Let’s see how long my comment to this garbage stays up:
Springsteen and Frank Caruso will release their book, Outlaw Pete, on November 4 via Simon and Schuster.
Described by the publisher as a book “about a bank-robbing baby whose exploits become a meditation on sin, fate, and free will”, the story is based on the song of the same name from Springsteen’s album Working on a Dream which was, in turn, inspired by the 1950 children’s book Brave Cowboy Bill, also released by Simon and Schuster.
I’ll stick with this, thanks:
My wife and kids are Ho-Chunk Indians. They’ve all had DNA tests to prove it and if they scored below 25% Indian, they wouldn’t be in the tribe.
‘I hired a journalist (…) because I realised what journalists did: they took normal things and romanticised them’
Looking back at Frankie Goes To Hollywood, and the often-forgotten ultra-straight members of that nominally gay band:
They were a one-off: two self-styled “ferocious homosexuals” up front, backed by three prototype Liam Gallaghers, who were known as “The Lads”
“It was an unexpected combination of energies,” muses Morley, ever the pop theorist. “You had a truly great producer – the best in the world along with Quincy Jones – you had a slightly narcissistic journalist, you had this heterosexual scouse energy and this very exploratory gay energy, all mixed up in one place. It was a ridiculous formula and you couldn’t have planned it – it was too toxic. But the toxicity of it worked well creatively and commercially for a few months, until we woke up and realised we all hated each other, or certainly that we were very different from each other.” (…)
Gill, Nash and O’Toole – despite doubts about their musical input – were similarly essential, lad archetypes to offset the band’s arty epicureans. “They were Geordie Shore, three decades early,” laughs Morley. “They were the guys who, today, would be having sex on reality TV. A show that followed Frankie on tour would have been horribly sleazy. And yet their enormous capacity for vulgarity was part of the energy of the band. They may not have played on the records, and Trevor might have had night sweats about some of their exploits, but there’s no way you could have had Frankie without them.”
Seriously, though, do note that Chapman points to the amount of booze he was drinking.
When you’re drunk enough, for long enough, scenarios like “Catcher in the Rye is telling me to kill John Lennon — after I get his autograph” make 100% sense to you.
As Brown may or may not have said seconds before his death: I give up.
If the Ferguson police are forced to hire more minorities and women for the sake of diversity, the one thing we can be sure of is that more black people will be murdered, raped and assaulted.
Someone’s got to say it, so it might as well be me: I’m against more black people being murdered, raped and assaulted.
In a massive, detailed 2000 study of the effect of court-ordered affirmative action plans on police departments, economist John Lott found that the more minorities on a police force, the higher the rates of murder, manslaughter, violent crime, robbery and aggravated assault will be. Violent crime increased by a minimum of 3.3 percent every year after affirmative action policies went into effect — and the spike in crime was highest in black neighborhoods.
The problem was not with black cops, Lott’s study showed, but rather with the lowering of standards across the board, resulting in less-qualified officers of every race.
Turturro used to be the go-to guy if you wanted someone who was tightly wound and intense to very near a point of self-parody. (Think of Jesus Quintana in The Big Lebowski.)
Nowadays he plays a recurring character in the Transformer franchise.
This basically looks like Darling, which came out almost 10 years later and gets all the love.
In addition to showcasing Dahl as a seductress, Wicked as They Come was somewhat ahead of its time in its attempt to provide a psychological basis for her behavior. The character’s ruthless use of the men in her life and her inability to enjoy normal sexual relations are traced back to a gang rape at the age of 15, a shocking development for a film in the still-pristine ’50s, when rape was rarely alluded to or discussed in movies. Of course, the violent episode is not dramatized here and Dahl’s sexual manipulation of her victims is more amusing than disturbing as she self-consciously telegraphs every move in her deceitful plan.
PLUS — I started cry-laughing around 45:00:
You’ll see a 40-something TOFA [Too Old for Abercrombie] wearing these clothes and my friends and I will laugh,” the man told Hajek. “You can’t control getting older but you can control looking like a fool.”
He paused. “I have gotten Botox three times in my life,” he added.
Contradictions like this were a prominent theme throughout Hajek’s interviews. The [gay] men he spoke with often said they were beyond youth culture, but still wanted to be perceived as young. While this desire is not unique to the gay community, it seems to be more prominent in a group traditionally typecast for its interest in appearance, attractiveness, and sex, according to Hajek. So how does a gay man at midlife cope?
“We’re scared of aging more than a lot of other people would be,” he says. “Ask younger guys what their future will be like, and a lot of them say they have no idea. They don’t perceive of a future, because they think they’re not going to have kids. They don’t have landmarks for progression through life that a lot of heterosexual people have.”
Instead of propagandizing young people with the fear-mongering lie how a homeless person is just the same as anyone else but for a few bad breaks, Miley would have done our culture a greater service by having her prop (let’s be real, he wasn’t really her date) admit to all of the awful life choices he made that led him to living on the streets.
How about this for a speech:
“I’m homeless and I’m living on the streets and I don’t want this to happen to you. So don’t do what I did. Don’t break into an apartment, don’t smoke pot, don’t break parole. Get an education and have a solid and dependable plan for a job. Don’t move to LA (one of the most expensive cities in the country) and don’t try to be a model (one of the most unreliable professions in the world.)
“Live right. Get an education. Get a real job.”
Or: You didn’t kill that.
Sounds trivial, but actually one of the most revealing glimpses into the left-wing mind you’ll ever see.
This 1960 period piece tells the true story of New York City’s first Italian-American police captain, and his astonishingly brave but ultimately futile attempts to wipe out the Black Hand in turn of the century Little Italy, before they could become the Mafia of today.
Still affecting and even shocking (see below) in parts, and obviously a must-see for anyone who enjoys/studies “Mafia” and/or American cop movies.
Wilson directs in the same docu-realist manner as Al Capone, with returning cinematographer Lucien Ballard providing the clean, unobtrusive photography that brings out the period detail in the street scene sets. While the film takes some liberties with its dramatizations, the screenplay is actually quite accurate to the story of the real-life Petrosino, who learned the various dialects spoken in Little Italy, earned the trust of the locals, and received commendations from both President Theodore Roosevelt and Victor Emmanuel, the King of Italy. Petrosino really did stop the criminal who threatened Caruso (and became friends with the opera legend as a result) and his squad was responsible for cutting Black Hand crimes in half during the years he ran the squad. He was so effective in the fight against the Mafia that he worked with Italian authorities to change immigration practices and traveled to Sicily to gather intelligence on criminals who may have fled Italy to establish the mob in America.
Pay or Die! also benefits from the low-key integrity of the squad that Petrosino forms, a group of Italian American officers who refreshingly avoid the usual stereotypes. Only one of the officers, local boy Johnny (Alan Austin), is given any backstory but Wilson gives all the actors opportunities to suggest the dedication of the individual members and the commitment to the squad. Their sense of teamwork and camaraderie looks forward to the special FBI unit in the iconic mob TV series The Untouchables.