I have new-found respect for Francis Ford Coppola (though it has been a long, long time since he’ made a great film), I like his wine, and his new film sounds interesting. Coincidently, I have several volumes of world religion study from Mircea Eliade on my shelf, yet I was unaware Eliade wrote fiction too. From the NPR podcast
Coppola’s success allows him, at this stage, a certain freedom. He financed
Youth Without Youth himself — “as I intend to do with all my films now, (in) this last part of my career.”
That means, of course, that he’s not required to shop his script around, taking edits from every producer and studio chief with a finger in the financial pot. And while every script can benefit from outside input, Coppola says he gets that from his own production team: actors, cameramen, editors and other colleagues.
“I think it’s the market research aspect that’s trying to eliminate risk in the movie that’s partly what’s wrong with films,” he says.
Not that he’s immune to public opinion.
“I make movies in the same way I would cook a dinner,” he says. “I want people to come and enjoy it. I don’t want the dinner to be over and (have) people saying, ‘Well, that was interesting; I want to think about it.” [not transcribed: Robert Siegel, the interviewer, cracking up] [snip] So, from here on in, it’s Francis Ford Coppola, independent filmmaker?
“I think in my heart I’ve always been an independent filmmaker,” he says. “Oddly, and very strangely, I became wealthy in other businesses.
“In a sense, everyone who buys a bottle of Coppola wine is my executive producer and makes it possible for me to pursue other movies that I feel passionate about — that I love — and that I make irrespective of whether they’ll be commercial or not.” [From NPR : Francis Ford Coppola Seeks Answers in ‘Youth’]
Well worth listening to the entire interview (also available for free at the iTunes store – search NPR – Movies)
My public kvetch must have worked, as I received a copy of the promised book today. Looks like a very interesting read, actually.
From Amazon:
“The book”s design and illustrations are beautiful, which means, I suspect, that Cow will be probably bought most often as a gift–for country lovers, perhaps. . . . Velten has a passion for her subject and it comes across. Her account is sweeping but precisely detailed and subtly persuasive. . . . Look hard at cows and you learn about humans. Fascinating and delightful.”
From the milk we drink in the morning, to the leather shoes we slip on for the day, to the steak we savor at dinner, our daily lives are thoroughly bound up with cows. Yet there is a far more complex story behind this seemingly benign creature, which Hannah Velten explores here, plumbing the rich trove of myth, fact, and legend surrounding these familar animals.
From the plowing field to the rodeo to the temple, Velten tracks the constantly changing social relationship between man and cattle, beginning with the domestication of aurochs around 9000 BCE. From there, Cow launches into a fascinating story of religious fanaticism, scientific exploits, and the economic transformations engendered by the trade of the numerous products derived from the animal. She explores in engaging detail how despite cattle’s prominence at two ends of a wide spectrum: Hinduism venerates the cow as one of the most sacred members of the animal kingdom, while beef is a prized staple of the American diet. Thought provoking and informative, Cow restores this oft-overlooked animal to the nobility it richly deserves.
If you happen to see it at a bookstore, my photo is on page 92, and my credit on page 204.
Oh, and since I’m flipping through the book as a prelude to reading it, and postponing returning to work, here’s page 69 (and part of page 68 for context):
The Spanish herdsman, Ambrosio, who is used to the ‘pride and the nimble rage of a young bull from Coruña’, takes charge of a herd of twelve Simmental dairy cows in Switzerland. He is unable to admire the cows, but:…he couldn’t deny that these overbred bodies had something reassuringly decent about them, it might well be dull, but the warmth they radiated, their incessaqnt inner activity, their endless ruminating, digesting, multiplying, lactating, producing-even-while-they-slept, all that impressed Ambrosio in spite of himself. Sometimes their uninterrupted productivity seemed positively god-like to him, and he learned to respect it.
The cow symbolizes maternal nourishment because of her ability to provide milk. In effect, she is the Mother of humans, and by inference also of the gods. Her milking ability is her passport to greatness. There is nothing more to her: milk is her raison d’être, as simply put by the American poet Ogden Nash (1902-1971): The cow is of the bovine ilk; One end is moo, the other, milk.
That’s it, I’m sticking with beer, wine and Jameson’s from now on…..
Alina Tugend writes:
The type of plastic bottle that typically holds water, soda and juice is made from polyethylene terephthalate, a petroleum-based material also known as PET that is labeled No. 1.
The trouble with reusing those plastic bottles is that each time they are washed and refilled they become a little more scratched and crinkly, which can lead them to degrade. That can cause a trace metal called antimony to leach out, said Frederick S. vom Saal, a professor of biology at the University of Missouri who has studied plastics for years.
[snip]
But perhaps a better alternative — in terms of health and the environment — is to use the hard plastic bottles made with polycarbonate plastic, often known by the brand Nalgene. It has the numeral 7 stamped at the bottom and is the same type of material used to make some baby bottles, the lining of tin cans and other products. I have some of those around the house. They are just too big to fit into our car cup holders so I retired them to the basement.
Time to dig them out?
Not quite. Environmental groups and some scientists have raised concern that such plastic can leach bisphenol A, an endocrine-disrupting chemical.
“If I was to use plastic, I would stay with No. 2 and No. 5,” Professor vom Saal said. No. 2 is high-density polyethylene; No. 5 is polypropylene. Both are used in margarine tubs and yogurt containers for example.
But, he warned, do not heat anything in any type of plastic in the microwave.
If you do use these hard No. 7 plastic bottles, the Green Guide, published by the National Geographic Society, advises you to avoid washing them in a dishwasher or with harsh detergent to limit wear and tear.
Speaking of the slow, painfully public death of record labels, the new owners of EMI (Terra Firma Capital Partners) are not having an easy time. Surprisingly, musicians are much more difficult to manage than generic widgets.
As the chief executive of Terra Firma Capital Partners Ltd., Guy Hands controls companies that lease jets, operate natural-gas pipelines, and, most recently, sell music.
The big difference among those businesses is Mr. Hands doesn’t have to worry about keeping the planes or the gas happy. But the musicians signed with EMI Group Ltd. are a different story — and they’ve been less than pleased with the British private-equity mogul.
The Rolling Stones are considering leaving EMI, as Paul McCartney, has.
“He’s either really stupid, or really smart,” says Jazz Summers, who as chairman of an organization called the Music Managers Forum has found some of Mr. Hands’s statements “not very artist-friendly,” but credits him with taking a big gamble on EMI.
[snip]
People who do business with the company say that Mr. Hands has inadvertently contributed greatly to the alienation among artists and their representatives. A series of missives and remarks by Mr. Hands has given many in the artist community the impression that he is out of touch with many realities of the music business — including the need to carefully soothe the artists who actually make the hits.
On top of that, key portions of the restructuring plan Mr. Hands unveiled last week, which includes as many as 2,000 job cuts, some complain, treats music as an ordinary consumer product that can be marketed and sold in various territories like soap.
“Suckers and Liars, Get me a shovel” Some CEOs are damn devils.
Music is not an object that can be bought and sold on the open market, it is an art, and thus needs to be treated with a bit of respect.
In an interview, Mr. Hands says the music industry spent too much time fighting piracy with lawsuits and other tactics, rather than dealing with the situation. “Instead of spending millions shutting down Napster, it should have been working harder,” to find new ways to convince people to pay for music, he says.
Mr. Hands got off on the wrong foot last October with an internal memo that found its way outside the company. He wrote that EMI should be “more selective” about which artists the company signs, as many don’t work hard enough to promote their music. These performers, he complained, “simply focus on negotiating for the maximum advance… advances which are often never repaid.” Many artists and managers felt insulted by the comment, which was widely discussed in the music business.
When Mr. Hands tried to patch things up at a series of dinners with prominent artist managers, he got a chilly reception. At a London restaurant he described to several managers Terra Firma’s track record, including its stewardship of United Kingdom movie theater chain Odeon Cinemas Ltd., telling them “the cinema business isn’t the movie business — it’s the popcorn business,” recalls Mr. Summers, of the managers’ group. Mr. Summers, whose clients include EMI artists Badly Drawn Boy and the Verve, found the remark insulting to musicians: “I told him he’s dealing with artists, not popcorn.”
It hasn’t helped that Mr. Hands, having ousted EMI’s senior management, still hasn’t named a new chief executive, choosing to run the company himself on an interim basis and bringing in music-industry outsiders for key roles. At the same time, some key industry veterans have been shown the door, including Tony Wadsworth, a respected executive who oversaw the company’s British operations for 20 years — including the long, steady erosion of the company’s market share on its home turf. Among those brought in was Mike Clasper, the former chief executive of the British Airports Authority.
“They’re bringing in a lot of executives from other industries,” said Dave Holmes, manager of Coldplay, one of the biggest acts left on an EMI label. “I would say that’s worrying. It’s not very comforting to me.”
More and more high profile artists are realizing the music labels are dinosaurs who only exist to suck up a percentage of profits. Especially for marquee bands, the labels don’t really bring much to the table.
In what is shaping up to be the latest vote of no confidence from a marquee act, EMI Group Ltd. is in danger of losing the Rolling Stones, along with more than 35 years’ worth of their albums, when the group’s current contract with the London-based music company expires in March, according to people familiar with the situation.
A person close to the Stones, led by singer Mick Jagger and guitarist Keith Richards, said the band members are considering their options after their current recording-and-distribution deal with EMI expires in March. The band has been talking to other record labels and other potential partners, according to people in the music business. The band could still decide to stay with EMI and has until about May to make up its mind.
If the Stones leave, their departure would be only the latest in a string of high-profile defections. Under EMI’s previous management the company lost the rights to release new albums by Paul McCartney and Radiohead. Since private-equity owner Terra Firma Capital Partners Ltd. last summer bought the company for £3.2 billion ($6.28 billion) and ousted the previous management, the pushback from the artist community has grown. Pop singer Robbie Williams’s manager has told the British press his client is considering leaving the label.
The status of Coldplay, perhaps the biggest act left on EMI, may also be in question. People close to EMI had been counting on the band to deliver its still-untitled fourth album in time for release in the first half of this year. But manager Dave Holmes says the band is still working on the album and hasn’t set a delivery date. [snip]
The loss of the Stones could be more damaging than any of the others: Unlike most record contracts, the Stones’ deal with EMI lets the band take all its albums since 1970. The albums in the portion of the Stones catalog currently distributed by EMI — from 1971’s “Sticky Fingers” through 2005’s “A Bigger Bang” — last year sold 395,000 copies in the U.S. alone, according to Nielsen SoundScan.
Goodbye three martini lunches! David Byrne wrote an article for Wired Magazine recently discussing the six possible models for musicians to follow, ranging from the 360 (Equity) model to self-distribution. Artists like The Rolling Stones no longer need to be in the 360 model anymore, nor do bands like Radiohead, et al. I think the death of the record labels, as we know them, is rapidly approaching a certainty, and I couldn’t be happier, fitter.
Interesting development, especially since most of the plastic bags issued by US retailers are manufactured in China.
The Chinese government says it is banning shops from handing out free plastic bags from June this year, in a bid to curb pollution.
Production of ultra-thin plastic bags will also be banned, the State Council said in a statement.
Instead, people will be encouraged to use baskets or reusable cloth bags for their shopping, the council said.
[snip]
The council also called for greater recycling efforts from rubbish collectors, and suggested financial authorities should consider higher taxes on the production and sale of plastic bags. [From BBC NEWS | Asia-Pacific | China announces plastic bag ban]
If China does in fact start taxing the bag manufacturers, will this encourage more US retailers to consider other options, like cloth bags? Hemp bags?
Excellent. I’ve long been partial to Cosmic American music, discovering it first through Uncle Tupelo and Michelle Shocked, then working my way backwards in time to Gram Parsons, Dylan’s John Wesley Harding, The Band’s first few albums, and others. Being a musical historian in the age of re-releasing frenzy does have advantages.
Live at the Avalon Ballroom is the rock equivalent of the Jackson Pollock discovered at a flea market, or the first-edition William Faulkner found in the dollar bin at a used book store. These recordings of the Flying Burrito Brothers’ two shows in San Francisco in April 1969 were long buried in the Grateful Dead vaults (which many listeners speak of in the same terms explorers once used for El Dorado) until Dave Prinz, the co-founder of Amoeba Records, tracked them down and worked for more than a year to secure permissions from the Dead’s soundman, Owsley “Bear” Stanley. Prinz compiled the recordings into a 2xCD set (one for each show) and released them on the newly launched Amoeba Records label– its second release, in fact. The title, Archives Volume 1: Live at the Avalon Ballroom 1969, teases with the tacit promise of a second volume– more buried treasure.
For Parsons fans, this constitutes a major event– perhaps more anticipated than even Rhino’s long-awaited reissue of his two solo albums in 2006– not only because it contains numerous unheard covers, but primarily because Parsons didn’t leave a whole lot of live material behind when he died in 1973. Even the supposedly “live” medley from Grievous Angel was just a studio re-creation, and the real live recordings that survive are marred by poor sound quality or, in some cases, poor performances. Live documents of Parsons’ short tenure with the original Flying Burrito Brothers line-up are even scarcer. What makes Live at the Avalon Ballroom so special is that the performance is just as good as the sound quality. As professional hanger-on Pamela “Burrito Sister” Des Barres writes in the liners, “I have literally been waiting for this album for decades.”
What a joke. Is this why the Telecoms want immunity?
Telephone companies have cut off FBI wiretaps used to eavesdrop on suspected criminals because of the bureau’s repeated failures to pay phone bills on time.
A Justice Department audit released Thursday blamed the lost connections on the FBI’s lax oversight of money used in undercover investigations. In one office alone, unpaid costs for wiretaps from one phone company totaled $66,000.
In at least one case, a wiretap used in a Foreign Intelligence Surveillance Act investigation ”was halted due to untimely payment,” the audit found. FISA wiretaps are used in the government’s most sensitive and secretive criminal and intelligence investigations, and allow eavesdropping on suspected terrorists or spies.
”We also found that late payments have resulted in telecommunications carriers actually disconnecting phone lines established to deliver surveillance results to the FBI, resulting in lost evidence,” according to the audit by Inspector General Glenn A. Fine.
More than half of 990 bills to pay for telecommunication surveillance in five unidentified FBI field offices were not paid on time, the report show
The ACLU is calling for the full release of the report, as something doesn’t quite add up.
Americans should be extremely concerned when the FBI’s failure to pay its bills on time puts our national security at risk. We’re down the constitutional rabbit hole when lack of payment, and not the lack of a warrant, prevents the FBI from wiretapping. It seems the telecoms, who are claiming they were just being “good patriots” when they allowed the government to spy on us without warrants, are more than willing to pull the plug on national security investigations when the government falls behind on its bills. To put it bluntly it sounds as though the telecoms believe it when FBI says warrant is in the mail but not when they say the check is in the mail.
The information released by the OIG is yet another example of the complete disarray at the FBI. The FBI has failed to address its serious management issues – continuing to turn a blind eye to its internal problems. Yet against all odds, instead of being chided for not addressing these problems, the agency has asked for and received even more authority from Congress.
Six and a half years after 9/11, the bureau’s mismanagement still threatens our national security.
Until proper oversight is imposed on the intelligence community, our security and our rights will remain at risk. As Congress is seeking to further expand surveillance powers under the Foreign Intelligence Surveillance Act, we urge them to take these facts into account. The bureau must be held accountable. If the FBI can’t even manage its checkbook properly, how can we trust it to ensure that our rights are being protected?”
For more information on FISA and surveillance, go to: www.aclu.org/fisa
How do prosecutors and arresting officers sleep at night?
After nearly 27 years in prison for a rape he did not commit, Charles Chatman walked free on Thursday, the 15th wrongfully convicted prisoner in Dallas County to be exonerated by DNA testing since 2001.
The innocence claims of seven other Dallas-area prisoners are pending, thanks in large part to a crime laboratory that, unlike others in Texas, has preserved evidence going back as long as three decades.
[snip]
Dressed in a new blue blazer, gray slacks, blue shirt and red tie bought by his lawyers, Mr. Chatman said he harbored no feelings of animosity toward the neighbor who had misidentified him as her rapist, earning him a 99-year sentence. But he said he felt he was victimized because he was black.
“I want to let the world know what happened,” he said, “I won’t shy away from that.”
Mr. Chatman, who had been locked up since age 20, said he had lost three chances for release by insisting to the Parole Board, “I never committed the crime.”
He said he wanted to work alongside his lawyers, Jeff Blackburn, Natalie Roetzel and Michelle Moore, to help others he had met in prison prove their innocence. The lawyers work with the Innocence Project of Texas, a consortium of university law clinics that has been using DNA evidence to exonerate people who were wrongly convicted.
With Works of Igor Stravinsky, Sony/BMG is offering Sony Classics’ massive Stravinsky box of 22 CDs, which once retailed at a faint-inducing price tag, for less than one-sixth of the original cost. Certainly more of these will get around than the old “Recorded Legacy” box did; so prohibitively expensive, such boxes would sit at the counter of finer classical music stores for years as a never-purchased luxury item. In the new edition, you don’t get much aside from the same 22 CDs in cardboard sleeves and a paper-thin booklet, which contains a highly generalized, four-page-long appreciation of Stravinsky’s artistry and as close to the most basic projection of the recording data as one can imagine.
Aside from the marketing angle, Sony/BMG’s Works of Igor Stravinsky has all the vicissitudes of the original Sony Classical set, apart from the old set’s monolithic dimensions. No other composer born in the 1880s — unless you count Leopold Stokowski as a “composer” — left behind a more extensive body of recordings than Stravinsky. Stravinsky didn’t make his first recording until he was 43 years old, only picking up conducting as an avocation a couple of years after that. The vast majority of Stravinsky’s recordings were made for CBS Masterworks starting in 1957 — when he was 75 years old — and extending to 1967, when he made his last public appearances, and Works of Igor Stravinsky includes, in one way or another, some 90 percent of the music Stravinsky is known to have composed. Save the inclusion of both the Firebird Ballet and its corresponding suite, alternate incarnations of works are not found here; the dreaded, posthumously discovered Sonata in F sharp minor for piano is likewise lacking, but so are several of Stravinsky’s other piano pieces and the Three Pieces for String Quartet.
Here’s why I hate to fly, post 9/11. All of the counter-terrorism measures enacted at US airports are just prop-comic jokes – supremely unfunny ones to boot. Shoe bombs? Liquid explosives? Only on television or in James Bonds films, not practical in the real world. Restricting wine openers and cuticle scissors? Ridiculous. One can make a deadly weapon out of a myriad of devices, including a credit card or a photo id! Try bending a card you no longer need in half, that sucker quickly becomes a sharp, sharp blade. Confiscating bottles of liquid in huge garbage barrels? If the bottles of water are so dangerous, why are they kept in the crowded areas of airports for hours? Obviously nobody is really scared of these liquids, yet the TSA guards become rapidly belligerent if one attempts to notice this fact, or any other inane Terrorism Theater prop.
Does any of the Terrorism Theater Kabuki make us safer? Doubtful.
Patrick Smith (a commercial pilot) explores the topic in detail:
But of all the contradictions and self-defeating measures T.S.A. has come up with, possibly none is more blatantly ludicrous than the policy decreeing that pilots and flight attendants undergo the same x-ray and metal detector screening as passengers. What makes it ludicrous is that tens of thousands of other airport workers, from baggage loaders and fuelers to cabin cleaners and maintenance personnel, are subject only to occasional random screenings when they come to work.
These are individuals with full access to aircraft, inside and out. Some are airline employees, though a high percentage are contract staff belonging to outside companies. The fact that crew members, many of whom are former military fliers, and all of whom endured rigorous background checks prior to being hired, are required to take out their laptops and surrender their hobby knives, while a caterer or cabin cleaner sidesteps the entire process and walks onto a plane unimpeded, nullifies almost everything our T.S.A. minders have said and done since September 11th, 2001. If there is a more ringing let-me-get-this-straight scenario anywhere in the realm of airport security, I’d like to hear it.
I’m not suggesting that the rules be tightened for non-crew members so much as relaxed for all accredited workers. Which perhaps urges us to reconsider the entire purpose of airport security:
Of course, this means the RIAA also hates most of its own best music-purchasing customers.
Now, in an unusual case in which an Arizona recipient of an RIAA letter has fought back in court rather than write a check to avoid hefty legal fees, the industry is taking its argument against music sharing one step further: In legal documents in its federal case against Jeffrey Howell, a Scottsdale, Ariz., man who kept a collection of about 2,000 music recordings on his personal computer, the industry maintains that it is illegal for someone who has legally purchased a CD to transfer that music into his computer.
The industry’s lawyer in the case, Ira Schwartz, argues in a brief filed earlier this month that the MP3 files Howell made on his computer from legally bought CDs are “unauthorized copies” of copyrighted recordings. [snip]
The Howell case was not the first time the industry has argued that making a personal copy from a legally purchased CD is illegal. At the Thomas trial in Minnesota, Sony BMG’s chief of litigation, Jennifer Pariser, testified that “when an individual makes a copy of a song for himself, I suppose we can say he stole a song.” Copying a song you bought is “a nice way of saying ‘steals just one copy,’ ” she said.
I think the music industry would be in much worse shape if the iPod revolution hadn’t happened.
—
update, poorly worded WaPo story (surprised?).
The only problem: No such claim was made. What RIAA lawyer Ira Schwartz wrote in a supplemental brief was: “Once Defendant converted Plaintiffs’ recording into the compressed .MP3 format and they are in his shared folder, they are no longer the authorized copies distributed by Plaintiffs.”
The critical phrase there is “shared folder” because the rest of the brief makes clear that the RIAA is claiming that Howell not only ripped his CDs but also put them in his shared folder in Kazaa, thus making them available for worldwide distribution. The RIAA has successfully argued that mere presence of copyright files in a shared folder constitutes “distribution” under copyright law.
“This is a garden-variety case with a very typical dispute over what constitutes distribution,” Eric Goldman, director of Santa Clara University Law School’s High-Tech Law program, said in a telephone interview.
The Lakota Indians, who gave the world legendary warriors Sitting Bull and Crazy Horse, have withdrawn from treaties with the United States, leaders said Wednesday.
“We are no longer citizens of the United States of America and all those who live in the five-state area that encompasses our country are free to join us,” long-time Indian rights activist Russell Means told a handful of reporters and a delegation from the Bolivian embassy, gathered in a church in a run-down neighborhood of Washington for a news conference.
A delegation of Lakota leaders delivered a message to the State Department on Monday, announcing they were unilaterally withdrawing from treaties they signed with the federal government of the United States, some of them more than 150 years old.
They also visited the Bolivian, Chilean, South African and Venezuelan embassies, and will continue on their diplomatic mission and take it oversea
[snip]
The treaties signed with the United States are merely “worthless words on worthless paper,” the Lakota freedom activists say on their website.
The treaties have been “repeatedly violated in order to steal our culture, our land and our ability to maintain our way of life,” the reborn freedom movement says.
Withdrawing from the treaties was entirely legal, Means said.
“This is according to the laws of the United States, specifically article six of the constitution,” which states that treaties are the supreme law of the land, he said.
“It is also within the laws on treaties passed at the Vienna Convention and put into effect by the US and the rest of the international community in 1980. We are legally within our rights to be free and independent,” said Means. [From The Raw Story | Descendants of Sitting Bull, Crazy Horse break away from US]
After reading about COINTELPRO, I’m not surprised about this move. I don’t have a clue as to what practical changes will ensue, but more power to the Lakota.
Lest you have ever entertained the thought that waterboarding was somehow a more humane torture. It isn’t. And also, misleading Congress is an impeachable offense, especially if the lies told are to cover up evidence of torture.
So much talk of waterboarding, so much controversy. But what is it really? How bad? I wanted to write the definitive thread on waterboarding, settle the issue. Torture, or not?
To determine the answer, I knew I had to try it
Bush’s buddies, the telecom giants, are still worried they might have to answer for their crimes.
From the Senate floor, Ted Kennedy just cut through all the crap:
“The President has said that American lives will be sacrificed if Congress does not change FISA. But he has also said that he will veto any FISA bill that does not grant retro-active immunity. No immunity, no FISA bill. So if we take the President at his word, he’s willing to let Americans die to protect the phone companies.”
