from enjoying this delightful combination of rich chocolate and refreshing mint flavor.
Home > Specialty Roasted Coffees > Holiday Specialty Coffee
Cranberry Crème Brulée mm I tried this one first and liked it - The refreshing crisp flavor of cranberries is a perfect compliment to the buttery rich flavor of fresh dairy cream. A surprisingly delicious combination.
Holiday Magic Blend tried this & it seemed like regular coffee - blend of Central and South American coffees is sure to please everyone over the holidays – bright and complex in the cup, it finishes with a smooth sweetness.
Winter Frost having this right now, seemed nutty, why "frost"? - UNIQUE WHITE COFFEE BEANS! Delicious hazelnut coffee rolled in a white cocoa powder for a very distinct and Christmas-y cup of java!
Toasted Chestnut Creme saving this bcs I expect to like it - dreamy combination of smooth vanilla and the toasty, nutty flavor of chestnuts
Christmas Cookie probably good when want sweet - Cinnamon, nuts, and vanilla blended together with just the right amount of cream
Merry Mocha Mint chocolate mint ok - The twinkle in Santa’s eye is really from enjoying this delightful combination of rich chocolate and refreshing mint flavor.
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