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GOP human punchline Rick Santorum pities his enemies because they’re going to Hell!


 
In an interview with FirstThings.com, far-right Republican presidential hopeful Rick “frothy mixture” Santorm, that dogged dim-wit from Pennsylvania, reveals that he “feels sorry” for those who hate him… because hey, they’re goin’ to Hell:

RS: One of the things that I really work hard and try to do when it comes to the attacks that we get is understand that number one, these people don’t know me. They know the positions that I hold or they know at least the representation by some of the media as to the positions I hold and what I say. But they certainly don’t know who I am. And so the viciousness and the nastiness which unfortunately is so much a part of politics in America today, it has come over time not to bother me in the least. In fact, the more vitriol I see, and unfortunately I see probably more than my fair share, I tend to feel sorry for people who do that, who are so filled with hate and just seem to be preoccupied with this venomous need to lash out at those with whom they disagree. I make it a point every day to pray for all those people who say the things that they say and try to make sure that I understand it. There is a great line — actually, more than a line — from St. Thomas More who was asked by his daughter when he was in the Tower of London shortly before he was executed how he could have such equanimity towards his detractors and toward those who wanted to kill him.

GT: Yes.

RS: He drew a rather beautiful explanation, as you said, of having one foot in this world and another in the next, looking at ultimately what was going to happen to the people who were his prosecutors. He said, “Well, either they are right, and I am wrong. And if that’s the case, then why should I hate them because they were right and I was wrong. Or if I was right and they were wrong, then one of two things. That they will repent and they will be my brothers in heaven and so why should I think ill of them now just because right now they are doing things that are wrong. Or they will not repent and they will be damned to eternal damnation and what kind of man am I that would hate someone who is to be pitied as such?” And so, that’s sort of the way I look at it.

Rick, you’re just a fucking idiot. That hard-to-deny fact has nothing whatsoever to do with whether or not anyone goes to Hell. People who hate you, Rick, hate you for the right reasons, such as you are a vile, outspoken homophobe, a science-denying ignoramus, a cretinous buffoon and a complete jackass. That’s why you lost your Senate seat by an 18 point margin. You have just about ZERO chance of being president of anything, Rick, because no one likes you, asshole.

Just to clear that up. You seemed confused.
 

 
Via RightWing Watch

Posted by Richard Metzger | Leave a comment
Live Nude Girl!
05.26.2011
09:19 am

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In 1963 Marcel Duchamp and writer-girl-about-town Eve Babitz sat in one of the galleries of the Pasadena Museum of Art and played chess.

One of them was naked.

The occasion was the Duchamp retrospective at the museum.  The match was not a live performance, it was actually staged and no viewers were present.

In an Archives of American Art oral history, self-described “art groupie” Babitz, talks about her participation in the creation of the piece.

Yeah. At the Pasadena Art Museum, and he said he had this great idea that I should play chess naked with Marcel Duchamp and it seem to be such a great idea that it was just like the best idea I’d ever heard in my life. It was like a great idea. I mean, it was, not only was it vengeance, it was art, and it was like a great idea. And even if it didn’t get any vengeance, it would still turn out okay with me because, you know, it would be sort of immortalized. I would be this, you know, here’s this Nude Descending the Staircase guy and now he’s going to be The Nude in the Pasadena Art Museum. But, of course, I said, you know, I didn’t think that the Pasadena Art Museum old ladies would go along with this.

The conspirators somehow snuck past the little old ladies, and the Duchamp/Babitz photograph became a defining image of the early 60s LA art scene.

 

Posted by Nicole Panter | Leave a comment
‘Pain in the buttocks’ crank call
05.26.2011
08:45 am

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Amusing

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Robert Popper
crank calls

 
Jesus helps “Robin Cooper” with his buttock pain (there was an eagle involved, apparently).

Brit wit Robert Popper makes some of the best crank calls I’ve ever heard. His innovation to the art-form is calling into live televised digital cable religious programs and going large with his calls. Praise the Lord!

Posted by Richard Metzger | Leave a comment
Shock treatment: Ken Kesey hits back at critics of ‘One Flew Over the Cuckoo’s Nest’

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In the winter of 1963, Kirk Douglas returned to theater in the first stage production of Ken Kesey’s novel, One Flew Over the Cuckoo’s Nest. Douglas starred as McMurphy, with a supporting cast that included Gene Wilder as Billy Bibbit, and Ed Ames as Chief Bromden. What should have been a triumphant return for Douglas and a theatrical success for Kesey’s novel proved to be a disaster, which was savaged by critics and closed after 11 weeks.

On January 7th of 1964, sickened by the relentless stream of invective from the press, Kesey wrote the following letter to the New York Times, defending the production, its cast, and in particular, responding to the journalists who had criticized the play for its “unrealistic storyline”. Little did these reviewers know the truth of Kesey’s novel. Now read on.

KIRK DOUGLAS
ONE FLEW OVER THE
CUCKOO’S NEST

January 7, 1964

From: Ken Kesey, [Redacted]

Drama Mailbag:

The answering of one’s critics has always struck me as doing about as much good as fighting crabgrass with manure. Critics generally thrive on the knowledge that their barbs are being felt; best to keep silent and starve them of such attention, let them shrivel and dry, spines turned in. So I have tried to keep this silence during the attacks on the Wasserman play of my novel, One Flew Over The Cuckoo’s Nest…figuring that the people who saw the play as being about a mental hospital, because it is set in a mental ward, are the sort that would fault Moby Dick for being an “exaggerated” story about a boat, also figuring that such simplemindedness is relatively harmless. And even keeping silent when the play was condemned because the subject of mental health as a whole was treated disrespectfully, or irresponsibly, or—god forbid!—humorously.

But when the defenders of “Cuckoo’s Nest” begin to show signs of suffering some of the same misconceptions as the critics, I feel I must speak out.

Mr. Friedman’s letter last Sunday was as good an argument as I’ve read for judging a work on it’s own terms. Still, by comparing the reality of the setting of “Cuckoo’s Nest” with “1984” or “The Trial,” he does injustice to a number of people connected with the research that went into that setting. First, the director, Alex Segel, who created an atmosphere so faithful to the wacky-weird world of a nuthouse ward (faithful to the real wards, not the public conception of what a hospital should be like) that a friend of mine, (a Speech Therapist in a V.A. Hospital who took time off to fly back to the opening), remarked after the final curtain, “I feel as though I just put in a hard day at the office.”

Second, the actors. Who capture that nuthouse feeling so completely with their characterizations that I found myself wondering where some of them had been sprung from. Just, for a small example, their movement: inmates have a way of walking that is both piticully random and terribly purposeful, and peculiar to no other place I know of save the mental ward. The cast has this peculiar movement. Watch Ruckly when he shuffles onto stage; he’s been shuffling that same path in those same slippers for centuries. Or watch Billy Bibbit’s neck contortions, or the caged-squirell frolicking of Marini’s madness. And Kirk Douglas..after watching his performance, in which the usual Douglas’ gestures and gyrations were secondary, to subtler actions (the way he will playfully punch another character’s arm as he passes, a gesture barely noticible, familiar, reinforcing..) I asked if he had visited any hospital in preparing for the part. “Spent a lot of time in Camarillo,” he told me. “Got to know a lot of the guys. I still correspond with one. “Quite a place. And different, you know? then you think it’ll be…”

And last, the notion that this setting is only a fictional and fantastic one does an injustice to thousands of patients in hundreds of wards almost identical to that ward on the stage of the Cort. While Cuckoo’s Nest is, as Mr. Friedman rightly points out, about more than just a mental hospital, it is also an attack on tyranny of the sort that is perhaps more predominant in mental hospitals then any place else in our land. It is by no accident that the acute ward was picked for the setting; after working for close to a year as an aide in two hospitals in California I could imagine no better backdrop for my parable. I only needed describe what I had seen and heard, what I had felt after endless swing shift hours talking with the broken and defeated men of our society, and what I concluded to be the stress thar broke them. McMurphy is, of course, fictional—a dream, a wild hope fabricated out of need in defeat—but the men he comes to save, and the menace he battles, these are real, live human being. While this world may be fantastic, it is not mere fantasy. Neither is it an exaggeration; when I hear of someone accusing the book, or the play, of “exaggerating the bad” I think of my last days at the hospital: the first draft of the book almost finished, I had handed in my letter of resignation (a day before, incidently, I received a letter from the superior nurse advising me I was being discharged for “a lack of interest in the hospital…”) and I had only one bit of research left: I wished to try shock treatment to get some idea why the patients thought it so bad. And I did. And I found out. And to those who think it is fictionally exaggerated I only say try it first and see.

Because it can never be as bad in fiction as it is in real life.

 
See Ken Kesey’s letter, after the jump…
 
Via Letters of Note
 

Posted by Paul Gallagher | Leave a comment
Moby Grape in ‘The Sweet Ride’
05.26.2011
01:25 am

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Movies
Music
Pop Culture

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Moby Grape
The Sweet Ride


 
Moby Grape perform the title song in the 1968 hippie/surf/biker/drug flick The Sweet Ride starring Tony Franciosa, Michael Sarrazin, Jaqueline Bisset and Bob “Gilligan” Denver.

Cool shots of a very animated Skip Spence on stage. And, yes, that’s Lee Hazlewood on the dance floor and hanging out at the bar in a suit and acting surly.
 

Posted by Marc Campbell | Leave a comment
The Specials live in Japan, 1980
05.26.2011
12:50 am

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Music
Punk

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2 Tone Records
The Specvials


 
As a long time reggae fan and an early acolyte of punk rock, I was thrilled when 2 Tone Records appeared on the scene in the late 1970s with its roster of British interracial ska bands that included The Specials, The English Beat, The Selector and Madness (who were all white but alright). Adding a bit of Brit punk into a ska mix, the 2 Tone bands brought the party to the revolution that revivified rock and roll.

Enjoy this document of The Specials in great form at the height of their popularity. Japan, 1980.
 

 
Parts two and three after the jump…

Posted by Marc Campbell | Leave a comment
‘Butterflies are self propelled flowers’
05.26.2011
12:09 am

Topics:
Animation

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Butterfly wings


 
“Butterflies are self propelled flowers.”  ~R.A. Heinlein
 
Via Timothy Buckwalter

Posted by Marc Campbell | Leave a comment
Derek Jarman: ‘Face to Face’

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Derek Jarman rarely hedged a question, he answered each one as truthfully as he could. From the opening question in this interview with Jeremy Isaacs, Jarman’s candor and honesty is refreshing:

Jeremy Isaacs:
Derek Jarman, painter, writer, film maker; and in my view one of the most distinguished of our time, gardener. When you discovered at the end of nineteen eighty six that you were HIV positive you decided to let that be known; why?

Derek Jarman:
Jerry, I did it for myself, really for my own self respect because my whole life had been a struggle to actually make my life open and acceptable. I found myself potentially in a form of a ghetto, really, of frightened and unhappy people, who felt that they couldn’t actually tell the truth about themselves. So I did it for my own self respect. I didn’t do it for anyone else. If it was any help for anyone else I’d be delighted.

Jeremy Isaacs:
Have you always been able to be open about your sexuality?

Derek Jarman:
No, definitely not. I think it’s something that I actually struggled to be open with. Certainly when I was a young man in the fifties, in the sixties it was very, very difficult and I think that gave me a sort of a slight edge you know. It was difficult finding the whole centre of one’s life really; illegal in fact ‘till I was twenty five, so it was difficult, particularly difficult with parents, maybe not amongst friends. Eventually at twenty two I met people, and then after that it was a sort of a clique if you like, a gay Mafia.

Jarman goes on to talk about his childhood, his parents, his work as a painter, a set designer (on Ken Russell’s The Devils), to his own films, his garden, and how he would like to be remembered:

Jeremy Isaacs:
How do you want us to remember you?

Derek Jarman:
Well, I think it would be marvellous to evaporate. I wish I could take all my works with me; that’s what I’d like to happen, to just disappear completely.

Originally aired in March 1993, this version of Face to Face was re-shown after Jarman’s death, and has a beautiful eulogy from Isaacs at the beginning.
 

 
The rest of this classic interview with Derek Jarman, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Win tickets to ‘Re-Animator: The Musical’


 
By popular demand Stuart Gordon’s campy, macabre Re-Animator™ - The Musical—which I’ve given a rave review to here before—will be extending its run through Sunday, June 26 at the Steve Allen Theater in Hollywood. It’s a super fun night of musical comedy.

Re-Animator™ - The Musical, the horror-comedy based on the 1985 cult movie hit and earlier H.P. Lovecraft story, has extended its run due to popular demand through Sunday, June 26, 2011 at the Steve Allen Theater.  Half price student tickets available for all June shows.  The production has been setting records and sending grinning patrons out of the theater humming the tunes and washing off the blood.  Stuart Gordon, who directed both the new musical and the movie on which it is based, notes “There’s a lot of liquid spurting through the air. The special effects are even better in 4D than they are in 3D.” 

The new performance schedule for this funny, bloody and tuneful production includes three shows per weekend:  Fridays, Saturdays, and Sundays at 8:00pm.  Costumes are encouraged and seating is open – come early and sit up front in the “splash zone.”  Ticket prices are $30 for general admission, $15 for students (with ID).

The Steve Allen Theater, 4773 Hollywood Blvd., Los Angeles, CA 90027.

We’ve got two pairs of free tickets to give away to readers who write in to the comments and tell us why they should get the tickets and not someone else. We choose the winners. It’s up to you to get yourself to the play in Los Angeles, where tickets will be waiting for you at the door (Translation: Unless you live in Los Angeles or intend to be here before the play’s run ends, please don’t waste your time).

Below, Jesse Merlin as the villainous “Dr. Carl Hill” loses his head in a scene with Graham Skipper as “Herbert West,” re-animator.
 

Posted by Richard Metzger | Leave a comment
Apparently Barack Obama’s signature looks like a penis (and/or a dinosaur)
05.25.2011
02:06 pm

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Amusing

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Barack Obama's Signature


Sketch by Rob the Doodler
 
(via The High Definite )

Posted by Tara McGinley | Leave a comment
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