May 24, 2009
Hey! Here's the link for the 2009
Connecticut Film Festival in Danbury (not Hartford! Dang!)
here are some films I recommend or recommend keeping an eye on:
Examined Life (Cornel West and Slavoj Zizek are among the philosophers
sharing their thoughts while out in the worls, i.e. a car driving around
Manhattan and a garbage dump respectively. See below. Wednesday);
Sita Sings the Blues (Nina Paley's animated parallel story about Indian
mythology and her own painful break-up scores with fun animations set
to the music of Depression era vocal star Annette Hanshaw. Wednesday and
August Rush (a reasonable and sometimes imaginative retelling of Oliver
Up the Yangtze (a great little documentary about the social and personal
economic aftermath of China's Three Gorges Dam project. Thursday)
The Holy Modal Rounders: Bound to Lose (A great little documentary of
the psychedelic folk band's life and times. Friday and Sunday)
Fados (Carlos Saura directs cinematic interpretations of the Portuguese
song form, with some more modern iterations. Friday)
Trouble the Water (A harrowing documentary shot in large part in New Orleans'
Ninth Ward with Katrina in progress. Sunday)
Also of interest:
Searching for the 4th Nail (from Romany American filmmaker George Eli,
No Kidding, Me Too (Joe Pantoliano's (The Sopranos) documentary, which
he will introduce, Wednesday)
Invisible Girlfriend (The latest feature from Ashley Sabin and David Redmon
(Kamp Katrina, Mardi Gras Made in China), Thursday)
Jaago Aids (multiple Indian filmmakers get together on this one, including
Mira Nair (The Namesake, Monsoon Wedding), Saturday).
Follow the link above, and, if you're in the Danbury area between Tiesday
and Sunday of this week, see a movie!
Sunday May 24, 2009
My Thoughts on Three Films
person I call friend of some acquaintance here at WWUH Radio has recently
taken to playing a little game.
For example, I will come out with a statement like:
“Well, I’m going to the movies.”
He will counter with:
“Movies... hmm... why are they called movies?”
“They are called movies because it’s a colloquial term shortened
from the name ‘moving pictures.’”
“Well, do the pictures actually move? Aren’t they just thousands
of still images, each depicting a moment between movements?”
And so on.
When you’re in a rush to catch a 4:30 show of Star Trek, this dialectic
ad absurdum loses its’ charm toot sweet.
I mention this because the popular concept of philosophy, leading nowhere
but its’ own navel, would seem to lend a pall to the proceedings
in Astra Taylor’s latest film on philosophy, Examined Life. Why
watch nine modern thinkers talking about philosophy?
To be sure, anyone who queued up at midnight on Wednesday to be the first
on their block to see Terminator Salvation probably was not waiting all
their lives to see this film. However, those who enjoyed Richard Linklater’s
Waking Life as an artful and entertaining platform for thought may indeed
enjoy Taylor’s film full of oratory on and discussion of philosophy
and its’ relevance, reinforcing and/ or contrasting its’ ideas
by taking them to the street. And the park. And a small pond. And an airport,
a moving car and a dump.
Princeton professor and writer Cornell West forms the connective tissue
of this film, in a discussion filmed in the back of a car driving around
in Manhattan, which is shown in small pieces in the beginning, middle
and end. West’s suppositions on philosophy are placed in the context
of the movement(s) for civil rights, the blues and an understanding and
acceptance of the realities of the world and the moral contexts of capitalism
and white supremacy measured against a true moral sense. He delivers all
this with the intensity and positive energy he freely exudes, for example,
as a favorite semi-regular panelist of Bill Maher in his various talk-show
Literary critic, feminist and philosopher Avital Ronell, a professor at
New York University, strolls through Central park, unsure of what kind
of discussion is expected for the camera, and articulates philosophy as
a dissection of the promise of meaning.
Some of Cornell West’s fellow Princeton profs also join in: Peter
Singer delineates a brief history of the development of an understanding
of applied ethics in NYC’s 5th Avenue shopping district, though
he winds up with an argument for basic moral obligations to help and not
to harm others; and Kwame Anthony Appiah considers the implications of
multiculturalism and what kind of intellectual resistance is faced when
on crusades for a form of global citizenship while apparently waiting
for a flight in the international airport in Toronto (he also relates
his Ghanaian father’s opinion of his British mother’s butt,
while musing on matrilineality in African cultures).
University of Chicago professor Martha Nussbaum discusses the reality
societal, physical and mental advantages and disadvantages as she strolls
along Lake Michigan, musing that a wheelchair bound person would not have
been able to take that “walk” in previous generations when
stairs were architecturally preferred. Painter and activist Sunaura Taylor
(the director’s sister, as it happens) muses on her own societal
life in a wheelchair, as well as gender discrimination and general human
rights while vintage clothes shopping in San Francisco with UC Berkeley
Ethics Professor and feminist activist Judith Butler.
Duke University teacher and writer Michael Hardt muses on the ideals and
the realities of political revolutions, seen as part of an evolutionary
process of the transferal of power from governments to people (i.e., towards
actual, practical anarchy) from a rowboat in Central Park.
Slavoj Zizek is here also, returning to the idea of the temptation to
find meaning (as mentioned in the first part of the film by Ronell) as
it plays out among those who self-describe as “ecologists.”
He criticizes the movement as a secular form of religious orthodoxy (a
new “opium of the masses”), instead arguing that mankind should
take on the challenge of finding poetry in a more artificial world. To
make this point, director Astra Taylor brings Zizek to a dump.
Zizek, a bit insufferable in the feature length dose of Taylor’s
previous documentary (2005’s Zizek), is merely here in a smaller
ten minute chunk of a larger description about the role of philosophy
and thought in our present day, and so is easier to take. In fact, not
being a fantastically avid follower of philosophy myself, I can happily
report that Astra Taylor’s second feature doc on the subject is
engaging, artful, beautifully and imaginatively photographed, and, appropriately,
thought provoking. Perhaps, though, it will not be what every philosophy
student was hoping such a movie would be.
Then again, half of them are still sitting around debating whether a movie
is a movie.
Zizek’s argument for embracing a poetry of the artificial would
seem to find some expression in the ethical universe of James Cameron’s
Terminator films. In 1984’s The Terminator, Cameron appropriated
the dystopian time-travel romance of Chris Marker’s 1962 cult classic
short La Jetee, crossing it with a murderous cyborg whose closest cinematic
cousin was Yul Brenner’s evil robot gunfighter in Michael Crichton’s
1973 Westworld. An early (and career defining) turn by Arnold Schwarzenegger,
and groundbreaking effects and makeup work by Stan Winston, helped turn
the volume up to eleven on Cameron’s little film, and, surprise,
surprise, next thing you know, he’s directing a sequel to Alien
instead of another Pirahna movie.
The rest, as you know, made him “King of the World.”
Of course, the bouncing baby killer cyborg birthed by Cameron and co-creator
Gale Ann Hurd has had little to do with its’ creators since “papa”
left it after 1991’s Terminator 2: Judgment Day. With that second
movie, however, Cameron further developed the idea of humanity coming
to terms with an increasingly technological world, in a story that dealt
with the first film’s effects on its’ surviving heroine Sarah
Connor (Linda Hamilton) and her relationship (or lack thereof) with her
son, the young John Connor (Edward Furlong), soon to become the target
of yet another time-traveling technological threat (played by Robert Patrick
and a lot of pixels), and the young charge of a repurposed time-traveling
cyborg (again played by Arnold Schwarzenegger).
Gale Anne Hurd stayed on as a producer for 2003’s Terminator 3:
Rise of the Machines which was written by Tedi Sarafian (Tank Girl), and
then re-written by John Brancato & Michael Ferris (known for the Sandra
Bullock vehicle, The Net), and directed by Jonathan Mostow (U-571). The
Skynet ruled/ post atomic apocalypse future, thought to be so neatly avoided
at the end of the previous film, has, it seems, only changed. Most fans
consider this film easily the weakest of the series, myself included.
That said, it’s still pretty enjoyable. Nick Stahl plays the young
adult John Connor who befriends a scientist (Kate Brewster). Arnold returns
in the flesh for the last time in the series, as yet another T-800, coming
up against Kristianna Loken’s T-X killing machine. Besides some
decent action sequences, the film took the daring step of ending on what
some would interpret as a “down note.”
(The 2008-2009 television series Terminator: The Sarah Connor Chronicles,
by the way, was set between T2 and T3).
Terminator Salvation was set up to be the first Terminator film to bring
us all the way into the dark future that was the backdrop for the first
movie’s plot. Director Joseph McGinty Nichol (known as McG) came
to this project from a much campier action franchise, the twenty-first
century feature incarnations of Charlie’s Angels, and ready to work
hard at restoring the unglamorous machine luster that defined the future
war segments of the first two films. He began with yet another script
by Brancato and Ferris, which was then punched up by Paul Haggis (Crash,
Casino Royale) and Jonathan Nolan (co-writer of many of his brother Christopher’s
films), who was brought in by McG’s choice to play the adult soldier
John Connor, Christian Bale.
The end result, the first PG-13 feature film in the Terminator series,
is nonetheless a stronger, more intense film, with action sequences worthy
of the best of the series.
This film begins with the “present day” prologue where one
Marcus Wright (newcomer Sam Worthington), a death-row inmate, is convinced
to sell his body to Cyberdyne Systems (in the person of the dying Helena
Fast forward to 2018, where the landscape has been devastated in the post
Skynet world and John Connor is a high-ranking soldier in the Resistance
and its’ most audible voice. He is also an expectant father (Bryce
Dallas Howard plays the pregnant version of Claire Danes’ character
from T3), and has yet to experience the exact future he has grown up being
In this future, we are introduced to a young Kyle Reece (Anton Yelchin,
put to better use than in Star Trek), who, with the Newt-from-Aliens-like
Star (played by newcomer kid Jadagrace), comprises the “local version”
of the Resistance in Los Angeles. They are inspired by John Connor’s
broadcasts, and anxious to join up with him to fight Skynet, who kidnaps
humans by the truckload to use in deadly experiments. Kyle and Star soon
meet up with Marcus Wright, mysteriously alive and unaged, though we can
immediately guess why that might be.
I always thought there would be problems inherent in delivering a “futurewar”
storyline in the Terminator series, not the least of which is that the
actual future war was not supposed to happen if all went as planned. The
real character drama would be best served by developing situations that
pose still stranger variations on the man vs. machine questions posited
so well in T2; but it will prove, I feel, increasingly difficult to create
such tales without repeating old ideas. T3 fell into that trap to a certain
extent, with the T-800/ T-X showdown.
McG’s film surprises by giving a reasonably meaty story arc to Marcus
Wright, who, it seems, is fighting his own resistance to Skynet in his
own body, as he comes to understand that his body has been turned into
a cyborg prototype intended to infiltrate human resistance cells.
The film really delivers on the action tip, however, showing us a Skynet
that rules land sea and air, not just with Terminators of different sizes,
but motorcycle-like variants that make for some very rocking chase scenes
(and that have an entrance that rivals that of the Bat Pod in The Dark
There was one area, however, which I thought kept this sequel from truly
reaching for the levels of the first two movies: the John Connor story
arc was a little too thin for me, finding Christian Bale and Bryce Dallas
Howard a bit underused (particularly Howard). The good news is that McG
apparently has plans for a trilogy which will further develop everything
that he started here, and, also, that the movie is a fitting blockbuster
follow up that keeps the series alive. I hope McG gets to come back and
finish off what he started, with Bale, Howard and Yelchin, and deliver
us some more hardcore poetry of the artificial.
Before seeing James Toback’s documentary Tyson, I had an impression
of the man as a boxer who had lost it, by the end having to live down
accusations of sexual misbehaviors (some led to a conviction), and repeated
instances of cannibalism in the ring. He seemed to be acting out on a
presupposition that so many people carry automatically about athletes
in general, and particularly boxers (and wrestlers).
Toback’s documentary is made of conversational interviews with Mike
Tyson in the present day. The interviewer is kept invisible, however,
and the effect is that of a one-on-one confessional with Tyson that synthesizes
the contrasts of Tyson’s life (his beginnings as a poor picked upon
fat kid, which led to his infatuation with gangster life; his time in
juvenile detention in upstate New York which led to his first encounter
with a professional boxer, and, in turn, trainer Cus D’Amato, who
introduced Tyson to the disciplines of boxing, and became a surrogate
father; the young, skillful, Tyson who would down opponents in seconds
who became the convicted rapist who bit Evander Holyfield’s ear)
into a human story.
One refrain Tyson occasionally can be heard repeating in file footage
is that we have no hope of really understanding where he came from, and
the effects of racism and poverty on his life. The amazing thing to see
in the older Tyson is that that aspect of his life still remains a mystery;
he is a sphinx, perhaps at his insistence, probably even to himself.
Toback works with that mystery, as he was allowed, we’re told, a
free hand in the editing of this movie. His portrait of Tyson reveals
the contradictions and does not shy away from the full picture of the
man. Watch this documentary and, whether you feel that Tyson was battered
by his circumstance, or instead did the battering, you will admire the
detailed, unjaundiced eye Toback brings to this story of rags, riches,
crimes, allegations and, maybe, recovery.
Sunday April 19, 2009
Hello! Here's some more stuff from yours truly!
I saw Sunshine Cleaning today, and, let me confirm, all the to-do
about the great performances by Amy Adams and Emily Blunt are quite so!
They are awesome, and they, with great support from Steve Zahn, Alan Arkin
and others, raise up the level of this film beyond a script that is slightly
predictable. This is very much worth your time on the big screen on a
Sunday afternoon, particularly if you enjoyed films like The Good
Girl. Heck, it even matches up nicely with Observe and Report.
I saw Neveldine and Taylor's sequel to their arch, over-the-top-and-beautiful-for-it
action flick, Crank. Crank: High Voltage brings back Jason Statham,
Amy Samrt and many of the others from the last entry. If you are a fan
of the origianl, you will love the new one.
Also, HEY! THE NEW LOCAL CINEMA SCHEDULE IS UP HERE!
Back soon with more!
April 4, 2009
The WWUHFfies approach! Thanks to those who voted!
We announce the results tomorrow night from 8-9 PM ET! We will also, of
course, still keep you informed of your coming week in cinema in the WWUH
broadcast listening area (basically Greater Hartford CT, Natch).
We will someday soon have a full fledged WWUHFfies History page, but I
thought we might remember past winners and objects of shame with this
list of the big recipients of WWUHFfies from years past:
Biggest Best-in-Show winner: The Lord of the Rings: The Return of the
King (won five of the twenty-three Best in Show awards)
Other Best-in-Show winners: A Mighty Wind, Cowboy Bebop the Movie, Pirates
of the Carribean: The Curse of the Black Pearl, Finding Nemo, 28 Days
Later, Bhoot, Cold Mountain, He Loves Me, He Loves Me Not, Kill Bill Vol.
I, Once Upon a Time in Mexico, Rivers And Tides: Andy Goldsworthy Working
With Time, Shanghai Knights, Shaolin Soccer, Standing in the Shadows of
Motown, The Italian Job, The Secret Lives of Dentists, X2, The School
of Rock, The Last Samurai, The Missing, The Princess Blade and Adaptation.
Biggest Film in the Doghouse that year: Two films! Both Matrix sequels
Also dissed that year: Freddy Vs. Jason, Gigli, The Cremaster Cycle, Seabiscuit
and The Texas Chainsaw Massacre
Biggest Best-in-Show winners: Eternal Sunshine of the Spotless Mind and
Fahrenheit 9/11 (Each winning 3 of the 33 Best-in-Show honors)
Other winners: Ray, Shaolin Soccer, Anaahat (Eternity), Around the World
in 80 Days, The Bourne Supremacy, Bubba Ho-Tep, Festival Express, Finding
Neverland, Garden State, Harold and Kumar Go To White Castle, Harry Potter
and the Prisoner of Azkaban, Hero, The Incredibles, Jersey Girl, Kill
Bill Volume 2, The Manchurian Candidate, Metallica: Some Kind of Monster,
Napoleon Dynamite, Shrek 2, Sideways, Spider-Man 2, Swades, Tokyo Godfathers,
A Very Long Engagement,
Biggest In-the-Doghouse Losers: The Passion of the Christ (grabbing two
of the eleven dishonors)
Other losers: The Stepford Wives remake, Alien Vs. Predator, Blade: Trinity,
The Chronicles of Riddick, Closer, The Phantom of the Opera, The Same
Biggest Best-in-Show winner: Sin City (receiving 4of the 29 honors)
Other winners: Batman Begins, Charlie and the Chocolate Factory, King
Kong, Black, Brokeback Mountain, Cinderella Man, El Crimen Ferpecto, Grizzly
Man, A History of Violence, Hustle & Flow, Kamikaze Girls, Kung Fu
Hustle, Land of the Dead, Murderball, Never Been Thawed, Rangeela, Red
Eye, Rock School, Sarkar, Wallace and Gromit in The Curse of the Were-Rabbit,
Wedding Crashers andWinter Soldier
Biggest In-the-Doghouse Losers: Domino (2 of the 20 disses)
Other losers: TheAmityville Horror, Be Cool, Boogeyman, Crash, Diary of
a Mad Black Woman, The Dukes of Hazzard, Head On and The Ring Two
Biggest Best-in-Show winner: Casino Royale (Receiving 5 of 30 honors that
Other winners: The Departed, F**k, Hollywoodland, V for Vendetta, Apocalyptica,
Borat: Cultural Learnings of America for Make Benefit Glorious Nation
of Kazakhstan, The Devil & Daniel Johnston, Favela Rising, Heroin
Town, Hostel, Iraq for Sale: The War Profiteers, Jesus Christ: Vampire
Hunter, Leonard Cohen: I'm Your Man, Neil Young: Heart of Gold, Night
Watch, Over the Hedge, Police Beat, A Scanner Darkly, Slither and Tenacious
D in The Pick of Destiny
Biggest In-the-Doghouse Losers: Deck the Halls (2 of 13 dishonors)
Other losers: An American Haunting, Basic Instinct 2, The Black Dahlia,
Cars, The DaVinci Code, An Inconvenient Truth, Little Man, Lucky Number
Slevin, My Super Ex-Girlfriend, Poseidon and Ultraviolet
Biggest Best-in-show winner: Superbad (Winner of 4 of 36 winners)
Other winners: Halloween, Shoot 'Em Up, Chasing Gus' Ghost, Enchanted,
Grindhouse, Hostel: Part II, 300, 30 Days of Night, Across the Universe,
The Bourne Ultimatum, Brand upon the Brain!, Children of Men, Harry Potter
and the Order of the Phoenix, I Am Legend, Into the Wild, Juno, The Mist,
My War My Story, Pan's Labyrinth, Sicko, The Simpsons Movie, The Supermarket,
Sweet Land, Walk Hard: The Dewey Cox Story
Biggest In-the-Doghouse Losers: Mr. Woodcock (Got 2 of 7 dishonors)
Other losers: Beowulf, Disturbia, Introducing the Dwights, Lady Chatterley
and Saw IV
For this year, The Dark Knight unsurprisingly rules the Best
in Show noms with 8, and the unfortunate attmpt at comedy, An American
Carol nabbed the most nominations for Doghouse awards. TUNE
IN SUNDAY APRIL 5 AT 8 P.M. ET TO FIND OUT THIS YEAR'S WINNERS!
Saturday, March 28, 2009
THIS WEEKEND AT THE MOVIES... or HOW TO QUICKEN
YOUR RECOVERY FROM STOMACH FLU!
Step 1: Monsters Vs. Aliens
Dreamworks' latest animated product is entertaining enough while
seeming half-baked on a story level. Directors Rob Letterman and Conrad
Vernon tried to cobble together a broad parody of B-Movie sci-fi tropes
through the decades. What turns up on screen
is a bit too hodge-podge for the film's good.
Reese Witherspoon voices Susan, a.k.a. Ginormica, whose wedding is ruined
when she is hit by a meteorite which turns her into a fifty-foot woman.
The government shows up immediately, of course, ready to collect her and
lock her up with a group of creatures similarly collected over the years,
and hidden away from the rest of the world including: a sentient glob
of Bicarbonate Ostylezene Benzoate named B.O.B. (voiced by Seth Rogen);
a mad scientist transformed into a half-cockroach/ half-man (voiced by
Hugh Laurie); an evolutionary throwback intelligent fish/ ape accidentally
thawed from 20,000 year old ice in the 60's (Will Arnett); and a 350-foot
mutated insect with the temperament of an overstressed puppy called Insectosaurus.
Their warden is a cross between an R. Lee Ermey drill sargeant and George
C. Scott's gung-ho Dr. Strangelove general, W. R. Monger (voiced
by Keifer Sutherland), and when a menacing alien probe arrives near San
Francisco, the general approaches the President (voiced by Stephen Colbert)
with a desparate idea to use his crew of "Monsters" to force
back the alien menace (voiced by Rainn Wilson). The action and animation
is quite top-notch (Dreamworks has come a loooong way since
Shrek, which wasn't all that bad to begin with), but the story
gives us not enough for any character to get properly developed (Laurie's
Dr. Cockroach and Arnett's Link are particularly hurt by this), but the
vocal performances are quite good across the board, particlarly Sutherland's
general (gee, who knew Jack Bauer had it in him...?...Oh, right...), Colbert's
President (natch, he was, of course, a recent attempted presidential candidate
himself... perhaps the most qualified since Pat Paulsen...) and Rogen's
scene stealing, brainless but affable B.O.B.. This film was a slight disappointment
overall, but entertaining enough (look for Sam's comments tomorrow night).
Step 2: The Haunting in Connecticut
You know, families keep
on moving in unknowingly to haunted pieces of real-estate, only to end
up calling in the local exorcist when freaky things begin happening. Hollywood
keeps on making movies about the real-life haunting stories, and any such
film has to overcome audience expectations, i.e., how stupid do characters
look when they don't notice the supernatural things that we can see coming
two reels before they do?
Unfortuantely, there is now a correlative with critics who write about
such films: how can we hold on to any hopes for good scares when Lionsgate
hands over a lesser script full of unscary scares to a neophyte director
(Peter Cornwell was the director of a well-received puppet animation horror
short called Ward 13, glimpsed rather obviously in one scene)
and hamstrings the overall effort with the added requirement that it be
PG-13 (all too often studio code for nonsensical jump-scares and loud
noises replacing any honest attepts at character development).
More on this "horror" tomorrow night.
Step 3: The Great Buck Howard
Hallelujah! A decent movie!
John Malkovich stars as the titular Howard, a used-to-was mentalist (like
the real-life Amazing Kreskin) who appeared on Johnny Carson's Tonight
Show 61 times (a fact he will flaunt not so subtly and not infrequently).
Colin Hanks co-stars as Troy Gable, a drifting law-school dropout and
would-be writer, who takes on a job as, first, Buck's assistant, then
his stage manager. Troy follows Buck on his continual tour of small theaters
in small towns and small gigs performing his blend of mentalist tricks,
stage hypnosis, magic tricks and hokey cabaret singing.
Malkovich can eat a role like this for breakfast, and he breathes life
into this temperamental performer with gusto. His Howard comes on with
an aggressive handshake constisting of ten HARD pumps, whether he is greeting
Jon Stewart or Martha Stewart (both of whom appear among a host of celebrity
cameos from the real-life A-, B- and C- lists). Very soon, however, Buck
reveals a temperamental side: his lack of bookings on Leno's Tonight Show
seems to drive his outpouring of disdain for Johnny's successor; he constantly
drops the name of numerous small celebs, including, of all people, George
Takei, from "the Star Trek"; he cannot fathom the failure of
his press agent (Emily Blunt) to draw the press to his attempt at a "big
stunt" when a slightly bigger celebrity overshadows the event; his
insistence on using the same cassette-recorded opening as his show's intro
(and when a woman in Cincinatti tries to create her own introduction...
whoa, watch out...).
Writer-director Sean McGinly has been writing and directing movies for
over a dozen years, but few seem to be as heartfelt as this one. Sure
enough, it turns out that McGinly spent a 14-month stint, beginning in
the mid-90's (when he was in his early 20's), working for the Amazing
Kreskin. While he admits to only the film's first ten minutes having a
direct basis in reality (in this interview
with ComingSoon.net), his affection for that world of fading celebrirty
shows through the script, even as it lampoons the fragile egos who reside
there. Colin Hanks doesn't get nearly enough work, and is an asset as
this film's Benjy Stone
of sorts (though Hanks' charge here more often seems drunk on minor celebrity
than actual alcohol). Emily Blunt's Valerie, the press agent, predictably
becomes the love/ lust interest of Hanks' Troy, but the narrative's center
is held firmly on Malkovich's Howard, his career ups and downs, and Troy's
fascination with even this small portion of the world's attraction to
low level celebrity.
The Great Buck Howard is honest entertainment with a heart that will leave
you with a warm little feeling after you see it.
So, here's to our cinematic health! Gee... maybe I should have skipped
steps 1 and 2.
Particularly step 2.
Wednesday March 11, 2009
Hello, and welcome back to this uinfrequent blog.
If you care to read more recent blogging from yours truly, you should
seek out our myspace
page (and my blog therein).
(Also, you can find a Call
It Thing (my music show) page on myspace as well as Call It Thing
and Culture Dogs pages on Facebook
now. Happy hunting (the myspace pages should be public, though you must
be "on" Facebook to find us there. And
mind the worms)
Many thanks again to our Marathon pledgers, Rich,
Rob and Linda and our operator, Friday Accent on Jazz host
Station management happily relates that, by Tuesday of this week, our
fundraising efforts netted over $64,000.00 in pledges.
RIGHT NOW... you can still download a pledge form at wwuh.org
snag yourself a snazzy WWUH T-shirt for a fulfilled
pledge of $30 or more.
Thanks also to this week (and next week's guest) Mark Trencher from the
Hartford Jewish Film Festival, beginning
its' 13th year this Saturday at the Wadsworth
Also, thank you to Chris Baker for videotping another edition! Look for
a couple of videotaped bits of our previous shows on archive.org
. Just search for "culturedogs."
Monday March 16 thru Thursday March 19, WWUH will
be broadcasting a special four-hour documentary (in four parts) produced
by Brandon Kampe, and offering a document of the 40+ year history of our
station. For a more detailed list of what is covered in what hour, look
up my Call It Thing Blog
Sam threw down a challenge to throw up an article about Alan Moore's filmography,
or, rather, the large number of film versions of his work that he has
mostly disavowed. I wonder how he felt about 1989's Return of the
Swamp Thing with Heather Locklear? Do you suppose he was a fan of
In the meantime, become a fan on Facebook and a friend on Myspace!
Just don't bring up flippin' Twitter! Geez!