tag:blogger.com,1999:blog-82329276290947028972024-03-04T23:35:11.177-08:00Hunting YetiTrying To Interact As The World TurnsJonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.comBlogger406125tag:blogger.com,1999:blog-8232927629094702897.post-45366787640205297962013-04-17T10:00:00.001-07:002013-04-17T10:00:52.158-07:00David Foster Wallace on Ambition<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/w5R8gduPZw4" width="560"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-1783285238960778502013-04-04T12:27:00.003-07:002013-04-04T12:27:35.827-07:00Blog Guilt #2The second round of Blog Guilt. This time I wrote about the film <i>The Last Seduction</i>. Same class, same rules apply. If it's dumb, ignore me.<br />
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<span style="font-size: 16.0pt;">Disguise in <i>The
Last Seduction</i><o:p></o:p></span></div>
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Bridget Gregory is
not a human being. Human beings have flaws, they’re vulnerable, and they hurt. Soren
Kierkegaard once wrote that “Don’t you know that a midnight hour comes when
everyone has to take off his mask? Do you think life always lets itself be
trifled with? Do you think you can sneak off a little before midnight to escape
this?”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a>
Yet, Bridget is able to escape the film, all one hundred and ten minutes of it,
without ever touching her mask. In the final scene, Bridget rides in a limo,
the closest a neo-noir film will allow us to the notion of “riding into the
sunset.” And in this scene, Bridget not only flicks her nose up at Kierkegaard
but at the two prominent males in the film, Clay and Mike, as well. Throughout <i>The Last Seduction, </i>Bridget uses her
sexuality as a weapon, dominates male characters through her knowledge of
gender roles, and has no problem donning numerous identities in order immerge
victorious. Yet, as Bridget manipulates the male characters in the film, John
Dahl, the film’s director manipulates the audience as he uses the thinnest
narrative pretense to hide what Bridget truly is – a modern day psychopath. <o:p></o:p><br />
<br /></div>
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<i>The Last Seduction</i> opens with Bridget’s
husband, Clay, earning $700,000 from a drug deal. But Clay is not the typical
“bread winner.” He is essentially unemployed and the funds are supposed to go
towards his medical school tuition. Yet, Clay’s panic filled tears underscore
the aforementioned deal, which only happens due his medical connections and
sheer luck. This man is no hero. Clay returns home, money in hand, and gets
into a fight with Bridget. The situation escalates, he slaps her, but the incident
dissipates, tensions fade. The two become intimate, but as Clay enters the
shower, Bridget hides the rest of the condoms and tells him she’s running out
to get more. Yet without hesitation, Bridget grabs the money and leaves. This
heist was pulled off with lips and cleavage, no firearms involved. In this way,
Bridget uses her femininity as a substitute for violence. However, later on in
the film, when Bridget is pursued by a private investigator, she uses her
sexuality in a much more sinister way, “using it to distract someone before she
commits violence.”<span class="MsoFootnoteReference"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftn2" name="_ftnref2" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[2]</span></span></a> </span>In this sequence, Bridget
walks out of her house and his apprehended by the private investigator. They
climb into Bridget’s car. She drives while he sits in the passenger’s seat. Their
conversation is hostile. After some time passes, Bridget makes a comment about
the man’s penis, if it’s really as big as she imagines. At first, the private
detective resists these advances. He’s a professional, or at the very least,
functions under the guise of one. However, after further encouragement, the
detective relents. He unbuckles his seatbelt in order to unbutton is pants. In
this moment, Bridget pounces. She drives the car into a power line. Upon
impact, the detective flies out of the windshield. He’s dead and it wouldn’t
have been possible without the distraction enabled by Bridget’s sexuality.<br />
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<o:p></o:p></div>
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Throughout the
film, Bridget uses her knowledge of gender roles to not only get men to do what
she wants, but to guarantee her innocence. Upon Bridget’s arrival in Beston,
she quickly befriends a local insurance sales man named Mike. Their
relationship turns sexual and on one rainy night, Bridget and Mike find
themselves alone in the office building that they both work in. Mike, either
half-serious or wanting to impress Bridget, demonstrates how he can catch a
cheating husband by reading his credit report. This act impresses Bridget, who,
taken by curiosity, calls the wife of one of the unfaithful to see if she can
sell her on the idea of murder. Afterwards, Bridget tricks Mike into not only
thinking that she now works as a part-time assassin, but needs him to kill
someone as a way to prove his love for her. And while this may seem
preposterous on paper, Mike believes it. Bridget leverages her femininity in
order to engage Mike’s masculinity, to force him into a construction of power
and strength that both parties know is false. Yet upon further pestering, the
illusion of an unfulfilled gender role is enough to have Mike seriously
contemplate murder.<o:p></o:p></div>
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<br />
Bridget constructs
her femininity in order to have Mike believe that he is a failure of a man,
that he cannot garner enough masculinity to prove his love for her. And this
isn’t the result of bad acting but of design, “everything about Bridget seems
slightly off, or faked, because she employs her femininity.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a>”
This facade of femininity is again employed near the end of film. Mike, who
finally relents to Bridget’s suggestion, sneaks into Clay’s apartment with the
intention to murder him. However, the plot goes awry and both men realize that
they have been tricked. As the men come to terms with one another as allies,
Bridget walks into the door and kills her husband. Any illusion of femininity
dissipates as the last drop of tear gas fills Clay’s mouth. After her husband
has stopped breathing, Bridget turns her attention toward Mike. She informs him
that she knows about Trish, the transsexual that Mike married while he lived in
Buffalo. This revelation is enough to send Mike into a blind fury, for “the
trauma here comes from the idea that a masculine man is supposed to be able to
‘recognize’ a feminine woman.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></a>”
Bridget capitalizes on this fury and provokes Mike into raping her while the
authorities are on the phone. In the course of a few minutes, Bridget has
played both cold-blooded murderer and rape victim. Once the authorities arrive,
Mike is subsequently sent to prison as Bridget’s disguise of femininity claims
its third victim. <o:p></o:p></div>
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<br />
Throughout <i>The Last Seduction,</i> Bridget uses her
sexuality as a multipurpose disguise, one that can be used as a weapon, can
dominate male characters through established ideology, and can assume many
identities. Yet, Bridget’s femininity is not only used to trick the men in the
film, but also the audience. Bridget is undeniably the protagonist of the film,
yet she unable to have an emotional connection to any of the other characters,
they are pawns in her scheme. Given this context, Bridget’s femininity masks
her psychopathy, her manipulation along with her tendency to kill. Yes, she is
a strong woman, but she is not a woman. She is powerful, she is intelligent,
she “kicks ass,” but she lacks the flaws, vulnerabilities, and shortcomings
that are essential in not only a character, but also a human.<o:p></o:p></div>
<div>
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<br />
<div id="ftn1">
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<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Kierkegaard, Soren. <i>Either/Or</i>. II.
146. Print.</span><span style="font-size: 10pt;"><o:p></o:p></span></div>
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<br /></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Neroni, Hilary. <i>The Violent Woman</i>.
Albany, NY: State University of New York Press, 2005. 95. Print.</span><o:p></o:p></div>
</div>
<div id="ftn3">
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<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Neroni, Hilary. <i>The Violent Woman</i>.
Albany, NY: State University of New York Press, 2005. 95. Print.</span><span style="font-size: 10pt;"><o:p></o:p></span></div>
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<br /></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Neroni, Hilary. <i>The Violent Woman</i>.
Albany, NY: State University of New York Press, 2005. 97. Print.</span><o:p></o:p></div>
</div>
</div>
<!--EndFragment-->Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-27959945026482092682013-04-04T12:26:00.000-07:002013-04-04T12:26:06.840-07:00Larry King Has Fun<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/1yD8PzFFNFU" width="560"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-81923248998470146012013-04-04T12:22:00.001-07:002013-04-04T12:22:51.296-07:00Marble Madness<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/QzIG9stFXSI" width="560"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-25480814089680273582013-04-04T12:13:00.001-07:002013-04-04T12:13:24.412-07:00Blog GuiltBlog Guilt is a thing. You know you have this thing you should update on a regular basis, but just can't find the time, or the thoughts, or the mental bandwidth. So since I haven't updated this things in forever, here are some thoughts I had about the film <i>Speed. </i>I wrote this piece for my Violent Women in Film Class and I'm pretty happy with how it turned out. If it's dumb, just act like this was written by someone else or something.<br />
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<span style="font-size: 16.0pt;">The Man of Action as a Source of Strength<o:p></o:p></span></div>
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<br /></div>
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In
his 1864 novel, <i>Notes From Underground,</i>
Fyodor Dostoyevsky writes about how the conscience man is paralyzed by his
thoughts, crippled by insecurity. If Dostoyevsky is indeed correct, Jack
Traven, the protagonist of the film <i>Speed,</i>
may not possess an ounce of consciousness. Over the course of the film, Traven
saves an elevator’s worth of people with a crane, tries to disarm a bomb on the
base of a moving bus, and frees a hostage from a vest lined with explosives. In
the early moments of the film, he even shoots his partner as a way to resolve a
hostage situation. This man clearly posses little, if any, self-doubt. And
Traven’s status as a “man of action” isn’t limited to his own finitude, as
other characters siphon some of his strength. Annie Porter, a spunky twenty
something, catches the bus one day just to learn from Traven that the vehicle
will explode if it reaches a speed under fifty miles per hour. After the bus
driver is shot in an altercation, Annie takes the wheel as Traven thinks of
ways to diffuse the situation. At first glance, Porter exemplifies the
independent woman – intelligent, witty, and able to drive a large bus at high
speeds, an activity one almost always associates with men. Yet, throughout the
film it becomes clear that Porter is not truly independent and powerful, as she
owes her bus driving skills along with her life to Traven, her man of action.<o:p></o:p></div>
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In
her book, <i>The Violent Woman, </i>Hilary
Neroni makes the argument that from the moment Traven climbs aboard the bus, he
is there “to protect Annie.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></a>
This position is not only indicative of Traven’s role in the film, but also of
his place in society. The character of Jack Traven is a white male who lives to
protect. He’s a cop, one who likes to party, save lives, and make passive
comparisons between his work and sexual acts. In fact, early in the film “after
the elevator crashes, Jack and [his partner] Harry sit down and take a breath,
and they say to each other, ‘Was it good for you?’ ‘It was great for me.’”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></a> This
exchange between not only coworkers, but also friends, illustrates the way
sexuality is engrained into the male psyche, how every act of bravery is an act
of masculinity. And as an audience we rarely think twice about this exchange,
for from Uncle Sam to James Dean to Keanu Reeves, the prevalent cultural
ideology has taught us that the heterosexual white male is here to protect.
This ideology is evident throughout <i>Speed</i>
but discards any veil of subtlety right after Harry has been killed. Jack
receives the news, and for a moment, becomes despondent, paralyzed by
self-doubt. His masculinity challenged. But Annie pleads with him, “Don’t give
up on me. We are really scared and we need you right now. I can’t do this by
myself.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></a>
This quote not only affirms Annie as a female who needs a male protector but
also establishes that Jack Traven needs to be reminded that people depend on
him in order to save the day. After Annie delivers that line, Jack returns to
his previous ways. Any blow his masculinity may have taken in the aftermath of
his friend’s death is mitigated with the knowledge that people need him. In the
world of <i>Speed</i> masculinity triumphs
any self-doubt, any consciousness. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
Annie,
despite her goofy ponytails and innocent eyes, drives a bus over a gap in the
freeway. This physical act, coupled with her sharp tongue and wit, may lead
some to argue that she is an accurate portrayal of a young, independent woman.
Yet, any illusion of Annie as a feminist icon is undermined in the film’s final
minutes. As Traven and the rest of the LAPD close in on the location of Howard
Payne, the film’s antagonist, Annie is told to stay inside the van. However,
curious about the current situation, Annie ventures outside and is not only
captured by Payne himself, but has a vest lined with explosives forced upon
her. In the sequences that follow, Payne gets the hostage money that was
promised to him, and with Annie in tow, tries to escape by way of the subway.
Yet, Traven is privy to Payne’s plan and pursues him underground, the final
play in what has been an a hundred and sixteen-minute pissing contest between
the film’s two central male figures. However, down in the subway, it is clear
that Traven is one step ahead as a paint bomb explodes all over Payne and the
money. In this moment, as Neroni points out, “[Payne] realizes at this point
that he has lost all possibility of regaining his masculinity. When he realizes
this he has a violent fit – punching, kicking, and screaming.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></a>
This outburst is the physical manifestation of Payne’s humiliation, his
castration, at the hands of Traven. Payne, frustrated at Traven’s success,
leads the young cop to the top of the train. If masculinity is to be reclaimed,
Traven must die. Yet, Payne’s eagerness to reclaim his manhood proves to be the
end of him, as a low-hanging ledge literally takes his head off. In the
aftermath of the battle, Traven returns to the interior of the train, ready to
reclaim Annie as his own. However, he finds her handcuffed to a pole and the
train out of control. In this moment, Annie argues with him to go, to leave her
to her fate. Two people don’t have to die here. This argument is reasonable, it
may be cowardice in the realm of action stars, but it at least makes sense.
Yet, the ideology of male as protector finds a way to triumph over all. Jack
saves both of their lives and the film ends with them on the ground, kissing as
people applaud. The hero has not only reclaimed his masculinity, but has also
won the girl. The same girl, who a moment ago made a sound argument for her
independent death, is in his arms. Her autonomous decision making ability
rendered mute by his ability to protect.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
On
first glance, Annie Porter may come across as a strong, independent woman. She
drives an explosives bus all over Los Angeles and cracks one-liners at the
expense of her fellow riders. Yet, at the end of the day, she is at the mercy
of two men’s masculinity – Traven’s protective spirit and Payne’s impotence
based frustrations. And by the end of the film, she owes Traven not just
driving ability but also her life. In this context, Porter is not a true
independent woman, just a male construct of one. She is able to engage in both
mental and physical give and take, but in the end, does nothing to disrupt the
ideology of the male protector, the man of action. <o:p></o:p></div>
<div>
<!--[if !supportEndnotes]--><br clear="all" />
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<!--[endif]-->
<div id="edn1">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Neroni, Hilary. <i>The Violent Woman</i>.
Albany, NY: State University of New York Press, 2005. 57. Print.</span><span style="font-size: 10pt;"><o:p></o:p></span></div>
<div class="MsoEndnoteText">
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</div>
<div id="edn2">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Neroni, Hilary. <i>The Violent Woman</i>.
Albany, NY: State University of New York Press, 2005. 47. Print.</span><span style="font-size: 10pt;"><o:p></o:p></span></div>
<div class="MsoEndnoteText">
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</div>
<div id="edn3">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Neroni, Hilary. <i>The Violent Woman</i>.
Albany, NY: State University of New York Press, 2005. 57. Print.</span><span style="font-size: 10pt;"><o:p></o:p></span></div>
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<div id="edn4">
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<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">Neroni, Hilary. <i>The Violent Woman</i>.
Albany, NY: State University of New York Press, 2005. 53. Print.</span><span style="font-size: 10pt;"><o:p></o:p></span></div>
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<!--EndFragment-->Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-72884930002963144682013-04-04T12:08:00.001-07:002013-04-04T12:23:52.846-07:00Phoenix - Entertainment Homemade Performance VideoBecause for some reason, stripped-down Phoenix always sounds better.
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/pDPmyZ9FGd4" width="560"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-81062988387901167542013-01-11T12:10:00.002-08:002013-01-11T12:10:17.573-08:00Addition <div class="separator" style="clear: both; text-align: center;">
<a href="http://25.media.tumblr.com/38c558a07e3b2222bb9d9ca4d079f668/tumblr_mgf91oLwBf1r0lpsto5_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="162" src="http://25.media.tumblr.com/38c558a07e3b2222bb9d9ca4d079f668/tumblr_mgf91oLwBf1r0lpsto5_1280.jpg" width="320" /></a></div>
<br />Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-62366525874107277512013-01-11T12:09:00.001-08:002013-01-11T12:09:10.239-08:00But Seriously, Don't Smoke<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/YnpofBtijF8" width="459"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-42502027800797967852012-12-30T11:53:00.001-08:002012-12-30T11:53:35.655-08:00Flubber?<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/4n5AfHYST6E" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-67299145885842850162012-12-30T11:39:00.001-08:002012-12-30T11:39:03.254-08:00Chocolate!<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/vC8gJ0_9o4M" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-47139325836069756812012-12-30T11:36:00.001-08:002012-12-30T11:39:47.379-08:00Television as a Cultural Control<span style="font-family: Times, Times New Roman, serif;">Here's a paper I wrote a couple weeks back. I'm okay with how it turned out so I'll post it here.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
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<span style="font-family: Times, Times New Roman, serif;"> On
June 29<sup>th</sup>, 2012, the film <i>Magic
Mike</i>, directed by Steven Soderbergh, released to a warm reception from
critics, trending a 72 out of 100 on the aggregate review site Metacritic.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[i]</span><!--[endif]--></span></a>
However, Peter Travis of <i>Rolling Stone</i>
was somewhat critical of the film, awarding it a two out of a possible five
stars. In the last sentence of his review, Travis wrote “I didn’t see this
coming from a sharp observer like Soderbergh.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[ii]</span><!--[endif]--></span></a>
Yet, while Travis’ review of the film may have had some valid points, this
notion of director as prime observer came across as out of date and irrelevant,
especially given the growth of reality television over the past two
decades. <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><o:p></o:p></span></span></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Times, Times New Roman, serif;"> Friedrich Nietzsche, in his work <i>Human, All Too Human</i> states that “A good
writer possesses not only his own spirit but also the spirit of his friends.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[iii]</span><!--[endif]--></span></a>
And for eons, this was the widely accepted mentality: that the power of
observance lay with artists, writers, and philosophers. However, reality
television and other innovations have rendered this cultural phenomena mute and
ushered in a new era where the power of observation has been wrestled from the
hands of the few and given to the many. Now everyone is a journalist, a
filmmaker, a star, and the advent of constant surveillance has given
individuals a near infinite audience of their peers. The use of the word
surveillance carries a negative connotation, but the proliferation of voyeurism
could have proved to be positive development—a development that could have
allowed individuals a window into other cultures, ideas, and beliefs. In <i>A Heartbreaking Work of Stagger Genius </i>by
Dave Eggers, a young, anxious Dave auditions for a role on <i>The Real World: San Francisco</i>. His interview with one of the
producers proves disastrous, but near the end he is asked, “Why do you want to
be on The Real World?” and he responded with “Because I want everyone to
witness my youth.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[iv]</span><!--[endif]--></span></a>
The use of surveillance technology, and specifically reality television, could
have been used to build a more tolerant world, one where difficult and honest
interactions are broadcast on national television. Instead, the medium of
reality television turned its back on providing a new forum for expression and
open dialogue and as an alternative delivered content that perpetuated and
reinforced certain cultural norms and practices in regard to issues of family,
sex, and economics.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> </span>As reported by the New York
Times, the premiere episode of “Here Comes Honey Boo Boo” on TLC drew more
viewers than the Republican National Convention. Not to be proven as an
isolated incident, the show returned a week later to have around the same
amount of viewers as the Democratic National Convention.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[v]</span><!--[endif]--></span></a> On
first glance, this statistic may come across as sad and depressing, implying that
Americans care more about Alana Thompson (Honey Boo Boo’s actual name) than
their next president. Yet, these three programs, the national conventions and
“Here Comes Honey Boo Boo”, are really about the same thing: trying to get you
to like a semi-fictional character. Honey Boo Boo serves as an ambassador for
redneck culture, similarly to how Barack Obama and Mitt Romney, during the 2012
election, campaigned and advocated for their respective party’s platforms. Week
after week, throughout the fall, Honey Boo Boo appeared on national television,
all too excited to promote “Go-Go Juice” and the “Red Neck Games,” along with
other aspects of the culture that she and her family hold so dear. In all
aspects but responsibility and power, the roles of presidential candidate and
reality show star were similar in the fall of 2012, and this was no accident on
the part of TLC. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">Annette Hill, in
her book <i>Reality TV: Factual
Entertainment and Television Audiences </i>states, “Factual entertainment is a
category commonly used within the television industry for popular factual
television, and the category indicates the marriage of factual programming,
such as news or documentary, with fictional programming, such as game shows or
soap opera.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn6" name="_ednref6" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[vi]</span><!--[endif]--></span></a>
Throughout the production and marketing of “Here Comes Honey Boo Boo”<i>,</i> TLC embraced the concept of factual
entertainment. On a typical episode, the Thompson family engages in some kind
of activity that plays to the strengths of their humor, be it attending the
“Rock Star Divas Pageant” or engaging in a summer weight loss challenges. Yet
TLC, in a stroke of either genius or fiendishness, extends the characters of
the Thompson family beyond the television show and into reality. On October 15<sup>th</sup>,
2012, Alana and her mother, June, appeared on “Jimmy Kimmel Live.” Early on in the
interview, Alana kept her person intact, as the first words out of her mouth
were “This is Mama and I’m Honey Boo Boo!”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn7" name="_ednref7" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[vii]</span><!--[endif]--></span></a>
June also answered Jimmy’s questions with the same gusto and unabashed manner
that she carries on the show. Yet, when asked about the family’s future plans,
June slid the character away for a moment and adopted a milder accent. She
stated, “It’s all about my kids. That’s why I chose to put money in the trust
fund.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn8" name="_ednref8" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[viii]</span><!--[endif]--></span></a>
Yet, the moment passes away and Alana and her mother move onto the topic of
family nicknames, bewildered when Kimmel doesn’t believe that Alana’s sister,
Jessica, likes the nickname “Chubs.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">This shock, and
the resulting moment of silence between mother and daughter, demonstrates the
sales aspect of “Here Comes Honey Boo Boo.” Education, nutrition, and the
general reality of the Thompson family’s socio-economic status are never really
addressed on the show. Instead, the audience watches activities that range from
shopping for dresses to a half-hearted weight loss program that ends in the
entire family eating cheese puffs. In this light, the moral of “Here Comes
Honey Boo Boo” comes across as anti-education and anti-upward mobility and
perpetuates a belief that as long as you have family and simple pleasures, all
will be fine. As illustrated through the Kimmel interview, June seems to
understand what is at play and has a plan for the day the cameras stop rolling.
She has even gone as far as to never mention on that show that each of the
Thompson children has a different father, preserving the illusion of a happy
and unbroken family.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn9" name="_ednref9" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[ix]</span><!--[endif]--></span></a> However
Alana, when asked by Kimmel if she prefers her birth name or Honey Boo Boo,
hesitated, later stating that she doesn’t know. A little girl caught between a
character and a life.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">“The Bachelor”,
ABC’s long running dating show, is about to enter its seventeenth season,
clearly a cause of celebration among ABC executives, for most television shows
fail to make it past their first season.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn10" name="_ednref10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[x]</span><!--[endif]--></span></a> For those unfamiliar with the premise of “The
Bachelor”, the show revolves one man, usually in his mid to late 20s who is
already wealthy or is poised to inherit an ungodly amount of money. For the
duration of the show, this bachelor lives in a house with twenty-five other
woman and at the end of each episode must give roses to the women he wants to
stay. The rejects, the ones who fail to receive a rose, are all seemingly
contractually obligated to cry on camera as they pack their suitcases. The show
does its hardest to convince us that this is a difficult, tremulous decision
for the bachelor, as everyone on the show is supposedly “looking for love”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn11" name="_ednref11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xi]</span><!--[endif]--></span></a>
and a potential soul mate. Yet, despite this claim of love, none of the final
couples featured in the previous sixteen seasons of <i>The Bachelor </i>have stayed together.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn12" name="_ednref12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xii]</span><!--[endif]--></span></a>
In this light, “The Bachelor”<i> </i>is not
a show about love, but a show about spectacle. The show asks its audience to
tune in on the promise of witnessing the birth of true love. Yet, with it’s
industry-standard six-week shooting schedule, “The Bachelor” values flash, sex,
and fleeting stardom over the development of a legitimate relationship.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn13" name="_ednref13" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xiii]</span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">In 2001, Steven
Reiss, a professor at Ohio State University (OSU) conducted a study in
collaboration with James Witlz, at the time a Ph.D candidate at OSU. The two
men found that one of the main factors that separated a casual viewer of
reality television from a regular viewer was the idea of status, identifying
with phrases such as “Prestige is important to me.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn14" name="_ednref14" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xiv]</span><!--[endif]--></span></a>
And this prestige conveys itself under the belief that when you watch “The
Batchelor,” you watch someone similar to yourself rise to fame and potentially
fortune. This is evident during the opening episode of Season 16 of “The
Bachelor”, especially when new bachelor Ben Flajnik, gets to meet his women.
One of the women, Lindzi Cox, rode in on a horse and pronounced that she was
here “to find love.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn15" name="_ednref15" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xv]</span><!--[endif]--></span></a>
While Courtney Robertson, another contestant on the show, stated in her introduction
video “I think wedding rings look pretty amazing on me” and “I know what I
want. I think two carets is, you know, I deserve it.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn16" name="_ednref16" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xvi]</span><!--[endif]--></span></a>
All of the contestants on “The Bachelor” are clearly familiar with the show.
Therefore, it is absurd to believe that Courtney and Lindzi’s actions were
fueled by anything but a desire for fame and wealth, an urge that was only
encouraged by being, at one point or another, viewers. Even Ben Flajnik, the
bachelor himself, may be conflicted in his motivations. The start of episode
frames him as a wounded soul, one who was wronged by his time on “The Bachelorette”,
a spinoff show whose premise is identical with the exception that the ratios
are flipped, twenty-five men to a single woman. Before the episode cuts to the
bachelor house, Flajnik engages in a montage of presumably attractive
activities such as kayaking and playing “This Year’s Love” by David Gray on the
piano (lowered head and all), all the while his voice narrates the performance,
“One would like to hope that you can find the love of your life at any point in
time, and if I could find it while being the bachelor, I’m all for it.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn17" name="_ednref17" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xvii]</span><!--[endif]--></span></a>
Yet, Flajnik undercuts this manufactured sympathy when he finishes the
monologue with, “I’ve never juggled twenty-five woman.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn18" name="_ednref18" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xviii]</span><!--[endif]--></span></a>
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">Reiss writes,
“Reality TV allows Americans to fantasize about gaining status through
automatic fame. Ordinary people can watch the shows, see people like themselves
and imagine that they too could become celebrities by being on television.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn19" name="_ednref19" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xix]</span><!--[endif]--></span></a>
And this is exactly what “The Bachelor” does; it attracts people who want to be
celebrities, want to be on television and uses them to proliferate a distorted
form of love, one which cares more about spectacle and material possession than
portraying an honest relationship. In <i>A
Midsummer Night’s Dream</i>, Shakespeare wrote, “The course of true love never
did run smooth,” conveying that love is at times painful.<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn20" name="_ednref20" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xx]</span><!--[endif]--></span></a> “The
Bachelor” serves as the antithesis to this ideal, having what will soon be
seventeen seasons to promote excess and fame over commitment and companionship,
a love of spectacle over love of person.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">On May 8<sup>th</sup>,
2012, my roommate and I munched on cheese puffs while we watched the season
finale of “The Voice”, NBC’s self-described “interactive singing competition.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn21" name="_ednref21" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxi]</span><!--[endif]--></span></a> We
had both watched this season from its inception and labeled Jermaine Paul, an
R&B/soul singer who has a voice that could convince any racist grandma to
let him into her house, as our personal favorite. We sat through two hours of
forced monologues, half-hearted compliments, and seemingly profound life
lessons that could somehow be boiled down into thirty seconds and a plug for Starbucks
Coffee. We waited for the moment that we, and presumably the rest of the
country, knew was imminent. And around eleven that night our patience was
rewarded, Jermaine was crowned the winner, cheese puffs flew through the air,
and for a moment, as steamers and balloons rained down from the ceiling of a
studio somewhere east of the 405, I felt that the world was okay, that I was
apart of something bigger than myself and that through hard work and
dedication, both Jermaine and I had succeeded in our shared cause.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;"> Yet this optimism, this moment of faith
renewed, was undercut the moment I opened my laptop and realized that I owned
all of Jermaine’s songs. For how “The Voice” works is that week in and week out
audience members vote to see who stays on the show. However, as opposed to “American
Idol”<i> </i>or “Dancing With The Stars” where
the voting is conducted over the phone, on “The Voice” you cast a vote for a
contestant by purchasing their song on iTunes. Yet, despite my minuscule
financial investment in Jermaine’s future, I know almost nothing about the man.
For everything I have learned about Jermaine has been spoon-fed to me,
carefully cut and scored in order for me to observe exactly what had been intended.
I know that Jermaine is the son of a preacher, one of ten children and spent
some time signed to Shaquille O’Neal’s Twism Records, and with this sliver of
information I should feel no empathy for him, for I am not relating to a person,
but a character. A character who’s history had been presented to me in the form
of carefully constructed thirty-second video clips.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">“We can only
murder strangers if we cannot imagine what it is like to be them,”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn22" name="_ednref22" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxii]</span><!--[endif]--></span></a>
contemporary philosopher Richard Kearney argues. Yet, if this is the case, then
I shouldn’t be throwing cheese balls into the air upon Jermaine’s victory, I
should feel ambivalent toward his cause; for my only real interaction with him
is that he sings to me for about two minutes each week. But I don’t feel this
way; I cheer for him, I buy his songs on iTunes, I tune in every week just to
know I supported him and his dream. But, I’m not supporting him; I’m supporting
the version of him that has been sold to me, the version that some producers
have crafted in order to get me to buy more 99¢
songs. And I can acknowledge this, or at least I have the power to acknowledge
this, but am seemingly reluctant too.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;"> Nietzsche believed
that the weak person clung to God, even in the presence of overwhelming
evidence that he doesn’t exist. And in a sense, this is how I feel about
Jermaine. I want to imagine him as this perfect soul singer whose career I can
directly support. This vision is appealing, inviting, but at the end of the
day, my capability for imagination is not being used to get me to love, but to
purchase. In a piece for the <i>New
Yorker</i>, Kelefa Sanneh by way of Jennifer L. Ponzer writes, “that reality
shows have a tendency to blur together into a single orgy of joy and
disappointment and recrimination.” And it is this disappointment, this moment
of dissatisfaction that corrals us into opening our wallets. The role of
observer is transformed into an economic exchange, one where currency is
exchanged for a potentially good feeling. In this sense, the<i> </i>economics of “The Voice” more closely
resemble the illicit drug market than the music industry. We are taught that
yes, one needs hard work and have a bit of talent to achieve their dreams and
all the positive feelings that come along with that, but if you want a little
bump, a little more of a guarantee, some consumption is involved.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">Alan Ginsberg
opened his infamous poem “Howl” with the phrase “I saw the best minds of my
generation destroyed by madness.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn23" name="_ednref23" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxiii]</span><!--[endif]--></span></a>
And earlier this year, ex-Facebook employee Jeff Hammerbacher offered a
humorous update with “The best minds of my generation are thinking about how to
make people clicks ads.”<a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_edn24" name="_ednref24" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxiv]</span><!--[endif]--></span></a>
However, as illustrated by the growth of reality television, it is not just
online advertisements that try to distract us, manipulate us, and alter our
views towards things such as family and love. Yet, to some extent we tolerate
this control; we, for the most part, don’t move out to the desert, drop our
cell phones into toilets, and usually prefer to spend our off hours watching
Netflix as opposed to rioting in the streets. Now, I don’t advocate on behalf
of anarchy or nihilism, but instead I have a hope. A hope that with a greater
cultural emphasize on thoughtful action, we can tiptoe towards a future where
we are aware and honest about our impulses, desires, and behaviors. <o:p></o:p></span></div>
<div>
<!--[if !supportEndnotes]--><span style="font-family: Times, Times New Roman, serif;"><br clear="all" /></span>
<hr align="left" size="1" width="33%" />
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<br />
<div id="edn1">
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[i]</span><!--[endif]--></span></a> <span style="background-color: white;">"Magic
Mike." <i>Metacritic</i> n.pag. <i>Metacritic, CBS
Interactive</i>. Web. 5 Dec 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div id="edn2">
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[ii]</span><!--[endif]--></span></a> <span style="background-color: white;">Travers,
Peter. "Magic Mike." <i>Rolling Stone</i>. Wenner Media, 28
2012. Web. 5 Dec 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div id="edn3">
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[iii]</span><!--[endif]--></span></a> <span style="background-color: white;">Nietzsche,
Friedrich. <i>Human, All Too Human</i>. Cambridge University Press, 92.
Print.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div id="edn4">
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[iv]</span><!--[endif]--></span></a> <span style="background-color: white;">Eggers,
Dave. <i>A Heartbreaking Work of Staggering Genius</i>. Vintage, 2000.
Print.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div id="edn5">
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[v]</span><!--[endif]--></span></a> <span style="background-color: white;">Kepler,
Adam. "‘Honey Boo Boo’ Has the Ratings, if Not the Critics." <i>New
York Times</i>. 28 2012: n. page. Print.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div id="edn6">
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[vi]</span><!--[endif]--></span></a> <span style="background-color: white;">Hill,
Annette. <i>Reality TV: Factual Entertainment and Television Audiences</i>.
New York, NY: Routledge, 2004. Print.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
<div id="edn7">
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref7" name="_edn7" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[vii]</span><!--[endif]--></span></a> <i><span style="background-color: white;">Honey Boo Boo and Mama on Jimmy Kimmel Live PART 1</span></i><span style="background-color: white;">. 2012. Web. 7 Dec 2012<o:p></o:p></span></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref8" name="_edn8" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[viii]</span><!--[endif]--></span></a> <i><span style="background-color: white;">Honey Boo Boo and Mama on Jimmy Kimmel Live PART 2</span></i><span style="background-color: white;">. 2012. Web. 7 Dec 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[ix]</span><!--[endif]--></span></a> <span style="background-color: white;">Hickman,
Matt. "Honey Boo Boo's guide to thrifty living."<i>Mother Nature
Network</i>. 27 2012: n. page. Web. 7 Dec. 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref10" name="_edn10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[x]</span><!--[endif]--></span></a> <span style="background-color: white;">"About
the Show." <i>The Bachelor</i>. ABC. Web. 8 Dec 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref11" name="_edn11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xi]</span><!--[endif]--></span></a> <span style="background-color: white;">"About
the Show." <i>The Bachelor</i>. ABC. Web. 8 Dec 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref12" name="_edn12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xii]</span><!--[endif]--></span></a> <span style="background-color: white;">"The
Bachelor." <i>Wikipedia</i>. Wikipedia. Web. 8 Dec 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref13" name="_edn13" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xiii]</span><!--[endif]--></span></a> <span style="background-color: white;">Burnett,
Daynah. "Are the Bachelor Roses Real? 5 Weird Fan Questions
Answered." <i>Wet Paint</i>. 27 2012: n. page. Web. 8 Dec. 2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
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</div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref14" name="_edn14" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xiv]</span><!--[endif]--></span></a> <span style="background-color: white;">Reiss,
Steven, and James Wiltz. "Why America Loves Reality
Television." <i>Psychology Today</i>. (2001): n. page. Web. 8 Dec.
2012.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref15" name="_edn15" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xv]</span><!--[endif]--></span></a> <span style="background-color: white;">"1601." <i>The
Bachelor</i>. ABC: 02 2012. Television.</span><o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref16" name="_edn16" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xvi]</span><!--[endif]--></span></a> <span style="background-color: white;">"1601." <i>The
Bachelor</i>. ABC: 02 2012. Television.</span><o:p></o:p></span></div>
<div class="MsoEndnoteText">
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref17" name="_edn17" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xvii]</span><!--[endif]--></span></a> <span style="background-color: white;">"1601." <i>The
Bachelor</i>. ABC: 02 2012. Television<o:p></o:p></span></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref18" name="_edn18" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xviii]</span><!--[endif]--></span></a> <span style="background-color: white;">"1601." <i>The
Bachelor</i>. ABC: 02 2012. Television<o:p></o:p></span></span></div>
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref19" name="_edn19" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xix]</span><!--[endif]--></span></a> <span style="background-color: white;">Reiss,
Steven, and James Wiltz. "Why America Loves Reality
Television." <i>Psychology Today</i>. (2001): n. page. Web. 8 Dec.
2012.<o:p></o:p></span></span></div>
<div class="MsoEndnoteText">
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</div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref20" name="_edn20" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xx]</span><!--[endif]--></span></a> <span style="background-color: white;">Shakespeare,
William. <i>A Midsummer Night’s Dream</i>.
Washington Sqaure Press, 1993. Print.</span><o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref21" name="_edn21" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxi]</span><!--[endif]--></span></a><span style="background-color: white;">"The Voice." <i>The
Voice</i>. NBC. Web. 20 Nov 2012.</span><o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref22" name="_edn22" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxii]</span><!--[endif]--></span></a> <span style="background-color: white;">Kearney,
Richard. <i>Anatheism: Returning To God After God</i>. New York
Chichester, West Sussex: Columbia University Press, 2010. 42. Print.<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref23" name="_edn23" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxiii]</span><!--[endif]--></span></a> <span style="background-color: white;">Ginsberg,
Allen. "Howl." <i>Poets.org</i>. N.p.. Web. 8 Dec 2012.</span><o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.blogger.com/blogger.g?blogID=8232927629094702897#_ednref24" name="_edn24" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xxiv]</span><!--[endif]--></span></a> <span style="background-color: white;">Vance,
Ashlee. "This Tech Bubble Is Different."<i>Bloomberg Businessweek
Magazine</i>. Bloomberg, 14 2011. Web. 8 Dec 2012.</span><o:p></o:p></span></div>
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<!--EndFragment-->Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-40842042403095259262012-12-30T11:34:00.001-08:002012-12-30T11:34:28.338-08:002012 AwardsFilm<br />
<br />
1. Zero Dark Thirty<br />
2. Moonrise Kingdom<br />
3. Looper<br />
4. Argo<br />
5. The Master<br />
<br />
<br />
Music<br />
<br />
1. Channel Orange - Frank Ocean<br />
2. Lonerism - Tame Impala<br />
3. Swing Lo Magellan - The Dirty Projectors<br />
4. Shields - Grizzly Bear<br />
5. Gossamer - Passion Pit<br />
<br />
<br />
Games<br />
<br />
1. Journey<br />
2. XCOM: Enemy Unknown<br />
3. Fez<br />
4. Dishonored<br />
5. The Unfinished Swan<br />
<br />
<br />
Books (There isn't really a big literary scene that everyone keeps up with so here are the five best books I read this year)<br />
<br />
1. A Sense of an Ending - Julian Barnes<br />
2. Gravity's Rainbow - Thomas Pynchon<br />
3. Cat's Cradle - Kurt Vonnegut<br />
4. Cloud Atlas - David Mitchell<br />
5. The Name of the Rose - Umberto Eco<br />
<br />
<br />
Disappointments<br />
<br />
1. Skyfall<br />
2. Centipede Hz -Animal Collective<br />
3. The NRA<br />
<br />
Crazy Predictions for 2013<br />
<br />
1. The fiscal cliff will be averted with hours to spare. This is how endgames work, folks.<br />
2. The 2012/2013 NHL season will be completely lost. The pregnancy and or suicide rate in Canada will either rise or decrease dramatically as a result.<br />
3. The northeast will continue to be hit by strange weather, but no politician will utter the words "climate change."<br />
4. The world continues to wait for Andre 3000's comeback.<br />
5. Christopher Nolan announces he's attached to the next Bond film. Everyone gets excited until the trailer hits and Bond spends half of it reciting lines about what it's like to be a modern-day psychopath / what is real.<br />
<br />Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-44853840504386957632012-11-06T21:34:00.002-08:002012-11-06T21:34:57.565-08:00:)Yes we did.Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-37419099989480642842012-10-22T14:17:00.001-07:002012-10-22T14:17:14.011-07:00Hero Pig<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/g7WjrvG1GMk?fs=1" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-46491980726420318612012-10-22T14:16:00.002-07:002012-10-22T14:16:09.107-07:00This Poem<span style="background-color: white;"><strong style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">A Brief for the Defense</strong><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">Sorrow everywhere. Slaughter everywhere. If babies</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">are not starving someplace, they are starving</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">somewhere else. With flies in their nostrils.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">But we enjoy our lives because that's what God wants.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">Otherwise the mornings before summer dawn would not</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">be made so fine. The Bengal tiger would not</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">be fashioned so miraculously well. The poor women</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">at the fountain are laughing together between</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">the suffering they have known and the awfulness</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">in their future, smiling and laughing while somebody</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">in the village is very sick. There is laughter</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">every day in the terrible streets of Calcutta,</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">and the women laugh in the cages of Bombay.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">If we deny our happiness, resist our satisfaction,</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">we lessen the importance of their deprivation.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">We must risk delight. We can do without pleasure,</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">but not delight. Not enjoyment. We must have</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">the stubbornness to accept our gladness in the ruthless</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">furnace of this world. To make injustice the only</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">measure of our attention is to praise the Devil.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">If the locomotive of the Lord runs us down,</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">we should give thanks that the end had magnitude.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">We must admit there will be music despite everything.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">We stand at the prow again of a small ship</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">anchored late at night in the tiny port</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">looking over to the sleeping island: the waterfront</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">is three shuttered cafés and one naked light burning.</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">To hear the faint sound of oars in the silence as a rowboat</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">comes slowly out and then goes back is truly worth</span><br style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" /><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">all the years of sorrow that are to come.</span></span><br />
<span style="background-color: white;"><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><br /></span></span>
<span style="background-color: white;"><span style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">- Jack Gilbert</span></span>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-34358492943328297272012-09-29T23:00:00.003-07:002012-09-29T23:00:45.479-07:00The (Allegedly) Objective View of the Detective CameraHere is a little something I recently wrote for my film surveillance class. I like how it turned out, so I decided to post it here. At times it may sound like I'm being a little melodramatic. But only a little.<br />
<span style="line-height: 200%;"><br /></span>
<span style="line-height: 200%;">Facebook notifications, Tweets from
people I pretend like I know, emails informing me that people I use to know
have posted pictures of themselves. These are the things that currently
distract me, that force my hands to do something that isn’t writing this blog
post. But I look; of course I look, whether it’s because of the little
notification blip that seems to eat away at a section of my brain until I check
it. Or maybe it’s because everyone in these pictures, and I mean everyone,
looks happy, seems like their enjoying life as they do fun and interesting
things. Statuses are distracting, but the images are the worst, for they eat up
my time like a Vegas slot machine eats quarters; minutes becomes hours, hours
become evenings, and finally I leave in a slightly dazed (maybe drunk?) state.
Why do I do this? Because these photos are proof, evidence of a skewed reality that
is always better than the one we were given. The detective camera referenced in
</span><i style="line-height: 200%;">Phenomenologies of the Surface:
Radiation-Body-Image</i><span style="line-height: 200%;"> by Akira Mizuta Lippit is key to the current state of
reality, one that, in creating a business around objectivity, has transcended
fact for fiction.</span><br />
<br />
<div class="MsoNormal" style="line-height: 200%;">
<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
About
halfway through the chapter, Mizuta tells the story of a comedy short from
1908, entitled Bobby’s Kodak. In this short, Bobby receives a camera from his
father and starts off by taking various family portraits. However, he soon
becomes bored with this and craves photos that are unprepared, unforced, real.
One can view this event in one of two ways. First, Bobby got bored and wanted
to take pictures of seemingly secret events, violating the social contract of
photographer and subject. Or instead, one can view these events as the infancy
of photojournalism, taking pictures of the places usually overlooked by
society. The second view seemed to flourish for the first part of the twentieth
century as illustrated by the works of Jacob Riis, Gordon Parks, and <i>Life</i> Magazine. However, in recent years
both views have been replaced by an emerging third view. <i>Life </i>Magazine folded in 2007, <i>People</i>
Magazine has a circulation of about three and a half million people, and <i>GOOD </i>Magazine recently ran a piece
entitled “Where Have All the Photojournalists Gone?” In the past twenty years,
we have all moved past the notion of trying to capture the objective. Instead,
we now create images, which from their inception, are twisted to present a
skewed reality – one which can contain everything from two celebrities in a
fake feud, to how awesome your last vacation was, to isn’t my dog more adorable
than yours. With the knowledge that any image can now be consumed in mass,
people are no longer concerned with photography as an act of documentation.
Instead, they crave an image of self-promotion, one that is almost entirely
concerned with getting people to like them.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
With the rise of the Internet and social
media, as anyone with a camera can now be labeled a reporter, we no longer
crave photography. Instead, we crave fiction. The era of looking at photos of
another place, another culture, another realm of society entirely alien to our
own is gone. In it’s place is an instant feedback loop, one in which we all
fret over who will “Like” our photos, who will leave a nice comment, and how
many people will see our photos and think that we are living a happy,
interesting, full life. Oh, my phone just buzzed. I feel so much better.<o:p></o:p></div>
<!--EndFragment-->Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-37482866633767614772012-09-29T22:51:00.001-07:002012-09-29T22:57:54.369-07:00113 Photos From A Season<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-EnMx-pJTLJU/UGfFh9okHiI/AAAAAAAARqc/v0_GMUgBjwo/s1600/IMG_1016.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-EnMx-pJTLJU/UGfFh9okHiI/AAAAAAAARqc/v0_GMUgBjwo/s320/IMG_1016.JPG" width="320" /></a></div>
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<a href="http://4.bp.blogspot.com/-t9cJQMxdogQ/UGfFqGXR0_I/AAAAAAAARq0/MXij1mRsUgo/s1600/IMG_1082.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-t9cJQMxdogQ/UGfFqGXR0_I/AAAAAAAARq0/MXij1mRsUgo/s320/IMG_1082.JPG" width="320" /></a></div>
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<br />Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-51126226562503870172012-09-29T21:22:00.002-07:002012-09-29T21:22:30.492-07:00Sometimes I Moonlight As A Pirate<div class="separator" style="clear: both; text-align: center;">
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<br />Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-65705123727150626202012-09-29T21:09:00.001-07:002012-09-29T21:09:02.518-07:00John Cleese on Creativity<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/VShmtsLhkQg?fs=1" width="459"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-29545556021993078522012-08-02T10:58:00.001-07:002012-08-02T10:58:04.352-07:007X4=21<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/6dlyCTswYH0?fs=1" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-17418181547848644142012-07-24T08:34:00.001-07:002012-07-24T08:34:05.368-07:00Call The Force<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/dBM7i84BThE?fs=1" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-13857198954486982232012-07-17T20:24:00.003-07:002012-07-17T20:24:35.067-07:00There is Me<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Sigurvegari, or
Sigur for short, didn’t think he was that different from his fellow farm
animals. Everyone was a little quirky. Rabbit didn’t enjoy milk, Horse hated breath
mints, and the pigs couldn’t stand the noise of their own footsteps. Sigur just
didn’t like to go outside of his hutch. It wasn’t that he hated that outside
world, his cage was just comfortable. That was all. Sigur also hated to talk,
so when he conversed with the pigs and compared carrots with the rabbit, he
would write down his thoughts on a little pieces of paper and slide it through
the wire mesh. He even gave the horse some diet tips. She was trying to lose
weight. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Once a day, the
farmer and his children would come into the barn and pour feed into the troughs,
which were so old that their engravings still read “Made in the USA.” The
humans always talked about borings things: taxes, property values, or when they
had guests over, the weather. Sigur thought that they were so bland and white
that they probably learned what skeet was from a David Foster Wallace essay.
But one day, the farmer and his family didn’t come, the troughs were not filled
with food, and no one was informed about the weather in Polk County.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“I bet it’s
raining,” Horse said. “That, or we’re the only living things left.” She flung
back her mane and tried to smile, but the flies that buzzed around her nostrils
would not allow it. Instead, she sneezed.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Yeah. It was
probably a meteor or a tsunami or a an intergalactic death ray that turns cows
into disco dancers,” the pigs said in unison as they tries to wipe the mud off
of each other’s faces.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
SIgur pushed a
piece of paper out of pen. Horse picked it up and read it aloud. “Maybe they’re
just on vacation.”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“But who will feed
us?” Rabbit said as tears streamed down his face. The animals’ jokes had been
in vain.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Two days passed.
Three days. Four days. And no farmers came. The animals starred at the barn
doors like it was a portal to some kind of heaven. That the wooden double doors
would swing open and their savior would walk in and fill the troughs with their
favorite combination of gruel, racehorse meat, and whatever the farmers had for
dinner last night that their house dogs has passed on. Horse didn’t approve of
this specific formula.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“We should do
something,” Rabbit said as he starred at the barn wall. The other animals were
unsure if Rabbit was some kind of genius or just brain dead for having starred
at the walls for the vast majority of its life.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Like what?” Horse
said.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
A piece of
parchment flew out of Sigur’s hutch. The paper hit Horse’s foot, but the
stallion either didn’t feel the impact or ignored it. It was hard to tell. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“A race,” Rabbit said.
“The winner gets the rest of the food.”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“But I would need
a head start,” Horse said.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Never. Remember
back in 96?”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Have you seen
your feet? Their…”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“My feet? Your
legs look like tires?”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Sigur stomped his
foot against the bottom of his hutch and the barn fell quiet. He extended a paw
and pointed toward the piece of paper that lay on the floor. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Well all die in here,
and it’s because of you,” Rabbit said. It was unsure whom he was talking to.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Me? You have a
giant’s appetite.”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“I’m not fat. You
take that back. You take that back right now.”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
A pig wondered
over to the piece of parchment and read it. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“An election,” the
pig said. We’ll have a vote. And the animal with the most votes gets to decide
what we do next. Ok?”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
None of the other
animals raised a complaint. They were all too busy fantasizing about the act of
winning, about all the power and satisfaction and comfort that would come with
winning. They needed that.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
The election would
be held in three days time and Sigur spent the vast majority of that time
trying to figure out how to get the rest of the farm animals to like him. He
had always tried to accomplish this, to connect with the other animals, but now
there were rules, there were stakes, someone would win, and with that, it all
mattered so much more. He read the biographies of famous politicians, magazine
columns that advised people on how to sound intelligent at parties, and dummy
guides to how to make people do what you want. Sigur counted his lucky stars
that all this reading material lined the bottom of his hutch.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Sigur could hear
the rest of the animals practicing their speeches. Rabbit promised carrots and
backrubs and questioned horses’ sexuality. The pigs told tales of midget
strippers and thought that rabbit didn’t have enough leadership experience due
to his preoccupation with walls. Horse called the pigs inbred and critiqued
their speech patterns in an essay she entitled <i>The Squeak is a Lie</i>. Sigur didn’t know why he suddenly hated his
fellow candidates, but somewhere inside of him, in a place he could only
describe as a depth, he felt like he had been told to.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Election day
arrived and the animals agreed to a banquet. During the first course of apples
and hay, Horse stood up to delivered her speech. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Remember the age
of food? Remember when we could pick boulder-sized apples fell from the roof? I
can return us to that. Let me return us to that.”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“Lies!” Rabbit
said. “This is her stallion magic at play. Just look at that mane.” All the
animals looked at the mane, and for a moment, felt an anxiety, a deep urge to
return to the era of apples falling from roofs.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“But the rabbit
never provided food to anyone,” the pigs said. “Look, our graph has all the
information necessary. Pig #1 and pig #5 held up a color-coated chart that
detailed, in mathematical objectivity, that Rabbit didn’t provide food and that
he may also be an evil animal. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Horse raised her
hind legs and picked the graph out of the pigs’ hands. Rabbit went for the
Horse’s jugular. The pigs jumped into a bale of hay, but not before biting
Rabbit’s back legs. Guerilla warfare had always been their favorite. Sigur
decided that he couldn’t eat his carrot anymore. He opened hit hutch, climbed
out onto the barn floor, and stomped his foot. A mist of blood floated in the
air as silence fell upon the room.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
“There are no
apples ceilings. There is no mane magic. And there is no color coated chart
detailing why a person is terrible. There is me. And there is you. And there is
us. We are here. We are here. We are here.”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<!--EndFragment-->Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-89471271223722916212012-07-15T15:33:00.001-07:002012-07-15T15:33:36.414-07:00Wow.<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/3AKKdAX56-o?fs=1" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-66664978734528111762012-06-20T19:27:00.001-07:002012-06-20T19:27:11.700-07:00Because the 2nd Amendment Hates Fruit<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/eBTDMLZwdpE?fs=1" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0tag:blogger.com,1999:blog-8232927629094702897.post-54825643005923777902012-06-08T21:36:00.001-07:002012-06-08T21:36:43.807-07:00I may have taken a walk to this song.<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/hAPsMp-8DLs?fs=1" width="480"></iframe>Jonathan Crossleyhttp://www.blogger.com/profile/15652019949468233588noreply@blogger.com0