Learning to Stand

February is Black History Month. I don't know nearly as much as I should.

I've been thinking a lot lately about the 60's: about the protests and the music, the riots and the love-in's, the politics and the expressions of freedom, life, of love, and of a nation that seemed from an outsider's view 45 years after the fact to be at once divided, together, and above all, driven to action. I think about all this, and I look at events that are occurring in our times now, and I wonder what the youth of the 60's would have said about it.

I decided to go out and pick up a couple books to start learning a little more. Originally, I only wanted to point out what I was currently reading, and ask if anyone out there had any ideas for further reading so I could get a better foundation for what transpired back then. But somehow I can't seem to leave it at that. Maybe it's shame, maybe it's anger, but I think that we're all facing something in the air today that begs for action, begs for response.

About 15 years ago I borrowed my wife's copy of The Autobiography of Malcolm X and read it. Something in that book made me start to want to learn more about those people who stood up against the twisted views and established norms that pervaded the world at different times. Whether it was Martin Luther King marching and rallying thousands, or Rosa Parks refusing to move to the back of the bus, I would get a lump in my throat and a tightening in my chest thinking of the pain and bravery needed to commit, and the pain and sorrow of knowing why it was necessary. And these were only the most visible, the figureheads for a movement that was comprised of hundreds, thousands of nameless people who were beaten, arrested, or even killed in the name of being given the same fundamental rights and courtesies we now give pets in Beverly Hills.

Today Spot can ride the bus or the plane, can sit in the restaurant and eat along with everyone else. Not even 50 years ago a large portion of our human population had to drink from separate water fountains.

From the American Civil Rights Movement I expanded into the rest of the 60's: the Vietnam War, the Democratic National Convention, the shootings at Kent State University in 1970. Everywhere you looked there was outrage. Boycotts, civil disobedience, rallies in Washington, riots in the streets. For better or worse, America stood up and lashed out, sometimes peacefully, sometimes violently, but always out, always forward.

It still happens now. I know that we are not a country so completely apathetic and self absorbed that we won't stand up and let our voices be heard when major events threaten to disrupt our way of life. I get a little choked up when I think about how many people were up in arms over Janet Jackson's exposed breast during the Super Bowl, or how libraries across the country seemed to band together to ban a children's book awarded the coveted Newberry Medal because it contained the word "scrotum."

I just get choked up in a different way.

This post continued to become more and more unfocused, more confusing, and I apologize. It's because I'm woefully ignorant of the events I'm talking about, I know. But I'm working hard to learn, and grow as a result. That adage about "learning from the past" never felt so real to me as it has these past couple of weeks.

Oscar Hangover

It's over and done with, and a year from now most people will forget who won what. The 79th Academy Awards was safe, soft, and for the most part uninteresting. Maybe 3-5 minutes worth of water cooler talk. A couple thoughts about what went down:

The Opening: As I watched I thought, "this feels like something Errol Morris would do." Nice to know I was right. A fresh start to the show. Not as gut-funny as John Stewart's opening last year, but good. I loved the whistling of PAN'S LABYRINTH over the end.

Ellen Degeneres: Warm, safe choice for the Awards. There was a weird dichotomy playing: she kept things moving along, but towards the end I couldn't believe we were reaching the 4 hour mark. The thing at the beginning with the tambourine and gospel signers sucked. I enjoyed the Martin Scorsese and Clint Eastwood bits, but though the vacuum cleaner at the end was a bit much. And you probably shouldn't confuse where Penelope Cruz is from when all anyone is talking about is how diverse the nomination slate was this year. I missed the "zazz," I missed the John Stewart.

Montages: Absolutely great this year - especially the Foreign Film montage. I added about 25 films to my Netflix queue on that one alone. Getting great directors to splice the pieces together was genius.

Crazy Choir Sound Effects: One of the coolest side pieces to be featured in the Academy Awards in a long time. In fact, this would be the highlight for me if it wasn't for...

Jack Black and Will Ferrel: Oh, man that was great. What was with Will Ferrel's hair? And having John C. Reilly jump out of the crowd to join them was hysterical. This should become a yearly tradition.

The Shadow Dancers: Creepy, weird, and just plain didn't make sense at times. There seemed to be no theme as to what movies they were doing. Although I would like to know what acted as the bullet firing when they did THE DEPARTED.

The Whole Thing With the Animated Films in the Seats: This has got to stop. The stupid "Oh look, they're actually IN the theater!" shot is incredibly annoying. Especially this year. And while we're at it: no more having animated characters present awards. Stupid stupid stupid.

And now for the actual awards themselves...

The Plight of PAN'S LABYRINTH: The more I read, the more reactionary pieces I read concerning the film. And that's just too damn bad - it was my favorite movie of the year. I'm glad for the three awards it got (one less than overall winner THE DEPARTED), but not getting Best Foreign Language Film? Granted I haven't seen THE LIVES OF OTHERS, but it didn't seem to press the boundaries of what possible in film like PAN'S did. But I'm willing to accept it. But a huge WTF? goes to losing out on Best Score. That is pure insanity. I'll talk about BABEL in a bit, but no way was that score better than the lyrical beauty composed by Javier Navarette.

The LITTLE MISS SUNSHINE Phenomenon: I've taken a lot of heat for this already, but I'll say it again - LITTLE MISS SUNSHINE was a really good film that had a lot of laughs. That's it. Best Picture worthy? Over CHILDREN OF MEN? Uh, no. Alan Arkin is a great character actor who hasn't been given his props. But does essentially playing the same grouchy eloquent character he plays in every movie, and in this movie for only half the film, deserve the win for Best Supporting Actor over Eddie Murphy and Djimon Hounsou? Again, I have to say "no."

Where the F--- was CHILDREN OF MEN?: My 2nd favorite film of the year gets completely shafted in the nominations this year. Oscar worthy in every sense of the word, but sadly overlooked. I weep.

HAPPY FEET over CARS for Best Animated Film: Hooray! CARS was a drag, and felt like Pixar was going by the numbers on that one. I didn't have a lot of love for any of the nominations, but was content to see CARS lose. Now let's get back on track with RATATOUILLE.

The DREAMGIRLS Conundrum: I haven't seen this yet, but all signs point to at the very least incredible performances by Eddie Murphy and Jennifer Hudson, as well as great music. So how did both Eddie and the music lose? And to a generic Melissa Etheridge song? What's going on in the world? Elsewhere, while I have no problem with Jennifer Hudson winning for Best Supporting Actress, I have to ask does anyone really think she'll do anything like that again? I don't want to knock her role (especially not having seen it), but I don't see her doing much else in that caliber again.

Whitaker is "King" and Mirren is Crazy: Best acceptance speech of the night. 2nd best would go to (in my mind) William Monahan for Best Adapted Screenplay. Helen Mirren's weirdness at the end of her acceptance speech left me bewildered and slightly put off. Every year the speeches become more and more boring, overdrawn and ridiculous. Sigh...

BABEL is Overhyped: This is my personal opinion, and I know I'm in the minority, but I wasn't impressed with BABEL. I'm going to watch it one more time and write up a larger review later on the site, but my first impression was that it was a by-the-numbers movie: great performances, but lacking focus and structure. You could see where everything was going from miles away (especially the Mexico sequence, which was outstanding in terms of acting but poor in terms of plotting), and the end in my opinion failed to tie it all up together (is the Morocco sequence with the shooter and his family resolved?). That being said, I thought the Tokyo sequence was fantastic, and the best part of the picture. Rincko Kikuchi's performance was breathtaking and heartbreaking, one of the more daring in a long times from a nominee.

The Scorsese 1-2 Knockout Punch: A lot of people are going to say that the Best Director award was given to Scorsese in a year when he maybe didn't deserve it. You know what? Screw you. How the Academy ignored this guy for so long is crap. And for my money THE DEPARTED was the best of the nominated films I saw this year, which is why it winning Best Picture was just fine in my book.

I guess a lesser Marty is still better than 95% of what else is out there.

Rounding Out the Oscars

It's over and done with, and a year from now most people will forget who won what. The 79th Academy Awards was safe, soft, and for the most part uninteresting. Maybe 3-5 minutes worth of water cooler talk. A couple thoughts about what went down:

The Opening: As I watched I thought, "this feels like something Errol Morris would do." Nice to know I was right. A fresh start to the show. Not as gut-funny as John Stewart's opening last year, but good. I loved the whistling of PAN'S LABYRINTH over the end.

Ellen Degeneres: Warm, safe choice for the Awards. There was a weird dichotomy playing: she kept things moving along, but towards the end I couldn't believe we were reaching the 4 hour mark. The thing at the beginning with the tambourine and gospel signers sucked. I enjoyed the Martin Scorsese and Clint Eastwood bits, but though the vacuum cleaner at the end was a bit much. And you probably shouldn't confuse where Penelope Cruz is from when all anyone is talking about is how diverse the nomination slate was this year. I missed the "zazz," I missed the John Stewart.

Montages: Absolutely great this year - especially the Foreign Film montage. I added about 25 films to my Netflix queue on that one alone. Getting great directors to splice the pieces together was genius.

Crazy Choir Sound Effects: One of the coolest side pieces to be featured in the Academy Awards in a long time. In fact, this would be the highlight for me if it wasn't for...

Jack Black and Will Ferrel: Oh, man that was great. What was with Will Ferrel's hair? And having John C. Reilly jump out of the crowd to join them was hysterical. This should become a yearly tradition.

The Shadow Dancers: Creepy, weird, and just plain didn't make sense at times. There seemed to be no theme as to what movies they were doing. Although I would like to know what acted as the bullet firing when they did THE DEPARTED.

The Whole Thing With the Animated Films in the Seats: This has got to stop. The stupid "Oh look, they're actually IN the theater!" shot is incredibly annoying. Especially this year. And while we're at it: no more having animated characters present awards. Stupid stupid stupid.

And now for the actual awards themselves...

The Plight of PAN'S LABYRINTH: The more I read, the more reactionary pieces I read concerning the film. And that's just too damn bad - it was my favorite movie of the year. I'm glad for the three awards it got (one less than overall winner THE DEPARTED), but not getting Best Foreign Language Film? Granted I haven't seen THE LIVES OF OTHERS, but it didn't seem to press the boundaries of what possible in film like PAN'S did. But I'm willing to accept it. But a huge WTF? goes to losing out on Best Score. That is pure insanity. I'll talk about BABEL in a bit, but no way was that score better than the lyrical beauty composed by Javier Navarette.

The LITTLE MISS SUNSHINE Phenomenon: I've taken a lot of heat for this already, but I'll say it again - LITTLE MISS SUNSHINE was a really good film that had a lot of laughs. That's it. Best Picture worthy? Over CHILDREN OF MEN? Uh, no. Alan Arkin is a great character actor who hasn't been given his props. But does essentially playing the same grouchy eloquent character he plays in every movie, and in this movie for only half the film, deserve the win for Best Supporting Actor over Eddie Murphy and Djimon Hounsou? Again, I have to say "no."

Where the F--- was CHILDREN OF MEN?: My 2nd favorite film of the year gets completely shafted in the nominations this year. Oscar worthy in every sense of the word, but sadly overlooked. I weep.

HAPPY FEET over CARS for Best Animated Film: Hooray! CARS was a drag, and felt like Pixar was going by the numbers on that one. I didn't have a lot of love for any of the nominations, but was content to see CARS lose. Now let's get back on track with RATATOUILLE.

The DREAMGIRLS Conundrum: I haven't seen this yet, but all signs point to at the very least incredible performances by Eddie Murphy and Jennifer Hudson, as well as great music. So how did both Eddie and the music lose? And to a generic Melissa Etheridge song? What's going on in the world? Elsewhere, while I have no problem with Jennifer Hudson winning for Best Supporting Actress, I have to ask does anyone really think she'll do anything like that again? I don't want to knock her role (especially not having seen it), but I don't see her doing much else in that caliber again.

Whitaker is "King" and Mirren is Crazy: Best acceptance speech of the night. 2nd best would go to (in my mind) William Monahan for Best Adapted Screenplay. Helen Mirren's weirdness at the end of her acceptance speech left me bewildered and slightly put off. Every year the speeches become more and more boring, overdrawn and ridiculous. Sigh...

BABEL is Overhyped: This is my personal opinion, and I know I'm in the minority, but I wasn't impressed with BABEL. I'm going to watch it one more time and write up a larger review later on the site, but my first impression was that it was a by-the-numbers movie: great performances, but lacking focus and structure. You could see where everything was going from miles away (especially the Mexico sequence, which was outstanding in terms of acting but poor in terms of plotting), and the end in my opinion failed to tie it all up together (is the Morocco sequence with the shooter and his family resolved?). That being said, I thought the Tokyo sequence was fantastic, and the best part of the picture. Rincko Kikuchi's performance was breathtaking and heartbreaking, one of the more daring in a long times from a nominee.

The Scorsese 1-2 Knockout Punch: A lot of people are going to say that the Best Director award was given to Scorsese in a year when he maybe didn't deserve it. You know what? Screw you. How the Academy ignored this guy for so long is crap. And for my money THE DEPARTED was the best of the nominated films I saw this year, which is why it winning Best Picture was just fine in my book.

I guess a lesser Marty is still better than 95% of what else is out there.

Music in Movies: Setting the Mood

I'm feeling a little lazy here lately, so I thought I'd throw up an old post from the main blog that was about movies. My friends and I are list fanatics: in college one favorite way to pass the time was to grab some beers, turn up the stereo, and come up with lists about anything. 10 years later the trend continues (albeit long distance). One of our more recent lists was naming our favorites movie/music moments. The only rules were we couldn't duplicate each other, and we weren't allowed to count the film score in our choices. So the post below sums up that particular list (the original title of the post was "Sound+Vision" - hence the David Bowie comment in the beginning):

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...Which besides being a David Bowie reference, encapsulates what this list is, again originating from the mind of guest blogger Jason. From his email:
"...by which I mean best songs from movies as they appear in the film, judged by a combination of song quality, visuals, and furtherance of the plot or theme of the film. And yes, musicals count."

I think this is a little more telling of a list than the previous ones, which has me excited. So, Jason's (partial) list first, and then mine.

  1. Wise Up by Aimee Mann, from Magnolia
  2. Stonehenge by Spinal Tap, from This is Spinal Tap
  3. Tomorrow Belongs to Me by the cast, from Cabaret
  4. The Next to Last Song by Bjork, from Dancer in the Dark
  5. Eye of the Tiger by Survivor, from Rocky III
  6. The Sound of Silence by Simon and Garfunkel from The Graduate
  7. Fight the Power by Public Enemy, from Do the Right Thing
  8. Springtime for Hitler by the cast, from The Producers
  9. 2 Wicky by Hooverphonic, from Stealing Beauty
  10. Thus Spake Zarathustra, by Strauss from 2001: A Space Odyssey
  11. "Ode to Joy" from Symphony #9 by Beethoven from A Clockwork Orange
  12. When I'm Sixty-Four by the Beatles, from The World according to Garp
One of the worst things about these lists is if you're not the one who came up with the idea, you don't get to use some of your favorites. If I could use some from the above list, I would definitely have included the bits from Magnolia, Spinal Tap, Rocky, 2001...probably all of them! However, I made it my goal to not only not double any of the songs from the above, but not use any of the movies either. So, below is a rough list of 20 (I had more, but how long can this list be?) and a bonus 2 special mentions:

  1. As Time Goes By by Dooley Wilson, from Casablanca
  2. Dueling National Anthems by the cast, from Casablanca
  3. Always Look on the Bright Side of Life by Eric Idle and cast, from Monty Python's the Life of Brian
  4. Tiny Dancer by Elton John and the cast, from Almost Famous
  5. Rhapsody in Blue by Gershwin, from Manhattan
  6. Canned Heat by Jamiroquai, from Napoleon Dynamite
  7. Killing Me Softly by Hugh Grant and Nicholas Hoult, from About a Boy
  8. A Quick One...While He's Away by the Who, from Rushmore
  9. War by Jackie Chan and Chris Tucker, from Rush Hour
  10. Johnny B. Goode by Michael J. Fox, from Back to the Future
  11. Blue Velvet by Dean Stockwell, from Blue Velvet
  12. Raindrops Keep Falling on My Head by Burt Baccarach, from Butch Cassidy and the Sundance Kid
  13. Man of Constant Sorrow by the Soggy Bottom Boys, from O' Brother, Where Art Thou?
  14. My Favorite Things by Julie Andrews, from The Sound of Music
  15. My Pretty Irish Girl by Sean Connery, from Darby O'Gill and the Little People
  16. Take My Breath Away by Berlin, from Ocean's 11
  17. Layla (coda) by Derek and the Dominoes, from Goodfellas
  18. A Perfect Day by Lou Reed, from Trainspotting
  19. I Want Your Body by Nymphomania, from True Romance
  20. Make 'Em Laugh by Donald O'Connor, from Singin' in the Rain

There are two glaring omissions (in my opinion) from my list, which is why they get special mention below. One obvious, one not so obvious. Sometimes it's all the music as a whole that makes a movie, not just an individual song. So a special mention to the films PULP FICTION and GARDEN STATE - two films that would have been a lot different had it not been for the careful and excellent song selection. Huzzah!

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If anyone else reading this has some great examples, please feel free to let me know!