Miscellaneous

...now browsing by category

 

Up In the Air

Friday, February 5th, 2010

I saw Up In the Air a while back, but I keep thinking back on it.  Just for fun, here’s a snippet of the dialogue that I thought was pretty terrific.

***

Natalie – I thought I’d be engaged by now.  (catches herself)  No offense.

Alex – It’s alright.
Ryan – None taken.

Natalie – When I was sixteen, I thought by twenty three, I would be married, maybe have a kid…  Corner office by day, entertaining by night.  I was supposed to be driving a Grand Cherokee by now.

Alex – Life can underwhelm you that way.

Natalie – Now I have my sights on twenty nine, because thirty is just way too… apocalyptic.  I mean, where did you think you’d be by…  (she catches herself, having no idea how old Alex is)

Alex – It doesn’t work that way.
Ryan – At a certain point, you stop with the deadlines.
Alex – They can be a little counterproductive.

Natalie – I don’t want to say anything that’s… anti-feminist.  I mean, I really appreciate everything your generation did for me.

Alex – (my generation?)  It was our pleasure.

Natalie – But sometimes it feels like no matter how much success I have, it all won’t matter until I find the right guy.

Alex – You really thought this guy was the one.

Natalie – Yeah, I guess.  I don’t know.  I could have made it work.  He just really fit the bill.

Ryan – The bill?

Natalie – My type.  You know, white collar.  College grad.  Loves dogs.  Likes funny movies.  Six foot one.  Brown hair.  Kind eyes.  Works in finance but is Outdoorsy, you know, on the weekends.  (we think she’s done)  I always imagined he’d have a single syllable name like Matt or John or… Dave.  In a perfect world, he drives a Four Runner and the only thing he loves more than me is his golden lab.  Oh… and a nice smile.  (back to Alex and Ryan)  How about you?  (This catches both Alex and Ryan off guard.)

Ryan – I’m not sure if…

Natalie – I meant Alex…

Ryan – Right.

Alex – Huh, let me think for a sec.  (mulls it over)  Well, by the time you’re thirty four, all the physical requirements are pretty much out the window.  I mean you secretly pray he’ll be taller than you.  (smiles)  Not an asshole would be nice?  Just someone who enjoys my company.  Comes from a good family – You don’t think about that when you’re younger.  (thinking)  Wants kids…  Likes kids.   Wants kids.  Healthy enough to play catch with his future son one day.  (We can tell Ryan is taking a serious interest in this.)  Please let him earn more than I do.  That doesn’t make sense now, but believe me, it will one day.  Otherwise it’s just a recipe for disaster.  (reaching)  Hopefully some hair on his head…?  But it’s not exactly a deal-breaker anymore.  Nice smile…  Yep, a nice smile just might do it.  (Looks to Ryan.  He has a nice smile.)

Natalie – Wow.  That was depressing. . . . I don’t mind being married to my career, and I don’t expect it to hold me in bed as I fall asleep.  (looks up)  I just don’t want to settle.

Alex – You’re young.  Right now you see settling as some sort of failure.

Natalie – It is.  By definition.

Alex – Don’t worry, by the time someone is right for you, it won’t feel like settling…  And the only person left to judge you will be the twenty four year old girl with a target on your back.

Citizens United v. FEC

Thursday, January 21st, 2010

This is not likely of any general interest, but the Supreme Court just released its important Citizens United v. FEC opinion.  It discusses tensions between democratic elections and the First Amendment.  As a citizen, a writer, and an attorney, I take special note of those topics.  I also happen to respect and agree with Justice John Paul Stevens – he’s a good and readable writer – so here’s a selection of quotes from his dissenting opinion.

  • “The Court’s ruling . . . dramatically enhances the role of corporations and unions . . . in determining who will hold public office.”
  • “Starting today, corporations with large war chests to deploy on electioneering may find democratically elected bodies becoming much more attuned to their interests.”
  • “Americans may be forgiven if they do not feel the Court has advanced the cause of self-government today.”
  • “[I]n a functioning democracy the public must have faith that its representatives owe their positions to the people, not to the corporations with the deepest pockets.”
  • “A democracy cannot function effectively when its constituent members believe laws are being bought and sold.”
  • “Pervading the Court’s analysis is the ominous image of a ‘categorical ban’ on corporate speech.  Indeed, the majority invokes the specter of a ‘ban’ on nearly every page of its opinion.  This characterization is highly misleading, and needs to be corrected.”
  • “Under the majority’s view, I suppose it may be a First Amendment problem that corporations are not permitted to vote, given that voting is, among other things, a form of speech.”
  • “Unlike our colleagues, [the Framers] had little trouble distinguishing corporations from human beings, and when they constitutionalized the right to free speech in the First Amendment, it was the free speech of individual Americans that they had in mind.”
  • “The word ‘soulless’ constantly recurs in debates over corporations. . . . Corporations, it was feared, could concentrate the worst urges of whole groups of men.  Thomas Jefferson famously fretted that corporations would subvert the Republic.”
  • “The fact that corporations are different from human beings might seem to need no elaboration, except that the majority opinion almost completely elides it.”
  • “It might also be added that corporations have no consciences, no beliefs, no feelings, no thoughts, no desires.  Corporations help structure and facilitate the activities of human beings, to be sure, and their ‘personhood’ often serves as a useful legal fiction.  But they are not themselves members of ‘We the People’ by whom and for whom our Constitution was established.”
  • “It is an interesting question ‘who’ is even speaking when a business corporation places an advertisement that endorses or attacks a particular candidate.  Presumably it is not the customers or employees, who typically have no say in such matters.  It cannot realistically be said to be the shareholders, who tend to be far removed from the day-to-day decisions of the firm and whose political preferences may be opaque to management.  Perhaps the officers or directors of the corporation have the best claim to be the ones speaking, except their fiduciary duties generally prohibit them from using corporate funds for personal ends.  Some individuals associated with the corporation must make the decision to place the ad, but the idea that these individuals are thereby fostering their self expression or cultivating their critical faculties is fanciful.”
  • “Corporations, as a class, tend to be more attuned to the complexities of the legislative process and more directly affected by tax and appropriations measures that receive little public scrutiny; they also have vastly more money with which to try to buy access and votes.
  • “In an age in which money and television ads are the coin of the campaign realm, it is hardly surprising that corporations deployed these ads to curry favor with, and to gain influence over, public officials.”
  • “Corruption can take many forms.  Bribery may be the paradigm case.  But the difference between selling a vote and selling access is a matter of degree, not kind.  And selling access is not qualitatively different from giving special preference to those who spent money on one’s behalf.  Corruption operates along a spectrum, and the majority’s apparent belief that quid pro quo arrangements can be neatly demarcated from other improper influences does not accord with the theory or reality of politics.  It certainly does not accord with the record Congress developed . . . that stands as a remarkable testament to the energy and ingenuity with which corporations, unions, lobbyists, and politicians may go about scratching each other’s backs . . . .”
  • “Corporate ‘domination’ of electioneering . . . can generate the impression that corporations dominate our democracy.  When citizens turn on their televisions and radios before an election and hear only corporate electioneering, they may lose faith in their capacity, as citizens, to influence public policy.  A Government captured by corporate interests, they may come to believe, will be neither responsive to their needs nor willing to give their views a fair hearing.”
  • “To the extent that corporations are allowed to exert undue influence in electoral races, the speech of the eventual winners of those races may also be chilled.  Politicians who fear that a certain corporation can make or break their reelection chances may be cowed into silence about that corporation.”
  • “The majority declares by fiat that the appearance of undue influence by high-spending corporations ‘will not cause the electorate to lose faith in our democracy.’  The electorate itself has consistently indicated otherwise, both in opinion polls . . . and in the laws its representatives have passed, and our colleagues have no basis for elevating their own optimism into a tenet of constitutional law.”

I, for one, welcome our new corporate overlords.

Poetry: Girls are like…

Thursday, January 14th, 2010

This isn’t mine, but I saw it here, liked it, and thought I’d share.


Girls are like
apples on trees. The best
ones are at the top of the tree.
The boys don’t want to reach for
the good ones because they are afraid
of falling and getting hurt. Instead, they
just get the rotten apples from the ground
that aren’t as good, but easy. So the apples
at the top think something is wrong with
them, when in reality, they’re amazing.
They just have to wait for the right
boy to come along, the one
who’s brave enough
to climb
all the way
to the top
of the tree.

End of the Year Cleaning

Monday, December 21st, 2009

Just cleaning out some of my older bookmarks.  Too useful to junk completely, but maybe not useful enough to keep contributing to the clutter.  It might be a good idea to post some of them here because the blog makes for a good archive.  And maybe some of you would find some of this stuff useful or entertaining.  The trend here is towards creativity and the arts, although not entirely so.  These are listed roughly in some order:

  • (link) 3-minute TED talk of Richard St. John’s 8 secrets of success.
  • (link) Pcmag.com’s best 100 websites of 2009.
  • (link) Wonderful short video: The Eight Irresistable Principles of Fun.
  • (link) The math-art Whitney Music Boxes, plus other links (try me)
  • (link) A repository of art available for $20.
  • (link) The 1000 Awesome Things blog.  I get the daily emails.
  • (link) Daily collection of free recommendations of must-see gems.
  • (link) Rolling Stone’s list of greatest albums(, songs, & guitarists).
  • (link) Greg Rutter’s List of 99 Things You Should Have Already Seen.
  • (link) The Zoomquilt II collaborative art project.
  • (link) Gregory Colbert’s Ashes and Snow – art with animals.
  • (link) Sarina Brewer’s Custom Creature Studio (warning: dark)
  • (link) Matt Glass Photography.
  • (link) A partial history of color in art by the Museum of Modern Art.
  • (link) Moshcam.  Recorded concerts available online.
  • (link) Travel like a human – rent rooms from real people worldwide.
  • (link) World of Inspiration: inspirational quotes
  • (link) Color scheme designer application.
  • (link) Yanko Design – dedicated to modern international design.
  • (link) Stories from everyday people from NPR’s Tony Kahn.
  • (link) Garfield Minus Garfield.
  • (link) A planetarium in your web browser.
  • (link) Chart of “books that make you dumb”.
  • (link) The baby name wizard – tracking names through time.
  • (link) A full advertising database online.
  • (link) Scott Wade’s Dirty Car Art.
  • (link) What to get her for Christmas?  Maybe The Thing in a Jar?
  • (link) Fun, simple interactive art.  More here and here.
  • (link) An unusual multimedia brainstorming tool by Getty Images.
  • (link) Artist David Shrigley.
  • (link) Simple little piece of interactive art.
  • (link) The Muppet Wiki.
  • (link) Ultra-condensed classic books.
  • (link) Explanations of physics concepts using flash animation.
  • (link) What’s special about this number?  (Is this math art?)
  • (link) Article featuring socially-conscious pixellated artworks.
  • (link) A web-book to substitute for an art history textbook.
  • (link) Keith Tyson is a British artist.  His web design is notably good.
  • (link) Birmingham artist Paul Cordes Wilm.
  • (link) Entertainment Weekly’s best 100 books from 1983-2008.
  • (link) The annotated Watchmen.
  • (link) Possibly unclassifiable piece of moving art.

Washington Post: Breaking Pointe

Wednesday, November 25th, 2009

This is an excerpt from an article in the Sunday, November 22 Washington Post by Sarah Kaufman.  It’s about the Nutcracker ballet.  I’m not sure what I think about it yet, but it’s definitely saying something.  Some of the comments to that article:

  • “Isn’t there something to be said about a holiday family tradition like the Nutcracker? Kind of like the Charlie Brown Christmas special – it isn’t high art, but it’s warm and familiar.”
  • “I have to agree that the Nutcracker is really too ubiquitous, even out here in the provinces. While the children, new children each year really do love it, perhaps we could all be educated to love something just a little more daring.”
  • “What an utterly pretentious, snarky, bore you are.”

***

BREAKING POINTE: In an art form that’s struggling to stay on its feet, ‘The Nutcracker’ is a gift that takes more than it gives

By Sarah Kaufman
Sunday, November 22, 2009

Come the twilight of the year, the deathless “Nutcracker” begins its march across American stages, bearing tidings of comfort and joy.

Oh, goody.

Yet to those of us who despair of its pervading tweeness and wish ballet had something better to do at this time of year than endlessly reminisce like a sweet, whiskery auntie, it bears some bad news, too. “The Nutcracker’s” stranglehold is all but squeezing ballet dry.

That warm and welcoming veneer of domestic bliss in “The Nutcracker” gives the appearance that all is just plummy in the ballet world. But ballet is beset by serious ailments that threaten its future in this country: American dancers are less likely than ever to hold the top rank in American companies. African Americans have dismal prospects of inclusion — of all of the nation’s performing arts, none is more segregated than ballet. And the companies are so cautious in their programming that they have effectively reduced an art form to a rotation of over-roasted chestnuts that no one can justifiably croon about.

The tyranny of “The Nutcracker” is emblematic of how dull and risk-averse American ballet has become.

Let’s start with “The Nutcracker’s” role in all this. No other ballet has been performed by more companies, danced by more dancers or seen by more Americans. This season marks the 65th anniversary of the country’s first full-length production, by the San Francisco Ballet. It wasn’t such a smash hit back then, but certainly over the past half-century “The Nutcracker” has become the category killer in ballet, what “The Night Before Christmas” is to American poetry — the most known, the most quotable. Tchaikovsky’s tunes seem to toot around every corner this time of year, while attending the ballet has become a secular ritual, a tinseled micro-Mecca for thousands of families.

Starting Tuesday, Washington audiences can see the version of the ballet that’s credited with launching the national “Nutcracker” obsession: George Balanchine’s 1954 account, originally created for the New York City Ballet. The Pennsylvania Ballet will perform its Kennedy Center premiere.

Because “The Nutcracker” can turn a profit, it can account for as much as half of a ballet company’s total annual performances. Chances are, the other, non-”Nutcracker” half of a company’s season relies on a couple of standards and too few new works of consequence. And most companies cannot bring in enough funding to exist without relying on “Nutcracker” sales.

This all sounds pretty Scroogish, but I’ll be straight with you: While I have grown tired of “The Nutcracker,” I don’t hate it. I don’t discount that the ballet brings great happiness to many — even, off and on, to a critic. What I do regret is “The Nutcracker’s” ubiquity, the way it stifles any other creative efforts in dance during the holiday season. Most of all, I regret its necessity as an income source.

(the link to the rest of the original article is here)

(another link to an interesting Kaufman article called “Burdened by Balanchine” is here)