Archive for 8th March 2006
I don’t know about you, and maybe I’m just being paranoid, but all the hysteria about this Warren Jeffs guy has me nervous — especially with that moron Alberto Gonzales sitting in the Attorney General’s office (can’t we please have Ashcroft back?)
Are we headed for another Waco?
As much as I like Wordpress, trying to find API info is just a pain in the ass (and the search on the wordpress page doesn’t work). I added the date — but I want the date itself to be a link, so you click on it and it takes you to all the posts for that day.
I got so frustrated trying to find Wordpress info about how to do this (there has to be some kind of function that will), I gave up. It’s just easier to use PHP to do it — and why I didn’t do that in the first place, I do not know.
I’ll do it later. Right now, I’m ready to toss this laptop in the garbage.
This week must be a nightmare for liberals.
Where’s my kleenex? I think I’ll have a nice cry and feel their pain, just for fun.
Surely, the Vagina Monologues is the most idiotic thing feminists have ever come up with — except, possibly, for V-Day. Can you imagine universities sponsoring Penis Day? And who would even propose such an idiotic thing? (Btw, if you haven’t seen the Vagina Monologues, you really owe it to yourself to see just what morons feminists can be, and with straight faces.)
And it’s International Women’s Day! (No, I had no idea.)
During winter break of her senior year, she retyped “The Vagina Monologues,” replacing every use of the word “vagina” with “penis,” and called the result “The Penis Monologues.”
“When you call it ‘The Penis Monologues,’ that’s ridiculous. It’s ridiculous on the other side as well,” she says.
Stuart held a reading of her rewrite last spring and invited Hoff Sommers to campus for a lecture. To promote it, a friend of Stuart’s dressed in a six-foot phallus costume and distributed fliers.
Read the whole thing (h/t to Michelle Malkin).
In honor of Cyd Charisse, a reprint:
There’s a reason the WW2 generation, is known as the Greatest Generation. To see why, all you have to do is look at Hollywood then—and to make the point clear, compare it to Hollywood now.
When we entered WW2 in 1941, Hollywood churned out pro-American pro-war movies, even cartoons. You can easily dismiss that as making a profit, of course, but that’s not where it stops. The greatest and most powerful directors of the era, Frank Capra, John Ford and John Huston, enlisted and fought for their country, as did star after star. Other stars, as well as the women, toured with the USO, worked for the war effort at home, and did what they could to support their nation during wartime. Here are just a couple:
Clark Gable, one of Hollywood’s greatest stars, exemplified the patriotism of the era. Gable turned down the opportunity to sit here and make movies, and instead, signed up. So did Jimmy Stewart and Henry Fonda, to name two. A full quarter of the men working in Hollywood signed up to serve their country.
The incomparable Carole Lombard flew to her home state of Indiana as a volunteer for the War Bonds effort. She was killed when the plane went down in Nevada on the way back to California. And speaking of incomparable, Hedy Lamarr developed frequency-hopping, to better control torpedoes, now the essential technology behind cell phones. Marlene Dietrich was an inexhaustible force for the Allies, touring for the troops, making public statements condemning her native Germany and Hitler. The list of patriotic icons in Hollywood from that era goes on and on. Bob Hope. Susan Hayward. Fred Astaire. Ginger Rogers. In fact, if you go through the list of stars, you can’t find one who didn’t aggressively support the United States and the war effort.
Even the weasels supported their country and the war effort. As an example, Chaplin made the movie Modern Times as an anti-Hitler movie. Chapin may have been a commie, but he didn’t hate his adopted homeland enough to withdraw his support of the war effort.
Today, of course, the Hollywood list that seems equally infinite comprises the anti-American, anti-patriot goon squad. I don’t need to name names here, though I do wonder why Alec Baldwin never moved out of the US as he promised (perhaps the “stars†of today are but castrated shadows of their Hollywood betters, and don’t have the guts to do anything but make empty promises). This weasel club also embraces idiotic “causes” such as PETA. In fact, if there is a way to bash the United States, these scumbags manage to do it. Hollywood has done a 180, from the strongest and most visible supporter of patriotism to the most raucous and despicable supporter of anti-patriotism.
What happened?
There were many people against the war in the 40s. However, except for the communists, once we entered the war, people did not try to undermine their own nation’s war effort at the time (and the communists soft-pedaled their opposition). It wasn’t done. Patriotism was supporting your country, not trying to destroy it while saying that you are “the true patriot” for trying to destroy it. We didn’t get that “concept” until the Sixties.
In the Sixties, this idea that “true patriotism” was going to the enemy and expressing your support, as Jane Fonda and many others did, or protesting in the streets and siding with the enemy against your own country started to gain a foothold. It wasn’t a fully developed concept, however. Most hippies were honest enough to admit that not supporting the war meant not supporting the troops, and the openly scorned the men who served their country. As more men were drafted, however, we saw the birth of the condescending and insulting “veteran as victim of the evil American war machine” idea.
Not until this war, however, did we see this concept fully formed. Unlike the hippies in the Sixties, the equivalent weasels today know if they don’t pretend to “support the troops” they will repel most Americans. So we have the Code Pinkos protesting in front of Walter Reed, and insisting that theirs is a “pro-military” protest.
As for Hollywood, the industry took a hard turn toward communism and the American left in response to the entirely appropriate purges of the Fifties, after the Hollywood giants, such as Louis B. Mayer, were gone. It was a movement without thought or substance, as it is today, a knee-jerk reaction. Its proponents today, Sarandon, Baldwin, Goldberg, you name it, are full of meaningless liberal platitudes. They’re reactionaries. They believe that being a mindless reactionary is somehow “patriotic,” and that the United States is inherently evil. So does any leftist who will actually tell you to your face that he’s a leftist because he “loves his country.”
The younger generation of “stars” is a different case. They have so readily swallowed this bullshit from their mentors in Hollywood for the same reason they embrace PETA: they have never known evil. Unlike Sarandon or Sheen, they did not see images of bloody bodies massacred by the Khmer Rouge on television, and have spent their adult lives in a post-USSR world. To their sugary minds, stepping on a cockroach is “evil.”
They deserve a pass, or at least consideration, for this. Their mentors do not.
Hollywood today encapsulates every repugnant anti-American facet of the left—including their breathtaking oblivion to America itself. It’s well past time for another purge. Whether this is accomplished by boycott or political action is immaterial, so long as it is done.
Today is the 85th birthday of the glamorous, incomparable Cyd Charisse. There’s a Cyd Charisse marathon on TCM today.
Here are a few pictures:
Biography from Leonard Maltin’s Movie Encyclopedia:
The gorgeous gal with the legs that just go on forever, musical star Charisse owes much of her fame to those glamorous gams. A ballet prodigy from childhood, she was featured in the Ballet Russe at age 13. She married her dance teacher, Nico Charisse, when she was just 18, and made her film debut with him in a handful of “Soundies” musical shorts in 1941. She was billed as Lily Norwood for her feature debut in Something to Shout About (1943), and subsequently played a few bit roles under that name. Signed by MGM in 1946 and renamed Cyd Charisse, she was carefully spotted in that studio’s prestigious musicals, where the producers saw to it that she made the maximum impact in the minimal amount of screen time, in The Harvey Girls, Ziegfeld Follies, Three Wise Fools, Till the Clouds Roll By (all 1946), Fiesta, The Unfinished Dance (both 1947), Words and Music (1948), The Kissing Bandit (1949), and others-always in support. Her striking appearance opposite Gene Kelly in the sensational “Broadway Ballet” of Singin’ in the Rain (1952) was the turning point in her career. The following year, she costarred with Fred Astaire in The Band Wagon (1953), and their dance numbers together were, for lack of a better word, heavenly. She also had memorable dance numbers in the otherwise unseen Sombrero (1953) and Deep in My Heart (1954).
The mid 1950s saw MGM’s musical cycle just about played out, but Charisse rode out the last wave in Brigadoon (1954), It’s Always Fair Weather (1955), Invitation to the Dance (1957), and Silk Stockings (1957), the musical remake of Garbo’s Ninotchka that reteamed her with Astaire. She’d become a passably good actress by now, but without dance numbers (and costumes) she was just another Hollywood beauty. Dramatic turns in Twilight of the Gods and Party Girl (both 1958) were followed by appearances in foreign-made productions the likes of Five Golden Hours (1961), Two Weeks in Another Town (1962), Assassination in Rome (1963), Maroc 7 (1967), and Warlords of Atlantis (1978). She did get to costar in a British-made ballet feature, Black Tights (1960), and performed an elegant striptease in the campy spy thriller The Silencers (1966), but has since worked sporadically in Hollywood, mostly in TV, often accompanied by her second husband, singer-actor Tony Martin. Their joint autobiography, “The Two of Us,” was pub lished in 1976. In 1992 she made her Broadway debut in the musical “Grand Hotel,” and released an exercise video.
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