“This man has no dick.”—Bill Murray in Ghostbusters
Another day, another massive, Matterhorn-sized pile of shit for Mitt Romney to step in. In this case, it was actually some shit with a long fuse that he stomped around in awhile back that was caught on videotape. Today that tape came back to haunt him. Today was the day, as Esquire’s Charles P. Pierce so brilliantly put it, that Mitt Romney “declared a class war on himself. “
In a closed-door meeting with an inner circle of high-end, millionaire GOP donors, Romney let his hair down—as much as he ever does, of course—and testified to his fine-feathered friends that:
“There are 47% of the people who will vote for the President no matter what. All right, there are 47% who are with him, who are dependent upon government, who believe that they are victims, who believe the government has a responsibility to care for them, who believe that they are entitled to health care, to food, to housing, to you-name-it. That that’s an entitlement. And the government should give it to them. And they will vote for this President no matter what…These are people who pay no income tax.”
Here was Romney raw and unplugged—sort of unscripted. With this crowd of fellow millionaires, he apparently felt free to utter what he really believes and would never dare say out in the open. He displayed a high degree of disgust for nearly half of his fellow citizens, lumping all Obama voters into a mass of shiftless moochers who don’t contribute much, if anything, to society, and he indicated that he viewed the election as a battle between strivers (such as himself and the donors before him) and parasitic free-riders who lack character, fortitude, and initiative. Yet Romney explained to his patrons that he could not speak such harsh words about Obama in public, lest he insult those independent voters who sided with Obama in 2008 and whom he desperately needs in this election. These were sentiments not to be shared with the voters; it was inside information, available only to the select few who had paid for the privilege of experiencing the real Romney.
“Generally you don’t see that kind of behavior in a major appliance.”—Bill Murray in Ghostbusters
He said this shit, too:
My heritage, my dad as you probably know was the governor of Michigan and was the head of a car company. But he was born in Mexico, and, uh, had he been born of, uh, Mexican parents, I’d have a better shot at winning this. [Rich donors cracking up]
But he was unfortunately born to Americans living in Mexico. He lieved there for a number of years. And, uh, uh, I say that jokingly, but it would be helpful to be, uh ... Latino.
I hope none of you had liquids in your mouth when you read that last one, but I would imagine that whopper of a line left plenty of shorted-out computer keyboards and iPads in its wake.
And best of all, he said THIS:
“We ... we, uh, use Ann sparingly right now so that people don’t get tired of her.”
I can think of at least one numskull Mormon multi-millionaire Republican Presidential candidate who’s going to be sleeping on the couch tonight. You, too?
If Romney is this comically clueless when it comes to talking about his own wife in public, how would Mittens fare with the G8 leaders and NATO? Vladimir Putin probably can’t wait to look deep into Mitt Romney’s eyes and make him piss right in his pants…
I’ve always seen Mitt Romney as “Thurston Howell III” from Gilligan’s Island, but he’s really much closer to another Jim Backus character: “Mr. Magoo”!
Happily, we’ll probably never get to find out what sort of damages Mitt Romney and Paul Ryan would inflict upon America. I am actually starting to give a lil’ credence to those wingnut conspiracy theories that Mitt Romney is a Manchurian candidate sent to infiltrate and then destroy the Republican Party. I mean, this guy sucks! He’s the worst of the worst. How can Mittens even top this latest misstep? Pull his dick out during the third debate?
“This chick is TOAST!”—Bill Murray in Ghostbusters
“Mitt Romney wants to help all Americans struggling in the Obama economy. As the governor has made clear all year, he is concerned about the growing number of people who are dependent on the federal government, including the record number of people who are on food stamps, nearly one in six Americans in poverty, and the 23 million Americans who are struggling to find work,” Romney spokesperson Gail Gitcho said in a statement. “Mitt Romney’s plan creates 12 million new jobs in four years, grows the economy and moves Americans off of government dependency and into jobs.”
AS IF this even begins to address this latest mess. So sweet to watch this shit happen in real time. And it’s not even like I’m “rooting” for the Democrats or Obama to win, I just want to see Mitt Romney and the Republicans lose!
UPDATE: Romney himself finally made a statement about the videotape at a press conference Monday evening, via AP
Republican Mitt Romney says a video clip in which he called nearly half of Americans “victims” was “not elegantly stated” and was “spoken off the cuff.” But he says President Barack Obama’s approach is “attractive to people who are not paying taxes.”
The Republican nominee did not disavow the comments but said they were made during a question-and-answer session. He said it was indicative of his campaign’s effort to “focus on the people in the middle.”
Not elegantly stated? Oh my, now aren’t we deluded?!?!
During the presser Romney called for the entire videotape to be released. Mother Jones seems happy to oblige him. MJ reporter Adam Serwer tweeted:
“Mitt wants the full video huh? Well don’t worry, there’s more to come.”
The liberal American Bridge PAC has already hit Romney, hard, over his private remarks with a viral video. Watch until the end:
At a campaign event in Cincinnati this morning, President Obama really got his audience’s enthusiasm flowing. One man apparently drank in a little more of Obama’s greatness than everyone else, and, unable to contain himself any longer, he snuck off to relieve some pent-up pressure, killing some grass in the process…
As the Firesign Theatre would say: “It’s in the water!”
With his face smeared with red ochre, that came off the lavatory walls, Lindsay Kemp made his debut dancing Salome as a pupil at an all boy’s boarding school in the north of England. Kemp had always wanted to dance the Seven Veils, ever since he had seen Rita Hayworth seduce on the cinema screen. That night Kemp was wrapped in toilet paper, and made his entrance from a cupboard in the dormitory. Bicycle lamps illuminated his performance, as he danced to the sound of a mouth organ.
This is Lindsay Kemp recalling his first performance in a TV interview. Kemp talks about his performnace, and how he takes everything that is inside and releases it, so that the audience can believe all that he performs is true.
This is a rare and incredible piece of archive, showing Kemp and his brilliant fellow dancers (including The Great Orlando) preparing and performing an extract from Salome, in 1977. In the interview, Kemp goes on to mention how a production of Turquoise Pantomime, caused offense to the Matrons of Galashiels, that led to a bun fight, and the headline “Blue Show Offends Matrons”. Kemp finishes flirtatiously telling the interviewer how some people think he’s impure, because he opens his mouth. Wonderful!
Loren Coleman may well be a modern-day Cassandra, but when I first happened upon his Twilight Language blog in July – via Christopher Knowles’s frequently fascinating The Secret Sun – I considered it an example of conspiratorial “synchromystic” navel-gazing par excellence. Instantly apparent, for instance, was the seemingly obligatory preoccupation with Christopher Nolan’s Batman films, in this case The Dark Knight Rises. I saw Coleman had done three consecutive posts on the movie – due for its US release the next day – and I browsed through them with a slightly superior air.
Essentially, it seemed to have caught Coleman’s eye for the same reason it had Rush Limbaugh’s – the “Bane” (as in, the villain) and “Bain” (as in Mitt Romney’s villainous company) homonym. While Coleman had no truck with Limbaugh’s widely ridiculed conspiracy theory that the correspondence was a Democrat propaganda ploy, he appeared to think that the “coincidence” (ahem) warranted scrutiny to an extent that I initially found idiotic.
So, Coleman examined the etymology of the two words, looked into the character called “Bane” and detailed the filming locations for the movie (these included a Romanian Masonic temple, wouldn’t ya know?). For the last in the short series – posted that morning (07/19/12) – he looked into the significance of the following day’s date, noting that it was historically associated with space exploration and assassinations. Finally, he moved on to events that had occurred on the release dates of the previous Dark Knight films (including Al Qaeda raids and a crane disaster), and observed that, almost exactly a year ago, Anders Breivik had embarked on his infamous killing spree on a day that also saw the release of Captain America, a movie that reportedly kicks off to the sound of Nazi rapid fire in Norway.
It was becoming obvious that Coleman’s analysis was not piecemeal, but cumulative – the assembled “data,” which meant next to nothing to me, had aroused his foreboding enough for him to describe the release of The Dark Knight Rises as “rushing towards us.” The very last words he would post prior to the Aurora massacre where these:
“What will happen on July 20, 2012?”
It ain’t often you seem to read tomorrow’s news today, and I certainly experienced an otherworldly chill when I learned of the shootings the following afternoon. And there was more…
Something I didn’t realize when I first came upon Twilight Language was that the blog’s founding and enduring purpose was to promote and elaborate upon Coleman’s 2004 book The Copycat Effect, an entirely sober work of behavioral science examining the media’s role in causing and exacerbating outbreaks of violence through sensationalistic wall-to-wall news coverage of suicidal and homicidal acts, as well as through violent film and music.
Funnily enough, it was in this precise context that Coleman had previously written of Nolan’s films, having predicted and then documented the emergence of copycats inspired by Heath Ledger’s Joker in 2008’s The Dark Knight. James Holmes, of course, would shed his gas mask, body armor, and fatigues to reveal that beneath his distinctly Bain-reminiscent exterior, he was himself a self-proclaimed Joker copycat.
Coleman’s ongoing analysis of Aurora’s aftermath has almost been as impressive as his anticipation of it. There has been, for example, the extensive copycat incidents that have proceeded it (you may have noticed the high number of mass shootings over recent months), not to mention the surrounding coincidences that connect them – ranging from the Sikh Temple shooter’s living on Holmes Street, to the name of the Quebec shooter being Richard Henry Bane.
In the immediate wake of the Aurora killings, Coleman observed that Aurora means “dawn” in Latin, while Colorado translates as “red”: red dawn, a traditional warning. He showed that related symbolism occurred everywhere, implicit in both the film’s title The Dark Knight Rises, and its subtitle, A Fire Will Rise. In The Dark Knight, character Harvey Dent voices the following line “The night is darkest just before the dawn, and I promise you, the dawn is coming.” Obama, referring to the Aurora survivors: “It reminds you that even in the darkest of days, life continues and people are strong. Out of this darkness, a brighter day is going to come.” Aurora is a hub of strangeness, what Coleman describes as a “complex ‘occult’ (as in the original meaning of the word, ‘hidden,’ not ‘paranormal’) synchronicity story of which more and more is being revealed daily.”
In recent correspondence with Coleman, I asked about his other predictions. There have been a fair few, many of them similarly ghoulish (homicidal and suicidal acts being an area of especial expertise). My asking inspired him to write up a selection of them, which you can read here. His acumen has previously led to attention from CNN, among others, but such coverage tends to emphasize his use of behavioral science and “pure psychology.” He encourages this, stressing that there’s “no magic here.” But there is a bit of madness in his method, to be sure.
I mean it as a compliment: that he seems to be able to make use of a Fortean/Jungian worldview of rippling relationships to peer into tomorrow’s news is riveting.
Ken Taylor’s artwork for the cover of the upcoming Quentin Tarantino Blu-ray boxset is a stunner. Will the folks at Austin’s Mondo Gallery (who collaborate with Taylor) print a poster of this? I hope so.
Lionsgate is releasing a Blu-ray boxset of all of Tarantino’s films on November 20th. “Tarantino XX: 8-Film Collection” will include Reservoir Dogs, Pulp Fiction, Jackie Brown, Kill Bill: Vol. 1, Kill Bill: Vol. 2, Inglourious Basterds, True Romance (screenplay by Quentin) and Death Proof.
I have to hand it to the crew at Get on Down, they really know how to do shit right. The specialty label known for their innovative packaging that actually has people purchasing physical copies of music again, today released their most ambitious project to date.
The latest in their hip-hop “Master Series” is a deluxe, limited to 1000 edition box set of Raekwon’s legendary “mafia rap” classic, Only Built 4 Cuban Linx, considered by some to be the greatest hip-hop album of all time.
From the press materials:
Hip-hop fans who will salivate at this reissue already know the story: in 1995, Wu-Tang Clan frenzy was at an all-time high. First there was the Wu-Tang Clan’s epic 1993 debut Enter the Wu-Tang (36 Chambers), which changed the shape of ‘90s hip-hop, with ripples that still resonate today. Then the solo albums, all produced by Wu patriarch RZA: first was Method Man’s Tical (late 1994), then Ol’ Dirty Bastard’s Return to the 36 Chambers: The Dirty Version (spring 1995).
By the time Raekwon’s debut was ready, fans were knocking each other over on album release day. And so, on August 1, 1995 as the legend goes, the first 10,000 cassette buyers – NOTE TO YOUNG’UNS: back in 1995, fans bought hip-hop albums on cassette more frequently than CD or vinyl – ran home and opened their plastic cases to discover that the tape itself was a stunning shade of lavender.
The rest, as they say, is history… and limited-edition history at that. After the initial purple versions, RCA Records switched to the usual clear plastic to house the legendary tape. “The Purple Tape” became an instant collector’s item, a Holy Grail for Wu-Tang disciples, coveted by those who could claim to be the earliest devotees of Raekwon’s lyrical genius. The album is still called “The Purple Tape” to this day, by Raekwon and other Wu-Tang members.
But, colors aside, let’s not forget about the album itself! Backed by arguably RZA’s most wide-ranging, hard-hitting and at-times lush beats on any Wu-Tang family album before or since, Raekwon and co-MC Ghost Face Killer run the lyrical gamut, introducing “Wu-Gambinos” slang, dishing out “Ice Cream” for the ladies, and melting “Glaciers of Ice” along the way to influencing just about every MC who followed in their wake.
Boasting five singles – “Heaven & Hell,” “Glaciers of Ice” (promo only), “Criminology,” “Ice Cream / Incarcerated Scarfaces” and “Rainy Dayz” – the album was revered from the get-go, earning 4.5 out of 5 Mics in The Source (retroactively upgraded to 5 Mics in 2002) alongside raves in publications from SPIN to the Los Angeles Times. It went gold in two months.
Beyond Ghost Face (who shines on 12 out of the album’s 17 tracks), guest appearances from Nas, Method Man, Inspektah Deck, Master Killa, RZA and the debut of Cappadonna (aka Cappachino) locked the album as an undisputed classic. It’s a record that hit hard in 1995 and continues to resonate with new fans to this day, 17 years later.
As Raekwon explains in the new “Purple Tape Cassette Box” liner notes book: “A lot of rappers wasn’t being creative [at that time] and we came with a potion that just shocked the game. We introduced shoes, we brought about different names and aliases. That record inspired maybe 95% of the game’s lyrics [afterwards], and integrity on just making music, period. People from our era know how real it is. It’s timeless.”
Weighing in at 4 pounds, the purple cassette is housed in a glass-top, “piano lacquer” display case with gold-colored hardware, embossed white-on-black Raekwon logo and “The Purple Tape” placard on front. It includes a 32-page, hard-cover book with text by Brian Coleman, featuring an in-depth interview with and track-by-track reminisces by Raekwon.
The Purple Tape Cassette Box is only available at GetOnDown.com, but we’ve got one box set for a lucky Dangerous Minds reader. All you have to do to win is this:
Then send an email to RaekwonContest@gmail.com to enter and we’ll chose one winner at random. You must be a resident of the United States and the winner will be chosen and contacted on Friday. Good luck!
And believe it or not that solo was played on spoons - just like these ones, Blue Peter presenter Christopher Trace tells his audience, at the end of this wonderful, little clip of The Bonzo Dog Doo Dah Band performing “Won’t You Come Home Bill Bailey?” on the show in February 1966.