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White People Keep Offending by Achieving

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From the New York Times:

And the Oscar Goes to … White People

Also from the New York Times:

Another Oscar Year, Another All-White Ballot

And yet more on the Oscar Whiteness Crisis from the New York Times:

Oscars So White? Or Oscars So Dumb? Discuss.
By MANOHLA DARGIS, WESLEY MORRIS and A. O. SCOTT JAN. 15, 2016

Are these the whitest Oscar nominations ever? Or just the most recent Academy Award whiteout? For the second year in a row, the nominations failed to recognize any minority actors. Movies about black lives like “Creed” and “Straight Outta Compton” did receive recognition, but their nominations were for either white writers (“Compton”) or a white performer (Sylvester Stallone in “Creed”). The black directors of each movie along with their nonwhite actors were shut out.

Creed is a good movie, but that’s because it’s great when Stallone is onscreen playing Rocky Balboa and only pretty good when he’s not.

DARGIS Oh, I never thought “Straight Outta Compton” had a real shot for a best picture nod, even with the Academy’s recent — and laudable — attempts to diversify its membership. There’s just too much cussing, for starters, and the average age of the 94 percent white membership is 62 (as of 2012). And I’m guessing that when these dudes (77 percent) were teenagers, they were listening to the Beach Boys (nothing wrong with that!), whereas a new Academy member like Ava DuVernay knew exactly who Dr. Dre and N.W.A were when she was growing up around Compton. My point being that the lived, embodied experiences of the membership greatly matter and that sometimes even the most well-intentioned white people just don’t see the racism and sexism in front of them.

Which is why the NWA biopic got only 1 Oscar nomination, while the Beach Boys biopic Love & Mercy got … uh … zero.

As I wrote last summer:

Granted, comparing Straight Outta Compton to Love & Mercy on aesthetics is like contrasting “F*** tha Police” and “No Vaseline” to “God Only Knows” and “Wouldn’t It Be Nice.” But the hip-hop film, directed by veteran black hired gun F. Gary Gray (who also helmed Ice Cube’s Friday and Mark Wahlberg’s The Italian Job), is competent enough to trigger feelings of entitlement. As last year’s black complaints about Selma being handed one only Oscar suggested, when the Academy gave the Best Picture award a couple of years ago to 12 Years a Slave, it didn’t succeed in assuaging black demands for a few years as hoped. Instead, 12 Years’ Oscar seemed to convince racial spokespersons that blacks deserve to win Best Picture every year.

Because black.

This pattern could be a problem for the Democrats.

 

267 Comments to "White People Keep Offending by Achieving"

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  1. Would it be too clichéd to ask them to come back when the NBA “looks like America” … ?

    Reply More... This Commenter Display All Comments
  2. Once again I have never seen any of the movies mentioned in your post. Nor have I ever heard a song by NWA or Dr. Dre. I’ve heard the Beach Boys (decades ago, and I’m only in my 40′s) and their songs are just silly, but rather harmless.

    America is a great country that we can all have our own tastes and be completely comfortable not knowing jack about other people’s tastes.

    • Replies: ,
  3. “Creed is a good movie” Oh man , oh man , what did I tell you about reviewing or recommending movies Sailer ? Didn’t I tell you to vet your reviews and recommendations with me first ? BUT NOOOO!! You have to push on ahead and embarrass not only yourself but all your subscribers and fans as well. Really I’m about to give up on you . As I’ve told you , only because I’m your friend and a qualified admirer your taste in movies questionable at best . Pls for the last time (well maybe not the last) Let me help you .

    • Disagree: Vendetta
    • Replies: , ,
  4. If you want a vision of the future, imagine a black person getting in your face – forever.

    • Replies: , , , ,
  5. ” . . . [E]ven the most well-intentioned white people just don’t see the racism and sexism in front of them.”

    Urgent memo to cirrhotic, suicidal, drugged, over-educated, and down-market ofays. Please make sure to renew your membership in the unearned white privilege society. This offer expires soon.

  6. says:
         Show CommentNext New Comment

    Despite being a middle-aged white guy it’s blatantly obvious that actors of color (ie, other colors) have to be twice as good and still don’t get half as far.

    Hopefully, the changing demographics will spell the end of unfair institutions run by mediocre white men.

    • Replies: , , ,
  7. America is a great country that we can all have our own tastes and be completely comfortable not knowing jack about other people’s tastes, while dismissing them with an air of superiority.

  8. Not at a Trump rally.

  9. @If you want a vision of the future, imagine a black person getting in your face – forever.

    the future is now.

  10. What’s the context of that video ?

  11. says:
         Show CommentNext New Comment

    Real scandal is TOMORROWLAND, SLOW WEST, BLACK SEA, and ANT-MAN were ignored.

    But then, Oscars are a joke, and it is an insult to be nominated.

    Remember Welles and Kubrick never won.

    And Scorsese finally won for… the dreadful THE DEPARTED.

    • Replies: , , ,
  12. Hey I thought Jews decided to stop being white a few months ago. Surely that changes the demographics of the Academy.

  13. Who pays any attention to the Oscars?

    Who actually cares at all?

    I’ve never met anyone who pays any attention to this in my entire life. Never.

    Nobody I’ve ever spoken to has ever mentioned the Oscars ever in my life. Ever.

    What am I missing here? I don’t get it.

    Aren’t the Oscars especially really queer? Isn’t Hollywood glib and sociopathic, like a charming serial killer?

    Wouldn’t you have to have the mental age of a naive 10-year-old to be taken in by the “Oscars”?

    • Replies:
  14. From an interview with a director of Slow West:

    The good thing about calling the film Slow West is that all of the action has to go from right to left. All of the characters are moving physically West on the screen otherwise it feels like they’re going backwards. Once I realised that it was quite handy, and it was hard to get it wrong when I kept all of the characters moving right to left.

    In setting this principle where West is on the left, were you quite confident we would ‘feel that’ as Westward?

    Yeah. When you look at a compass, West is on the left. It felt that the audience would feel the characters going right to left were going to the West. I think that if we’d started going the other way the audience would either feel they had turned around and were going backwards or that they were somehow going East.

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  16. No, it’s not blatantly obvious. If it were, White people besides those who apologize for being White would have noticed.

  17. Last year I looked into the demographics of the acting nominees over the last 15+ years. 10% of the nominees were black, only slightly less than their percentage in the US population.

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  18. says:
         Show CommentNext New Comment

    Ah, what the director said may explain why the movie feels a bit odd.

    http://www.rogerebert.com/rogers-journal/how-to-read-a-movie

    “In simplistic terms: Right is more positive, left more negative. Movement to the right seems more favorable; to the left, less so. The future seems to live on the right, the past on the left.”

    Movies favor rightward movement in general than leftward movement.

    So a film that always goes leftwards breaks with film-making conventions.

    I felt something was odd about the film but only subliminally. Now, I know why.

    • Replies:
  19. Funny how the all-white supremist academy awarded the last three best director oscars to two Mexicans and a Chinese man. And Alexandro is favorited again for this year.

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  20. If you want a vision of the future, imagine a black person getting in your face – forever.

    But, Harry, that’s the problem. So many of them seem only interested in “getting…in your face” and in one another’s, I might add.

    If they were as interested in accomplishment as “getting in your face,” well, then, we’d all be sittin’ purdy.

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  21. If you want a vision of the future, imagine a black person getting in your face – forever.

    Let 1000 Orwell (Orwellian) variations bloom. My opinion, he was the one who best predicted this. He knew leftists because he was one, a dedicated British socialist.

  22. The folks complaining about ‘too many white faces’ at the Oscars can always go here :

    BEFFTA awards http://www.beffta.com/news/?page_id=7

  23. I’m only about a half hour into “Slow West,” but it’s kind of like a primitive video game in that everything keeps moving from right to left across the screen as the main character treks West.

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  24. Practically none of the acting nominees have been Chicano or Asian American, at least not since the 1980s, but nobody notices that.

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  25. True enough, I suppose.

  26. One of the more bizarre Kubrick movie losses was that the “Planet of the Apes” makeup won over the ape-men that Stuart Freeborn created for “2001″. The bitterly sarcastic speculation was that the general roster of Academy voters thought that the “2001″ ape-men were real.

    (For the Kubrick and “2001″ fans out there in iSteve-land, go to Amazon right now and pick up the new Taschen book on the making of “2001: A Space Odyssey”; completely fascinating, with a treasure trove of photos and artwork.)

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  27. People are complaining movies are too white. Great.

    Is anyone going to have the guts to complain that movies are too Jewish?

    After all, if we want movies to “look like America” having 3% of the population head up 100% of the studios, looks bad.

    • Agree: AndrewR, ben tillman
    • Replies:
  28. As for blacks being unrepresented in the Oscars. There are tons of very good black actors. The problem is that no one writes good movie roles for them. They either get stuck in mediocre movies – like Creed or Spike Lee’s productions – or they shoehorned into generic white person roles – like Star Wars.

    Hollywood needs to make more good, authentically black movies.

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  29. says:
         Show CommentNext New Comment

    ycmtsu

    http://news.nationalpost.com/news/fowl-therapy-airline-lets-passenger-bring-turkey-on-flight-as-emotional-support-animal

    ‘gay marriage’, ‘caityln jenner’, and now “emotional support animals” and “psychiatric service animals”

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  30. Practically none of the acting nominees have been Chicano or Asian American, at least not since the 1980s, but nobody notices that.

    That’s because in LA, the home of the movie industry, there are very few Chicanos or Asian Americans.

    No, it’s basically the nature of blackness – ugly, loud, large, demanding, intimidating, arrogant, extroverted, vulgar, stupid.

    That’l get you attention.

  31. A song written by Donovan :

    And another one :

    and when your not wearing your love like heaven :

    and another :

    What do we have now ?

  32. Arthur Miller famously didn’t know a single person who supported GW Bush, but Bush won. Twice.

    In many rural communities in the US, many people literally don’t know anyone who supports Obama. He, too, won twice.

    I once spent a few months in the late eighties putting in an automated system in a plant in central south Indiana in a factory in a moderately sized city (for southern Indiana, that is.) The plant employed about 600 people, about 400 day shift and about 100 each for the other two. Of that 600-of which all were white except three or four Asian females who were married to white servicemen-roughly half of them fell into an odd group the others called “rurals” or “bumps”, but never to their face. The people in this group were an odd lot, to me anyway.

    All the bumps had one of six or seven surnames. A typical bump was a man in his late 30s to early 60s, he brought his lunch and a green thermos to work in a paper bag, had a fairly large family, drove a Ford pickup or four door sedan, and mostly only socialized with the other bumps. They all went to one of two nondenominational churches, and the average bump didn’t have a TV set or a VCR, and didn’t have any books in the house except his kids’ schoolbooks, a King James Bible or a few of them, and a couple of car repair manuals. The bump women who worked all wore long dresses or skirts, never pants, and had long hair.

    They weren’t Amish or Mennonite, the men didn’t dress very differently, and they didn’t discuss religion or much of anything else non work related with anyone else. They had no interest in popular culture or sports except their kids’ school sports whatever. As far as I could determine, they were at work, at church, or at home doing carpentry and car repair and stuff like that.

    In the mid-90s the plant was sold to the Chinese and shut down. I always wondered what happened to all those people, but not enough to go back there to find out.

    I’m sure there are many other instances of fairly sizable atypical groups of people completely oblivious to major segments of the popular culture, and I would guess anyone not knowing anyone who would ever discuss the Oscars to be in one of those groups. But that could be quite wrong.

    • Replies: , , , ,
  33. Will Smith was not going to get a nomination for the same reason Adam Sandler and Will Ferrell and Mark Wahlberg were not going to get nominated. They are movie stars, for better and worse, not actors.

    Idris Elba was not going to get a nomination, because the Upper Class White people of the Academy only like movies where they feel superior to OTHER WHITE PEOPLE particularly lower class Whites, in relation to treatment of Black people as sacred objects, credit to Larry Auster. Elba plays a horrific African monster victimizing African children, no White people involved. The movie, “Beasts of No Nation,” makes Africans look very, very bad. Because well, child soldiers. So no, that movie was not going to get nominated.

    Straight Outta Compton was not going to get major nominations, because it too made Black people look bad. There were no noble GoodWhites standing up for Blacks against BadWhites. Thus, the key elements of White People Crack: Status Competition, was not triggered.

    Really, how hard is this to explain to Black People?

    • Replies: ,
  34. The first part of your statement is somewhat true-there are some good black actors and actresses and no one does write very many very good roles for them. There is, strictly speaking, room there.

    The second part of that is false. Hollywood does not need to make authentically black movies, because authentic blackness is neither something they are good at nor something that is going to make them any money. Truly authentically black movies would just point out what people already know but which Hollywood is most disinterested in promoting as fact-blacks as a group are a dysfunctional and not very smart bunch. Exceptions occur, but they are that, and so such a film is going to be inauthentic by definition.

  35. Then there’s Daniel Jose Older’s successful crusade to change the World Fantasy Award. Apparently, the fact the award was named after Lovecraft (“I read Lovecraft, and I enjoy him, but I find him repellent. We’re talking about weaponized literature, where people of color are literally demonized.”) was somehow stifling the creativity of Black authors. Now that Lovecraft’s disturbing name and visage have been banished, I’m sure that the Black fantasy community will stun the world with a veritable torrent of masterpieces….

    http://www.tor.com/2016/01/15/daniel-jose-older-and-victor-lavalle-in-conversation/

  36. Straight Outta Compton was “problematic” anyway because it was accompanied by accuses of racism for its casting call for light skinned black girls, violence on set when Suge Knight followed and killed a friend with his car and injured another and for omitting misogyny by hiding Dre beating up women.

    So the Academy was damned if it did nominate Straight Outta Compton and damned if it didn’t.

    • Replies:
  37. Before I go to sleep: I have seen all the O/BAFTA movies (including the ones that didn’t make the cut) and, some of them were quite good as far as “diversity.” The new Star Wars actor was excellent but a newbie. Straight out of Compton was an ensemble cast with white screen writers; and, Idris Alba, a very good actor – loved him in Luther, was unfortunately, tied to the ‘dark side’ (Netflix ) – the Antichrist of the historic, established Hollywood studios: and, like, 12 Years a Slave won several awards a few years ago, yet there is no AA for ANY race or ethnic group in Hollywood.

    Hollywood is a country club – “write a good script, get some A list actors…we’ll have lunch and discuss.” I mean, it’s not Harvard as far as admissions (Harvard for money & investments, yes) ..but you have to have a “wow” factor, and, know, really know, that YOU ARE IN ART SCHOOL, and yeah it’s all subjective. Your film is either great (that day) or meh..that’s the reality in the arts, any art.

    Hollywood is not fair…hiccup, egalitarian….the idea of the starving artist is not a myth. Oscars are really just a love-fest of the industry, and, in no way, will “the academy” bestow any Brownie points to minority individuals, or at times, even the most breathtaking film of all time – the real deal. I mean, I’m kinda’ amused that we are all sort of swooning over “Rocky” again!

    When I think about it, I always thought Ingmar Bergman, and his producer, Jorn Donner, should have won some Oscars way, way back, if Hollywood had taken ethnic groups into account – didn’t happen then; never gonna happen…just write and create amazing stuff. Stop whining…art is not fair, never was, never will be.

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  38. says:
         Show CommentNext New Comment

    There generally aren’t any Hispanic or Asian actors to begin with, whereas there seem to be lots of black characters in movies these days

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  39. Straight Outta Compton was “problematic” anyway…

    Not the least for the “straight” in the title. This is Mollywood after all.

  40. “There generally aren’t any Hispanic or Asian actors to begin with, whereas there seem to be lots of black characters in movies these days”

    There are a lot of Blacks in universities these days. Why are they not being awarded Nobel Prizes for Physics?

    Why do Asians get more Nobel Prizes than them?

  41. says:
         Show CommentNext New Comment

    Anyone read this?

    http://victorhanson.com/wordpress/?p=6534

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  42. says:
         Show CommentNext New Comment

    When 2001 first came out, did people think that the apes in the movie looked real? I only saw the movie a few years ago, and I thought all the other space stuff in the movie looked real and great (except for the Earth from space, but the movie was made before we knew exactly what the Earth looked like from space) except for the apes. The apes were obviously guys in suits, and the suits did not look like real apes or anything real at all. They just looked like bad Halloween costumes.

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  43. Hollywood does make authentically Black movies. They’re pretty silly to me and to most Whites, but they’re reliable, low budget moneymakers. No, I can’t name any, but I see them advertised on the sides of buses. Wait, I remember one, “Big Mama’s House”, with Martin Lawrence.
    Leave the Blacks alone and let them have some harmless fun. You surely don’t want them sitting near you at your local art theater, yelling at the screen.

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  44. We could well have four years in a row where perhaps the most coveted Oscar – Best Director – goes to non-white people: Ang Lee, Alfonso Cuaron, and Alejandro Inarritu back-to-back.

    (I’m keeping with the pretense, as we’re all supposed to, that Cuaron and Inarritu aren’t really white.)

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  45. And with Chris Rock getting the call as host and his blatant anti- white rhetoric…. Pass

  46. “Leave the Blacks alone and let them have some harmless fun. You surely don’t want them sitting near you at your local art theater, yelling at the screen.”

    I saw a pretentious, art house movie with some black main characters: “Beasts of the Southern Wild.” The main character was a black girl, all of about 5-years-old, who was nominated for an Oscar for her performance. There weren’t any black people in the audience.

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  47. Thing about the movie industry … It’s about the fucking money nit feelings. You couldn’t tell me the names of four current black actors ( Denzel and Will dont count) that have done anything worth while in the last twenty five years. Authentically black movies would require consent to film in prisons. Wonder if Bill Cosby had his academy card revoked? Now that would make for some ” authentically black” entertainment don’t you think?

  48. The apes were obviously guys in suits, and the suits did not look like real apes or anything real at all.

    Actually, I thought (1968) that they didn’t look like guys in gorilla suits, and did look like proto-hominids of some sort.

    I later read (circa 1975), in a book called ‘The Making of 2001′ (not the current Taschen book) that Kubrick went to great lengths to find actors who were exceptionally slender in order to avoid the typical gorilla suit look of old King Kong movies.

    Maybe it’s the way the fur looks, it’s dusty and matted in the way you would expect a fake fur suit to look when it has been stored away carelessly. But it is unlikely that Kubrick would have overlooked even that detail-it’s more likely that he determined that that is the way ape fur would look in a dusty, Kalahari desert setting.

    And thanks to the miracle of the internet, I recently came across an interview with one of those ape-man actors.

    http://www.vulture.com/2008/04/dan_richter_on_playing_the_ape.html

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  49. Was this the Fruit of Loom underwear facility by chance? Them Mennonite know how to make a pair of drawers

  50. They are scoring brownie points due to the fact that the academy stewards have already promised to add many minorities to its voters ranks. The fix is in.

  51. Well, 2+2 be 4 and all

  52. How many certifiable nutcase comments does KOMMENT KONTROL never let see the light of day? Is it just Donut or is there a legion of dribbling crazies we just never see?

  53. My uncle Kuresa Tuiasosopo ,was a Polynesian fire dancer from Samoa who migrated here in the 60′s. He danced at a club in Los Angeles ( the Tiki was the name I believe) and the gentleman who owned the club was the fella who did the make up for the Planet of the Apes as I’ve been told. Apparently he had some of the masks from the film at the Tiki and it wasn’t uncommon for them to be a part of the dance routine. Just the masks mind you.

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  54. Hold up a second. Why are folks complaining? I thought that Grand Bargain was that Hollywood would cast blacks into roles like Genius Scientist, Wise Judge, Efficient Police Captain, Heroic Military Officer and in return the actual contest of rewarding people for their talent would remain free from racial bean counting.

    Did I miss the memo and is the Grand Bargain no longer upheld?

  55. I haven’t this book but I did read another book by him “Western Way of War” . If I recall his premise was that Europeans made war in so savage a manner that it put their Asian opponents off . It’s been years and gallons ago so I may be wrong about that . One counter argument I would make of many possible ones is the battle of Cannae where if IRRC the Semitic general Hannibal defeated a far larger force of Romans and “Polybius writes that of the Roman and allied infantry, 70,000 were killed” , “Livy wrote, “Forty thousand foot, two thousand seven hundred horse, there being an equal number of citizens and allies, are said to have been slain.” Either way that’s a hard days work , as savage as you can imagine especially considering that it it was all manual labor . Can you imagine 8-10 hours of hand to hand killing ? Hannibal’s troops were all Gauls , Spaniards and African mercenaries . Overwhelmingly non European and as savage a way of war as you can imagine . Hannibal , a non European was one of the greatest generals in history and a tragic figure as well. It’s a great loss to us that there is no surviving narrative of his campaign from his side although he had at least two educated Greeks with him throughout the 16 years campaign . What a brilliant and charismatic leader he must have been to keep that disparate force together for that length of time .

  56. While we are on the topic of Kubrick’s 2001, here’s a curiosity.

    A 1960s promo documentary that was made before Kubrick completed the movie.

  57. …blatantly obvious…

    “”The lady doth protest too much, methinks” is a quotation from the 1599/ 1600 play Hamlet by William Shakespeare. It has been used as a figure of speech, in various phrasings, to indicate that a person’s overly frequent or vehement attempts to convince others of something have ironically helped to convince others that the opposite is true, by making the person look insincere and defensive.”

    Hopefully, the changing demographics will…

    But they won’t.

  58. Watch your mouth, son. The Depahdid was a great film, or at least a very good one.

  59. No , just Donut .

  60. Two white Mexicans.

    Although, granted, both of them have a phenotype that would seem a bit out of place in Germany or Sweden.

    Oh, wait…

    • Replies:
  61. Well I did respond but surprisingly it hasn’t been cleared yet .

  62. But considering Cuaron and Inarritu white would help the SJW narrative by making the Oscars seem whiter.

    Conversely, considering them “PoC” hurts the White Supremacist Academy narrative.

    Or am I missing something?

    Either way, it’s amusing how none of these media pseudointellectuals point out how overrepresented Jews are in Hollywood. The Jews have done a masterful job getting people to think they are white while simultaneously heavily pushing an anti-white Zeitgeist. But what is their endgame?

  63. Innaritu or however his name is spelled looks a lot like my Hungarian friend Lester. The great Lubezki is a Jewish Mexican. In the U.S., there aren’t that many Jewish cinematographers. My guess is that the Jewish Americans who would make good cameramen wind up being directors. Spielberg, for example, would be a hell of a cinematographer.

    For a long time, you could tell a cinematographer in Hollywood was good by how unpronounceable his name was: e.g., Vilmos Zsigmond who died on January 1. He and his pal Laslzo Kovacs got their start filming the Soviets invading their Hungary in 1956 then fled West with their film. They caught on in the late 1960s as Hollywood realized that Europeans had gotten out ahead of America in cinematography.

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  64. and the average bump didn’t have a TV set or a VCR, and didn’t have any books in the house except his kids’ schoolbooks, a King James Bible or a few of them, and a couple of car repair manuals.

    It seems strange to me that you ascertained this under those circumstances.

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  65. “It seems strange to me that you ascertained this under those circumstances.”

    Probably because he sounds a lot like the fiction writer formerly known as Albertosaurus, who is anywhere between the ages of 30-85 and has had approximately 93 careers in his lifespan, most but not all of which were in tech or finance. Great writer, but a horribly unconvincing liar.

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  66. also interesting that 21% of the Best actor winners have been British

    this year 40% of the Best Actor and actress nominees are not American…it seems the academy has always been biased against Americans.

  67. Carealist,

    Same age as you, like the Beach Boys while admitting some of their songs are silly.

    You should see the looks of horror when I tell music snobs that I hate the Beatles and find most of their songs as silly.

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  68. Then rube of the year award goes to….me. I bought the narrative, but then I answer the Nigerian princes.

    Mennonite was my guess (if true), simple, stand apart from society, the somewhat ‘other’.

  69. I listened to a radio show where the hosts were planning a stunt where one of them would bring a horse into a diner and call it a support animal. A local waiter or diner owner (i don’t remember) called the show and said a woman had already brought in a pony in the past.

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  70. The paradise that these race-baiters truly want is a Bantustan paid for by the “racist” White tax payer.

  71. Cryptogenic [AKA "Gentile Ben"]
    says:
         Show CommentNext New Comment

    Dude, your writing style is almost impossible to penetrate.

  72. “…whereas a new Academy member like Ava DuVernay knew exactly who Dr. Dre and N.W.A were when she was growing up around Compton.”

    That’s probably true, since in addition to being born in 1972, and growing up in California, Ms. DuVernay (of whom I had never previously heard), apparently has a racial background much like that of our current President (based on her picture). But as someone only very slightly older (born in 1970), who also grew up in California, I can assure you that the only thing I ever knew about such undoubtedly august personages as “Dr. Dre,” and the membership of N.W.A., is that they’re Black. And that’s essentially all I know now, or likely ever will know.

  73. Thanks!

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  74. “Read the discussion.”

    Haha! More like “listen honkey, YOURE RACIST”

  75. The fact that the Ugandan Expendables movie did not get the nod is pure racism.

    https://m.youtube.com/watch?v=uYD5japaxsg

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  76. “Instead, 12 Years’ Oscar seemed to convince racial spokespersons that blacks deserve to win Best Picture every year.

    Because black.”

    Women and minorities think that they deserve a percentage of any numerically limited set. Once they get one of a set, they believe that it belongs to them. For example, one of the Supreme Court seats was given to Ruth Bader Ginsburg. In women’s minds, this is now a female seat on the Supreme Court. Woe unto the president who fails to nominate a woman to that seat.

    Progress consists of getting one, then another, then all of a limited set. Because reparations must be paid owing to the Original Sin of White Masculinity.

  77. When will we stop this nonsense of lumping Jews and whites together for statistical purposes?

    Jews certainly don’t consider themselves “white.” They clearly are a distinct and separate ethnic group. They wouldn’t have it any other way.

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  78. Persona is a very good movie, isn’t a commercial product but a work of art. No have fundamentally the necessity to be understandable for the masses to make some individuals richer, ;)

  79. Those people sound like Pentecostals. The lack of TV, the women wearing dresses, the categorizing of their churches as nondenominational, and the sticking to each other all sound like stereotypical Pentecostal traits. The only thing that seems odd is using a KJV Bible, but I could be wrong about that.

  80. Hard to believe that it took three “journalists” to write such tripe.

  81. AMPAS was never going to show that much love to S.O.C., because one of the story lines was some Jew screwing the N.W.A. members out of money.

  82. DARGIS Oh, I never thought “Straight Outta Compton” had a real shot for a best picture nod, even with the Academy’s recent — and laudable — attempts to diversify its membership. There’s just too much cussing……. sometimes even the most well-intentioned white people just don’t see the racism and sexism in front of them.

    Not giving best picture to a film in which every other word is the F-word is clearly racist and sexist. A future majority black Academy would not see anything offensive about this because it would reflect their “embodied experience”.

    Seriously, the Academy needs to learn how to play the AA game a little better. You don’t have to give a black film Best Picture every year (just like you don’t make a black woman CEO of your Fortune 500 – you make her head of HR where she won’t damage your bottom line (as much)) but you should at least nominate one. Mad Max: Fury Road (not to mention Room and Brooklyn) has zero chance of actually winning Best Picture so it could have been pushed aside for Compton without disturbing the order of the universe.

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  83. I have no idea who “bumps” are but the only groups in late ’80s America who didn’t have TVs were those who were forbidden from doing so by religious doctrine. The long dresses were also a clue as are the small # of surnames and the location. Probably these people were actually Mennonites or Brethren or some such who are on the liberal end of the Anabaptist tradition. There are many liberal (by Anabaptist standards) Mennonites who don’t wear distinctive clothing.

    What any of this has to do with Steve’s posting above, I dunno.

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  84. The most deplorable one [AKA "Fourth doorman of the apocalypse"]
    says:
         Show CommentNext New Comment

    NAJALT!

  85. Ah yes. I tuned into NPR this morning and there was some black activist going on about intolerably white Oscars. She gave a long list of black actors who, according to her, deserved an Oscar this year. The host was very sympathetic, of course. I really wanted him to ask the activist this question: Who of the current Oscar nominees should be dropped to make room for black?

    This is really the key question. I would really like to hear what the woman would say. But of course, this question was not asked, because neither the interviewer, nor the activist, nor anyone else in the NPR building is even capable of thinking in these terms.

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  86. “Granted, comparing Straight Outta Compton to Love & Mercy on aesthetics is like contrasting “F*** tha Police” and “No Vaseline” to “God Only Knows” and “Wouldn’t It Be Nice.”

    You overlooked gangsta classics as ‘Lick my ***hole’; as well as ‘doublin’ up’(reference to after viewing a lesbian porn vid, the homie decides to attempt to ‘doublin’ up’ at home with comical results.

    I mean, come on, Steve. These classics helped go a long way toward defining the entire gangsta misogynist aspect of rap. It was there at the foundation and can’t be overlooked.

    It’s okay, it’s all good. After all, according to the NYTimes reporters covering this controversy, white people simply can’t expect to understand the black experience of everyday life.

    A question of a more relevant nature: Let’s be honest. During the late 60s/early70′s with Civil Rights in vogue and all the rage, it appeared that black films or at least black actors were being either nominated or placed in more Alist budgeted films.
    The parallel is with Obama. In light of Obama becoming president in 2009, during the last 8 yrs there seems to be a prevalence of black oriented films that have been nominated for major Oscar categories. When Obama is out of office, who’s to say that this spate of black films won’t decline, just as they did when the late 60s/early 70s were over?

    You can say that some of these late 2000s/early 2010′s films were probably in the pipeline and perhaps to be slated for production before Obama took office, HOWEVER, with Obama the president since 2009, Hollywood decided to put its best face forward by “look at our best films, and they’re not only black directed but they’re mainly “black” oriented films and they’re winning major Oscar nominations!” Much the way that the Academy invited First Lady Michelle Obama to read aloud the best picture nomination a few yrs back.

    But, once Obama leaves office next year, and then given a few years down the road, especially with a Chinese billionaire purchasing a major Hollywood studio (and we all know how much China really cares about African-Americans), who’s to say that the spate of black oriented films will simply dry up during Oscar nomination time? In other words, yes, there will always be the blaxploitation films made a la Ice Cube; Perry what’s his name; etc. but the Oscars will return as before…mostly white.

    Also, it was very commendable to the NYT that they didn’t have any white writers to help on the article about Hollywood racism ’cause they’re not nominating more black films in all major categories. That they actually found three somewhat competent writers to do the story is simply amazing. ‘See? We found three black writers who more or less lived up to our standard of quality at the Times. It can be done, and we’ve come a long way since the days of Jayson Blair’ seems to be what they’re saying.

    Because if African-Americans wanted to make a stink about alleged racism, why stop at just movies? How about major newspapers proclivities of not hiring very many black writers? How come the NYTimes doesn’t take the lead and hire more black writers for all their stories and not just for race-oriented news?

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  87. “You don’t have to give a black film Best Picture every year ”

    Oh, why not? Hollywood has given Best Picture noms to black films for the last few years. And the can of worms remains open.

    Blacks aren’t going to see it that way. Either all or nothing, and if its nothing then obviously you’re the racist for not doing what you can to help the next generation of African-Americans diversify Hollywood and make it less institutionally racist. For every year that they don’t get a major nomination for one of their products the din will grow louder and louder. However, with Chinese owning a major studio and interested in what works globally which doesn’t usually include African-Americans per se, as well as not having a black in the White House, the noise level will be less front and center in the mainstream and relegated to the Root; World Star Hip Hop; etc. and of course trotted out during Black History Month as a way to guilt trip elite moneyed Hollywood leftists who will bow their heads and simply ignore it.

    However, now that they’ve been given a taste of the big time, having a black themed film nominated in a major category for several consecutive years, they now expect it to be always that way.

    Perhaps the new Jesse Owens film “RACE” will be nominated at end of ’16. This would help atone for “42″ not being nominated.

    I mean, I’m surprised that Black Lives Matter, as well as African-American leaders aren’t pushing the Democrats to nominate a black candidate for president every single election cycle, otherwise they might just accuse the party of institutional racism and decide to stay home in large numbers.

    Oh wait…

  88. “If they were as interested in accomplishment…”

    I spent a lot of time playing basketball with black guys in my twenties, but it took me a long time to understand this problem. Black people have an honor culture, it’s hereditary and genetic in origin. It means that satisfying personal honor is what matters. When that is completed, they’re done. In that culture, “fronting” is as good as accomplishment, because other black people accept it as if it was a form of currency.

    The majority white culture doesn’t accept that currency, the exchange rate is effectively zero. This confuses and infuriates black people, it’s completely understandable. I don’t think black people understand how, for example, a white college can make a decision about admission just using numbers; GPA, APs, SAT, ACT. White people understand that these numbers translate to both native ability, self-discipline, academic accomplishment. (Back in the day, a college admission form was a half-page, along with scores and transcripts.) I think it makes black people feel invisible.

    Anyway, I’ve had it with the BLM movement. If you want, go check out Diamond and Silk if you want to see black ladies who really get it.

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  89. Is a Mad Max movie really being nominated for something other than special effects, costume, or maybe music? That’s sad. It really is the end of the world. Basically they are not making movies anymore. I expect to see a Zombie movie (The Weinstein Company) nominated someday. From the future, this year’s nominee for best picture: Friday the 13th, Jason vs Ronda Rousey …

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  90. Supa Bastard is the next Lee van Cleef.

  91. Same age as you, like the Beach Boys while admitting some of their songs are silly.

    Another movie unjustly snubbed by the inbred (blackactivists call it “white,” I’d say SWPL and be more precise, same phenomenon) Academy, Youth, is among other things about just that experience.

    The two main characters agree to the pretense “levity is perversion” as a means of signalling to one another their membership in that very inbred class that gives and gets Academy Awards. The film proceeds to utterly dismantle that pretense, and thus also that class, by the end of the film.

  92. The Academy did select an African American host this year…maybe they felt this was enough

  93. I have no idea who “bumps” are

    a.k.a. Country Bumpkins.

    Their grandparents may have been Anabaptist of one flavor or another, but many now have gravitated to “non-denominational” churches as the SJWs invade the denominations. Lots of people are “cutting the cord” nowadays, but many folks in that tradition never plugged in in the first place.

    Call it “keeping it real.”

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  94. Yet, even in side scrolling video games the player almost always advances from left to right.

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  95. OT: Jeb Bush picked up another vote in South Carolina.

    Lindsay Graham endorsed him on Friday. Ba-dump!

  96. says:
         Show CommentNext New Comment

    By focusing on color in the Oscars, these critics overlook something far more important:

    That Hollywood produces too much crap, often great or excellent films don’t get nominated(SLOW WEST, TOMORROWLAND, ANT-MAN, BLACK SEA), and the cultural level of most non-whites is pretty low.

    The third issue is very important because Oscars generally favors middle-brow films of quality over big blockbuster hits or populist favorites(like Eddie Murphy movies and Animal House). Most people who appreciate ‘quality’ films are white audiences. Whether ‘quality’ films are about white or non-white characters, most people who show up at art house screenings are white. So, most ‘quality’ films tend to be about white characters. Of course, there are films like 12 YRS A NEGRO, but I’ll bet more blacks went to see DJANGO and 007 movies than 12 YRS. I think most audiences for Lee’s MACUM X were also white.

    As long as most blacks prefer dumb trashy entertainment, they are not gonna make up the audience for ‘quality’ films. And we know most Mexers prefer stuff like FAST AND FURIOUS 1, 2, 3, 4…. 99.

    Because of such lack of appreciation for ‘quality’ films, non-white communities don’t produce ‘art film’ writers and directors who might be able to work small and make interesting films. Of course, such people do exist, but most film-makers are Sundance are white.

    Another thing. People who really care about the true worth of something pay no attention to awards. The game is pretty much fixed and the rules are PC, ‘safe’, and narrow.

    Peckinpah never came close to winning an oscar, even at the height of his powers.
    But sometimes, the Oscars can do something surprising.
    Take 1969. I would say the best film of that year was THE WILD BUNCH, but MIDNIGHT COWBOY is also masterpiece(and in its own way, just as remarkable as Peckinpah’s film), and it won Best Picture that year.
    That such a film ran off with Best Picture back then is almost unbelievable.
    But I guess old-fashioned John Wayne getting Best Actor that year sort of balanced it out.

    But more often than not, Best Pic Oscars have usually gone to ‘safe’ movies.
    Of course, the concept of ‘safe’ changes over the years. SILENCE OF THE LAMBS would have considered shocking in an earlier time, but when it won the top prize in the early 90s, films like that were very much the norm.
    SILENCE was a perfect film for the industry. It was sensationalist and trashy but done with arty solemnity that fooled a lot of people that, gee, maybe it’s intellectual and philosophical and stuff.
    MANCHURIAN CANDIDATE also mixed pulp with art but it was more fun and provocative.

  97. If you want a vision of the future, imagine a black person getting in your face – forever.

    The US will be Mexico with black people.

  98. That may be so, but then again, Jews invented the industry. Why shouldn’t they dominate it?

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  99. There are already horse breeds that are no larger than medium sized dogs:

    https://en.wikipedia.org/wiki/Thumbelina_(horse)

    But there are none that are housebroken AFAIK – there’ s the rub.

    The whole “emotional support animal” thing is really a sad commentary on how sick our society is and how we have lost our ability to call BS on anything or anyone (who is not a normal white hetero male). It’s a tribute to the little remaining decency in our society that EVERYONE with a pet just doesn’t get a little vest for their pet to wear so they can take it on the plane for free, keep a pet despite a no pets policy in their apartment lease, etc. – there’s really nothing stopping you at this point. For $64.95 you can get a hokey certificate on the internet.

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  100. says:
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    “Same age as you, like the Beach Boys while admitting some of their songs are silly.
    You should see the looks of horror when I tell music snobs that I hate the Beatles and find most of their songs as silly.”

    You really are a silly dammy. I mean who the hell wants to listen to a SERIOUS Beatles song? You want to listen to “I Wanna Hold Your Volume of the Fall of the Roman Empire” or “She Love Your Great Books Collection”?

    Of course they’re silly. It’s like McCartney’s song “Silly Love Song”.

    It is POP.
    Same with Motown. We want “Baby I Need Your Loving”, not “Baby, I Need Your Thesis on the Neurosis of Modern Man”.

    Sure, most Beatles stuff is fluff, but it is great honest fluff. It’s about the volume, the vibes. It’s about lovely melodies. Nothing they did was deep.
    Beatles ran into problems when they tried to get arty later. Though critics and fans hailed stuff like SGT PEPPER’S LONELY HEARTS CLUB BAND — possibly the most overrrated piece of culture in the 20th century — , it hasn’t dated very well. In contrast, songs like “I wanna hold your hand”, “All my loving”, “She Loves You”, and “Ticket to Ride” have timeless appeal in their celebration of youth and fun.

    Rock music gets silly-in-a-bad-way only when it goes for higher stakes and attempts meaning beyond its grasp. To be sure, true artists like Dylan, Pink Floyd(at their best), Neil Young(at his best), and Joni Mitchell could strive higher and deeper and make it work on those terms.

    But Beatles were best when being fun and silly, like Dave Clark Five.
    Of course, it was great that their style matured and gained in musical complexity, but they were never meant for depth or meaning. Harrison’s Hindu groanings and Lennon’s ‘radical’ yammerings inspired by Yoko just got painful. Harrison was best at writing love songs like ‘Something’ and ‘Here Comes the Sun’. Lennon’s only ‘serious’ songs that really work are ‘A day in the life’ and ‘Strawberry Fields Forever’. Most of his other avant-garde experiments got pretty silly.

    Now, just because something is silly and simple doesn’t mean that it can’t suggest at meaning. Even simple ideas and feelings can be expressed in poetic way. The meaning of ‘Yesterday’ is trite. Some girl went up and left. But the lyrics and melody perfectly convey the mood of the moment. A day is made eternal.
    And Lennon’s ‘Norwegian Wood’ works because it’s done so simply, almost like a throwaway song about a throwaway feeling of a throwaway affair. But Lennon teases out the shadows and nuances of what should have been just another ‘bird’(surely among many others)that flew away. He stumbles upon truth in the trivial. (Maybe it inspired Stones’ “Ruby Tuesday”, a bruisy ballad if there ever was one.) Even simple moments and feelings can be made to cast strange shadows.

    Rock can affect some degree of artiness, but with few exceptions it should never go fully arty.
    But some Rockers got it backwards and began with complexity and tried to fit it with rock sensibility.
    This is why David Bowie was such a problematic figure. No doubt he wrote some of the finest songs in Rock. And he could be a very good rocker and pop stylist.
    But there was another side of Bowie that was very much the artiste, and this side was too avant-garde and highfalutin for Rock.
    He would touch on themes of philosophy, history, etc. But even his ‘intellectual’ side ranged from references to serious ideas to science fiction and homo-tranny-posturing.
    It was a series of masks. I don’t know if he was really homo, but there was a homo-ish side of him, and its vanity ran wild, much like Mishima’s.

    Because of his claims of being an artiste, his stakes were higher, and this is why some of his music, though amazing, tends to be annoying and ridiculous. Take ZIGGY STARDUST. It’s filled with one dazzling tune after another. If it were content to be pop, it’d be one helluva an album. But, like SGT PEPPER, it pretends to be about something fancier and higher… but what is it? Who is Ziggy? What is all this spaced-out stuff? Did Bowie take any of it seriously? Or was it meant to be campy fun like THE MONKEES? It’s fluff that pretends to be about stuff. So, as good as it is, I could never get into it.

    When Dylan, Floyd, Hendrix, Young, and Lou Reed(at his best) got down to brass tacks, you knew they meant it, whether you agreed or disagreed with their vision or ‘truth’.
    With Bowie, it was like Warhol mixed with Broadway. There was an element of sham, or sham-rock.

    Because of his claims of being an artiste, we are forced to judge Bowie differently than most rockers who were content to be fun and popular.
    And on those grounds, I would say a handful of songs like “Life on Mars”, “Quicksand”, and “Ashes to Ashes” lived up to aspirations of art.

    Also, there was the side of Bowie that was content to be a pop entertainer(like Elton John), and some songs work perfectly on that level: “Modern Love” and “Let’s Dance”.
    That was good too.

    But some of this stuff is like pop drag-costumed into art, and the confused sensibility serve neither pop nor art well.
    This is true of DIAMOND DOGS and ZIGGY STARDUST especially. Both are remarkable albums with Bowie’s prowess as a musical showman in full display. But the vision of Orwell’s 1984 as glam sci-fi rock comes across as silly-in-the-worst-possible-way. And ZIGGY STARDUST is like Magical Mystery Tour crossed with 2001.

    Sensibility matters in pop and art. It’s not enough to be good. Tarantino is a ‘good’ film -maker in terms of what he can do with his camera, dialogue, and etc. But his films after RESERVOIR DOGS are appalling because the sensibility is so out-of-whack, confused, and even retarded.
    His first film is about wrestling with pain, physical and emotional. His later films, though more elaborate and even impressive in style, are about laughing at pain.
    His sensibility serves his vanity, narcissism, and self-adulating hipsterism that the work at hand.
    Gilliam is another one whose films are made all the worse by his ridiculous sensibility.

    PS. Christgau is mostly right. (He originally gave ZIGGY a C+).

    http://www.robertchristgau.com/get_artist.php?name=David+Bowie

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  101. The real problem is that Holocaust films get Oscars an awful lot. To the point that it becomes embarrassing

    Kate Winslet famously got one after appearing as an eponymous character in a Rick Gervais comedy show saying Holocaust films have “Oscars coming out of their arse”.

    https://en.wikipedia.org/wiki/List_of_Extras_episodes 3 “Kate Winslet”
    Working as extras on the set of a Holocaust film, Andy and Maggie befriend the star, Kate Winslet, who hopes to finally win an Oscar with her role as a nun sheltering Jews during the Holocaust (coincidentally, she later won an Oscar for her role in the 2008 Holocaust film The Reader)

    Here is the clip https://vimeo.com/87786577

    http://www.telegraph.co.uk/culture/film/4227454/Kate-Winslets-Oscar-hopes-in-doubt-after-Hollywood-backlash-over-Nazi-role.html “Winslet’s cause was not helped by the comedian Ricky Gervais, who delivered a poorly-received joke at the Golden Globes ceremony when he said: “Well done, Winslet. I told you, do a Holocaust movie and the awards come, didn’t I?””

    Blacks start wondering why films about slavery and Selma are not entitled to the same consideration, and obviously generic ‘whites’ in Hollywood are the only target anyone dares mention.

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  102. Nestor Almendros got the Village Voice to turn on Cuba. Possibly the greatest achievement of any cinematographer away from the camera. It helped that he and they were homos.

  103. It’s a tribute to the little remaining decency in our society that EVERYONE with a pet just doesn’t get a little vest for their pet to wear so they can take it on the plane for free, keep a pet despite a no pets policy in their apartment lease, etc.

    Smells like the Dred Scott decision to me. You can bring your pet anywhere, then take him home.

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  104. They’re worth around $100M but they aren’t recognized for artistic achievements.

    https://twitter.com/jadapsmith/status/688380460662050817

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  105. No, it was an ag equipment plant.

  106. That was entertaining.

  107. Lol!

    I had no idea Jada P. Smith was such a tease. And so funny.

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  108. “Hollywood needs to make more good, authentically black movies.”

    How would Hollywood do that? They can’t even make good, authentically white movies.

  109. “Spielberg, for example, would be a hell of a cinematographer.”

    That’s probably why he actually pays attention to the cinematography, and makes sure he gets top-notch guys to lens his films. A lot of directors nowadays, don’t seem to care about………how the movie is actually filmed (which would seem to be important in a movie).

    Kubrick was also a great cinematographer

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  110. I never did figure these guys out. At the time I was more perplexed by the fact that they all drove Ford products, almost nothing else. I wish I had gone to one of the churches and listened to what was being taught, how they acted in the service, et al.

    They weren’t Amish or Mennonite-the names weren’t German and they had no beards or quaint dress. Cars were everywhere and weren’t black or otherwise specially plain, just old Fords, but not antiques. And they weren’t Pentecostal: we had those and they’d talk your ear off about their religion. The Pentecostals dressed modestly but in loud colors and in that area had an alliance with the “charismatic” Catholics. They were good workers, sent their kids to public schools, et al.

    And of course, I figured “bumps” was short for “bumpkins”, but these people were not Junior Samples types. They were clean, neat, had good dental work, well spoken.

    The men worked on their cars but they were not interested in hot rodding or modifying, just maintaining them. A couple of them had pickups with propane tanks in the bed.

  111. https://www.youtube.com/watch?v=qEHmM7IjSjE

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  112. says:
         Show CommentNext New Comment

    “The bitterly sarcastic speculation was that the general roster of Academy voters thought that the “2001″ ape-men were real.”

    I would have voted for POTA.

    The ape makeup in 2001 are wonderful, but the effect is simple. Make humans look like hairy childish savages.

    POTA’s makeup had to achieve something far more difficult: creatures that are convincingly apelike but also very humanlike. They must have personality or apersonality.
    And POTA makeup is amazing.

    Some people today complain that the original POTA apes didn’t have lips that moved convincingly. But I see something like personality and individual soul in their faces that I don’t see in the new CGI apes of the reboot. They may look more real, but the effect is crude. They are just apes that begin to act human.

    In contrast, the original POTA apes strike us as so wonderfully strange because they are so simian and human at the same time.

  113. The great Lubezki is a Jewish Mexican.

    Very Jewish. Full name:Emmanuel Lubezki Morgenstern

    They caught on in the late 1960s as Hollywood realized that Europeans had gotten out ahead of America in cinematography.

    For my money, Gordon Willis was the greatest American cinematographer of the ’70s. Some of his key films:

    Klute (1971)
    The Godfather (1972)
    The Godfather Part II (1974)
    The Parallax View (1974)
    All the President’s Men (1976)
    Annie Hall (1977)
    Interiors (1978)
    Manhattan (1979)

    The man defined an era in American film

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  114. You’re right. I did not make a peer reviewed statistical analysis, I just saw a bunch of them that all did that and said “your average”. A prevarication of willful and grievous intent.

    I’m just saying what I saw on an anecdotal level, but if you think I just concoted it for no reason, believe what you want. Doesn’t affect my paycheck or whether my dissertation gets approved.

  115. Should you be required to free your pet if you take it across state lines? Are pets citizens of the United States?

  116. Full name:Emmanuel Lubezki Morgenstern

    This is his Latin style name where Lubezki is his father’s surname and Morgenstern his mother’s. In American parlance he is just Lubezki.

    I think it is hilarious (but not unexpected) that while Mexico has a tiny Jewish population many prominent Mexicans are Jewish (or at least like Slim, not Latino). There is a nice Mexican Jewish lady named Pati Jinich who has a show on Mexican cooking on public TV (and then there is Rick Bayless, a Jewish American from Chicag0 who also has a Mexican cooking show). Somehow out of 120 million Mexican Mestizos and the millions of Mexican cooks they couldn’t find two who they could put on TV.

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  117. “…the Academy needs to learn how to play the AA game a little better. You don’t have to give a black film Best Picture every year (just like you don’t make a black woman CEO of your Fortune 500 – you make her head of HR where she won’t damage your bottom line (as much)) but you should at least nominate one. Mad Max: Fury Road (not to mention Room and Brooklyn) has zero chance of actually winning Best Picture so it could have been pushed aside for Compton without disturbing the order of the universe.”

    Its one thing to nominate (or even award) a film like “12 Years a Slave” or “Selma,” which at least purport to have something to do with American history. But a biopic about how great Kill Whitey “music” is supposed to be? For Best Picture nominee? No, I don’t think so.

  118. Why doesnt MY youtube appear in a nice window?

    http://www.youtube.com/watch?v=qEHmM7IjSjE

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  119. “Is a Mad Max movie really being nominated for something other than special effects, costume, or maybe music? That’s sad. It really is the end of the world.”

    In fairness, the first “Mad Max” movie from 1979, was a fairly serious movie. Its special effects/action sequences were nothing special, but there’s actual substance imbedded in the plot. But as someone who saw this “Fury Road” film, I’d be the first to agree that its not “Best Picture” material. The problem is, they increased the number of Best Picture nominees from five, to eight. And eight is just too damn many, so goofy nominees like “Mad Max: Fury Road,” are able to scoot in under the wire. Its embarrassing.

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  120. “Elba plays a horrific African monster victimizing African children, no White people involved. The movie, “Beasts of No Nation,” makes Africans look very, very bad. Because well, child soldiers. So no, that movie was not going to get nominated.”

    Then there’s The Last King Of Scotland, where Idi Amin’s white, British personal doctor is persuaded by the doctor’s African colleague to tell the world about the Amin regime’s crimes. Forest Whitaker wins Best Actor for playing Amin, who certainly makes Africans look bad.

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  121. There’s some limit to the number of Youtube videos that get preloaded per comments section to keep down bandwidth demands. Some people are paying cell phone rates for data so Ron came up with a compromise between the convenience of having a still frame from the Youtube appear and the expense and inconvenience of having them all appear.

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  122. says:
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    Well, “Laslzo” is indeed hard to pronounce. Try Laszlo instead.

  123. Full name:Emmanuel Lubezki Morgenstern

    This is his Latin style name where Lubezki is his father’s surname and Morgenstern his mother’s. In American parlance he is just Lubezki.

    Yes, I’m familiar with Hispanic naming conventions.

  124. RE: White dominance in Mexico,

    IQ certainly has something to do with it:

    “Raven’s Standard Progressive Matrices test was administered to a representative sample of 920 white, Mestizo and Native Mexican Indian children aged 7–10 years in Mexico. The mean IQs in relation to a British mean of 100 obtained from the 1979 British standardization sample and adjusted for the estimated subsequent increase were: 98·0 for whites, 94·3 for Mestizos and 83·3 for Native Mexican Indians.”

    http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=266611

    Racial composition of Mexico:

    98.0: Mexican Whites
    94.3:Mexican Mestizos
    83.3: Mexican Amerinds

    According to the CIA FACTBOOK, Mexico’s racial breakdown is:Mestizo: 60%, Amerindian or predominantly Amerindian: 30%, white: 9%, other: 1%

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  125. Currently, there are a few Tuiasosopos playing in the NFL. Or at least there were couple yrs back.

  126. Hold it, hold it. Don’t have to knock the greatest rock group that influenced and literally helped to change the course of western music of the last 75 yrs to make your point. Silly songs? Silly?

    One of Lennon’s greatest was the serious introspective “In My Life.” That was well ahead of his maturity at the time and Rubber Soul holds up quite well. And lets not forget the excellent ballad “Michelle”.

    “Yesterday” is a great song, and it speaks to a universal longing in men especially. What went wrong? What was said that shouldn’t have been spoken? Don’t know, can’t say. That’s why he wants to go back to the times when he was together with his girl, his best bird. For Paul, only 22 at the time he wrote it, its quite the mature song. “Hey Jude”; “Helter Skelter” even “Obla-di, Obla-da”. Excellent classics. Even the nod to the Beach Boys “Back in the USSR” remains a steadfast amazing piece.

    In point of fact, the more timeless eternal Lennon-MacCartney compositions are due to Paul more than John. Paul was always a realist, albeit a somewhat sentimental one at times.

    But to put down the greatest group to come out of England (certainly the one that has influenced more rock bands in history) by comparing them to DC5 is just plain ridiculous. Come on, comparing them to the banalities of the Dave Clark Five? Really? Seriously? Come on. Yeah, cause everyone today right now really remembers the DC5 for being such a seriously artistic gifted band and not a golden oldies mostly cover band. Talk about dated.

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  127. Ah yes, but recall that “Last King of Scotland” had a Goodwhite(tm) as main character. So it qualified to receive nomination.

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  128. i’m glad i don’t live in your world.

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  129. Beatles ran into problems when they tried to get arty later. Though critics and fans hailed stuff like SGT PEPPER’S LONELY HEARTS CLUB BAND — possibly the most overrrated piece of culture in the 20th century — , it hasn’t dated very well. In contrast, songs like “I wanna hold your hand”, “All my loving”, “She Loves You”, and “Ticket to Ride” have timeless appeal in their celebration of youth and fun.

    Meh. I prefer works like Sgt Pepper. It’s more interesting, less insipid and stands up to repeated listens a lot better than the songs you mention. Similarly, I think the most brilliant work of the Beach Boys is also Pet Sounds and Smile, though the latter, much like “The Piper at the Gates of Dawn” is both musically brilliant for the most part but also crazy. As such it is something to be enjoyed infrequently, it pains the brain to have too much exposure to such windows into madness. It is interesting to contrast with the Beatles, who were lucky enough to mostly keep their sanity as they experimented with LSD and the like. Barrett and Brian Wilson were not so lucky, and the evidence is those albums.

    I find musically interesting gibberish or pulp more repeatedly enjoyable than musically interesting politically drenched works, such as Animals by Pink Floyd. And despite the brilliance, the whininess of Roger Waters grates on me after a while in such albums as The Wall.

    The audio-visual medium is not something I enjoy as much for its own sake as one can with music. I find it harder to enjoy beautiful cinematography for its own sake… maybe I am a philistine in that regard. I like a gripping story. Rare is the movie I will watch more than once. Maybe Predator is the guilty pleasure in this regard, although I haven’t even watched that much in recent years. There is just something about that movie. And now that I think about it, probably a large part of that is in fact the soundtrack, which is brilliant and stands up to repeated listens in its own right. As to whether the cinematography is part of it, not sure.

    Interestingly enough, 2 of the 3 awards won by the film were for the music by Alan Silvestri. So it’s not just me then.
    https://en.wikipedia.org/wiki/List_of_accolades_received_by_the_Alien,_Predator,_and_Alien_vs._Predator_franchises#Predator_franchise

    There are a few other movies I can watch again for various reasons – Tropa de Elite, 2001, Blade Runner, TTSS/Smiley’s People with Alec Guiness, and of course ZAZ movies (though not recently). In the first three, the aural component is key. Soundtracks of 2001 and Blade Runner are excellent, and the something about the voice of Moura is compelling. But both 2001 and Blade Runner were extremely visually compelling also. Maybe I do enjoy the cinematography more than I give it credit for.

    Interestingly, there are some really good game soundtracks these days, maybe on a par with the best movie sound tracks. Deus Ex Human Revolution’s soundtrack is something else. 4.8/5 stars on Amazon!

    https://www.youtube.com/watch?v=tyG6YMLEWus

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  130. i’m glad i don’t live in your world.

    I wouldn’t mind splitting the difference.

  131. Re NPR reporters interviewing black activities. . . I often notice that liberals treat blacks either as small children who must be cajoled and praised, or dangerously unstable people whom you have
    humor lest you set them off. They adopt an exaggeratedly respectful tone and never challenge their assertions. It reflects contempt, of course.

  132. says:
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    Absolutely ridiculous that “Straight Outta Compton” was not nominated. For its pathos, it’s realism, and its documentation of what was THE American aesthetic of the late 20th century, it was nearly flawless. It shows that the “Academy” is completely out of touch with both art and America. It’s as if they still think it’s 1954!

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  133. says:
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    Of those movies listed, I’ve seen the Godfathers, All the President’s Men, and the Woody Allen movies. I don’t recall them being all that great in terms of cinematography.

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  134. You would think that 4 points wouldn’t be enough to make such a big difference. But obviously the progressive matrices measure non-verbal intelligence. I think that the gap on verbal intelligence would be larger. Amerinds (and therefore mixes) are famously non-talkative but have strong visual/spacial skills. Mestizos make great masons, tile setters, drywallers, etc. but lawyers – not so much. A lot of the steel workers who you see walking the high steel in old photos of NY skyscrapers going up were Mohawk Indians but not a lot of Mohawk TV hosts.

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  135. Oh yeah, I’ll tell you something
    I think you’ll understand
    When I’ll say that something
    I wanna hold your hand
    I wanna hold your hand
    I wanna hold your hand

    Yes – truly one of the great lyrics of the 20th century. Pure poetry set to music.

    My only hope is that the Beatles were writing a spoof of American pop music (“yeah”,”wanna”) and nobody got the joke.

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  136. Excellent points Darfur. I stand corrected by a guy who installed ceiling sprinklers in Indiana back in the 1980s.

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  137. says:
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    (coincidentally, she later won an Oscar for her role in the 2008 Holocaust film The Reader)

    I’ve noticed that the more recent Holocaust movies tend to have more generic titles like “The Pianist” or “The Reader” that don’t immediately reveal that they’re Holocaust movies. A few times I’ve started movies I picked on Netflix that sounded like generic thrillers or dramas but turned out to be Holocaust movies.

    Blacks start wondering why films about slavery and Selma are not entitled to the same consideration, and obviously generic ‘whites’ in Hollywood are the only target anyone dares mention.

    Yes, it’s highly political.

  138. It’s very strange. Isn’t it? How did Former Darfur gain access to this information? Really weird.

    Is Rod Serling smoking a cigarette nearby?

  139. says:
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    https://www.youtube.com/watch?v=cEnjiGwVw6o

  140. Of those movies listed, I’ve seen the Godfathers, All the President’s Men, and the Woody Allen movies. I don’t recall them being all that great in terms of cinematography.

    You don’t?

    Here’s what David Thomson has to say:

    Meanwhilee, you might reach the conclusion that in KLUTE, the two parts of THE GODFATHER, ALL THE PRESIDENT’S MEN, and THE PARALLAX VIEW, one cinematographer had established a kind of noir color look, rich in brown, amber, and shadow, that was a vital force in the noir movies made in Hollywood in the 1970s.This is not just a matter of recording the images efficiently, it is in the understanding of a new dramatic need and the technical ability to deliver it. Willis in the early 1970s is as important to film history as Henri Decae and Raul Coutard are a decade before.

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  141. Kubrick was also a great still photographer, becoming the youngest staffer ever at Look magazine when he was 17 years old. You can find many of these images online; clearly a major talent.

  142. “The problem is, they increased the number of Best Picture nominees from five, to eight.”

    I guess they were hoping for more diversity but got big budget B movies.

  143. You would think that 4 points wouldn’t be enough to make such a big difference.

    The logic of the Bell Curve:Small differences in the mean= Big differences in the tails.

  144. Kubrick got hold of three Carl Zeiss Planar 50mm f/0.7 lenses that were originally designed for the Apollo program and modified them for 35mm cine film use in 2001: A Space Odyssey.

    Some have alleged that Kubrick and NASA conspired to stage and pose the moon landings. There was even an amusing movie made about it: https://www.youtube.com/watch?v=90zneJONh0w

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  145. says:
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    I definitely remember that brown, amber, shadowy look to those movies, although I don’t associate it with noir or with anything very visually powerful. I just sort of associate it with the 70s in general. Brown, amber, orange, etc. seem to have been big in the 70s. Perhaps I’m just too young and thus can’t appreciate it. Or perhaps the fact that those movies evoke the 70s for me, a time in which I wasn’t even alive, is a testament to their excellent cinematography. I don’t know.

    At any rate, those movies are very dialogue driven, so maybe the visuals don’t stand out as much .

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  146. says:
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    The Revenant should win Best Picture for that bear scene alone. I don’t think anything like it has ever been depicted on film.

    Overall, I thought the pacing was kind of poor, but the visuals and action were great.

  147. I definitely remember that brown, amber, shadowy look to those movies, although I don’t associate it with noir or with anything very visually powerful.

    We differ on that. I find it quite visually powerful.Indeed, I can’t even imagine the GODFATHER films without Willis’ work behind the camera.

    Or perhaps the fact that those movies evoke the 70s for me, a time in which I wasn’t even alive, is a testament to their excellent cinematography.

    That’s what I would argue. As Thomson notes, Willis’ cinematography defined the ’70s noir aesthetic.

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  148. Tennesee Williams’ “A streetcar named desire” runs 100 minutes and has 100 pages of double spaced dialog. James Cameron’s “the Terminator” also runs 100 minutes but only has 20 pages of dialog.

    I wouldn’t infer anything from this except to say that people who went to the movies in 1950 were perhaps a bit more verbally dexterous than people who go to movies today.

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  149. Just a wild guess, but, something tells me this “conversation” will include a lot of blacks whining about how white the awards were and how black they weren’t, a lot of whites whining about how white the awards were and how black they weren’t, and pretty much zero talk about how yellow the awards never are, how brown they never are, how red they never are, etc., etc., etc.

  150. Yes, I mentioned that. I guess I should have made it clearer that despite the presence of the Goodwhite, there was no Badwhite character to make the Goodwhite look good.

    Or maybe the “Badwhite” of the film was not a character, but rather, the legacy of colonialism.

  151. “Straight Outta Compton was not going to get major nominations, because it too made Black people look bad. There were no noble GoodWhites standing up for Blacks against BadWhites.”

    There is a noble Good White moment in Straight Outta Compton when Jerry Heller stands up for N.W.A after they were racially profiled by the police in Torrance, California which is a suburb of Los Angeles.

    The Torrance police officers saw 5 Black N.W.A Youths hanging out together and wearing urban inner city clothing and mistaked them for being a gang similar to the Crips and Bloods.

    Torrance is only 2 percent Black. Torrance is less Black than Portland.

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  152. Despite being a middle-aged white guy it’s blatantly obvious that actors of color (ie, other colors) have to be twice as good and still don’t get half as far.

    Hopefully, the changing demographics will spell the end of unfair institutions run by mediocre Jews.

    FIFY.

    Hollywood needs to make more good, authentically black movies.

    The last thing America wants shoved in its face is authentic blacks.

    in relation to treatment of Black people as sacred objects, credit to Larry Auster.

    Did Auster coin the phrase “numinous negro,” “magical negro,” or “noble savage”? Because if not, he owes credit to someone else.

    Thing about the movie industry … It’s about the fucking money nit feelings.

    Hence all the follow-ups to cash in on what made The Passion of the Christ a smash hit, 300 a smash hit, etc.

    That may be so, but then again, Jews invented the industry. Why shouldn’t they dominate it?

    Because Jews don’t reciprocate that sentiment, ever?

  153. “When will we stop this nonsense of lumping Jews and whites together for statistical purposes?

    Jews certainly don’t consider themselves “white.” They clearly are a distinct and separate ethnic group. They wouldn’t have it any other way.”

    Do you have any evidence to back up your claim that the majority of Jews check the Some Other Race box in the U.S census and not the White box?

    If you drop off a bunch of Jews in Thailand for example, they would easily be racially classified by the local natives as Farangs. And if you don’t know what a Farang is, it is the Thai word for White people.

    Negroids and Mongoloids clearly can not tell Jews apart from other Whites. And heck even many Whites can’t.

    Another White person in the comments section of this blog referred to a Jewish Mexican film director as an example of White Mexican.

  154. Sailer has said several times that he likes “middlebrow” movies, although some films that he liked seemed to be more lowbrow, or oriented towards teenagers (Guardians of the Galaxy? Creed? Idiocracy?), while others were just OK.

    I for one find slightly strange that he has a relatively average taste in movies when in literature he likes Tom Stoppard or Nabokov, but to each his own. I don’t really like Nabokov except for Lolita, and I could never read Tom Wolfe.

    More on topic, I’m not sure that blacks can make good movies, but besides Bollywood, Indians made a few good movies (Satyajit Ray) and more recently Iranians too. The Japanese made some excellent films. So, it’s not only White people. The problem is that making films is expensive.

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  155. Tennesee Williams’ “A streetcar named desire” runs 100 minutes and has 100 pages of double spaced dialog. James Cameron’s “the Terminator” also runs 100 minutes but only has 20 pages of dialog.

    Uh, “Streetcar” was a stage play. Those are nothing but dialogue.

    Did America suddenly get more “verbally dexterous” with the release of “Steamboat Willie”? The silent era offered only as much dialogue as could fit on the intertitles.

  156. You must really hate, then, the Masses of Beethoven, Haydn, Mozart, Schubert, etc. The same text over and over and over. How insipid and unoriginal can you get? How many times must one sing “kyrie eleison” before people get the point?

    It was classical critics and musicians who first picked up on the musical depth of the early Beatles, starting with “Not a Second Time”. I guess their ears were ruined by all that melisma in those orchestral Masses.

    Nothing is more pointless than melisma, which was banned from Tin Pan Alley.

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  157. For a 2nd year in a row now, blacks whining about the Oscar nominees makes it clear that affirmative action is a strong force in nearly every situation where blacks can attempt to gain any kind of power, wealth, or influence.

    Speaking of movies… Sailer, you must have seen some of the 70′s Blaxploitation films like Superfly and Shaft. Those are tame when compared to unsubtle sewage like Coonskin. The James Bond film Live and Let Die pretty good Blaxploitation though.

    A great movie that focuses on Africans is Addio Africa (1966). I highly recommend it.

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  158. It’s as if they still think it’s 1954!

    I’m sure Bob Hope would be a big Fury Road fan.

  159. In comic frames action always flows left to right. Because a comic frame may communicate more than an intant in time, such as when one character says something and the other responds, whatever is prior should be on the left.

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  160. That may be so, but then again, Jews invented the industry. Why shouldn’t they dominate it?

    They didn’t invent it, but that’s beside the point. What’s sauce for the goose is sauce for the gander. If white representation in institutions we created has to be limited by quota, then the same goes for Jews and their stuff.

  161. “Indeed, I can’t even imagine the GODFATHER films without Willis’ work behind the camera.”

    To me, Willis’ s work behind the camera IS The Godfather films. Sure, I remember some of the most famous scenes and Rota’s theme. But the look of those films is what I most enjoy.

    Then again, I’m one of the few people I know who will watch a movie just because I like the cinematographer. Last night I was checking YouTube to make sure I hadn’t missed any John Alton movies uploaded there.

  162. Interesting comment, thanks for putting those thoughts together. People that dismiss music like that of the Beatles and Beach Boys are seriously lacking some heart. They must be loads of fun to hang out with.

    BTW, re Tarantino, a commenter on this site once said, “If a retard had a high IQ, he’d be Quentin Tarantino.”

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  163. Like the diabolical plot to make culturally biased tests that only white people can pass but not as well as Jews and Koreans.

  164. Not ceiling sprinklers. It was a then state of the art barcode inventory control system that ran on a DEC VAX and involved 70 terminals and scan stations and cost almost a million dollars. It was originally designed for aerospace contractors and provided for 100 percent trackability of every part back to the raw materials and every fabricator, welder, machinist, assembler, inspector and shipper. It was gross overkill but that’s what they were paying for and what they got.

  165. True for Western comics.

    Manga is usually read right to left.

  166. says:
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    I can see how it would have been novel at the time. The color in movies in the 60s is extremely bright and vivid and looks unnatural. With the 70s you have darker and more realistic color and cinematography, which is generally the norm in movies now, so I guess it’s less noticeable.

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  167. says:
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    We had to read “Streetcar” in high school. I think we watched the Brando movie and other productions of it in class as well. I never understood why it was considered to be great literature.

  168. Come on, comparing them to the banalities of the Dave Clark Five?

    Hey, “Because” and “Catch Us If You Can” are damned good radio singles, whoever may have written them. Radio singles were the whole point of rock and roll records back when they still mattered.

    Yeah, cause everyone today right now really remembers the DC5 for being such a seriously artistic gifted band…

    John Lennon said he envied their harmonies and wish his band could do the same. But then, Lennon also said he liked nothing better than a good pop song, so what does he know about musical taste?

    Bruce Springsteen and Steve Van Zandt defended the DC5 and pushed for their inclusion into the R&R Hall of Fame. Now, I happen to think Bruce, Steve, and the HoF themselves quite overrated, but I have to agree with them on this one.

  169. “Lord, have mercy”=”I wanna hold your hand”.

    Really?

    There’s repetition as sublimity and repetition as vapidity.

    I well remember classical musicians and critics jumping on the Beatles as profound artists bandwagon. It’s even less convincing half a century later than it was then. Because there are similarities between popular songs and art songs does not mean they are equal in depth and import.

    Two hundred years ago Schubert composed “Erlkönig”. It is still performed today. I was going to say I doubted any Beatles songs would be performed one hundred and fifty years from now but as fast as civilization is devolving, future generations may be unable to decipher the complexities of:

    I wanna hold your hand
    I wanna hold your hand
    I wanna hold your hand

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  170. By official fiction, all Mexicans are mestizos.

    In reality, probably 70% are, although the percentage has certainly decreased as mestizos go to El Norte. Pure Indios are usually good for nothing but stoop labor and pure whites who are Mexicans generally stay in Mexico, although they travel extensively for tourism, shopping, education and medical care.

    However, the issue with mestizos is how white they are. They can be from 1 to 99 percent indio, but in practice. less than 1/16 whites are considered indios and ofttimes people up to 1/8 Indio may be considered white. 496 years of mixing have produced a lot of shading indeed.

    The more white the higher their status and their ability to fit in to the modern world overall. As another commenter said, “mestizo looking” mestizos can do very good construction work sometimes but would generally make terrible attorneys.

    Even their fine motor and detail skills probably aren’t much. In the days of mechanical watches, did one ever see mestizo watchmakers in Mexico? I don’t know. I do know that fine motor skills are very good in some Northern American Indian tribes-Simpson analog meters are made by an Indian tribe to this day.

    In 1985, Simpson Electric was purchased by the Lac du Flambeau Band of Lake Superior Chippewa Indians. The tribal council made the purchase to preserve the existing work force and to create a more diversified economy for north central Wisconsin.

    http://www.simpsonelectric.com/about-us/history

    It’s also worth noting that although the guitar in various forms is pretty much the national musical instrument of Mexico, Mexican guitars were mostly fit for use as wall hangers. Fender has a plant there, but it’s all CNC work: Taylor has a plant too, but they just make the cases from what I can gather.

  171. Some of that is film aging. Pre- 1965 or so color films were very often either Kodachrome or three film Technicolor process. Later films were shot on the Ektachrome style negative stock and the release prints were a similar chemistry. (Film photographers will remember the ads for Seattle Film Works, which respooled 5247 cine stock from short ends into 35mm cassettes.)

    1970′s “Airport”, when shown on AMC or TCM looks dingy whereas Dean Martin’s 1950s and early 60′s films , like Bells Are Ringing and the incomplete but released Something’s Got To Give have beautiful, vivid color.

  172. The f/0.7 lenses were used by Kubrick in Barry Lyndon, not 2001. The lenses were used to shoot all of the scenes lit by candlelight; the first time that a movie set in the 1700s was able to show how things actually looked at night without electric lighting. Those lenses are actually available for rent now if you have the funds.

  173. I saw that movie too. I don’t recall whether or not there were any Blacks in the theater, but there was no calling out to the characters onscreen.

  174. I think it was Chicago newsman Mike Royko who said that the Irish always did better than Blacks out of municipal graft because they stayed bought.

  175. I make a point of sticking it to these people who bring their animals into stores. Telling the manager, and threatening to call the health department has worked a couple of times.

  176. What really stood out about the Godfather was the color – rich, but not saturated. It had a lot of the same look as the Bertolucci film The Conformist and may, for all I know, have been inspired by it. If you ever get a chance to see that one, check it out. It’s not a great movie – it has a rather predictable left-wing message – but it looks great. It was filmed by Vitorrio Storaro who also was Coppola’s cinematographer for Apocalypse Now.

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  177. “Speaking of movies… Sailer, you must have seen some of the 70′s Blaxploitation films like Superfly and Shaft.”

    I have never quite understood why these movies – at least why all of them – are called “Blaxploitation” films. Shaft, for example, was directed by a black man, Gordon Parks, and was (presumably) made to speak to a black audience, although it had wider appeal as well. And it was a good movie too, entertaining anyway. It was unrealistic and over-the-top, but no more so than Die Hard or any Bond Movie. Parks had real talent; I wish he had made a few more movies besides the half-dozen or so he directed.

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  178. “In fairness, the first “Mad Max” movie from 1979, was a fairly serious movie. Its special effects/action sequences were nothing special, but there’s actual substance imbedded in the plot. But as someone who saw this “Fury Road” film, I’d be the first to agree that its not “Best Picture” material.”

    It is no less oscar-worthy than Silence of the Lambs, a ridiculous serial-killer opera that ushered in the loathsome contemporary meme of the serial-killer as culture-hero.

  179. I finally watched Bertolucci’s “The Conformist” a few months ago. It looks fantastic.

    I assume that the Italian American directors who emerged in the 1970s were inspired by the Italian directors of the 1960s to up their game, that they tended to believe that directing beautiful movies must be in their blood.

    Maybe the fine Mexican directors and cinematographers of the last 15 years will inspire a new generation of Mexican Americans?

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  180. The Irish got a lot of stuff built.

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  181. Don’t forget Disney Star O’Shea “Ice Cube” Jackson’s ode to white women, “Cave Bitch,” from shortly after his break with NWA:

    [MORE]

    Give me a black goddess sister I can’t resist her. No stringy haired blonde
    Hair blue eyed pale skinned buttermilk complexion. Grafted recessive
    Depressive ironing board backside straight up and straight down. No
    Frills no thrills Miss six o’clock subject to have the itch mutanoid
    Caucasoid white cave bitch

    Ease back white bitch I don’t play that
    Just because I got on my L.A. hat
    Stalkin’ walking in my big black boots
    Is my jingle, now you want Mandingo
    Big, black and handsome
    I should hold your devil ass for ransome
    Sorta like Patty Herst, but I’ll burst first bitch
    And you know what’s worse
    I’m coming from the land where the choppers roam
    So phuck you bitch and your Coppertone
    Stringy hair, no derrier, frontin’ and fakin’ with your silicone pair
    Do I want to phuck? Not hardly
    That’s kinda like Barbie phuckin’ Bob Marley
    It ain’t gonna happen, I keep rappin’
    Motherfuck Teniell, but see I’m the Captain of this ship
    And I’m true to the game
    Ya all look the same
    Standin’ by my backstage door, hopin’ that’ll switch
    Spread out you little cave bitch

    Why everytime we get famous
    You want to play us like Andy and Amos?
    The devil sent you to try and tame us
    But you can’t tame me, with no bitch named Amy
    Lookin’ for the dark meat
    But ho, I ain’t tryin’ to go out like Barkley
    ’cause everytime I turn on the TV
    I see several brothers with she-devils
    Smilin’ ’cause you out on a date
    But sooner or later, the bitch’ll yell rape
    Soon as daddy found out you a jigaboo
    He’ll kill like he did Emmitt Till
    Yah, he tried to kick bass
    But the bitch probably threw it in his face
    Sargent Bale ain’t nothin’ but a trick
    Nasty as hell, stanky little cave bitch

    Now don’t think that I hate you
    ’cause I won’t date you, bitch I gotta stay true
    You can be a fan, but don’t expand
    And try to get my dick in your hand
    You better run to the minute man
    Pale as snow, so act like ya know
    ’cause if I slap it, flip it, and rub it like that
    Yeah, it gotta be black
    Plus yo ass too flat
    I need a butt big enough that can clap
    Rat-a-tat-tat
    You can’t get mine ho
    I’d rather phuck an albino
    At least I know, she’s comin’ from the Nubian
    And not the Ku Klux Klan that you be in
    And I don’t give a fuck if your family is rich
    You’re still a little cave bitch

    Songwriters: JACKSON, O’SHEA / GALLOW, BRIAN (P/K/A BRIAN G.)
    © Warner/Chappell Music, Inc., Universal Music Publishing Group, WARNER CHAPPELL MUSIC INC, S-DA BASS MAN’S MUSIC
    For non-commercial use only.

    Data From: LyricFind

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  182. “Idiocracy” was oriented towards teenagers?!

  183. Yes, it was a good comment. But why can’t he sign them all as Priss?

  184. The Irish got a lot of stuff built.

    So did Herod. And Lieutenant Colonel Nicholson.

  185. Keith Vaz [AKA "Sir Charles Pipkins"]
    says:
         Show CommentNext New Comment

    Simple solution: Segregate oscar ceremonies by race. The blacks can have their Special Olympics and we wouldn’t have to put up with their incoherent, low IQ whining.

  186. Aside from the Nobel Peace Prize (+ 1 Economics + 1 Lit), there aren’t any black Nobel Laureates.

    As of 2015, 15 Nobel Prize winners have been Blacks.

    Wikipedia, https://en.wikipedia.org/wiki/List_of_black_Nobel_laureates

  187. Writing simply is a lot harder than you imagine. Try it sometime.

    Twain once apologized for a long letter to a friend; he just didn’t have the time to write a short one.

    There’s also an inverse relationship between the complexity of a tune and the lyric set to it. The brain can only process so much at once. Song lyrics always sound vapid when read next to written poetry.

    IW2HYH has a wonderfully concise lyric for a tune that bounces all over the place like a carnival ride. (And a mighty fun one at that.) A perfect match.

    And note the admirable restraint. The singer doesn’t want to take her home for all eternity, like a doo-wopper would. He doesn’t want to drag her up to his garret for a quick pound, as Elvis, Mick, or Oscar Brand would. He wants to hold her hand!

    Amen to that!

    • Agree: Harry Baldwin
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  188. You must really hate, then, the Masses of Beethoven, Haydn, Mozart, Schubert, etc. The same text over and over and over. How insipid and unoriginal can you get? How many times must one sing “kyrie eleison” before people get the point?

    LOL!

  189. “And Scorsese finally won for… the dreadful THE DEPARTED.”

    He found an answer to stereotypical Italian crime flicks … … a stereotypical Irish crime flick.

  190. The author of a biography of Paul McCartney said the same thing. Never a McCartney fan especially, but I did start to understand how difficult it is to write a pop song. Harder to be simple than complex in a way; simple, universally understood theme and lyrics, and yet able to arouse complex thoughts and feelings that linger. Very tricky. And then there’s the melody, which is even harder to get right. You think there’s a limited amount in the universe, and yet new ones keep getting done.

  191. I assume that the Italian American directors who emerged in the 1970s were inspired by the Italian directors of the 1960s to up their game, that they tended to believe that directing beautiful movies must be in their blood.

    In the case of Martin Scorsese, some of that Italian influence was actually Italian-American. He was a great admirer of Vincente Minnelli :

    Vincente Minnelli (February 28, 1903 – July 25, 1986) was an American stage director and film director, famous for directing such classic movie musicals as Meet Me in St. Louis, Gigi, The Band Wagon, and An American in Paris [...]

    Born and baptized as Lester Anthony Minnelli in Chicago,[2] he was the youngest of four known sons, only two of whom survived to adulthood, born to Marie Émilie Odile Lebeau (stage name: Mina Gennell) and Vincent Charles Minnelli. His father was musical conductor of Minnelli Brothers’ Tent Theater. His Chicago-born mother was of French Canadian descent with a strong probability of Native American (Anishinaabe) lineage included via her Mackinac Island, Michigan born mother.[3] The family toured small towns primarily in Ohio, Indiana and Illinois before settling permanently in Delaware, Ohio.

    Paternal grandfather Vincenzo Minnelli and great-uncle Domenico Minnelli, both Sicilian revolutionaries, were forced to leave Sicily after the collapse of the provisional Sicilian government that arose from the 1848 revolution against Ferdinand II and Bourbon rule. Domenico Minnelli had been Vice-Chancellor of the Gran Corte Civile in Palermo at the time he helped organize the January 12, 1848 uprising there.[4] After the Bourbon return to power Vincenzo reportedly hid in the catacombs of Palermo for 18 months before being successfully smuggled onto a New York-bound fruit steamer.[5] While traveling as a piano demonstrator for Knabe Pianos, Vincenzo met his future wife Nina Picket during a stop in Delaware, Ohio.

    https://en.wikipedia.org/wiki/Vincente_Minnelli

  192. Blacks are actually overrepresented in American movies, just not in good ones. There is usually only one black film a year that is anywhere near acceptable to be nominated for any Oscars. This year it was the NWA movie. Last year it was Selma. Next year it will probably be the Jesse Owens biopic Race.

  193. Uh, yes…

    Ranks up there with Roberta Flacks ‘First Time Ever I saw your face”; Louis Armstrong’s “We Have all the time in the World, for Love”; and of course “You are the Wind Beneath My Wings”. After all, timeless works of art when expressed in love songs are just that–timeless, eternal, classic, etc.

    Just compare the lyrics side by side

    “Cave Bitch”:
    You can be a fan, but don’t expand
    And try to get my dick in your hand
    You better run to the minute man
    Pale as snow, so act like ya know
    ’cause if I slap it, flip it, and rub it like that

    “First Time Ever I Saw Your Face”
    The first time ever I lay with you
    I felt your heart so close to mine
    And I knew our joy would fill the Earth
    And last, and last, and last till the end of time

    And also: “Wind Beneath My Wings”
    Did you ever know that youre my hero?
    And everything I would like to be?
    I can fly higher than an eagle
    For you are the wind beneath my wings

    Just compare these and other songs side by side with “Cave Bitch” and its obvious which one was written by grown ups and which one was written by a semi-literate 12yr old.

    I mean, there’s no costest. In “Cave Bitch”, you can just hear the mature commitment to the woman for her mind, soul, body…and heart. Also the fulfillment, no arrested development a la mind of a 12yr old in an adult body, you can tell that “Cave Bitch” just reeks of timeless mature songwriting. IF ONLY more songwriters these days could write like that. It does harken to Nikki Minaj’s “Toss My Salad” so its good to see that Cube’s NWA days did have a lasting impact upon music scene at large. Clearly is a classic and one of Cube’s best ever compositions.

  194. You know, even Christopher Guest’s “A Mighty Wind” mockumentary of the folk music biz has some well written songs that can stand on their own. “A Kiss at the end of the rainbow” was actually Oscar nominated back in ’03, by the way. “One More Time” is another good ballad as well.

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  195. I think for the purposes of statistics, if we are going to deconstruct “white”, best to use the word gentile. Makes it all the more clearer..

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  196. I think for the purposes of statistics, if we are going to deconstruct “white”, best to use the word gentile. Makes it all the more clearer..

    Why stop there? We could also split up Europe (Northwestern Europeans, Southern Europeans, Eastern Slavs, etc):

    Ethnic origins of Forbes world billionaires (2013)

    Northwestern European 415 29.10
    Asian or Pacific Islander 313 21.95
    Jewish 249 17.46
    Middle Eastern or Central Asian 120 8.42
    Eastern European 95 6.66
    Southern European 84 5.89
    (New World) Hispanic or Brazilian 75 5.26
    South Asian 69 4.84
    Black 6 0.42
    total 1426 100

    http://racehist.blogspot.com/2013/04/ethnic-origins-of-forbes-world.html

  197. says:
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    “One of Lennon’s greatest was the serious introspective ‘In My Life.’”

    That’s a very fine song. I would call it personal than serious.

    By ‘serious’, I’m talking of his forays into avant-garde and touches of ‘modernism’ in stuff like ‘She Said She Said’, ‘Tomorrow Never Knows’, ‘I’m the Walrus’, and etc.

    ‘She Said She Said’ is a cool song, sort of clever commentary on Peter Fonda and the burgeoning drug scene, but there’s an element of strain. Lennon was envious of Dylan, and he must have noticed others — Kinks, Byrds, Stones, and etc — were taking Rock music further.

    ‘Tomorrow Never Knows’ is sort of embarrassing. Pop song about Tibetan Book of the Dead? I mean please.

    ‘I’m the Walrus’ is, at best, a kind of goofy children’s song, but I think Lennon meant it to be more.
    Beatles were best as a pop band. Why did YELLOW SUBMARINE the movie work so well? It was for kids and teenyboppers.

    I think McCartney and Ringo were content with Beatles as pop band. Harrison sought seriousness as a crutch because he wasn’t as good at writing pop songs.
    There is genuine seriousness, but there is also seriousness as mask for lack of genuine talent. In cinema, you can always tell the real serious talents like Bergman and Tarkovsky and seriousness-as-crutch artists like Hou Hsiao-Hsien and Theo Angelopolous. Harrison could write maybe one good song a year, if that.

    Lennon had real talent and he was intelligent enough to strive for more.
    Nothing wrong with that. But he had a self-indulgent streak, and when this side was encouraged by the hideous Yoko, he ended up with crap like Revolution No.9 (and later the atrocious s0lo album SOMETIME IN NY CITY).
    Even with rock/pop, he could get carried away. ‘I Want You’ could have been a nice enough hard rock song, but it goes on and on and on as some kind of symphony. It’s like stretching a noodle too thin. But Lennon was too full of himself to realize how self-indulgent he was being.

    McCartney was very good, even brilliant at times. It can’t get any better than ‘All My Loving’, ‘Yesterday’, and ‘Penny Lane’. And ‘Fool on the Hill’ is a very strange song.
    But a lot of his song were very safe, too much in the comfort zone of pop.
    Lennon, in contrast, had a certain edginess and eccentricity, odd contours.
    This is why gives the extra kick to songs like ‘Ticket to Ride’ and ‘Help’ and ‘Happiness is a Warm Gun’(sort of strained but memorable).
    ‘Yesterday’ is a great classic, but it lacks the purple nuances of ‘Norwegian Wood’.
    Had Lennon used his edginess sensibly, he could have gone on spicing up pop songs with something a bit more. But he made this special spice into the main course, and his songs became increasingly self-indulgent.
    I still rate Lennon slightly higher than McCartney because I prefer the early Beatles, and Lennon was clearly more important from 62 to 65.

    Songs like Obladi, Hey Jude, and Maxwell Hammer are very good but predictable. McCartney became too much like the later Truffaut. He wasn’t breaking new ground anymore. Still, he was the steady hand of the Beatles from 67 to 70 when Lennon was becoming increasingly erratic and nutty.

    “But to put down the greatest group to come out of England (certainly the one that has influenced more rock bands in history) by comparing them to DC5 is just plain ridiculous. Come on, comparing them to the banalities of the Dave Clark Five?”

    Dave Clark Five was stupendous up to 65. But they faded because they couldn’t mature and change. I love ‘Catch Us If You Can’ and ‘Because’ and etc.

    As for the greatest Rock group…. wouldn’t you say the Rolling Stones took that title, if only because they outlasted the Beatles by more than 2 decades?

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  198. Countenance blog posted a short and good rant about “Straight Outta Compton” and by a guy nicknamed Paul Kersey also posted a good rant about the Oscars.

  199. says:
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    “Meh. I prefer works like Sgt Pepper. It’s more interesting, less insipid and stands up to repeated listens a lot better than the songs you mention. Similarly, I think the most brilliant work of the Beach Boys is also Pet Sounds and Smile, though the latter, much like ‘The Piper at the Gates of Dawn’ is both musically brilliant for the most part but also crazy.”

    I think of SGT PEPPER as like engine oil. The album is really a music machine. It is a contraption. We can feel pistons running, the oil flowing… when it works. But then, the engine runs uneven, and we can feel the strain of oil oozing around in GETTING BETTER and FIXING A HOLE. And the engine goes dead cold with SHE’S LEAVING HOME and WITHIN YOU WITHOUT YOU. They suck almighty.
    Sometimes, the engine runs but the car ain’t moving: Benefit of Mr. Kite.
    Sometimes, the engine runs smoothly, but the scenery is lame: When I’m 64. What is a Cole Porter tune doing there?

    But even when it runs well, it’s an engine, a machine. It never feels organic or natural. It sounds like a piece of engineering.

    Even in a good song like the title opener, it’s all spark plugs.

    Lovely Rita is one hell a song, but then it gets all porny and stupid.

    A Day in the Life is the only great song, and very great, but even that has too much of that avant-garde symphonic crap. But then, at least the album has taken flight with that song and glides into dreamland.

    I don’t know why early Beatles is insipid. It is innocent, inspired, ingenious.
    There are no pretensions. It has the power of rock n roll but as a smooth ride.
    Early rock n roll was like a choo choo train. It was powerful but chugga-chugga-chugga, bumpity-bumpity.

    Beatles and Beach Boys — and Brill Building, Motown, and Phil Spector — took the energy of Rock n Roll and streamlined it for smooth driving. It had turned from a train to a sports car on the highway. And then, it even took off and became gravity free with Byrds and other British Invasion greats.

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  200. Hey, I’ll put Spinal Tap’s “Big Bottom” and “Sex Farm” up against any rap or hip-hop song.

    And absolutely seriously, “Gimme Some Money” can hold its own with the great garage-rock classics like “Louie Louie”.

  201. says:
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    I just watch the red carpet for the gowns, hairstyles, and makeup, and the handsome men in suits. Although lately Hollywood has been failing on that front too, what with the dragqueen makeup and awful spray tans. Deserving people and movies do get nominated and sometimes win often enough, but even then, there are so many snubs and undeserving nominees in the same category that it mutes the win. But the significance of the Oscars to industry insiders cannot be overstated. An Oscar gives a huge career boost to the recipient, even if they’re already well-established, and all the people professionally involved with them, in ways that are not understood by the movie-watching public.* Award shows are entertainment to us, but huge business to them, and an Oscar is the Holy Grail of awards.

    Complaints about all-white Oscars are exactly the same as the push for diversity in other lucrative fields. Last year, were the people complaining about Selma being mostly snubbed under the delusion it was anything but a truly boring, forgettable work? Everyone knows the Oscars are often not meritocratic anyway, so why shouldn’t everyone get a piece of the pie? I don’t endorse this, but I do understand it. The assumption must be that once minorities get a leg in, they’ll be able to secure the funding for more movies starring African-Americans, middle-aged actresses, gay actors etc.

    *As for those whose career didn’t amount to much after winning, the usual argument is a lack of opportunities, especially for minorities. I definitely don’t think they have it the easiest in Hollywood, but so many unconventional actors and filmmakers have succeeded. There has to be a lot said about mismanaging your career and making poor choices.

  202. greatest Rock group…. wouldn’t you say the Rolling Stones took that title, if only because they outlasted the Beatles by more than 2 decades?

    Jagger said in the ’60s that the Stones weren’t a rock band at all, but a rhythm and blues group. He should’ve stuck to his guns.

    Vestigial DC5 fans might want to check out the week David Letterman went on vacation and Paul Shaffer took his spot. So who took Shaffer’s spot? Mike Smith, the Five’s singer and organist, the real performing talent of the group.

    Not long afterwards, Smith was paralyzed in an accident at his home in Spain, and died in 2008. Only Dave and Lenny survive.

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  203. “If they were as interested in accomplishment…”

    I spent a lot of time playing basketball with black guys in my twenties, but it took me a long time to understand this problem. Black people have an honor culture, it’s hereditary and genetic in origin. It means that satisfying personal honor is what matters. When that is completed, they’re done. In that culture, “fronting” is as good as accomplishment, because other black people accept it as if it was a form of currency.

    The majority white culture doesn’t accept that currency, the exchange rate is effectively zero. This confuses and infuriates black people, it’s completely understandable. I don’t think black people understand how, for example, a white college can make a decision about admission just using numbers; GPA, APs, SAT, ACT. White people understand that these numbers translate to both native ability, self-discipline, academic accomplishment. (Back in the day, a college admission form was a half-page, along with scores and transcripts.) I think it makes black people feel invisible.

    Anyway, I’ve had it with the BLM movement. If you want, go check out Diamond and Silk if you want to see black ladies who really get it.

    I can’t figure out what your point is or how your example illustrates it. It’s very frustrating.

  204. says:
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    “Jagger said in the ’60s that the Stones weren’t a rock band at all, but a rhythm and blues group. He should’ve stuck to his guns.”

    Rock is less a musical genre than a musical culture. While not everything is rock, just about anything can be incorporated into rock. So, if McCarntey did a Cole-Porter-like tune, it was rock. If Moody Blues performed symphonic songs, that was rock too.

    Stones were mostly blues and rhythm & blues up to 64. But their sensibility was pretty much aligned with Rock culture by 65.

  205. John Shaft was marketed as being cooler than Bond. Coupled with the over-the-top scenes and the incredibly unsubtle name for the protagonist, it had just enough “Blaxploitation” themes to be considered part of the genre. I am pretty sure several black kids (maybe some whites too) from that era wanted to be John Shaft. Several Blaxploitation films are essentially took older movies, settings, and themes but with majority black actors.

    I do agree that it was an entertaining movie with a good soundtrack though I think Superfly is beats it in over-the-topness.

  206. There are few things more painful than reading supposedly grown men arguing over the relative merits of The Beach Boys, The Beatles, The Rolling Stones, David Bowie, NWA (!) &c &c &c.

    “Extraordinary how potent cheap music is.”

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  207. “As for the greatest Rock group…. wouldn’t you say the Rolling Stones took that title, if only because they outlasted the Beatles by more than 2 decades?”

    That’s funny. Or are you being serious about a group that hasn’t done much of anything since about 1972? And they still haven’t outsold the most commercially successful rock group of all time. No has actually.

    REMEMBER: The number one group of all time is also the number one group that everyone recalls first to the question “Which group defines the 1960′s?” or “Which group changed the course of rock and roll and made it into pure Rock music?” Only one answer comes to mind, and its not the Byrds, the Stones, etc.

    It’s the Beatles.

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  208. “SHE’S LEAVING HOME…They suck almighty.”

    Now that’s a lie. That is a lie. That’s a great song, should’ve been released as a single.By the way, originally George’s “Only a Northern Song” was going to be released on Sgt Pepper but instead they went with Within You. Shame.

    You also forgot an excellent song, LUCY. That song still holds up. Avant Garde, pure psychedelia, etc whatever you want to call it, but definitely a song that defined the late 60s or the image of what people today think of what they were like.

    Another great song “All You Need is Love”. Great ballad for the late 60s.

    “When I’m 64. What is a Cole Porter tune doing there?”

    Yes, another great song. Thank you. Could’ve released that as a single as well. Cole Porter is considered to be one of the finest American songwriters of the 20th century, you do know that, correct? If Paul wanted to aspire to greatness, so be it, and not a bad tune to put up there.

    “It had turned from a train to a sports car on the highway. And then, it even took off and became gravity free with Byrds and other British Invasion greats.”

    There is the Beatles and THEN the rest of the Invasion greats. Let’s try to get the correct historical order in the proper format. Which group singlehandedly defines the 60s? Not the Byrds. Which group has been numerously imitated in popular culture? Which group singlehandedly put their stamp on how music is defined in the world of Rock?

    Look right now. Which group today, all these many years later, still provokes passions and opinions? The Byrds? Seriously? Like, who really remembers those golden oldies? What direct impact did they have on society at large? Answer: None.

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  209. There is a new feel good movie coming out in March called Race. It is the Jesse Owen story tarted up to today’s standards. It looks like it has everything: noble Black person, evil whites and Nazis! Should be good for 7 Oscars, $6 million box office, and DVD in April.

  210. While I appreciate you positive response to my post . In the future you should refrain from giving the donut any positive feed back as I am universally recognized as a nut job and racist . Any positive responses only encourage me to even more extreme posts which which our weak kneed limp wristed moderator is only too happy to let go by when he isn’t too busy tending to the patch of crab grass he calls a lawn .

  211. There are few things more painful than reading supposedly grown men arguing over the relative merits. . .

    Is someone forcing you to do that?

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  212. When I’m 64. What is a Cole Porter tune doing there?

    That song sounds nothing like Porter. The words are more reminiscent of Dorothy Fields, Gus Kahn, or Harry M Woods, and the tune a Sousa or Herbert piece played by the Salvation Army Band on a music hall stage. Maybe Isham Jones or Richard Whiting among American pop composers.

    Nothing wrong with any of that, but it ain’t Cole.

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  213. And the Oscar goes to … White People.

    That would’ve been awesome! A lifetime achievement award.

  214. Harrison could write maybe one good song a year, if that.

    And Ringo could write one a lifetime, but at least “It Don’t Come Easy” was a great pop song. As for Harrison, the pace was less than one a year. “Something” was a really good song; “Here Comes the Sun” was a really great song; and “While My Guitar Gently Weeps” was really close to being the best thing the Beatles ever did. But it wasn’t. “A Day in the Life” was.

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  215. says:
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    “That song sounds nothing like Porter.”

    You sure?

    https://www.youtube.com/watch?v=r7NJ9ylAhos

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  216. says:
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    I thought Beatlemania ended long ago.

    “Now that’s a lie. That is a lie. That’s a great song, should’ve been released as a single.”

    ‘She’s Leaving Home’ is a great song? It is so belabored.

    ‘Eleanor Rigby’ works beautifully because it is pop touched up with a smattering of poetry and classical motifs.
    In contrast, ‘She’s Leaving Home’ has McCartney’s pretentious finger marks all over it. It is trying to be a like Schubert song. It is a pale ludicrous imitation, rather like McCartney’s later STANDING STONE symphony which is loaded with overblown cliches.

    Your Beatlemania is getting in the way of proper appreciation.

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  217. Just the rhythm section. Try the 1967 hit version by Harper’s Bizarre:

    https://www.youtube.com/watch?v=sDyWhgWj7Pc

  218. … the best thing the Beatles ever did. But it wasn’t. “A Day in the Life” was.

    Bah. “Day in the Life” has long since surpassed “Yesterday” as the group’s most overrated song. Remember Lennon trashing McCartney’s “Another Day” in “How Can You Sleep?” I don’t see the difference between that song and Paul’s half of “Day”.

    John’s half started with his reading in the paper of his friend, Guinness heir Tara Browne, crashing his sports car. There was a conspiracy theory posted (how seriously, I don’t know) that Paul had in fact died, and Tara replaced him thenceforward. That would explain Wings!

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  219. And all of this is just making my point. The group that can inspire passions, emotions, debates and conversations….and it ain’t the Byrds, Dave Clark 5, or other golden oldies on the Hit Parade, Music of Your Life, etc.

    They live on, truly they do. Revolver’s half century anniversary this August, along with the 50 anniversary of their last concert live performance in the US (Aug. 29, ’66, at SF’s old Candlestick Park).

  220. “Children of Heaven” an Iranian movie was I thought , a gem and would have broken my heart if I had one .

  221. As for the greatest Rock group…. wouldn’t you say the Rolling Stones took that title, if only because they outlasted the Beatles by more than 2 decades?

    No, I wouldn’t. But then again, I am not a Stones fan. Paint it Black is clever and has some great hooks. Other than that, the Stones just don’t grab me.

    Longevity doesn’t really mean much. A lot of one hit wonder bands are still around but are no longer relevant. Even great bands like Metallica stopped producing new music that anyone wants to listen to after, say, Reload. And if they had broken up after the Black Album no one would think any less of them. After Reload their career was like that of MMA’s Chuck Liddell, refusing to hang up the gloves even though their best days were over.

    If an artist can nail something that competes with their best at an advanced age, it’s something different. Beethoven, writing his 9th Symphony in his 50s is a great example of this. Have the Stones done anything remarkable in their 50s?

  222. Bah. “Day in the Life” has long since surpassed “Yesterday” as the group’s most overrated song.

    Something can be overrated and the best. But I don’t know what people have been saying about the tune recently, and I’m an old man with young children, so I don’t listen to and contemplate my musical library. After all these years, I’m not sure I’ve even answered the most fundamental musical question: Dead or Airplane?

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  223. One one point I definitely disagree with you – Within You Without You. Far from sucking, the hypnotic drumming (stolen from India?) is echoed years later in Tool, especially the Lateralus album. If that is the only influence it has had, it’s still pretty big I think.

    And Fixing a Hole is one of the better tracks IMO. For the Benefit of Mr Kite is a great track. You are right, “When I’m 64″ doesn’t fit this seminal concept album, but since the Beatles with this album basically created the concept of a concept album, I think they get a pass here, and the fact that it is a great song.

    I don’t really see the whole engine oil metaphor you are using. I get it, but I think it’s misplaced. And it’s not as if you don’t like complexity, the song you think is great on the album is a complex, interesting song. I like complexity, I like Baroque, and especially I like musically interesting and hooky complexity, not virtuosic performances for the sake of itself.

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  224. says:
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    “That’s funny. Or are you being serious about a group that hasn’t done much of anything since about 1972? And they still haven’t outsold the most commercially successful rock group of all time. No has actually.”

    Stones didn’t release a truly great album after EXILE ON MAIN STREET, but their some of the later albums had their share of first-rate songs like Miss You and Start Me Up.

    “Which group defines the 1960′s?”

    The 60s decade was too complex to be ‘defined’ by one group. Of course, the media favored the Beatles because they were so popular and appealing as personalities(even when Lennon began to act really weird and shacked up with the atrocious Yoko). But the media always tend to have just a few favorites. It’s like Kurosawa is supposed to stand for Japanese cinema, Bergman is supposed to stand for Swedish cinema, and etc. Media always favor representation than range. They just want a handful of figures to represent a culture, an era, and etc. The overrated status of SGT PEPPER owes to its representational qualities. It perfectly embodied the meeting of pop and art in the summer of love.

    “Which group changed the course of rock and roll and made it into pure Rock music?”

    I would say Dylan deserves most credit for what became of 60s Rock.

    Beatles and Beach Boys exploded on the scene as pop music bands, nothing more.
    Now, nothing wrong with honest pop, and early Beatles and Beach Boys produced great honest pop.
    If Dylan had never existed, the Beatles, Beach Boys, Stones, and rest of them might have been content to work only in the popular vein, indeed what pop music eventually reverted to in the 90s and 2000s. Idol music dominates the charts and the discussion.

    But then, Dylan happened, and with BRINGING IT ALL BACK HOME, HIGHWAY 61 REVISTED, and BLONDE ON BLONDE, Dylan demonstrated that Rock music can not only be more personal and complex but join the ranks of real art. (Dylan’s shadow led to what came to be know as ‘rockism’, the critical favoring of personal vision and authenticity over merely fun music. Rockism favored the ideal of rock as personal art over the idol-centrism favored by the industry that fixated on formulas to crank out reliable quantities of hits. Rockism ran parallel with the cult of personal film-making in the New Hollywood of the late 60s and early 70s.) I think BLONDE ON BLONDE is one of the great works of the art of the 20th century. By this, I don’t just mean that it has artistic value. Any great work of entertainment has artistic value for its ingenuity, brilliance, originality, and/or skill. Consider the films of Charlie Chaplin and the best of Looney Tunes Cartoons. Or WIZARD OF OZ. So, even songs like ‘She Loves You’ and ‘I’ll Get You’ have artistic content. They are works of talent, inspiration, and originality. And they changed musical history.

    But when we say a ‘work of art’, we mean something with meaning, depth, and vision of truth. The stakes are much higher. And Dylan halfway got there with BRINGING, almost got there with HIGHWAY 61 REVISITED, and fully got there with BLONDE ON BLONDE — and with side one of JOHN WESLEY HARDING, the song ‘Lay Lady Lay’, and some songs on BLOOD ON THE TRACKS, especially ‘You’re a Big Girl Now’ and ‘Simple Twist of Fate’.

    Though Dylan sold fewer records than the Beatles and the Stones, they were taking cues from him, not the other way around. Lennon revered Dylan. Stones not so much, but Dylan’s spirit infected them in BEGGAR’S BANQUET and LET IT BLEED that combined inspired wordplay with blues, country, and rock n roll.

    While Beach Boys and Beatles burst on the scene with fresh new sounds, their sensibilities weren’t particularly groundbreaking or daring. They were working purely in the pop idiom, the one already perfected by Brill Building, Spector, Motown, and others.

    In contrast, Dylan was working toward something far more ambitious. He was moving away from faux-simple folkie idiom — mostly NY Jews and educated sophisticates pretending to be voices of the people — and drawing inspiration from the real poets, the personal artists. He tired of Woody Guthrie and Pete Seeger. His sensibility had more in common with Kerouac and Ginsburg who were trying to break boundaries. Folk movement demanded simplicity, earnestness, and innocence, or pretense of such. And Dylan didn’t want to be like Joan Baez or Peter, Paul, and Mary.
    He wanted to be a personal artist like the Romantic and Symbolist poets. Though Ginsburg was politically committed, his poem ‘Howl’(though not my cup of tea) refused to play by any rules. It was to poetry what Munk’s Scream was to painting. It made a real difference, and Dylan wanted to make a difference on his own terms. Dylan sensed that personal psychology is the most interesting realm for the artist.

    Simple-minded fools accused Dylan of ‘selling out’ when he went electric, but Dylan was as much moving away from mainstream pop as from the folk movement. Both were too simple and limiting as far as Dylan was concerned. Pop was about pretty tunes to give people what they wanted and rake in the bucks. Nothing wrong with that as long as the songs were good — and Dylan really dug the Beatles — , but it was not the way to art. And the folk movement was limited in terms of formal experimentation, subjects, and message. It was endlessly variations of ‘poor Negroes’ or ‘noble working class’ or ‘poor coal-mining hillbillies’.

    While Dylan’s music continued to be informed by folk and rock n roll, he was digging deeper into all sorts of musical traditions — as well as strange voices in his head that defied all musical categories — to forge a new kind of sound. The media called it ‘folk rock’, but it was hard to pigeonhole, especially because all the various influences had surrealistically melded together in strange alchemy. Especially in BLONDE ON BLONDE, you can’t really pinpoint which element is bluesy, which is country-like, which is rock-n-roll-like, which is circus-music-like, which is classic-like, etc. Every sound is alloy made of various idioms. Even genre-familiar sounds were played in odd keys or went off-kilter into unexpected directions. “Just Like a Woman” has elements of country but it doesn’t sound like a country song. “One of Us Must Know” sounds like rock n roll, but the emotions are too recessive and hidden to work like rock n roll where the passions burst outward. It roils and recoils, it rebukes with reluctance. Rock n roll is about confidence, but ‘One of Us Must Know’ is about doubt.

    While Beatles and Stones never got as ‘serious’ as Dylan, they understood that the game had changed. The 60s generation no longer saw music as mere entertainment, no matter how good. It no longer saw music as mere message or statement, as with folk music. It now embraced music as an expression of their deep personal truths.
    And that was the real birth of Rock culture. Rock turned 60s musical scene into the personal and artistic expression of the boomer generation. Dylan had done for music what people like Bunuel, Bergman, Antonioni, and the French New Wave did for cinema. Just as cinema became a full-blown art form, the highest ideal of 60s music was personal truth and rock as personal art and testament. And in this, Dylan was ahead of everyone. Before Lennon matured into a songwriter, he wrote the “You’ve Got to Hide Your Love Away” and “I’m a Loser” in imitation of Dylan. He came nowhere close, but he knew Dylan had shifted the entire paradigm of what music could be and should be. And there was no comparison. Lennon could surely do what Dylan couldn’t. Not in a million yrs could Dylan compose something like Ticket to Ride. Lennon had more talent as a pop composer of catchy tunes. But Lennon could come nowhere Dylan’s depth. Lennon’s idea of personal music was ‘She Said She Said’. In that year, Dylan came up with ‘Visions of Johanna’, a real mind-blower.

    The thing is Lennon wanted to be a personal artist like Dylan. And Dylan’s template either inspired or encouraged many others to do their own thing too instead of just trying to make hits or make (political) statements(like Baez and her ilk). Dylan even influenced black music, such as “Reach Out, I’ll be there” which surely was took some cues from Dylanism. And Jimi Hendrix may never have embarked on ‘white rock’ if not for Dylan. And not only because they both “couldn’t sing” but because both were willing to push the envelope in some faustian pact with the creative spirit.
    To be sure, neither were good singers in the conventional sense, but when it came to ideal of personal music, this could be an advantage because it was less about sounding good than sounding true to oneself. It is possible that Van Morrison, Neil Young, Pink Floyd, Lou Reed, David Bowie, Joni Mitchell, Paul Simon, and etc all would have eventually done what they did, but all of them were emboldened by Dylan’s initial foray into uncompromised personalization of his music into his own expression of truth.

    So, Dylan was ahead of everyone in personalism. And he was ahead of everyone in psychedelia though his music was never truly psychedelic. It was too rich and complex for such categorization. And just when everyone was into psychedelia, Dylan was ‘returning to roots’, which anticipated the same among Dylan, Stones, and others as the Summer of Love stuff got over-indulgent and lame. Indeed, Dylan has a habit of embarking on something new and then moving to something else just before the media came up with some label for it.

    As for the greatest rock band of all time, the Beatles vs Stones thing is apples and oranges. Both were great in their own way. And it would be unfair to match the Beatles with the entire Stones career since Stones were around for much longer. So, if we were to compare them, it makes more sense to compare Beatles from 62 to 70 with Stones from 64 to 72. That’s eight yrs for both of them. Stones finally hit their stride in 64 and really began to make their mark in 65, and they were great up to EXILE ON MAIN STREET.

    I like the Beatles more, and I think they were special in their own ways, but if someone put a gun to my head and demanded that I name one as the greatest rock band of all time, I’m inclined to go with the Stones, and there are several reasons for this.

    Stones had the richer sensibility, and in this, they had something in common with Dylan, even though they didn’t know what to do with it until Dylan triggered new possibilities of what could be done.
    Beatles loved American music, but their passions and references didn’t go very far. They loved rock n roll, which was explosive, fun, and even great on occasion, but in terms of sensibility, rock n roll was thin and shallow. It combined elements of rhythm n blues and country music to create a new kind of teenage dance music. It was fun and fabulous, but it was never meant to be anything more. A great sampling of this music in THE AMERICAN GRAFFITI album that came out with the movie. While rock n roll certainly grew out of earlier musical forms, it was essentially irreverent and amnesiac. It was about here and now and bobby socks and driving around.
    This was the main influence on the Beatles. They loved rock n roll, and they wanted to be famous singing for teenagers. The early Beatles were thus rather limited in their musical references and inspiration. Lennon wanted to be Elvis, McCartney wanted to Little Richard, Harrison wanted to be Buddy Holly, Ringo wanted to be Carl Perkins.

    But Dylan and the Stones were different. Young Dylan loved rock n roll but his curiosity was far-ranging. As a young lad, he visited a Negro who had a blues record collection. Dylan asked the Negro what he thought of rock n roll, and the Negro didn’t care too much about that stuff. While rock n roll was more exciting than blues and maybe even more inventive and ingenious, its sensibility was rather shallow and simple-minded. In contrast, blues was about tradition, life, experience, an outlook, anthropology, and understanding. It was less flashy but deeper and richer in meaning and emotions. And Dylan came to appreciate both modes. The irreverent amnesia of rock n roll and the more mature and even reverent forms of music such as country and blues. Of course, country and blues could be wild and irreverent too. There was honky tonk country and plenty of bluesmen could be salacious. But blues and country weren’t just about good times for teenagers.

    Like Dylan, the Stones had a genuine reverence for the blues and the deeper roots of American music. Jagger, Richards, and Jones loved it not only for pleasure but because they found its textures rich and deep. They heard history, tradition, pain, and authenticity in it. Of course, they knew rock n roll was faster and more furious and fun. But blues reached back farther and dug deeper. If Beatles were movie fans, they would have been content with big Hollywood hits. In contrast, Stones-as-movie-fans would have been more into the silents, the classics, and foreign cinema by more personal film-makers.

    Later of course, the Beatles did play catchup and broadened their musical horizons. But the core of Beatledom was defined by their early passion for Rock n Roll and not much else. In contrast, the core of Stones was defined by their reverence for the rich tradition of blues. Rock n roll was all about fame, narcissism, and fun. The whole point of singing rock n roll was to make it. While blues singers had, of course, wanted fame and fortune too, blues was a way of life. One devoted oneself to it even if there was no rewards down the line, even if one never made much money.
    Because of this element, even as the Stones went for fame and fortune, there was something about them that was truer, deeper, and more genuine than was the case with the Beatles.

    We can believe that even if the Stones had never gained success, they would have continued to respect and love the blues simply out of reverence.
    In contrast, if success had eluded the Beatles, they would have just given up on the whole thing since their passion, rock n roll, was about making it.

    https://www.youtube.com/watch?v=ZaM6lTmhnak
    Consider the scene in GHOST WORLD where Steve Buscemi goes to a bar to listen to some old Negro guitar-player. Soon after, a white ‘blues’ band comes on and plays loud and fast. The formative sensibility of the Beatles was like that white band. They just wanted to make people dance and win fame for themselves. They didn’t really think about the music they were playing. Besides, they were all ne’er-do-wells who messed up in school and didn’t have much use for learning.
    In contrast, Jagger and Jones were especially well-educated, and their approach to music was more thoughtful and reflective. Though Richards didn’t grow up as privileged, he too had a great love of the blues.
    There was something of the Buscemi character in Jaggers, Jones, and Richards.
    But then, they were a lot cooler too, and they wanted to make it too, and in time, the Stones began to follow in the footstep of the Beatles. Even so, their initial passion for the blues always defined what they were. Like Dylan, they never forgot what got them started on their musical path. Stones had that mix of reverence and irreverence which made their sensibility perverse and fascinating. One might say the same of Quentin Tarantino, whose movies are like an homage and mockery of the movies he loves. But then, the dork-jerk factor in Tarantino makes it impossible to take him seriously.

    Because of the shared passion of the big creative three — Jaggers, Jones, and Richards –, the Stones were a more organic band than the Beatles. Once their infatuation with rock n roll faded among the Beatles, the big three — Lennon, McCartney, and Harrison — went in separate directions. It was like three bands in one band. There was an advantage in this because each had something unique to offer. But increasingly, beginning in 1965, the Beatles sounded less and less like an organic unit. From 62 to 64, the Beatles sounded inseparable as everyone was on the same wavelength and strumming to the same vibes. But especially beginning in 66 with Revolver, it sounded like the others were lending support to Lennon or to McCartney or to Harrison. They no longer sounded wholly integrated. And the producer George Martin’s sensibility was only in sync with McCartney.

    In contrast, the Stones sounded like they were all on the same page. Jagger-Richards wrote the songs, Jones filled in the eccentricities, and Wyman and Watts were content to play the instruments in support of the other three. And the great passion of each member of the Stones was either something other than rock n roll or went deeper than that.
    Each knew his place and what was expected of him. (It became more problematic with Jones as time went by because he had the creative energy but lacked the song-writing skills. As such, he tried to compensate by leading the band toward more esoteric experimentalism in sound, but Stones’ kind of music could allow only so much