Just a vaguely random moment.
Did you ever have something so firmly in your memory that nobody else you knew had seen or remembered, and then, oddly, you finally come across evidence that it was a real thing?
Patty Duke, many a long year ago, was in a made-for-TV film called "Before and After" in which she uttered the immortal line quoted in the title. Weirdly, that, and how that scene turned out, were all I remembered of the film.
And then, today, I happened to stumble across that very film while searching for something else. Alas, it's not set to allow embedding, but if you click on the link below, it should take you to the very point in the scene where she says those deathless words. If you go through the next minute or so of the film, including the brief tiff with her mother and the concern about her friend who developed anorexia, you'll see the waiter's response.Before and After, the party scene
I also remembered the waiter in the scene, in part because he'd been in a few other things around that time, none of which have made it to IMDB, not surprisingly, and I had a certain fondness for his ... eyebrows. (Seriously, those are some mighty mighty eyebrows, those are. He also had a very hairy chest. Seems he's aged rather well
... though, oddly, the eyebrows kind of haven't, if the photos are to be believed.)
You will need to see the beginning of part 7 to see how the party scene turns out. (SPOILER: She totally Does It with the waiter on a baby grand, after he listens to her go on a bit. I'd forgotten how totally toasted she gets.)
-- Originally posted at http://iainpj.dreamwidth.org/54859.html
, where there are
Mom Jailed for Letting 9-Year-Old Daughter Play at Park Near Job
The part I love best about the article is the very last quote:
"I understand the mom may have been in a difficult situation, not having someone to watch the child, but at the same time, you've got to find somebody," Lesa Lamback told ABC 6.
I just want to ask that woman to replay that comment in her head. You don't have anyone, you're making just above minimum wage so you really can't afford any sort of day care, but you've got to find someone. It's not even that it's not true; it's that there's no real way to square that circle. If she'd known about better options she could afford, she'd have used them.The original article notes that
the state's dept of social services has several programs and services. I do wonder how anyone is supposed to know about them or apply for them ... or why anyone would assume that the state had those programs. Quite honestly, it would never have occurred to me that the state had programs for child care. (Which, in fact, we do.
The form for applying is a bit confusing for something so brief. If you do the calculation, the estimated copay, for someone making just a shade above Illinois minimum wage, is $110 per month. Which isn't huge, but ... if you're making just above Illinois minimum -- roughly $20,000 per year -- I wonder where that $110 per month is going to come from? [The cost does drop for school age children, part day ... but then, in the summer, school age children that age aren't
part-day care, are they?] And, of course, many food service jobs are exempt from actually paying minimum wage, because they assume you're going to get tips, even if you're not in a position where you can get tips.)
-- Originally posted at http://iainpj.dreamwidth.org/54778.html
, where there are
Let's just have a quick skip along the musical trail, shall we? Let's shall.
I just found out today that something I'd thought of as original (or originalish, anyway) was a cover of a cover of a cover. Followed almost immediately by a later cover in a different language, even. In fact, there seem to be three different languages involved somewhere along the way.
All of the songs appear to be musical versions of a poem by Andres Eloy Blanco, as noted by Spanish Wikipedia
. Eloy Blanco does actually have a lyricist credit on most versions of the song.
This was the version that I heard first, and which I love with a love that is true. (NOTE. Audio only. Six minutes long, or in between 2 and 3 times the length of most other versions. I dearly love Roberta Flack, but she can be a tad ... long winded. That said, it's worth noting that Cat Power has a cover inspired by specifically this arrangement that runs anywhere from 4-10 minutes, depending on recording and performance.)
However, this appears to have merely been the then-most recent version in its original (...I think) language. It had been taken for use as a civil rights protest song of an unusual sort. This version came off Roberta Flack's first album, "First Take", recorded 1969.
In 1970, the following performance was recorded, in English ... on German TV. As one does. Or as Eartha Kitt did, given that she was coming to the end of her persona non grata period in the US.
The civil rights protest aspect is ... rather clearer in English, and with Eartha Kitt's particular performance of it.
Both of those follow, almost directly, a 1968 version of the song recorded by a singer named Robertha, about whom I can't find much, except that she seems to be the daughter of a popular Peruvian artist.
Prior to that was a 1952 version of the song in French, "Les Anges Noirs" by Vicky Down. It is very very ... 1952. Very.
And then we loop back to 1948, and a Mexican (I think) musical starring Pedro Infante. In which the song, as staged, appears to be ... a lullaby? Really? How ... cheery. (Also, I have a horrible feeling the little girl is in brownface. Which is an interesting thing for a song that gets appropriated as a civil rights song further north.)
It appears to be the title song for this film
, I think.
There are other versions, of course. It appears to have been a very popular song in generation cycles -- strong in late 40s and 50s, effectively disappeared for nearly 20 years, popular again in the late 1960s and early 70s.
And now, to end on an entirely unrelated but cheerier note:
I can't understand two thirds of what she's singing (kind of sad, that), but I'm pretty sure that I might not be expecting the candy she would be supplying.
- Tags:music, video
- Music:... well, that's kind of obvious, really
I have been waiting for this series for six years, people! Six! Years! Ever since it came from behind to tie for the win in the Top Cow competition for that year! And then it just vanished into the ether. But now! UnVanishing accomplished!
These are all the posts about the upcoming release
in Bernardin's Tumblr.
Plus! Plus! In an interview at Comic Book Resources
, there's this bit at the end:
Bernardin: And we just reacquired the rights to our first graphic novel, "Monster Attack Network" -- we hope to be able to announce a new home for it, as well as more kaiju-happy stories, in the coming months.
More Monster Attack Network (possibly)! SQUEEEEEEEEEE!
(And so on.) You may remember that I loved the first volume with a love that was mostly pure
, and I have been very sad that there was no more. But now there may be! WOOT! (I can but hope that Zeke, the black gay monster fighter, also lives through volume 2. And also that maybe he gets some. Mind, I'll settle for a profound lack of noble self sacrifice on his part.) (But seriously. He should get some. Why should the inappropriate sexual interlude be limited to the straight guy? Plus, when last we saw him, the straight guy was in an only-mildly-improbable relationship, so hopefully he's still off the playing field. [The woman with whom he was canoodling seemed, for various reasons, unlikely to share.])
Is it August yet? I need it to be August RIGHT NOW. (...And I need to figure out if I can do a very late order, because I have been paying less than no attention to Previews lately, what with my pull list dropping from over $50 per week -- I know, I know -- to something like $50 per month. Hmm.)
-- Originally posted at http://iainpj.dreamwidth.org/54410.html
, where there are
So as long as I'm not going to get meself a Tumblr (at least, I hope I'm not), I might as well make this more tumblresque sure fine why not, right? Maybe that will work to prod some activity here and there.
Interesting when you find out something about someone you'd never known before. For example, while I neither read, deify, nor admire him, I hadn't before heard about Lovecraft's ... interesting
views on race.Racialicious: The ‘N’ Word Through The Ages: The ‘Madness’ Of HP Lovecraft
...Seriously, he gave his cat THAT word for a name!
I mean ... WHAT? (Also, I'm guessing he didn't much like cats, either.)
Similarly, I hadn't known that Norman Rockwell painted anything but genteel portraits of a bygone white America. And yet, it turns out that he had.Norman Rockwell and the Civil Rights Paintings
By Angelo Lopez
February 11, 2008
"Southern Justice" is a genuinely shocking painting, even more so when you consider that it came from Rockwell. Granted that it seems to have come after "The problem we all live with", it still had to be one hell of a shock to his normal audience. (For some reason, I'm seeing a variety of dates for "Southern Justice", either 1963, 1964, or 1965 so far. 1965 seems to be authoritative.)
No trenchant commentary or observations. Just seems to be the season for hearing things about artists in various realms that you hadn't known before.
-- Originally posted at http://iainpj.dreamwidth.org/54043.html
, where there are
Also, aten't ded yet.
The first via Richard at sturtle. (And it's not quite what you might think.) The second because, much as I love him, Jimmy Sommerville is sometimes insufficiently fabulous. The third for the hell of it.
-- Originally posted at http://iainpj.dreamwidth.org/53864.html
, where there are
Because the day needs a little modern day old school funkishness. So to speak.
I have to admit, I never thought I'd like Lambert as a performer. I mean, he was fine on American Idol (and he continues its recent rich tradition of having people besides the actual winner of their year having much more highly visible careers), but I didn't think he'd work for me. But he really really does, most of the time.
Also, allowing for the conceptual weirdness that this is a recording of a live show, the "live" version of this song is MUCH better than the album version, which is also pretty good. He sounds better when he's a bit less "produced", for lack of a better word. (And when the live show is professionally recorded.)
- Tags:music, video
- Music:...well, that should be obvious
So I got this email from a vendor that I have done business with, advertising a huge font package for a low price, and I open the email and take a look because I am a typeface junkie. (NOTE: junkie
, not nerd. This means that I don't actually know all the history or proper and improper usages and all that stuff that the typeface nerds know -- which, honestly, I find kind of fascinating from time to time. "Junkie" means that I have admitted that I am powerless in the Face of Fonts, but having admitted my powerlessness, I now am occasionally able to resist. Also, once you get beyond a certain point, it slows your system so much and so massively inflates the RAM it uses that it's just not worth it. But I digress.)
Anyway, I'm looking through the list of fonts, and one of them is ... Falkencrest. And I am immediately taken back to an earlier day and time. A simpler time. A time when evening soaps ruled the televisual landscape. A time when people actually watched television on Fridays, and you could get a top ten rated show anchoring your Friday lineup. A time of over-the-top excess, bitchiness triumphant, and shoulder pads that could decapitate a roomful of people. A time when a two-minute long (or longer, in some cases) credit sequence was not at all unusual, and wind instruments ruled the credits auditory landscape.
(And, in case you were wondering, "Falkencrest" the font kinda sorta vaguely looks like it might have been in the same family with the type used in the "Falcon Crest" credits, but then they decided that they weren't speaking any more and went their own separate ways. You can see it in the second section of fonts, under "PLUS, 25 new font families added..." on this page
I didn't even know I remembered this show at all, let alone the credits, until that weird earworm got triggered.
Interesting to see how people cycle in and out of prominence, if that's the right word. I mean, Jane Wyman has every reason not to be working these days, what with having been dead for a few years. Everyone else in that cast is still around, I think, and still relatively hale and hearty, but I haven't heard of most of them in years. Susan Sullivan is playing Nathan Fillion's mother on "Castle" (I still can't quite wrap my mind around the concept that she's old enough for that -- then again, according to IMDB, she's easily old enough to be MY mother, so she looks very good for her age). Lorenzo Lamas is doing ... stuff. (Seriously, I have no idea
what most of the things on his IMDB page are, with the exception of the voice of Meap on "Phineas and Ferb". This also means that he spends about two thirds of his time on that show saying "Meap!" in a very high pitched voice that I wouldn't think he could manage without someone doing something very unkind to his nethers.) William (formerly "Billy") Moses has been doing a lot of one-off guest shots, and a few longer term things here and there. David Selby has also done a lot of one-offs and guest shots since Falcon Crest. Jamie Rose, the same, apart from a brief one-season stint on "In2ition" (series canceled after 9 episodes). And so on.
When I went to IMDB to check out the cast and see who's doing what now, this popped up, fresh out of the TV news today:'Falcon Crest' reboot in the works, according to former stars
As bob is my witless, I swear that I had no idea about that before today, until after I started this entry.
I must admit, I'm kind of astonished. First, Falcon Crest was generally fourth among equals, shall we say. Dynasty and Dallas duked it out for the top (sometimes with actual duking and actual dukage), the Dallas spinoff "Knots Landing" generally seemed to be third, and then Falcon Crest was fourth. Mind, still a top-ten or top-fifteen rated show kind of fourth, but still fourth. And it never had the sort of over-the-top characters that grabbed the imagination or attention like Joan Collins' Alexis Carrington from Dynasty or Larry Hagman's JR from Dallas. Jane Wyman's Angela was properly conniving and somewhat self-serving, true, but she really did generally tend to do things she thought were for the good of her family, as opposed to herself. They just happened to be sort of ... incidentally evil, maybe? Not necessarily done with malice aforethought -- although if malice came into it, that was a nice little lagniappe.
Susan Sullivan says that if her character is involved, it would be as a ghost in the minds of others, since her character was killed off during the series. The problem with that, one would think, is that she's now 30 years older. People who are ghosts in your mind don't age; they stay as they were when you last saw them, for better or worse. So I'm by way of thinking that unless they get archive footage and stick new soundtracks on it, her participation might be deeply problematic.
It is truly weird that these quintessential 80s soaps are experiencing a revival these days. At the time, they were all about the celebration (and occasional bringing-down) of wretched excess -- with roughly equal emphasis on both the "wretched" and the "excess". Most of the people had tons of money, but weren't at all happy. And the people without money were usually involved in revenge schemes against the wealthy people they thought had kept them from being wealthy. Nobody got to be happy for more than an episode or two. And now we're in the lingering aftermath of the Great Recession (and toying with a Greater Recession, thanks to politics), and ... well, it seems like the sort of thing that would go over like a lead balloon. Particularly tone-deaf, in a way. And yet, the revival of "Dallas" seems to be popular.
Strange. Really, very strange.
-- Originally posted at http://iainpj.dreamwidth.org/52943.html
, where there are