So many. Oh, but there are just so many.

link:  http://www.theguardian.com/commentisfree/oliver-burkeman-column/2015/feb/03/believing-that-life-is-fair-might-make-you-a-terrible-person?CMP=fb_gu

'So, where is Hillary right now?'
- lol (machiavellian chuckle)
'gotcha'

- winkbye.

Balloons and pitchers.

Sylvia Plath wrote her last two poems on this day in 1963, a week before her death. In “Balloons,” a mother observes her two children happily playing with their two “traveling / Globes of thin air, red, green,” in “a world clear as water.” In “Edge,” everyone is dead:

"The woman is perfected.
Her dead
Body wears the smile of accomplishment,
The illusion of a Greek necessity
Flows in the scrolls of her toga,
Her bare
Feet seem to be saying:
We have come so far, it is over.
Each dead child coiled, a white serpent,
One at each little
Pitcher of milk, now empty…"

The hijinks (high jinks variant) of film history 101

link: http://nofilmschool.com/2015/02/deal-saved-film-kodak-reaches-agreement-big-6-studios

"This is kind of funny considering film history. Technically Eastman Kodak (part of Edison Trust) tried to control the film industry but the studios fled to California to get away from Edison and Kodak in New York. Now the studios are helping Kodak... Oh the irony." 

bye.

If the details of the 2008 “kids for cash” scandal are but a distant memory, here’s a quick refresher: Two Pennsylvania judges pocketed millions from the developer of juvenile detention facilities, where they were sending thousands of kids for minor infractions. It was a stunning abuse of power, and both men were eventually tried and sentenced to long prison terms. Justice, apparently, was served. Yet the documentary “Kids for Cash” proves that the abuse was both more nuanced and more tragic than the public understood. In his directorial debut, Robert May examines in granular detail the causes and effects of the scandal, and interviewed dozens of people over a number of years. He spoke to the investigative journalist who broke the story, he followed the children and families affected by the convictions and he interviewed those at the Juvenile Law Center who helped overturn thousands of convictions. Most impressively, May managed to interview both judges, offering the men chances to give their sides of the story. In May’s telling, it all started with Columbine. That 1999 massacre at a Colorado high school stoked an irrational fear that led school administrators to hand off misbehaving kids to the county. Where a fistfight might have once led to detention or a suspension, now children were getting arrested and, because of judge Mark Ciavarella’s strict zero-tolerance policy, ending up in shackles. The kids interviewed for the documentary tell similar stories. Some were as young as 12, and the crimes could be as trivial as mouthing off or, in one case, creating a bogus MySpace page to mock an assistant principal. In many cases, the children’s parents were advised by the police to waive legal counsel, although as one public defender wryly notes, even F. Lee Bailey couldn’t have saved these kids from doing time. Ciavarella saw the zero-tolerance policy as a deterrent for kids. He traveled to schools warning students that he’d lock them up if they landed in his court, and he had the support of the community and schools. But, as the movie shows, the long-term effects were that the kids didn’t learn their lesson so much as sink into deep depression and struggle with post-traumatic stress. Once they finished their sentences, the tiniest infractions would land them back in juvenile detention, where they might learn a thing or two about doing drugs or building a bomb while cultivating a deep hatred for authority. The most heart-wrenching portions of the movie involve the mothers of the incarcerated kids, who feel enormous guilt. In a moving sequence, one of the women, whose son killed himself, confronts Ciavarella outside the courthouse after his guilty verdict. The title of the film seems a little misleading, given that Ciavarella was a proponent of sending kids away long before he received cash, which he still justifies as a “finder’s fee.” It only seems to reinforce some misinformation about the case. And some of the movie’s atmospherics, including overly-evocative music and staged visual elements of paper dolls in a dark attic, distract from the weight of the movie. On Monday, the Supreme Court refused to hear Ciavarella’s appeal, which means his 28-year sentence stands. Some will say “he got his” and move on, but this moving documentary shows that for the kids he sentenced, it isn’t that easy.

and lord knows that if judge Ciavarella were around in the late 70's working the bench down in East London - Bromley, Soo Catwoman would never have had a chance in bloody hell...
bye.

DRUM TALK : Remembering Karen Carpenter.

Post by Drum Talk TV.

Fuggitaboutit I'm a dying breed.

NewYawk_uPdAteLInk :
http://www.dazeddigital.com/artsandculture/article/23504/1/nyc-mayor-promises-to-build-1-500-cheap-houses-for-artists

Members of the 'flat earth society'

Vaccines_Autism_relationslink:   http://www.politifact.com/truth-o-meter/article/2015/feb/03/What-Barack-Obama-said-about-autism-and-vaccines/

'Be My Eyes'

Be My Eyes - helping blind see from Be My Eyes on Vimeo.

Phonecam records bridge-plane collision in Taiwan.

Taiwan: The ATR-72 turboprop aircraft with 58 onboard was flying from Taipei to the offshore island of Kinmen when it crashed into the Keelung River after apparently ramming into a highway viaduct, Taiwan's Central News Agency (CNA) said. Taiwan's United Daily News said about 10 people have been sent to hospital, and more than 40 are still awaiting rescue. The New Taipei City Fire Department has despatched five rescue teams, equipped with speed boats, to the accident site near the Nanyang Bridge in Xizhi district, CNA said.

Jane Public News broadBLOGcast. over and out. bye.

This video below explains a little bit about not only the special effects behind the Alien chest scene itself (btw, if you haven't seen the scene: the stomach is fake), but also the interactions of screenwriter Dan O'Bannon, Ridley Scott, and the late H.R. Giger, the much-lauded special effects man who visualized most of what we now know as Alien, leading up to the scene itself. Some parts of the scene were a surprise to the actors involved, contributing to its frenzy--other parts required Herculean, meticulous planning. It's important to watch little films like this because it's important to know that what you're watching on the big screen takes extensive cooperation between numerous individuals before it reaches you, in your seat, and a more private, personal cooperation, that of the viewer and the work, begins.. .

bye.

Stickin' a big 'foot' in my mouth.

Wish me luck learning this game, becuz(spelled really 'because') I hate boardgame manuals! (really ALL manuals, actually) - And this game looks Complicated and Hard as Freakin' Sh&t !   bye. ..

bye. ..

Don't mock the Watchman.

p.s.  This is not Moi mocking the mocking bird. This is Moi singing along to a car radio that froze in the blizzard. 'Keep Hope Alive' and try to beat Kate Perry for the next Superbowl intermission break gig!  bye FreakaZoid!!

Brrr.

So yeah. So much for biking in the snow today . Bye. 

New Deren book release!

Maya Deren (1917-1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon (1943), a dream-like experiment with time and symbol, looped narrative and provocative imagery, setting the stage for the twentieth-century's groundbreaking aesthetic movements and films.

Maya Deren assesses both the filmmaker's completed work and her numerous unfinished projects, arguing Deren's overarching aesthetic is founded on principles of incompletion, contingency, and openness. Combining the contrasting approaches of documentary, experimental, and creative film, Deren created a wholly original experience for film audiences that disrupted the subjectivity of cinema, its standards of continuity, and its dubious facility with promoting categories of realism. This critical retrospective reflects on the development of Deren's career and the productive tensions she initiated that continue to energize film.

About The Author

Sarah Keller is assistant professor of Art and cinema studies at the University of Massachusetts-Boston. 

Lovely WWII documentary raw gritty 'opening credits'

It's been one year. 
You remain remembered.

Sid and Marty Krofft classic TV shows.

                                         

also, Sigmund and the Sea Monster, Lost in Space, the list goes on and on… bye.

Welcome to NYC.  bye.

'At least the first two chapters are good,'  said J. Public to nobody.  bye.

P.S. 

                               You go girl!  (to rehab … go to rehab)

Easy answer.

Well, That's Easy -   'Bigfoot and Wildboy' !!!…

       

bye!

P.S. 

   

Looking foward to seeing Noah Baumbach's new film, 'While We're Young.' Noah is such a brilliant screenwriter (the Squid and the Whale).  bye.  

watchin' 'Whiplash'

   reviewlink :

http://www.nytimes.com/2014/10/10/movies/in-whiplash-a-young-jazz-drummer-vs-his-teacher.html?_r=0

            This film is worth watching because of the final drum solo. I am still recovering. Wow! bye.

sad.

R . I . P .   KENJI  GOTO

Stuffed meatballs a la mode.

This is what eating spaghetti without meatballs looks like. 

bye. 

colorizing restoring raw materials.

In conversation with self: Modern technology, such as colorizing and restoring of the archive materials, combined with the expertise of lip readers allowed the ability to retrieve not only insurgents faces but also remote voices. Embellished with manipulated location sound as much as with color the raw footage becomes an emotional, throat-gripping account with unmatched realism. Time for a break.

Lunch break from editing or break from Target? bye.