MicheBel's Groovylicious Blog

Mr. Shovel Weaves His Magic on a New City of Night

2012-01-16T07:46:00.000-08:00

It was three years ago, to the day that Mark Sovel, Indie 103.1’s illustrious music director (aka Mr. Shovel) had his last airshift on Indie. The next day, for all intents and purposes, Indie died.

It continued on (and continues on to this day, a shell of its former self) in Internet-only format. Which would be great if the powers that program it really knew what to do with it. And, of course, if Mr. Shovel was still there.

I remember it well. I turned on my radio (yes, I actually had a box sitting by my window that had FM stations, though the only one it was tuned to was Indie 103.1, of course). I turned on TK’s program in the morning, and everyone was talking about how great the station had been. Like using past tense about it.

Soon enough, with one final My Way (not the Frank Sinatra version), Indie was gone.

I sobbed at my radio that day, I sobbed all the way up to Sundance (driving, that’s a whole lotta sobbing). In many ways, I’m sobbing still. It hurts when the best radio station that ever existed goes away.

And what has been my music repast in the intervening three years? Well, being a digital girl, I’m big on Internet radio. I keep hoping someone somewhere will develop actual radio on the Internet. Like a Huffington Post for radio. (Well, except that pays people. Ok, bad example.)

I never really got into Pandora or Slacker, though I have friends who swear by both. I have friends who seek out all kinds of stations on the Internet. One cool one that played 60s music from Paris really intrigued me for awhile.

But after the wealth of musical treasure that was Indie, nothing really sufficed. There were people from Indie who left to develop other things. Kurt St. Thomas went off to develop Houndstooth Radio (www.houndstoothradio.com ), which I admit, I listen to more than anything.

Chuck P. and Henry Rollins ended up over at KCRW.

Chris Morris still puts out a great show on the Scion Network:

http://scionav.com/radio17/12/Watusi-Rodeo

And a whole passel of ex-Indie-ites migrated over to Moheak Radio. Trouble is, every time I try to listen to it, it either pushes a bunch of annoying ads at me, or I have technological problems receiving it. Every time. So I don’t.

There are still some good tunes on Indie dot com, but the heart and soul (aka Mark Sovel) is gone. As he said when he left, “it’s like someone’s just playing their iPod for you.” (There are a couple of good shows here or there. I particularly like Bob Forrest’s Wednesday night show, “All Up in the Interweb,” which airs at 8 pm PST. Native Wayne’s show is fun too. My friend still listens to Retrograde, and wins tickets from them.

But pretty much, for me, there is nothing there worth listening to anymore. Nothing that made Indie Indie. (This is true of Moheak, too, btw, no matter how many ex-Indieites are there.)

Cause what made Indie “one of the best stations in the country,” according to Rolling Stone magazine, was quite simply its music director, Mark Sovel.

And he has been very quiet on the music front in that three years. Giving us bits of his genius with an amazing LobsterFest regularly, and other concerts curated here or there. But on the radio scene, he’s been silent.

Until now.

Mark Sovel’s first air show in three years (other than filling in for folks occasionally) aired Saturday, Jan. 14. Three years to the day of his last one.

It’s called “City of Night,” and it airs on college radio station KCSN (88.5 on your terrestrial radio dial, also available online and with a cool iPhone app that will record shows for you. LOVE that.). From 8 – 11 pm every Saturday.

One can’t help but wonder what’s up with this college station, KCSN. Sovel thanked the program director, Sky Daniels, by saying that he “made him want to get into radio.” He wasn’t kidding either. Hm.

In addition to Mr. Shovel, Daniels also brought on Sat Bisla, who has been airing Passport Approved on every station that’ll have him, it seems; and Terry Nunn, of Berlin fame. He had already brought on KCRW’s Nic Harcourt to do a show and Julie Slater. Radio heavyweights, to be sure. Hm.

The rest of the program schedule is an odd mix, a local blues maven called “Ann the Raven” has a show on Sundays. So does Robert Hilburn, the writer. There’s some Dylan, some roots music, some Americana and some bluegrass. And opera. Mr. Daniels, it seems has no problem with specialty shows.

Well, I don’t know about all that. Not sure if I’ll be checking out all those other choices. I do know this.

Mr. Shovel is on Saturday nights. His first show was like manna in the desert. Such great music played, and all over the musical spectrum. Some things you would expect: a number of local bands, some OMD, some Jam. Many things you wouldn’t expect.

He kicked it all off with the Rolling Stones’ “On with the Show.” Perfect. Not long after, some Pink Floyd. You heard me. Pink Floyd. And Zepplin, as in Led. One song from Indie’s regular rotation: Depeche Mode’s “Get the Balance Right,” and boy DID HE!

As usual with a Shovel show, it was all perfectly timed. Like puzzle pieces falling into place. The Kinks, for heaven’s sake. Followed by local band, Saint Motel, who enlivened Tar Fest this fall (Shovel curated part of it).

A song I can’t get enough of: Split Endz’ “Six Months in a Leaky Boat.” And another (I love it so much) Neutral Milk Hotel’s “In the Aeroplane Over the Sea.” It just makes me happy to hear that song.

Gil Scott-Heron. Jimi Hendrix. Wow. LA band The Blood Arm from their “Berlin period” (aka now). Brand-new Giant Drag, and Sharkey’s Night, for gosh sakes (with William S. Burroughs).

And, if you’ll recall, Mr. Shovel is the one who spots the hot bands before anyone else does. His recommendation from this show? Electric Guest. Watch that name. You heard it here first (I promise you).

I could go on and on, but if you want to know where Indie went, you could look to that whole passel of people who talk about it incessantly, or you could simply look at this playlist for a minute.

http://www.mrshovel.com/2012/01/15/city-of-night-playlist-january-14-2012/

That Dylan song he played made me cry. Followed up by some cuts from local bands from a Dylan tribute album, which is a fundraiser for Amnesty International called “Chimes of Freedom.” Airborne Toxic Event doing “Boots of Spanish Leather.” Silversun Pickups doing “Not Dark Yet.” Cage the Elephant (ok, they’re not from LA, but the song was great) doing “The Lonesome Death of Hattie Carroll.”

I was literally so overwhelmed after all this good music after his show, it took me several hours to calm down. Oh, Mr. Shovel how we’ve missed you!

Tune in to the next City of Night next week at 8 pm. And pray really hard that they get podcasts sometime.

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GOLDEN GLOBES FILM PREDICTIONS

2012-01-13T08:47:00.000-08:00

Items in Bold are the ones Miche picked correctly.

BEST PICTURE Drama
Hugo (although some are predicting The Help, which I have yet to see)

BEST ACTRESS Drama
Viola Davis, The Help

BEST ACTOR, Drama
Michael Fassbender, Shame

BEST PICTURE Comedy
The Artist

BEST ACTRESS Comedy
Michelle Williams, My Week with Marilyn

BEST ACTOR Comedy
Jean Dujardin, The Artist

BEST ANIMATED
The Adventures of Tin Tin

BEST FOREIGN LANGUAGE
A Separation

BEST SUPPORTING ACTRESS Comedy
Jessica Chastain, The Help

BEST SUPPORTING ACTOR, Comedy
Kenneth Branagh, My Week with Marilyn

BEST DIRECTOR
Michel Hazanavicius, The Artist

BEST SCREENPLAY
Woody Allen, Midnight in Paris

BEST SCORE
Trent Reznor and Atticus Ross, Girl with the Dragon Tattoo

BEST SONG
"Hello, Hello," Gnomeo & Juliet (Elton John)

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BEST TV SERIES Drama
Homeland

BEST ACTRESS Drama
Claire Danes, Homeland

BEST ACTOR Drama
Bryan Cranston, Breaking Bad

BEST TV SERIES, Comedy
Modern Family

BEST ACTRESS, Comedy
Laura Dern, Enlightened

BEST ACTOR, Comedy
David Duchovny, Californication

BEST MINISERIES
Mildred Pierce

BEST ACTRESS, Miniseries
Kate Winslet, Mildred Pierce

BEST ACTOR, Miniseries
Idris Elba, Luther

BEST SUPPORTING ACTRESS, TV
Jessica Lange, American Horror Story

BEST SUPPORTING ACTOR, TV
Guy Pearce, Mildred Pierce

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Sizzle or Steak?

2011-11-18T21:44:00.000-08:00

I consider myself a journalist first and foremost. News beats in every fiber of my being. After that, maybe a designer, maybe a writer.

I want to comment on this article a friend sent me, based on several things that happened this week.

http://www.web-strategist.com/blog/2011/02/28/expand-your-social-media-mix-twitter-alone-is-not-enough/

First, the Associated Press, long our go-to news source (and yes, we newspapers paid heftily for the priviledge) chastized their reporters publicly for "Tweeting" while they were in the thick of the drama down at #OccupyWallStreet this week.

The traditional way, you see, would be for said reporter to get said news, go back to the newsroom with it (hopefully getting at least two sources for said news along the way). Give it to one's editors, and then the editors would do what they do, bending it, shaping it, making it ready for public consumption (in the case of AP, on all (paid) outlets that AP streams out on).

Twitter has changed that.

I also covered (as a journalist) the events of #OccupyWallStreet and #OccupyLA and other events in the Day of Action this week (Nov. 17). Using the social media at my disposal: mostly Twitter, also Facebook.

Twitter changed the way I process news.

I like and respect Jeremiah Owyang, and read him on Twitter and other outlets. However, in this instance, he's missing the point.

As a designer, they used to tell me: know your tools. Know which one to use for which purpose. So it is, too, with social media.

While all his comments about permanency and Twitter are valid (sure, I wish they had an archive function, or a timeline thingie like Facebook is about to have, but they don't). Permanence is not the importance of Twitter, nor is "time spent there wasted."

Twitter for me (sorry, AP) has become my primary news source. We have raised a generation of news junkies, and we want it now, and we want it fast. Twitter gives us that primacy.

Let me illustrate for you a story, of part of my week, how my "social media" life went.

I spent a good chunk of the early morning Day of Action online. I was multi-tasking between Twitter and Facebook. (I have a large contingent of friends on Facebook who still don't see the value or need for Twitter. Sadly.)

So, as the story of the day: Day of Action, mostly #OccupyWallStreet was breaking (a story, I might add, that MSM journalists were barred from covering, thanks to Bloomberg's "media blackout"), I was manning the controls. I had my news sources in action who were in the thick of things.

I was monitoring my Twitter feed. When items came across, I would cross post them (RTing them to my stream (2000 people) and posting them on my FB wall (1300+ people). Who then reposted to their streams and walls. I posted pictures, I posted video, I posted commentary. I heard when the first people got arrested, I heard when the police captain offered himself up. I was, as much as I could be, right there in the thick of it.

That's how news works today. (Several people sent me emails that day, thanking me for my coverage.)

The AP journalist KNEW that, yet was chastized for it. (It's against company policy.) If you are right there, on Wall Street, you have the news as close as your Twitter feed. That's as much as you have control of it today, because everyone around you also has a camera and access to the world.

So for me, monitoring my Twitter feed (which I do at least daily) takes the place of reading my daily newspaper. It is certainly "steak" for me on great news days, though when people are just talking about nonsense, it isn't.

I don't consider one iota of time that I spend on Twitter "wasted." I wish I could spend MORE time there. I wish I could've spent all of the Day of Action on Twitter, for example.

Owyang says: "if you Tweet more than 20 times a day, you should have just blogged."

Everyone uses these tools differently. For me, I use Facebook as a platform to get information to my friends and family. (Especially those who, for whatever reason, aren't even ON Twitter yet.) I use Twitter as a short-term news source, but also for whatever bursts of items I may want to discourse about: whatever's happening on Survivor or Dancing with the Stars, some movie or song I just experienced, etc. If it's a longer thing that warrants a blog, I'll write one. I have two blogs, in fact.

But while many people use Twitter to post links to people (I primarily use FB for that), I most frequently now ReTweet others. I follow 2000 people. I ReTweet the interesting bits for others in my stream. As far as my own posts, I probably don't do 20 in a day, but on some news-heavy days, I can be RTing 100+ times.

I also "live blog" frequently on Twitter: the Oscars, the Emmys, Survivor and its finale; or sometimes conferences that I'm at. The first few is to share a communal experience with people, the conference stuff is for people who can't get there.

It has never been (for me) about "what did I have for breakfast?" It is very much about "what am I seeing/hearing/feeling/experiencing right now?"

Owyang wants to get people over to things that make money for him. I am about documenting our social journey. For me, Twitter IS the steak. If I had to only live with ONE choice for social media, it would be Twitter, in a heartbeat.

If people want to know more deeply how I feel about an issue, they can friend me on Facebook, or read my blogs. Or listen to my podcasts. There are vehicles for everything. I think anyone who forcefully weans themselves from any social medium is an idiot. (As is anyone who still isn't anywhere on this value chain.) We are all still learning and growing with these new tools, and learning how they best work for us.

I have a friend that I had to drag, kicking and screaming, to get onto Facebook this week. He's an actor, wondering why his agent isn't calling him so much. "Are you on Twitter? Facebook?" I innocently asked him one day. Turned out, he hadn't ever even SEEN a Facebook page. (This was about a month ago.) I'm sorry, but that's inexcusable.

I mean, I suppose, if you really have a spiritual vow to be a hermit, it would be ok. But if you are living, breathing and alive in the world, it's inexcusable. Especially if your work is as an actor!!! When you are depending on casting directors to cast you. "Did you know about all the casting directors who are on Twitter?" I asked him. His face paled, he looked incredulous. "Well, no." "Huh. And have you been working a lot lately?" I continued. "Well, no."

EXACTLY.

Twitter is a news source, a job source, a living breathing hive of activity. To cut oneself off from it... you might as well be typing on an electric typewriter and watching a black/white TV.

I understand Owyang's point. There are lots more types of new software coming at us that we have to learn. But we have to put a stake in the ground with the ones we have, and realize why they are important. If you choose two social media to be on: Facebook and Twitter would be the ones right now. And you should be checking both every day.

And, if you also want to visit my blog or listen to my podcasts and give me money: hey, that's OK too! ;-)

Who Should Be Benched at Dancing With the Stars

2011-11-16T13:13:00.000-08:00

The long nightmare is finally over. No, the Dancing With the Stars (DWTS) finale is next week, and we'll see who finally wins the coveted mirror ball trophy from among three deserving contenders (and that, I'm looking forward to).

No, I'm talking about the season-long Charlie Sheen moment of meltdown by Maksim Chmerkovsky on DWTS.

Now, let's recap for a moment, shall we?

DWTS, for the uninitiated is a simple premise: you take (mostly D-level) "celebrities" and other assorted fame-mongers and sports figures, most of whom have never danced before in any way, and somehow make them into dancers (or at least watchable) for ten weeks.

The job of the pro dancer on this show has somewhat evolved and changed. There were moments when the pros had more to do, and were able to be more creative. But really, the MAIN thing that a pro is there for (sorry, Maks) is to coddle said celebrity. Walk them through their tantrums, hold their hands as they shake in fear about this crazy project they've taken on, and most of all—try to keep all the pouty drama behind the scenes.

That's why someone like Anna Trebunskya (and yes, along the way, the pro dancers have themselves become celebrities; and Maks is SURE acting like one)... someone like Anna is perfect. Her dances/choreography is amazing, but she also has a very giving personality, and can walk through this show with any crazy nutcase they throw at her, and appear graceful (this season, she had Carson Kressley, God help her).

And, except for the fact that Carson was one of the worst dancers I've ever seen on the show, they had bravura and flair and were very crowd-pleasing.

Now dancers, especially dancers at the top of their craft, are very diva-like, just like any other art form. They have honed their instrument, they have worked very hard to get to be the machine of dancing they are now. And to have that chiseled artistry thrown together with someone who has two left feet... actually who thought of this crazy show?

Well, that's the deal, and you pretty much go with it.

From the beginning, some pro dancers rose in the ranks. Among the males: Derek Hough, Maksim Chmerkovsky, Mark Ballas were among the standouts not only this season, but in seasons' past. Standouts by the virtue of THEIR dancing, and THEIR choreography. All stunning to watch on stage, while, to varying degrees, their partners could be dreadful.

Maks seems to work best when he's got a sexual vibe going with the woman he's dancing with. Whether or not he and Erin Andrews (a few seasons back) actually had a "thing" going, they SURE seemed like they were, and (for me) that was the best Maks season to watch. When I think of memorable Maks' choreography, that number with Erin in the bed really stands out.

But they did not win.

Last season, Maks had Kirstie Alley. They were amazing fun to watch together. Kirstie was a great dancer (IMHO). She even acknowledged Maks' rampant sexuality (on the show and on Twitter) and they got as close as Maks has ever gotten to the mirror ball trophy: second place. And there was some very public griping by Maks last season about how that win was rigged, and he deserved to win. (Charlie Sheen moment #1, actually.)

But here's the reality: He has NEVER, not once in all these seasons, won the mirror ball trophy that they are striving for.

The trainwreck he had this season was a "soccer star" named Hope Solo. They had no sexual chemistry at all (Maks' failsafe), and very little other chemistry. She also had two left feet. They appeared to be butting heads constantly.

All of this came to a head a couple of weeks ago, when... well, first, let me explain. The judges have to be a bit (what I call) "LA." They can't just come right out and say: "Hope, you suck." Maybe that would be a better show if they did. But they have to think of inventive creative LA ways of saying, "YOU SUCK." So, on this particular week, Len (always the sternest, though fairest, judge) decides to say something about the heel level of Hope's shoes. Much had been made this season about this tomboyish girl not being comfortable with the girlishness of dance. She did seem uncomfortable in the heels they put her in every week.

So this particular week, they were dancing to a song from "Rent," and they put Hope in a sort of boot thing, with a lower heel. And Len was accurate. She did dance better in them. So, trying to make a silk purse from this smelly sow's ear, he said something about her heel height, RATHER Maks than saying, "HOPE, you really suck," which is what he should've said if he was ACTUALLY talking about her dancing.

But Maks decided he'd had enough, and decided to go off on Len right then and there, since Len was commenting on stupid stuff like heels, instead of talking about the dancing (Maks should really be thankful here he didn't). Len says something about being in this business for "fifty years." Maks says: "Maybe you should get out of it then."

That was Charlie Sheen moment number 2. First, let me dissect the gravity of this here. Charlie Sheen, first was on drugs and/or bipolar. Second, he was in an interview situation. Maks was right there, in the MIDDLE OF THE SHOW, on air, dissing Len. That's something you just don't DO in California, in show business, and survive. Make no mistake, he was, in that moment, doing the exact same thing Charlie Sheen did. He was dissing his coworkers ON AIR.

He compounded his heinous mistake further (Charlie Sheen moment number 3) when they were interviewed by Brooke Burke as they were getting their scores. He actually said the words, "It's MY show." Behind Maks as he was saying this, you could see Derek Hough, Derek who's actually WON three mirror ball trophies, and counting, Derek, who's gone further than Maks every season he's been in it, Derek, who actually knows how to work with whatever celebrity is thrown at him and not have public meltdowns... Derek looked horrified at what Maks was saying.

If that show is "anyone's show": it's Derek's.

The next week, damage done, Maks tried to redeem himself by saying that, no, the crew work very hard. He (Maks) doesn't do it alone. Still not apologizing to the judges. Still pissy in his routines with Hope (which, btw, STILL SUCKED). Through a bizarre twist of fate (some team dance nonsense), the week Hope Solo should've gone home ended up being David Arquette instead (so sad!).

So, the week after the crew apology, obviously the judges and Maks had a little sit-down and/or talking to by the higher ups (those whose show it ACTUALLY is). Maks came back chastened (host Tom Bergeron called him "Stepford Maks"). The judges, notably Len, WAY overgraded Hope, giving her nines, for God's sake.

This past week, when we were finally put out of our misery, they gave her eights, and Len said "We were being nice." (They were!)

But here's the real point. The damage has been done.

If I were running Dancing with the Stars, I would damn sure have Maksim Chmerkovsky sit out a season (at least). Put his lovely brother in, in his stead. Let Maks reflect on how damn lucky he is to have a job dancing on national TV. Let him be grateful that there are judges judging him at all. Let him get in touch with the fact that the "celebrities" (D-list though they are) are what people tune in for.

I also noticed that in the week of the blowout, the opening credits had the celebrity named with their pro dancer. It said: "Hope and Maks." "Ricki and Derek." "David and Kym." After Maks' blowout, they changed it. It still had the pros' picture, but not their name anymore. Not your show, Maks. Not any pro dancers' show.

The real blowout reverberations have not yet ended, mark my words. After all, Charlie Sheen got fired for exactly this. Maks is great as a dancer, but boy does he need to regroup.

At least a season.

And while they are replacing people, I sincerely hope they ALSO get rid of the tired and annoying Brooke Burke. She can barely read the teleprompter, she asks stupid questions. All she does is look good. The show would be much better served to have the wonderful and amazing Tom Bergeron with someone who can actually think on their feet, maybe someone who's a dancer, who can ask insightful dance questions, instead of: "What's going to be going through your head next week?" Who the hell knows the answer to that question, lady?

It's really a shame, because DWTS has this amazing set this year. Fabulous lighting, costumes, camerawork, even great pros. But it was really soured by Maks' antics, and Brooke's vapidity. Oh sorry, Brooke Burke CHARVAY. Sigh. Dear God, help us.

Hey, maybe they can get that host from So You Think You Can Dance, who actually got an Emmy nom this year? Ain't no way Brooke Burke would ever get one. But that sure would be a team, huh?

I'm looking forward to the finals next week. Whoever wins, it will be wonderful. If Cheryl Burke wins, that would be amazing that she's winning with Rob Kardashian. If Karina Smirnoff wins, it would be her FIRST mirror ball trophy (and I'm kinda rooting for her for that). But most likely, three-time winner Derek Hough will four-peat (with Ricki Lake). After all, it's really HIS show. Watch next week. You'll see why.

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Survivor 23 (Good vs. Evil) Can you be honest and win Survivor?

2011-10-20T10:34:00.000-07:00

As I've written in previous columns, Survivor in years past has been all about lying, cheating, scheming, double crossing others to win. This year, they've turned it on its head by having at least two people (Coach and Russell Hantz's nephew, Brandon) who have vowed to fight this season with integrity, honor and--gasp--honesty.

When I first got sober, I was forced to go from being a pathological liar to living a life free of lies. It was a difficult transition. And I'm sure I was a bit like Brandon has been in the last few episodes: brash, obnoxious, braying his honesty to everyone who'll listen, expecting everyone to conform to his rules.

There is a point to that. You know that honesty trumps everything. You also know that honesty is the only way to live, because all you really have is your own integrity.

But to bring that into the game of Survivor? It's madness.

Madness, yes, but also quite compelling TV. And mind you, the honesty thing isn't easy. Especially if you're somewhat new to it. I think it took me several years to even realize what was a lie, and that I really could live without telling one, in fact was MUCH better off without telling one. I had never conceived of such a thing.

And here is Brandon Hantz, now in our faces on our TV screens, compelling us to contemplate the question. Yes, it's true is it a "game," but isn't it also true that even while playing games we still have our own consciences to deal with? Especially when we are dealing with other people and their feelings? And is it just a microcosm of life that really no one can deal with the "honest guy"? He's so pure, he's so out there, I just love him.

Because thrown into this mix, we also have Coach. Now Coach is determined, this time, to not let his worst self get the better of him. He wants to live through this game with integrity and honor, and so far, he has.

But here's the thing Brandon has yet to realize. You really can only be 100% honest when you are in a place that's safe, with people you trust. There are fine-tunings of the honesty thing that one must really incorporate when dealing with/living with/interacting with others who are not quite so honest. The most important among them being tact.

You can't just go yelling from rooftops (although I did that very thing too): "Look at me! I'm HONEST!!! Isn't it grand?" You really run the risk of alienating others, and/or having them think you're crazy.

So I believe that discretion and tact comes with age. Yes, to answer Coach's question: Withholding IS lying. Yes, it is.

HOWEVER, sometimes, it's necessary.

In the case of Coach, he's the leader of the tribe. He's played Survivor three times now. He sees the big picture in many ways that others don't. And the way I see it, he's like Brandon's dad on this island: saving him from hurting himself, even though Brandon himself might not see it that way right now (cause he's too close).

In this last episode, Coach made it clear that he has the immunity idol, and the two people whom he wants to know about it, do. One of those is not Brandon. Brandon has the habit of spouting off EVERYTHING that's on his mind, and one thing even beginning Survivor watchers know is that you hold back some things, and play your cards when it's to your advantage. That's really all you have: the element of surprise.

Will/would Brandon be pissed to know that he looked all over the island for the idol, when it rested safely with Coach? Yes. Will he be mad that Coach wasn't honest with him? Yes. Will he have gotten MUCH farther in the game (not only he, but Coach and other members of their alliance) because Coach said nothing? YES. That's the key point.

When you are playing a game, or steering a ship, or running a corporation, you have to let someone else drive. Whoever is the leader/in charge, takes the responsibility for those under him/her and makes decisions accordingly, piecing out the information as necessary. BECAUSE he/she sees the big picture.

And hopefully, those worker bees under him/her trust enough to know they're being taken care of. And Coach IS taking care of Brandon, whether he realizes it or not. One of those, yes, I know you just learned how to shoot, but trust me, put the gun down, kind of situations.

So, it's a tough call, but I honestly believe that both Brandon and Coach are living their truth. Both of them are living honorably. One is withholding, but it's for the good of the tribe.

It's really going to be interesting once it gets down to Coach vs. Brandon at some point. How long can Coach live with integrity? I'm quite sure that both Coach and Brandon will make it at least to the merge (when they are down to 10).

And then, they have evil to deal with on the other side (in the form of Jim, who's an underhanded, low-dealing, backstabbing liar). I'm also quite sure he'll be there when they get theere. Should be very interesting.

I put my money on Coach. To win it.

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Some Thoughts on the TV Season So Far (New Shows)

2011-10-17T08:06:00.000-07:00

We're only midway through the rollout of the new TV season, and I have some comments and thoughts on the shows I've seen so far.

1. And the first to be cancelled is...

I would've laid money on the fact that it would be "The Playboy Club." Hef has always been delusional about how much of a cultural touchstone those Playmates are. And really, if you can't show their boobs, who's going to watch. This might've worked as a cable show. On broadcast TV, where people go apoplectic if you see an errant nipple, forget about it. So they tried to throw in some kind of murder mystery nonsense (at least from the previews, I couldn't stomach actually watching it)... and you know we don't have enough of THAT kind of stuff on TV... so CANCEL. No surprise.

2. More on the exploitation of women front

Another show, which, frankly, only succeeded in the 70s because it was all about jiggly T&A was sadly lacking the T&A in this version (Charlie's Angels). I would take the acting to task (it was dreadful), but then, the acting in the earlier version was no Meryl Streep either. (Sorry, Kate Jackson.) But truly, this show should be some fluff, if done right. People watch this for mindless entertainment that looks pretty. Is that so hard to create? Apparently so. One overall theme I noticed this season (and usually I only watch really good shows, so maybe it's always like this) was really bad tech stuff. On Charlie's Angels, we had some dreadful camera/editing choices.

All those girls had to do (other than shake their booties in cute costumes, which they didn't do) was pretty much say a line and hit their marks. They couldn't even do that. Now, Minka Kelly, who's been around on a series or two (the wondrous Friday Night Lights and Parenthood, to name two that she was better in), will be the only one you ever hear from again. The one with the Afro consistently stood in a well-framed shot (you kinda want to get all three Angels in the same shot), blocking at least one of the other two. Very frustrating. I don't remember ever seeing such bad camera work on a TV show in primetime.

3. Odd directorial choices

But then we have the odd directorial choices. An intriguing premise, Unforgettable, is based on a woman who is unable to forget. However, unlike the actual women who have this affliction, who recall everything at a moment's notice, this woman goes back into a crime scene to find details that she forgot. But the way they do it is that Woman 1 is sitting there looking at herself (Woman 2) as she does whatever it is she does. A real step backward for technology and innovative direction. I saw only part of one show, and that nonsense made me cross Unforgettable off my list.

4. More 60s female eye candy

The other show which delved back into the 60s era for its female objectification that worked (full-season pickup) was Pan Am. Some mini viewings have shown it to be basically a soap opera in fancy locales, but then, the whole 60s Pan Am stewardess thing was a juicy one, and it sounds like they're doing it right. I might catch this one out more later.

5. Real women make gains

There were some surprise breakout hits of this season so far. The biggest: Zooey Deschanel's New Girl. People love her. (Haven't watched it yet myself.) But one that is also a big hit that shot up my TiVo queue was 2 Broke Girls. Kat Dennings is the breakaway star, IMHO, although Beth Behrs makes a thankless rich girl role believable and heartwarming. Very well-written, a fun show, I highly recommend checking it out.

The other show from female comic Whitney Cummings is "Whitney" (gee, wonder where they got that title?). It's a bit too much Whitney for me. Although the guy who plays her boyfriend is really smoking hot sexy. So that makes it watchable. But why he'd put up with such a crazy whiny obnoxious too-skinny girl like her really escapes me. Her friends are marginally funny, but every episode revolves around Whitney, and that's already old after two episodes of viewing.

6. We shoulda kept Medium or Ghost Whisperer...

Guess CBS's got to have a "let's talk to dead people" show, and I do hate to diss a show that Susannah Grant is involved in... but... Well, here are the good things: Jennifer Ehle is a luminous ghost. Emmy winner Margo Martindale is in it. Tony winner Patrick Wilson is in it. Still, it's one of those rich and successful surgeon finds his heart in the ghetto through his dead wife dramas. Just don't know if I can stomach it, frankly. Oh, and back to the Item number 3, the sound guys should be fired. There were two really key moments in the pilot where the sound was so muffled that I had to rewind it three times to hear what the heck they were saying. ONE of those times was in the "Oh, btw, she's dead" line that pretty much sets up the entire series. Really really really bad.

7. Good things

One show that I wish I'd been able to view (it's on my TiVo), that apparently is doing things right is Person of Interest. Interesting premise, great actors, great production team and high-tech effects. I can't wait to catch up with this one. You should too.

I'm really grooving on (as I've written elsewhere) both Survivor (Good vs. Evil season) and Dancing with the Stars (I'm rooting for David Arquette, although Ricki Lake is quite inspiring too).

Homeland rocks my socks in previews (also sitting on my TiVo). Can't wait to delve into this one.

American Horror Story looks intriguing (plus, Connie Britton!), but sounds really scary. Not sure about this one.

8. Coming Up

It's the battle of the fairy tales: Grimm (featuring ex-Buffy the Vampire Slayer production people) vs. Once Upon a Time (featuring Ginnifer Goodwin and Lana Parilla, and Robert Carlyle). Both could be good. I'm looking forward to both.

What are some of your favorite so far?

TarFest 2011 Just Needs a Little Shovel Magic

2011-09-26T08:48:00.000-07:00

Hot on the heels of his recent LobsterFest triumph, we have another music fest which benefitted from the Mr. Shovel magic. Last year, Mr. Shovel curated the music fest entirely. This year, he was just brought in to fine tune, and add some touches. Those touches polished this festival of music and art in the LaBrea Tar Pits for a magical Sunday afternoon in the park.

Sadly, I missed some of the early bands (Ash Panda and Infantree). But I got there early enough to hear the soulful stirrings of A House for Lions. Really poignant lyrics. An excellent lead-in to the band of the afternoon (Everest). A Check One Two favorite, Obi Best, lent her girlish softness to a beautiful afternoon.

All around, there were food trucks and painting happening. Children ran with hula hoops (and some adults too). Some kids blew bubbles. It was fun. A marvel of creativity and art.

The draw indeed seemed to be local favorite Everest, with crowds packing the small area for their set.

(Although Everest is also a Check One Two fav, this time, the festival had already booked them.) But Shovel's magic lies in polishing what diamond is already there. Obi Best and A House for Lions were perfect lead-ins to Everest. And the perfect close out?

As Shovel knew, to follow a band with a following, you have to get another band with a following. And there are those in this town who LOVE their Saint Motel. Right after Everest finished, people started lining the stage to see Saint Motel. (Mostly girls, cause Saint Motel is, after all, filled with cute guys...)

Somewhere midway through, I started speaking, as I am wont to do, to friends and acquaintances about what radio they are listening to now. It's still hard for me, after all this time, to watch a group of local bands and NOT think of our beloved Indie 103.1. Especially since we were so close to it, watching this concert. The usual answers came up: KEXP, KCRW. I heard a new one: WFMU (East Coast). Some people still listen to Pandora, or Last.fm. I'm sure once next week's Facebook changes come about the answer will also be Spotify more than it is now.

The unspoken answer is: we still miss Indie 103.1 terribly. And nothing has really replaced it since it left our terrestrial airwaves. There isn't a concert that goes by that I don't miss the Shovel magic. There isn't a show on the air (terrestrial or otherwise) that doesn't benefit from more Shovel (Have you listened to the dreadful Jonesy's Jukebox, now that Shovel isn't there? I rest my case.). Sure Indie 103.1 dot com still exists, and "content director" Tedd Roman was spotted in the crowd, Mayor of the Beer Tent, but Indie's magic left when Shovel did. Everyone who used to listen (and doesn't now) knows that.

So I was shocked when I wandered over to the merch tent to pick up some band CDs and saw this bumper sticker amongst the items:

I gasped, and said, "Indie 103?" (Mostly because I was shocked that someone had the balls to use the old logo (albeit badly... I mean, really? a 45? where's the hole?). The green kid looked at me and said brightly, "It's a great radio station, you should listen." There we are in the shadow of the House that Shovel Built, its absence palpable, so much that I still think about it every day and miss it. Thinking about how I've stood at hundreds of merch tables, just like this, one of its proudest fans, so glad to be a part of it. Scooping up every available piece of Indie gear to show my allegiance. But rather than let the tears well up in my eyes just then, I just stare at him glazedly, and say: "Really? I'll have to check it out."

Two of the most brilliant musical minds in Los Angeles, (l-r) our own Mr. Shovel and Watusi Rodeo's Chris Morris, enjoying TarFest. You can thankfully still hear Chris' radio show on the Scion Network here. You can catch Mr. Shovel's magic at Mr. Shovel or at some curated concerts around town.

LobsterFest 2011: Mr. Shovel does it again!

2011-09-19T06:14:00.000-07:00

There are those in this town who think they can throw together a few songs and call it radio. There are also those who think they can throw together a few bands and call it a music festival. Our beloved Mr. Shovel proved once again this weekend why he is the only king to this throne. No, king is probably the wrong word. Kingmaker, perhaps. And for those wondering who are going to be the hot new bands this year, please write down the names of the acts that Mr. Shovel booked on this year's LobsterFest bill. As last year's (back when no one knew who they were) Fitz & the Tantrums can tell you.

Ostensibly, this is a "KROQ" festival, as the glaringly inappropriate and ugly radio station backdrop will scream at you. The backdrop truly mars the magic going on up on stage, most of the time, and the festival would be smarter and better served to just have a plain backdrop, or one promoting the LobsterFestival, which has now, thanks to former Indie 103.1 music director Mr. Shovel (and NOT KROQ) become a must-see music festival of note.

Let me clue you in to what exactly is "KROQ" about this festival: the very first act, "Lucid Dream Factory" who were "winners of the Cabo Wabo Your Shot to Rock contest" (which was supposed to be two bands, but ended up being only one for some reason).

Berlin, perhaps the only band which KROQ might play, closed out the festival. I loathe and despise this band who, after all, only has one hit (some would say "five"). Luckily for me, I had Emmy obligations (MicheBelz Hollywood) and couldn't stay for Berlin, but they are crowd-pleasers, and I can vouch for the fact that I think they had record (as in all areas filled with people) crowds, very likely most there to see Berlin for free.

So every band who took this stage over the three-day long festival (except the Cabo Wabo contest one), owes its credit for being there to Mr. Shovel, and should thank him profusely for their appearance, if they have any doubt as to who put them there. It wasn't KROQ.

KROQ is like the neighbor that you hear arguing loudly with their wife at 3 am. Mr. Shovel (whose artistry you can find at Mr. Shovel) is like the lover, whispering magic into your ear. Now which one do YOU want to listen to?

Let me clue you in further to the workings of Shovel's magic. The reason that radio station Indie 103.1 became so beloved by so many was that Mr. Shovel carefully wove together the music to create an aural pastiche of music that was orgasmic to one's ears. The same is true of his music festivals and events that he curates.

One of the hallmarks of his craft on the radio was the way the songs so seamlessly flowed, one into the next, appearing there logically and perfectly. The words and the music combined to flow, like the pages of a book you can't stop reading, a logical progression, but each getting better and better and better (you can hear the opposite of this by listening to whomever is programming Indie 103.1 dot com now as the music grinds, jarringly, one bad song into another totally unconnected one).

So, too, is the progression of his music festivals. Each band, carefully pulled from the ranks of mostly local bands (even local to the Long Beach area, because Mr. Shovel is good that way) flows seamlessly into the next one. Someday, I truly hope that obligations of job and real life don't keep getting in the way, because how this festival is meant to be seen is from the opening act to the closing one, like that book that starts on page 1.

Shovel's magic started Friday night, truly opening with local band, White Arrows, flowing into (Long Beach locals) The Fling, closing out with Australia's Andy Clockwise. Just in those three, you see a taste, an appetizer, if you would, of the treats waiting for you the next two days. Awesome and different local act White Arrows, country tinged Long Beach locals The Fling, and showman and creative force Andy Clockwise. Those themes would be repeated all weekend.

The Damselles & TC4 kicked off the event on Saturday. This flowed into a repeat act from last year, Judson McKinney (watch this one!), who last year performed as "Judson & Mary." We are going to be hearing more about him.

Super sexy Valley girls who dig the misspellings, Deap Vally, performed next. By this point in the day's musical smorgasbord, the Shovel workings become clear. Local favs Light FM step to the stage. Followed by more local favs, Eastern Conference Champions. Followed by one of LA's best bands around, Shadow Shadow Shade. Shadow Shadow Shade took the stage right at dusk. They performed in daylight, the next band was in shadows and shade. It's those little Shovel touches you notice.

All of these bands (Light FM, Eastern Conference Champions, Shadow Shadow Shade) are bands you DO want to check out if you see them performing around town. You will not be disappointed. What they share is a compelling stage presence, as well as a mastery of their music. Shadow Shadow Shade, for example, has a woman singer who formerly sang opera. They weave their craft in front of you, and leave you going, "WOW."

But the night is just beginning.

Another local fave, He's My Brother, She's My Sister, steps up. I'd always heard good things about them, but never seen them before. Their performance proved why they are also a band worth checking out. Colorful (literally and figuratively, did you see that GREEN stand-up bass?) and inventive, they really rocked it.

But just when you think this festival is all about local, indie (or Indie) type bands, Shovel's magic once again shows itself. What came next is what I call the Section Quartet moment. I remember looking at last year's schedule incredulously. The Section Quartet? Classical? What are they doing here? I should know by now not to doubt Mr. Shovel's skill.

This moment happened with this year's The Taiko Project. I really wasn't aware that the whole "taiko" music has become a thing. Or that we have one of its best artisans right here in Los Angeles. Guess that's what Shovel is here for, to educate us to what is right here under our very noses. (The Section Quartet, too, is an LA band that doesn't get nearly enough play.)

So let me set the scene for you. All day long, people have been milling about, having fun on the wonderfully expanded lawn area, playing with their kids, eating their lobster or whatever, chatting amongst friends, dancing, if the spirit moved them. (LobsterFest is, for my money, one of the best venues for packing people in to see lots of bands. There is room to move, there is great food available, and the bands are fantastic. What is not to love? Well, except for that hideous radio station backdrop...) Anyway...

It's now evening and we are about to see this band called The Taiko Project. I honestly don't even know if I can do justice to describing what happened next. Everyone started filling in the seats that had been spotty with guests all day (most people preferred to sit on the lawn to listen). Everyone seemed to want to get close to hear this next band. And by everyone, I am describing what really became the mix of Shovel's audience at Indie 103.1 too: indie hipsters, people who had just stopped by for the lobster and heard music, music aficionados who knew this was going to be something, goth girls, proficient jazz artists and rock musicians who knew something special was at hand, and lots of every day folk.

They start bringing out the drums. The taiko drums, all of unique shapes and sizes. So many people on stage in costume. And they start waving their sticks and banging on their drums with magical movements and precision and your breath disappears. They move, fluidly, like dancers, going from one drum to the next, so it becomes a visual and aural feast. The audience has become silent, rapt with awe. They have not been silent all day. (They were similarly silent for The Section Quartet.)

This is really what I want to say, that was coursing through my mind as I was watching. That although The Taiko Project's music was quite uniquely their own, the fact that they were on that stage, at that point in the program, was quite uniquely a Shovel creation. He has always been about introducing people to sounds they'd never heard before, and wouldn't soon forget. (He would demur if you asked him about it, modest and humble that he is, and say that, "No, it's the bands who create this magic." I disagree. It was in this moment that it really crystallized that it was Shovel painting this aural pallette for us. In fact, the moment was so profound that, for me, that ugly radio station backdrop disappeared during Taiko, and it was just a movement of music and sound and art being created.)

I have never heard music like The Taiko Project created. It was rather like the show "Stomp," if you've seen it, performed with actual drums instead of found objects. And more fluid movement. Movement between the performers like dance, like poetry. Beautiful, stunningly beautiful.

They literally took my breath away. There was a half-hour break before the next band. I needed every moment of that to recover from Taiko. (They recommended that people go watch a fire show nearby. Most complied.)

AND THEN! Then we had the rollicking, also all-over-the-stage band Vaud & the Villains. I remember scoffing at that name when I first saw it. Sounded silly. Boy have I learned not to doubt the Shovel after this festival. Vaud & the Villains, true musical artists. Dancers. Singers. New Orleans storytellers. How to even describe them? Let's see. The LobsterFest program says this: "19-piece 1930s New Orleans orchestra... washboards, horns, dancing girls that sing." That skims the surface of what was presented.

It was rollicking and fun and great music.

My friend who was watching with me noted, "it's been a long time since I've seen such great music at a festival." MUSIC, if anyone had any doubt, is what drove Indie 103.1 and drives the LobsterFest every year. Music that you can tap your foot to, music that stirs your nether regions, music that you leave humming. Music that makes you feel like a better person, music that makes you want to create. All of the joys music brings to one's soul is what Mr. Shovel brought to Indie 103.1 so notably, and brings to every festival and event he curates.

And we still had another DAY of it. How joyous!

Another return act from last year's festival, Devon Eisenbarger kicked off Sunday's event. Followed by Dante Vs. Zombies, "perhaps the most original band of the weekend." REALLY? Wow. Cause we've sure seen some "original" stuff. Local band The Little Ones rocked the house next. Lady Dottie and the Diamonds took no prisoners with her "boogie-woogie blues." Wow, amazing. And then, that one-hit-wonder band that everyone was clamouring in to see. I left before they started. I had Emmys to watch.

But I am left, at the end of this LobsterFest, as at the end of last year's, stunned and amazed at the bands I have watched over the days. Terribly sad that for some reason the merch table didn't seem to be active. Bands? Bring your CDs, even if you released them a year or more ago. I'm sure you would've had sales!

Joyous, reliving the memories of the bands I'd seen; old favorites, new ones created.

But mostly, I want to give a deep respectful bow to our own Mr. Shovel. For those who underestimate what it is exactly you do, and think that just anyone can recreate it, they are sadly mistaken, and LobsterFest is proof of that. This man knows music. He knows how to seamlessly package a show that is crowd-pleasing and horizon-broadening. His skill will please both the yokels with lobsters on their heads, and the uppity music snobs who aren't phased by anything. And that is no small feat.

A deep bow to you, Mr. Shovel. Thank you sincerely for this LobsterFest.

Now if we could only get these LA folks to DANCE...

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Join the Party on Twitter

2011-08-24T04:29:00.000-07:00

I've written some columns about Twitter, but I've been thinking about it a lot lately, and wanted to approach it from a different angle. Most people, if they're going to get on Twitter, probably already are; and if they aren't, they still hate it and people who talk about it just as much.

This isn't for those people. It's for the ones who have joined Twitter but are still staring at a blank screen, not knowing how this "Twitter thing" works. Not getting what all the big deal is about, not sure where or how to jump in. And sure, the new Twitter sends you helpful little "Who to Follow" prompts, but how do you know who to follow? How many are too much? Or too little? And really, most of all, what is the damn point of all this?

I've been thinking a lot about all this, and a new idea hit me. It's a party. (You can cringe if you want to.)

The single most important thing, now that you've finally broken down and signed up to this dreadful thing (as if anyone needs another social media site, harumph!), is who you know. Or, more concisely: Who You Follow. (The second most important thing is Who Follows You, but you can't control that.)

So, as I've documented elsewhere, when I first joined Twitter, I was adding people like mad (rather like I did on MySpace and Facebook). If I had it all to do over again, I wouldn't do it that way.

Here's what you need to know: Twitter is about interaction. Passive watchers might as well not even join. Because everyone, even the shyest wallflower, has something to say about something.

Keeping those things in mind, try this strategy on for size.

1. DON'T, I REPEAT, DON'T go mad adding celebrities. In fact, if you're a Twitter newbie, I would suggest that you refrain from adding ANY celebrities or really famous people until you've been on Twitter at least six months and have regular people you know and chat with. Why? By and large, those with millions of followers won't be chatting back with you. Actually, those with millions probably won't even be reading you. And, if you are only going to add ten people, make those ten count. NO CELEBRITIES. Make each of those ten people who will interact with you, will Follow Friday you (the only celebrities that I've seen Follow Fridaying anyone are other celebrities), will thank you for your comments and RTs. Generally someone who values your commentary, and treats you with respect. Do I have to tell you that that ISN'T a celebrity? Nope. Not even Oprah. Seriously.

Really think about what you want to get out of Twitter. Here's what you can get: knowledge, news, sports fans who share your passions, fans of any subject who share your passions, and if you're really lucky, and choose well, people who can really help you make it through your day.

So, I'd like you to think of this as a great party that you're designing. You are the host/hostess, and you get to pick the guest list. (Again, refrain from inviting celebrities, because they will dimish YOUR sparkle.) Who else would you want attending?

When your mind comes up blank, try this instead. Go to someone whom you think would make a great party guest that you know is on Twitter. Start by examining their follower list. Or their following list. Cull from there. Keep in mind that the BEST person to add to your Twitter list is someone who's following/follower totals are roughly equal. Say, 1500 following to 1750 followers. That would be ideal. It shows someone who's engaged, who actively participates in their Twitter stream, in essence, someone who'd make a great party guest, and not monopolize the conversation.

Conversely, if someone is following NO ONE, avoid them like the plague, no matter who they are. They clearly don't get it.

2. Pick interesting people. I highly suggest that before you add someone, click on their profile first. Check out some of their comments. Look at a full page's worth. If ANY of the comments annoy you, or make you roll your eyes, go to the next person. Life's too short. Also, if what you are looking at is either: all RTs, no original commentary; or all links, move on. You want someone, ideally, who mixes it up. Who RTs people, but also comments. Who posts interesting links, but also engages with you. (I also do this in reverse. If I see someone's comments in my feed now that annoy me, I'll go back to their profile before I unfollow them, just to be sure. They may just be having a bad day.)

3. Find subjects that interest you. You want people who stimulate your mind. Find people who share your interests. For example, I like music, and subscribe to the Blip.fm service, which posts songs I'm listening to to my Twitter feed. Some people really hate that. Other music lovers have RTed the songs I've picked. People who like the same music I do tend to stick around. Whatever it is you are interested in, there are people who like that same thing and talk about it. Try searching for that subject, and adding people that you find that are interesting.

4. Find people who inspire you. There are plenty of them on Twitter, I assure you. Some people like those who post inspirational sayings. Others get bored silly by such stuff. Whatever your own spiritual touchstone is, make sure you add some people who reflect that. Who make your heart swoon at their comments. You should have a good chunk of these kind of people in your Twitter stream.

5. Find worldwide folks. I like Twitter for its coverage of news. But to find this, I didn't start adding TV or radio news folks (although you could do that, too). I made sure I had people on my Twitter stream from different countries, some speaking different languages. I don't want to just know what's going on in America (though maybe you do). But having a diverse spectrum across the world will also ensure that whatever time you are on Twitter, there is going to be something coming across your screen. I assure you. My Facebook often dies, once the people in my geographic area go to sleep. This is never true of Twitter. It's 24/7.

6. Job searching? Add headhunters. I have heard about more jobs on Twitter than any other social media service, which is enough reason to sign up for it, if you're not already on it, IMHO. But to do that, I had to add people in various fields that I work in who might be responsible for adding jobs. If you're an actor, there are plenty of casting agents on it. There are all kinds of headhunters, and job services as well. Search for them. Add them.

7. Drop in some romantic sparkle. What would a good party be without some sexy members of whatever sex you're attracted to? Make sure that you add some sexiness, to whatever level you feel comfortable with. I personally have three Twitter accounts, to varying levels of sexiness. The last thing I want when I'm in a business situation is to have someone sending over pics of their naked body at me. So I don't have that at all on my business Twitter. But on my personal one? heh That a whole other story.

8. Minimize or avoid the companies that advertise at you. Yes, I know, many companies out there will cringe at that one. They see Twitter as the next new gold rush area, and are just looking for a way in. My personal rule with all that is that anyone that markets at me is Unfollowed. Period. I don't have anyone (of the 2000 people I'm following) that is a company or a marketer. My life is blissful. Plus, Twitter isn't FOR that. It's for people to talk to each other. To interact, as I said earlier. Advertising/marketing people still haven't figured that out.

Again, think of it like a party. If you were at a great party, deep in the middle of a fascinating conversation, would you want someone spewing about their latest product at you? No. It would spoil the vibe, wouldn't it? Twitter should be, and is, like that, too.

9. DO talk about politics and religion. Everywhere else, these items are avoided like the plague. But on Twitter, I have found the most educated, enlightened, actively seeking minds I've found anywhere. I feel blessed to have them in my Twitter stream. Mind you, I only have the folks who espouse the same things I believe in. One woman started getting on my case about my sexuality, espousing her "Christian" values at me, and I can't tell you how quickly I blocked her. The block button is bliss. Use it often.

The other great advantage about this is that you'll hear when things happen. I heard about the strife in various Mideast countries on Twitter WAY before mainstream media even covered it. So maybe it's a party with giant screens all around the room with current news flashes suddenly on the Jumbotron. If there's an earthquake, you'll hear about it on Twitter (as everyone on the East Coast now knows).

10. Don't be bored. If, once you've added your successful party guest roster, you find you are still bored with people's comments, add more people. Maybe, at this point, add a celeb or two (judiciously). For me, there isn't a day that I'm on Twitter that I don't get a new piece of information, a new way to look at things, and some uplifting inspiration from my Twitter stream. That's how yours should be, too.

Have at least 100 people that you are following. A good conversation is the sign of a really good party.

Add me: @michebella on Twitter.

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Lounging with the High-Tech Hoboes

2011-08-19T01:42:00.000-07:00

Like most people, living through this recession has been a challenge. Finding yourself in places and circumstances you never expected because the cash flow you had counted on suddenly stops (for whatever reason).

For me, my life on the streets (or as close as I want to get to it) began a few months ago (and has, oh so thankfully ended--at least for now, anyway. Who knows what tomorrow holds?).

I'm a tech baby. My hands have been attached to a keyboard for decades now. The cell phone/smart phone got added somewhere in there, and eyes are often glued to some cable program or another. That's how I lived. I couldn't imagine life without these creature comforts.

Living without them helped me to realize just how much I need them, and why.

So walk with me, for a minute, won't you? Down into my path of hell?

Mind you, I know there are many who have it worse, much worse. People who, for whatever reason (and yes, their numbers do seem to be increasing of late) find it completely ok to sleep right there on the street. In church doorways, or near highway overpasses. Whereever there is a quiet place to lie their head.

It's a strange sight, seeing someone in a doorway, with a cardboard box covering their heads. Guess it's to keep the morning light out. Still not sure about that one.

But these guys (not too many homeless women, I've noted), at least not lying in doorways, anyway... these guys people have been aware of for decades, since a few recessions ago, at least.

What I've noticed on my new journey into poverty is the step up from that, the high-tech hobo.

So let me take you back a bit in my life (a few months ago). As I said, in my normal life, I am constantly online. I write, I blog, I have a podcast, I'm a regular (as in daily) Twitter poster. Online is pretty much where I live. So, to me, to be suddenly without online access was as close as I want to get to being homeless.

But, I still had my laptop and my phone, and I knew there was wifi to be had. I just had to find it. War-driving, isn't it? I was gonna go out and find some.

First, the easy ones. All these coffee shops and cafes offering "Free Wi-Fi." One close to my house. Thought I was home free. Sadly, these places don't much take to someone camping out and using said Free Wifi for hours at a time and only purchasing a coffee. Or at least the one near me didn't. After a few weeks of regular use, they cut me off. Couldn't access the Net anymore at all. Sad.

So, I sought out other avenues. Libraries! They have wifi. Sadly, they also have very minimal hours. In the time that I was doing this, they were closed on both Sunday and Monday! Two whole days with NO access? My God, how inhuman.

Plus, I'm very much a night person. I get most of my best work done in the wee hours of the morning. Libraries were just closing shop when I was getting going (the latest one open until 8 pm). So, they were kind of out, too.

But there are some places that are open 24 hours and have wifi. I won't tell you the places I found, to protect the innocent, but there are places to be had. And this is what you'll see there. If you go to 24-hour places all around the city of Los Angeles, you'll find men with laptops. At first (like around 9 pm), they are indeed, pounding keys, and looking like they are doing something.

By midnight and onward, you will find them asleep at their laptops all over town. I call them the high-tech hoboes. Don't know for sure that they're homeless, but they definitely have no Internet access.

I started frequenting one particular place. I am thankful that it was available to me during my times of difficulty. In theory, I should've been paying for the priviledge. I am grateful to the kind-hearted staff who let these people just be overnight. But I, like the ten or so others who frequented it (and I mean every night), were just surfing the wifi because it was there. Some folks brought snacks. Some folks watched videos or movies. Some actually worked.

One who particularly intrigued me was a preacher. He was always attired in suit and tie, like he had somewhere important to go. Guess in LA, it's all about what you're wearing.

Early in the evening (between 9 pm and midnight), he would busy himself with religious videos. Someone preaching this or that. Round about 2 or 3 am, when he thought no one was listening, the porn videos would come out. Cracked me up.

The funniest thing about the preacher was that he would often chat up other black folks who happened in there. His theory was that the white folks are planning to "round up the blacks and put them in concentration camps." That he was going to hightail it to South Africa before that happened. Meanwhile, of course, he's spending his nights in this same place, watching his videos. Very strange.

I didn't mention to him, hey, this is a largely white establishment here, and they are kind enough to let you sleep in here, you should really be grateful to them, not dissing them like that. But I didn't. Just let him babble on. Once he got to the part about the aliens, I sorta checked out.

Some parts of me wished I had turned to him, white girl that I am, and said, Hey brotha, it's not about white-black anymore, not even white-Hispanics. It's all about RICH and poor. Haven't you noticed that? It's the rich who are oppressing us. And better to stay here and fight than run away, don't you think? But I kept my silence.

Lotsa people who came in there, and there would often be new ones, acted like they owned the place. Guess entitlement runs hard in LA.

It was a very strange thing to me, hanging out in this place. But I did come to realize that anywhere you go at 3 am in this town, if it has wifi, you're going to find at least one person there with a laptop, and asleep. This is our new reality.

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Why Comedy Podcasts Are Really Booming. And MSM just doesn't get it.

2011-07-03T02:16:00.000-07:00

Oh Mainstream Media (MSM) how we love you! And how you get it so very wrong sometimes.

Assumptions people make. Like that everyone works 9-5. In this day and age, it's simply not true. All types of people work all kinds of shifts, in every part of the country.

Read an article in the latest Entertainment Weekly (an article not on their website, btw): MSM: FAIL. about the growth in "comedy podcasts." Specifically featuring one of its biggest success stories: Marc Maron, and his "comedy podcast" known as "WTF!"

Here is the error in EW's logic: that only "comedy afficionados" are seeking out this podcast. That people are flocking to it because comedians are largely the ones being interviewed. Those comedy afficionados number 400,000 strong PER WEEK. Really, EW?

This logic didn't seem just slightly flawed to you?

Here, sad MSM, let's reframe the reality for you a bit.

Podcasts, comedy and otherwise, have been growing steadily since they surged on the scene in about 2005. There are THOUSANDS of them. Many video, most are audio.

Now it is true that some people known for being funny (Marc Maron, Kevin Pollak, Chris Hardwick, among others) have created some great podcasts that are worth listening to. But it's not because of the funniness, or the "comedy" aspect.

Here is the draw of audio podcasts, all of them: they remove the bullshit that MSM throws at us.

WTF! with Marc Maron is mostly phenomenally successful because he has an engaging personality, yes, but because he's having a conversation, no holds barred, with people you don't usually hear from. It's honest, it's open, it's REAL. That's why people are flocking to podcasts. More than any other reason.

EW, thick in its MSM morass and myopia, doesn't get that fundamental thing. They are compelling, in the way that honesty is. Refreshing to hear people talking about things they don't normally talk about: Drew Carey on The Nerdist podcast, chatting about his avatar in Second Life; Paget Brewster on Kevin Pollak's Chat Show about how she and Jon Hamm used to be known as "pilot killers"; and Louis CK on "WTF" somewhat chatting about comedy, but mostly "repairing a friendship."

It's much more listenable than any reality show. It's really truly real.

If you haven't listened, what are you waiting for? Get on that!

Miche's Favorite Podcasts (Comedy and Otherwise)
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1. Diggnation (video)
2. WTF with Marc Maron (audio)
3. Kevin Pollak's Chat Show (video)
4. The Nerdist (audio)
5. Keith & the Girl (audio, some video)
6. Beach Walks with Rox (video)
7. This Week in Tech (audio)
8. This Week in Media (audio)
9. More Hip Than Hippie (audio)
10. Zaldor's World (audio)

(and of course, don't forget to check out MY podcast, MicheBelz Hollywood. Thanks.)

MicheBelz Hollywood podcast

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Link to Chris Hardwick's book

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Sweet Heavens! The Oscars Are Coming!

2011-02-25T11:22:00.000-08:00

TWO DAYS BEFORE OSCAR (FEB. 25)
Just going to work. Get off the subway as usual. See the usual Oscar melee. Note the even more increased security than yesterday. Each one scrutinizing each person that goes by. (Good luck with that...) Pass the (on our side) black curtain hanging along this mock wall. Notice when I get to the other side that three cops are there, cause you can see through their side. Cops are talking amongst themselves about each person that goes by, noting who is a troublemaker and who isn't. (This is not even a block from getting off the subway.)

Keep trying to go to work. Take a couple of pictures, because there is some huge press conference going on. It looks like it's some kind of walk through for journalists about what to expect on Sunday. There was one guy I saw on the other side. His laminate read: "International." He looked very lost. Most people's laminates around me read: "Production." And indeed, there they are, laying cable. Putting those plastic things securely over the cable so no one trips over the cable.

This guy's putting pink, yes, pink tape at four spots along the cable line. Interesting. I would've asked him what it was for, but he looked very busy. That and two other guys were over his shoulder, observing and talking to him.

I continue, acting like I know what I'm doing (always the way to get through such situations, FYI). I make it as far as the dreaded alley (the one I walk through every single day to get to work, usually no one is there). Today in addition to their regular command post, and the massive crane trucks nearby to disturb the view, today there is a stop at the end of the way. I just knew someone would be sitting there, checking badges.

This one is a stickler, too. "I work over there." "Where?" I tell her. "What place?" I repeat it again. I even tell her the address, which I've now memorized since Monday's interrogation. She is nonplussed. She gets on her walkie. (I'm not making this up.) I tell her, "No really, the security down there knows me." I'm looking frantically for my security guy. There is a phlanx of guys in yellow coats, but I don't see Cary. She walkies. "Um, got a girl here, says she works down there."

Finally I see a security guy I know come out of the madness. I wave. Smile. He tells her it's ok, and I'm able to walk down the alley.

WHEW.

When I get to work finally and grab my morning coffee, I look out the window and see WHY they are being so crazy with the security. Picture one of those space movies where your hero is on a hill and sees nothing but blackness. Then he crests the hill, and suddenly, a whole village of activity he had no idea was there. It was like that.

All week the parking lot next to Kimmel had been mostly empty. Some activity, which I photographed. Nothing much. Holy crap. You should see it now. (I have pictures, I'll post later.) The entire nearly block-long parking lot is FILLED with TV trucks. With satellite hookups. Must be a dozen, at least. Big old generators to power them. And lots of cable going into the Kimmel building, no doubt for extra power. Unbelievable, truly.

They have their own lunch truck out there. Even a couple of star trailers. (For news anchors? Wow. Who knew?)

The Oscars, baby. Are on!

***********************************

Oscars As We Know It Takes Shape

2011-02-24T14:08:00.000-08:00

***************************************************************
FOUR DAYS BEFORE OSCAR (FEB. 24)
The red carpet is now in place.

One might wonder, why on Earth do they need to have the red carpet down four days before the event? With rains scheduled?

Here's why. The other biggest addition behind the scenes, visible throughout the alley command center and all around: satellite linkups. News trucks from all over are starting to wander in, for that "Here we are as they prepare the Oscars" story on the red carpet. I swear I saw Chris Harrison out there this morning. Everyone is testing their mics and taking position. Cameras are lining up shots and testing their electricity.

The (what has to be the) credentials booth appears to be made of really strong tenting material, maybe even leather. It has DOORS. Doors with hinges on it. It's pretty much the first thing you see when your limo arrives at the corner of Hollywood and Highland.

What also seems to be happening (subtley) is that the perimeter of their control is pushing further and further out as the days go on. Today (Thursday), you simply cannot go through the alley without a credential and/or being asked for one. There are security lookouts every ten feet. No chance anyone is going to wander somewhere without someone noticing. Although it does bring up the question: what about 3 in the morning? Is someone still out here, guarding things? I suspect yes.

The massive prone Oscars from yesterday have been removed from the command tent, and no doubt put in place. The four smaller statues are also gone. Their place has been filled by news trucks, at this point, mostly from ABC and/or Channel 7. One has to think that ABC owning so much of this block already has to help allow them to do all this. The other merchants are paid handsomely for the inconvenience.

One parking lot, for example, is normally home to a car rental business. The rental cars are lined up throughout the parking lot, and people rent them and drive away. ALL of that is now taken up by the command tents. This person's business is GONE during Oscar week.

So far, you can still get to restaurants in Hollywood & Highland, but man, is it difficult. The elevator is what I normally take. It was subsumed by people laying red carpet, and people taking pictures of the guy laying the red carpet. By tomorrow, it's going to be impossible. The cupcake shop just as you walk in is completely inaccessible too. They must be paid off for this, too.

As you walk on Hollywood Blvd., nearly half of the people you see have laminates with various levels of access on them. Normally, it's 80% tourists, taking pictures. Tourists do not seem as abundant today.

There are also traffic guards, to direct traffic away away away from the Kodak. Don't even THINK of parking on adjoining streets. You will not be able to move until Monday. Actually, if you are driving, at this point, you would be well advised to stay far away from Hollywood and Highland until Monday. It's not going to be pretty for you.

For the rest of us, though, it's beautiful. Look at that big Oscar statue, towering above everything! And the tents to keep everything dry. A walkway for press that doesn't normally even exist is high above Hollywood Blvd. Stunning.

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More Lockdown at the Kodak

2011-02-23T11:24:00.000-08:00

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SIX DAYS BEFORE OSCAR (FEB. 22)
The biggest change is tents. Tents everywhere.

Also, the entire block of Hollywood Blvd. (from Highland to Orange) is now shut down. Traffic rerouted. Big trucks fill the streets with names like party favors on them. Unclear what they are unloading, but they keep coming all day.

Security at every station. Trying to get to work (through the alley) involves a burly security guy asking me for my laminate. Sorry, I just work here. What's the address? It's a temp job. You expect me to remember the address that I've never needed before (since the first day six months ago)? Luckily, another security guard in the alley who knows me vouches for me, and I'm allowed to pass. I give a silent thanks for the fact that I'm constantly friendly to the various security guards I pass.

There is a big sign on the corner of Hollywood & Highland, which loudly proclaims: "OSCAR!" right next to a huge picture of a gold Oscar. And by huge, I mean multiple stories tall. Both of these images will feature prominently in tracking shots on every station. You will see them constantly, trust me.

In an upcoming post, I'm going to try to include some of the pics I've been taking on the scene. Trust me, it's not easy. I just bury myself in gaggles of Japanese tourists. (They always have cameras.)

FIVE DAYS BEFORE OSCAR (FEB. 23)
Getting to work is even more of a nightmare. One of the two alleys back is completely closed off. He does let me get through the other one. I see WHY this one is closed off, later, when I get to work.

Looking through our upstairs windows (pictures forthcoming), I see giant Oscars laying in the middle of this parking lot (probably being burnished with extra gold paint). Whereever they have giant Oscars along the red carpet, they are going to originally come from this staging area.

Another notable fixture of today is all the cameras and microphones being tested at various spots along the red carpet route. There are always cameras on Hollywood Blvd, but these are the expensive high-tech kind. TV cameras.

I'm going to try to get up to my favorite restaurant on the balcony to see how much of that is closed down, and what pictures I can get for lunch today. Back later.

**************************************

Lockdown at the Kodak

2011-02-18T14:01:00.000-08:00

I never really thought about it, frankly. The level of security it would take to keep the Kodak Theatre safe for the Oscars. But since I work close, I thought I'd blog about the transformation as it goes along.

TEN DAYS BEFORE OSCARCAST (FEB. 17)
*Bleachers have been erected. Signs are posted on them: "No public access without permission." Seriously? They shut down ALL of the businesses around here? Well, that was my first thought. Upon further examination, it seems that they have guards at each entry point to block access, but with much maneuvering, you can get around.

*Jimmy Kimmel Live has offices across the street from the Oscarcast/Kodak. Under normal circumstances, he uses the parking lot directly behind his offices to put on lavish concert spectacles for his shows. The stage set there is HUGE, nearly two floors high. Spotlights at every angle on six different scaffolds. Public access, of course, is blocked on all sides. Getting off work usually involves fighting through the crowds who are standing in line in the alley, waiting to see the show.

On this day, the entire beautiful massive stage set is being dismantled. In the six months that I've worked in the area, I've only seen it get more and more elaborate and added to. Crews are out there, tearing each piece meticulously down.

NINE DAYS BEFORE OSCARCAST (FEB. 18)
*The parking lot where the massive stage had stood is now, actually, a parking lot. With cars. Nothing but cars and empty spaces as far as the eye can see. Weird.

*The parking lot NEXT to this one, that Kimmel had been using for their parking lot, has now become command central. It looks like a movie set. Trailers ring the periphery. Guards at every level. Big signs, saying, basically: Don't even THINK about trying to come through here. Big signs in the alley saying: if you think about parking here, even for a minute, you will be towed. (Where were they a few days ago? Big-ass trucks always block this alley.)

*The normal parade of Elvises, fake cops, Mary Poppins, Spiderman, Darth Vader and such that throng Hollywood Blvd. are gone, daddy, gone. Not a one in sight, which is quite jarring, actually. The only thing left is the musicians trying to hawk their CDs for $5.

*Getting into Hollywood & Highland for a sandwich is actually still possible. But right in the middle... damn my memory... it seemed like there was a fountain or a stone structure of some kind right in the middle. Huge. People used to sit on it. Whatever the hell it was, it's completely GONE now. A big white spot on the floor where it used to be. So the whole entryway is open. Big open space. Crazy. And there are three times the amount of cops there used to be. NINE DAYS BEFORE THE OSCARS.

*Other people I know who live in the area have complained about parking problems, even those living blocks away. Parking's always bad around here, but now, they are just absconding with whatever spaces they feel they need. I'm happy, cause I have all that beat. I take the subway.

Fliers on subway: "Hollywood & Highland Stop will be CLOSED the day of the Oscars." Metro Red Line trains will bypass the station. Street closures around the area prompt four bus line changes. Wow.

Can't wait to see how this evolves over the next week. I'll keep you posted.

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The Golden Globes and the Glory of Ryan Seacrest

2011-01-18T13:17:00.000-08:00

It's hard out there for a red-carpet interviewer.

Frankly, most people suck at this job. The newbies, still green behind the ears (I'm looking at you, Ben Lyons) tend to wax synchophantic and get all swoony over the celebs. (Although with the way that E!'s Giuliana Ransic was creaming her jeans over Brad and Angie waving at her, you'd be hard-pressed to remember she's been around awhile.)

Most tend to fall into the vapid vat of "ooh, celebrities, aren't they pretty?" with an occasional twinge of "how does this help my career?" thrown in (Ross Matthews). Which is where the whole "What are you wearing?" debacle originated. When in doubt, ask about their dress.

We can thank (or hate forever) Joan Rivers for that. Rivers, easily the worst red-carpet interviewer in history, who in addition to being vengeful and spiteful and mean, had the annoying habit of forgetting who these damn people were, what they'd been in, what relevance they had to anything, and being long schooled in the comedy of "talk about what you know" started asking about the dresses.

Now, that's all anyone gloms on to. Props in this awards season so far go to Melissa Leo. "What are you wearing?" "My tux," she said non-plussed. I loved her for that.

No, it's a very difficult balance a red-carpet interviewer must walk. If you don't care, you're Joan Rivers. If you care too much, you're Star Jones, and asking everyone to come on The View or ogle her wedding plans.

Truthfully, the red carpet has not been a safe place to walk since Steve Kmetko and Jules Asner held court. Now, THEY knew how to ask the right questions. They knew how to keep the celebritydom in check. Since they've been gone, we've had a vast wasteland of interviewers, most caught up in dress mania, few giving anything of substance at all.

Sam Rubin must be commended as a good interim host. He asks good questions, but even he tends to the fake and air-kissy.

What a surprise, a revelation, even, it was this weekend to see the "my God, this man is everywhere!" host, Ryan Seacrest doing a bang-up job on the red carpet for the Globes. After awhile, I had the unusual sensation of thinking, I really want to hear what Ryan asks this one. Never a comment out of place, never a synchophantic note. All was in order.

He not only appropriately juggled each celebrity (apologizing to Natalie Portman for making a pregnant woman walk up some stairs), he made the most of every moment: bringing Jimmy Fallon and Jason Segal up to sing a song. He knew people's credits (whether because he actually knew, or because he had a great producer whispering in his ear, I don't care—he was on it). It felt real.

I realized when watching him that Ryan Seacrest on the red carpet is the new breed of celebrity interviewer. He made them feel comfortable, being asked inane questions. He even got interesting answers out of them. Because of that, he made us feel comfortable watching, instead of wanting to throw something at the TV. I was grateful to him for that.

Whatever the tenuous balance is: between curiosity about things that are none of our business, and learning more about upcoming projects, and asking how someone is feeling at that moment, Seacrest was really the best in a very long time. In fact, during awards shows, I am normally a maniac with the remote, madly switching back and forth between E! and TVGuide and NBC and whoever else is covering it, because none of them are doing it very well.

Seacrest changed all that. The social-media-friendly celeb interviewer really is on to something here with the tenor and caliber of his interviewing, and I'm truly looking forward to his SAG and Oscar coverage.

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On Obsolescence

2011-01-14T13:01:00.000-08:00

The world changed for me around this moment. It was at a tech conference, probably Seybold, probably Boston, around 1993 or '94. The creator of Netscape had just showed us our first spinning globe, and had tried to explain the power in front of us, this new thing called the Internet.

There was talk, even then, about content creation. Rather than take in the majesty of being able to chat with someone easily on the other side of the world that Marc Andreessen was so enamoured of, everyone, even then, was trying to figure out how to make money on this thing.

One advertising schmuck steps up to the mic during question time and asks simply: "Why would anyone want to create their own content?"

That was the moment for me. The moment that held in the question all the ignorance and arrogance of old media that caused it to completely fall in the time from then to now. I could tell in hearing the question that it was the wrong question to be asking. I could also tell that old media and advertising types thought the question perfectly reasonable. In that moment, I couldn't tell why the question sat so oddly with me.

Let's look deeper.

At that moment in time, old media (MSM) had been spoonfeeding us what they considered important: books, TV shows, movies, records, newspaper stories, advertising campaigns. We, the big monoliths, know better than you. We will only give you what we see fit, and you will like it. Yeah, I can't imagine why anyone would want to change THAT status quo.

Their fault wasn't that they didn't see the importance of the Internet at that moment, they certainly did. They just never conceived (and truthfully many big companies STILL don't) that this new way of doing things made them irrelevant.

So when you ask yourself what must it have been like, when that buggy maker first heard about this newfangled "automobile" thing, I can tell you. The reaction, very likely, was the same. It doesn't matter. We're still going to be around. Everyone's always going to need buggies. Um, right?

That moment was nearly 20 years ago now. Here's what's changed, in case you missed it. Newspapers have died, most people get their news from Twitter and The Daily Show. Terrestrial radio has been replaced by Internet radio, Pandora and listening to downloaded music. People watch more TV on their computer or their DVR than what's actually broadcast in real time. Magazines, god love 'em, are still publishing, nearly all of them at a loss. Books have been replaced by ebooks and self-publishing. More people watch movies in the comfort of their home than in a multiplex.

And to that ad guy's next question: How are we gonna make money on this thing? Streams of Internet revenue now surpass every other medium. Last year, in the thick of the Recession, every other media stream lost money. Internet revenue was up.

This, then, is what's really going on. Millions of people lost their jobs in recent years. Those jobs aren't coming back. The world has changed completely.

Many of us, who trained in those industries, look around and see our skills as totally worthless. That's what's scary. Who needs a buggymaker anymore? Or a blacksmith? Typesetters? Printers? Worthless.

All of this was set off for me when I installed the new Mac OS, which comes with the new "App Store." There, among the shiny new apps, was one called "The Print Shop." My life flashed before my eyes. All those hours of creating business cards and letterheads and things that other people didn't want to bother with: there it is in one little app, for $50. Postcards, labels, banners, calendars, CD cases—any one of which we would've charged at least $50 to create for ya. There they were. Just pick your template, and boom!

So the answer, Mr. Advertising Guy, to your world-changing question: Why would anyone want to create their own content? BECAUSE THEY CAN.

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Barney is So Self-Indulgent

2010-12-15T13:03:00.000-08:00

For the first half hour of "Barney's Version," I wanted to walk out. I found it extremely unfunny, irritating, obnoxious and a waste of my time. Part of the problem for this is that the descriptions of this movie fall in the nebulous category, where publicists don't know what the heck to write about it. "Barney's cranky, and this is his life," is about as far as they'd get.

And indeed, there's Paul Giamatti, irrascible, puffing cigars and drinking booze from the first frame. Making crank calls to his ex-wife at 3 am. Fun stuff. Why the HELL do I want to get involved in this schmuck's life, one asks?

Here's why. To me, it's the story of TRUE LOVE. How true love hits someone and doesn't let go. And how, even when you have true love, you might just mess it up. That's what makes it worth seeing.

Barney's first marriage happens when his bride becomes pregnant. He does the honorable thing, and marries her. Then finds out it wasn't even his kid. That one doesn't end so well.

His dad (Dustin Hoffman) sets him up with his next lovely lady. And Minnie Driver is indeed lovely. And rich. What's not to like? Well, the incessant talking, perhaps...

So, there he is, at his second wedding, surrounded by many of her relatives, everyone getting smashingly drunk. Barney most of all, pounding back the shots. When suddenly through his drunken stupor, he looks across the room and sees her. Not his freshly-minted wife. His true love. And it hits him like an oncoming train.

He ventures closer and starts talking to her. She sees he is drunk. But they do hit it off. He abruptly leaves his own wedding to chase her to the train heading back to New York. And so it begins.

So there was the reason that made me sit in my seat for the rest of the movie, and be rewarded. How can this schlub of a man find true love with such a beautiful woman? But there it is, clear as day.

The film is based on the writings of Mordecai Richler. The film is dedicated to him.

It is packed with a cast of many stunning acting talents. Scott Speedman, for example, looks like sunshine made real as the charming playboy in Italy.

But the revelation, not surprisingly, since she's been the revelation of several movies of late (Made in Dagenham notably this season, and An Education last) is Rosamund Pike. She is gorgeous, refined, wonderful as a counterpoint to Barney.

It's sad and kind of tragic that Barney chose to live his life the way he wanted to: drinking, smoking big cigars and watching hockey games with the boys at the local bar. The love of his life chose to grow and evolve. But it's very interesting to see how all these pieces fall into place.

So trust me. The beginning may be annoying, but all in all, Barney's Version is a good ride through someone's life. I really do wanna see "Miriam's Version" next, though.

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On Not Getting It versus Insight

2010-12-09T15:52:00.000-08:00

Two recent examples of this phenomenon crossed my view stream recently, and I wanted to comment upon them.

The phenomenon, visible all around you (especially if you look at Republicans and Democrats these days) is that of people who stubbornly, blindly, furiously, simply DON'T GET IT. You tell them or give them the information, and they do not or cannot see it. They persist in their stubbornness in seeing only their way, the right way. They blather on about their way, having totally and completely missed the actual point.

BLACK SWAN SPOILER BELOW

The two glaring examples of this that crossed my desk have to do with some (male) reviewers watching my favorite film of the year, "Black Swan," and a female reporter interviewing John Lennon and Yoko Ono.

Let's examine "Black Swan" first. I acknowledge that all art is subjective. People see what they want to see, based on their own set of experiences and life paths. The problem in the translation of "Black Swan," IMHO, has to do with the maleness versus the femaleness.

My perception of "Black Swan" is very much encased in the female mindset. I see it as a dream. Nina dreams of being the best ballerina ever. She shares this with her mother (who perhaps at one time had similar dreams). She sees the path to this dream resting in her ability to conquer perfection. So she studies technique, and becomes the best technical ballerina she can be.

But her male director tells her, NO! To really conquer the "Black Swan"/dark side of your personality/shadow side, you have to release the perfection. You have to be willing to risk, to feel, to experience life, in all its imperfection.

I think everyone is pretty much down with the story through these parts (male and female). But increasingly toward the end, the movie takes on flights of fancy/dream sequences/explorations of the creative mind. This is where many male reviewers seem to fall off. They resort to trying to take this movie literally.

Oh my God, she's turning into a swan. Oh my God, she kills herself at the end! Well, yes and no.

The way I saw it, from the middle of the movie on, she is still a little girl with dreams, trying to experience her own dark side. She is still trying to attain the perfection that she started out trying to attain. And if the director tells her she must be more sexual, she endeavors to do that.

Is it really a "lesbian sex scene" with Mila Kunis as one male reviewer crassly puts it? Or is it actually the bubbling of her subconscious? Her femaleness laid bare in trying to conquer her own sexuality? Did the experience with Kunis really happen? The director leaves you to wondering. THAT is the beauty of it.

Was she, in the end, enticed by Kunis? Enraptured by her? Wanting to sleep with her? Or was Kunis just the free spirit part of herself that she was trying to catch? Was she then, in essence, sleeping with herself, as the director had instructed her to do? Capturing through fantasy what she perhaps couldn't really capture?

And the end of the movie, that so horrified several male critics, who again WRONGLY take it literally, isn't really her dying. At least, that's not how I see it. It was the ballerina on the music box falling off. It was the end of "Swan Lake," as it's supposed to be. It was the grand spectacle of "la petit mort" writ large. Orgasm, the finale, "it was perfect." The end.

And it had to end in a big bloody spectacle, because life is imperfect, and bloody and messy. Life and love and passion and creativity. That's what I saw there.

So what that tells me is that the "Black Swan" haters need to have more orgasms and connect to their passions.

In the other subject, I confess, when I was younger, I was swayed by the tenor of the times, and my father. John Lennon and Yoko Ono were just wacky and crazy with this "Bed In" thing and preaching about peace. Nuts. Off their rockers.

I saw this in the frustrated questioning of the (I think BBC) reporter. She seemed to be perceiving Lennon and Ono as either complete nutcases, or fantasists wasting her time. She kept arguing about the seriousness of people dying in various wars, and they kept talking about how if people really thought about peace, peace could happen.

Yoko made quite an eloquent argument about "how can you shoot someone when you're smiling?" She was actually arguing quite complex spiritual principles. If you embody love, you cannot simultaneously embody hate. Hate is what causes killing. Hatred and fear. So if you choose love, if you choose peace, consciously, we would have no more war.

I understand that now. I sure didn't understand that then. Neither did the frustrated BBC reporter, who actually got up and stormed off at this point. She reacted as though Yoko were completely wasting her time, when in fact, they were both just trying to get her to understand.

And what will it take, as we have an insane stonewalling Congress on the horizon, for people to put down their arms and their stubbornness and finally listen and hear?

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Love and Other Drugs Goes Cold Turkey

2010-12-08T16:10:00.000-08:00

Amid the crush of holiday releases and Oscar hopefuls, there are many many great pictures out right now. "Love and Other Drugs" is not one of them. The more I think about it, the more it bugs me.

Jake Gyllenhaal plays a brash handsome manipulator who beds women, uses them, spits them out (the usual). Anne Hathaway plays someone who's seen it all. She's been on the receiving end of such men, and as such, she's hardened, crass, cynical, guarded.

Both of these characters, for reasons described, are annoying and not fun to watch. He's thinking of ways to use people (easier, better, faster). She's thinking of witty comebacks to cut them down to size. Did I mention that this is not fun? This, despite the fact that both of them get naked a lot. Really. It's boring.

Who can he bed to sell his products? How can she avoid commitment? Wackiness ensues. No, not really. Boredom ensues.

SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER

The supposed serious part of this is the increase in pharmacological assistance through depression drugs like Zoloft and Prozac, the salesmen who hawk them, and it all comes complete with a splashy song and dance number. And when Gyllenhaal's company (Pfizer) comes out with Viagara... well, you can imagine what that does to Lothario's drug sales.

The wrench in all this is that Hathaway has Parkinson's disease (note shaky hand a couple of times). This is why she knows all the drug salesmen. And comes the speech: "You're not gonna love me cause I have a disease!" (*pouts* *stomps feet*) She's way too self-deprecating in this movie. Mean to herself and others.

He has received a horror story of the progression of the disease from someone at a conference, so suddenly it's "Nope, I'm shallow. I don't love you. Bye."

Blech. At this point, who cares? She's shrill, pouty and annoying. He's still glib, uses sex to get his way. Who cares?

The fact that anyone anywhere mentions this dreadful movie in the context of Oscars is sad. No one in this movie (though I do love director Edward Zwick and actor Oliver Platt, but seriously...) deserves anything that has the word Oscar attached to it.

Really hated it. Don't waste your time. Many other great movies out there instead.

Creative fever dream Swans into Best Picture

2010-11-17T11:55:00.000-08:00

Reviewers who write about movies for a living, who have to slog through every paint-by-numbers adaptation, seem to have difficulty with two things: spirituality in movies, and the creative process in movies. Mind you, there aren't that many movies about either of those two things because they are also ephemeral streaks of lightning to capture in the film bottle.

What I had read about "Black Swan" prior to seeing it fluctuated on the spectrum from horror flick to Grand Guignol theatre to thriller to scary movie. In short, I really didn't know what to expect. Perhaps it will be one or some of those things to you, too.

How I perceived "Black Swan" was more like a dream. The dream, the central focus for this ballerina, is to be perfect. And she studies and she plies and she does everything she thinks she's supposed to do.

But when the company leader decides to do "Swan Lake," he presents her with this challenge: "You'd be great as the White Swan." But, essentially, she doesn't have enough of a dark side to do the Black Swan justice. (This lead character in the ballet performs both sides of a complex persona.)

"Black Swan," then, is about this striving-for-perfection ballerina figuring out what it takes to reach her own "dark side." What she discovers is that passion and the thrill of life often lie in its imperfections. As we travel with her on her journey, we also discover what is at the heart of the creative process, how far someone can push themselves for their art.

It is a stunning bravura performance. Prior to seeing the film, I posited on my podcast that Natalie Portman was going to take every award in sight this Oscar season. I think so even moreso after seeing the film. Like Christoph Waltz and Mo'Nique last year, every other Best Actress contender this year can just sit down. It's Natalie Portman's year. Her work in this movie is stunning. In fact, I can't remember the last time an actress was so stunning and superb and affecting. Brilliant work.

Her supporting cast is also affecting and may glean some supporting nominations: Vincent Cassel as the ballet company director, Barbara Hershey as her mom, Mila Kunis as a fellow dancer. Winona Ryder takes an especially inspired turn, making a droll commentary on her own life, that elicited laughs in our industry screening.

People have also made reference to an "All About Eve" subtext. That is only there in as much as fearing other people taking roles you covet is part of the creative process. It's really and truly not about that.

In fact, I think where reviewers get into trouble with this role, and even the screening I saw this at, the questioner had the same problem--is dissecting it too much. Think of it as a dream. Roll around with the images, go with the flights of fancy. True creativity isn't that far from the dream state, and true creativity borders on that part of the brain near psychosis too. But don't let that analysis hinder you.

As Nina had to learn, with sex, with dreaming, with life, sometimes you just have to let it flow over you and become part of you. So, too, with "Black Swan."

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Made in Dagenham: Let's hear it for the women!

2010-11-09T11:45:00.000-08:00

(Note: The director, Nigel Cole, informed us that it's pronounced roughly equivalent to "diggin him.")

Sometimes, with all the demonizing hate-filled Republican propaganda that fills our airwaves, sometimes one wonders why it is again that unions are relevant. They have been portrayed as terrible things that are ruining our lives. (Just don't look at the big corporations that are pulling the strings to make those statements...)

How far have we gotten from the struggles for the 40-hour week? Or the hard-fought-for half hour lunches and ten-minute breaks, legal by law, yet in this new corporate world where everyone is doing five people's jobs, hardly still maintained. Does anyone even remember that it was the unions that fought for these things? For these rights for us working stiffs?

Or has this bad word "socialism" (since that other trumped-up bad word, "communism" doesn't really work anymore, appearing hopelessly dated) really colored everything for so many? So many who voted their corporate keepers back into power, though they decried the influence of the big bad banks? Just makes ya sick, sometimes.

Well, here's an antidote to the corporate-cash big money Tea Party election we just stomached. Here's a pleasant reminder of exactly what unions can do, and why we need them so, in these crazy times. "Made in Dagenham" takes place in England, in the mid-60s. It's a true story.

Sallie Hawkins, a sure Oscar contender, is one of the strike leaders. Miranda Richardson has a noble turn herself. (Both were in attendance at the AFI screening.) This film is easily one of my favorites of the year.

Women, working at a Ford plant as machinists, start out the movie wanting to be the same pay grade as men, to be classed as "skilled," rather than "unskilled." Simple enough. Fair enough.

They encounter many obstacles along the way, not the least of which is that they aren't taken seriously because they are "just women," after all. We won't even talk about the other shop violations which they don't even talk about in the movie: the water pouring down on the workplace, the fact that many women work in their bras because it's too hot in the shop (those rights are things American workers fought for, and are still enforced).

But the big battle for the women ultimately becomes: "Equal pay for equal work." That is what they fight for. Don't wanna spoil the movie. I'll just say that it had a positive ending in Britain, and many other countries because of the women of Dagenham.

It made me uncomfortably squeamish, though, to realize that here in America in 2010, women still make only 74% of what men make for the same job. Oh yeah. That's why we need those "socialist" unions. I remember now.

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The King's Speech and Blue Valentine

2010-11-09T11:14:00.000-08:00

The company I work for is responsible for promoting The King's Speech, The Company Men, Nowhere Boy and Blue Valentine, so although I'm sure they'll be Oscar contenders, I feel that reviewing them would be a conflict of interest. Sorry, guys.

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Endurance Cinema: Conviction, The Way Back and 127 Hours

2010-11-05T13:44:00.000-07:00

One of my pet theories is that leading Oscar contenders reflect a current mode of our times. Last year's "Up In the Air," for instance, hit hard on the layoffs that touched so many. This year's theme, it seems, is enduring, despite overwhelming odds against you.

In the wonderful "Conviction," Hillary Swank's character battles for years to free her innocent brother from prison. You see her battle setback after setback. And still she hangs on. Believing that she can do it.

In the beautiful "The Way Back," we have prisoners from a Soviet concentration camp, first exiled to Siberia. Then some of them decide they've had enough, and endeavor to escape (all of this being in the trailer, I'm spoiling nothing; also this happens in the beginning of the film). They do escape, and begin their trek. I suppose they are heading toward that nebulous "freedom." Their path seems to go from Siberia to Mongolia to Tibet to India. On foot.

Needless to say, of the ones who start on the journey, not all of them make it, for various reasons. But it's a battle. A struggle to survive. A struggle to make it to the other side. A struggle to be free.

It seems that many of us, with millions of Americans unemployed, are struggling just to survive, too. Hanging on. Trying to make that meager unemployment check last just a little bit longer. Piecing together rent with odd jobs, believing, against all odds that that next job is somewhere around the corner. I really believe that hanging on and believing you'll make it is the new American dream.

No more streets paved with gold, we'd be happy to get a paycheck regularly. And this "endurance cinema" reflects that. Hang on, hang on, hang on, just a little bit longer.

"The Way Back" isn't quite as bleak and despairing as last year's "The Road," but it's a tough go. The ending brought tears to my eyes, but boy! was it a long slog to get there. Mind you, I do love Peter Weir as a director. His "Dead Poet's Society" remains one of my favorite films. And visually (thank you, Russell Boyd), "The Way Back" is stunning to look at. Vast landscapes that include icy snow-covered peaks, as well as vast deserts.

In "Conviction," though, it was clear what the motive and struggle was. In "The Way Back," they put themselves though lots of dangerous situations, and it's kind of unclear why exactly. They talk at the beginning about how "there's a bounty on your heads," from neighboring villagers, but this threat is never bourne out, or even hinted at, once they escape.

It's enough of a stretch to believe that people one day just say, "Hey! Let's walk across Mongolia!" but that they do it without ANY help from villagers along the way strains credulity a bit.*

I watch "Survivor" pretty much every week since it started (a few missed seasons here and there). The parts I love the most are the way people interact with each other (there is much of that in this movie). The parts I REALLY dislike vehemently (OK, I admit, I'm a city girl, and I'd never survive in the wild) are the parts where chicken's heads are lopped off, or animals are otherwise killed for food. Sadly, there is also a lot of that in this movie.

Sure, I understand, they are starving, they need to eat. Do I really need to watch it, though?

Another endurance movie is looming on the horizon, one that I am distinctly NOT going to see: "127 Hours." People in our office this week spoke again of people fainting at screenings. Know this, anyone who plans to go see this one: the hiker goes by himself into the wild, and ends up CHOPPING OFF HIS OWN ARM. And they show it. GRAPHICALLY. Why are people surprised about this? Every screening has someone fainting.

I don't intend to faint. I don't intend to see it, Oscar-worthy or not. I've had enough of endurance films for this season.

ADDENDUM: * I know it's based on a true story. I know people actually did this. Still...

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NPR (and other news orgs) need to adopt transparency

2010-10-14T16:39:00.000-07:00

There is this article:
Jeff Jarvis about NPR's restrictions

I agree with everything he said. I also think it's essential to understand the difference that's going on here. Although he didn't mention it, all the old media news organizations are falling in line with this edict: NY Times, Washington Post, AP, etc. Stay away from political rallies, staffers.

But as Jarvis astutely points out, it's a new time. We on the front lines of the new media don't sit on that objectivity fence. Our brands, our blogs, our presence online is indicated by our beliefs. We wear our opinions, loudly and proudly. Call it the New Honesty, if you will.

People want to know who they're talking to, and what those people believe. And if they choose to defer, or hide behind some corporate-speak, they are suspect.

So it is not only preferred that people attend these rallies if they want to, it is ESSENTIAL. It is a fundamental part of our democracy that people are allowed to speak their minds and their hearts, to participate in a rally, or give a donation, or put a sign on their lawn, if they are so moved to do so. NPR, supposedly liberal bastion NPR, doesn't allow them to do this.

WTF?

That is the reason this story keeps popping up in the news. It's WRONG. It's part of the stilted old-media mentality. The one that also allows Congress to believe that filibustering instead of actually getting things done is a preferred way to do business. One way or another, these people are all going to be dragged, kicking and screaming (or worse, pretending like they don't care) into the future.

Speaking up is the new law of the land. We expect transparency in our government, but it has to start with our reporters, those we trust anyway, taking a stand. How can you believe someone when they say (or infer): "This is wrong/right"--if they haven't stood on the front lines talking to people, taking a stand in their own lives? What credibility do they have?

I don't find a reporter to be "unobjective" if they attend a political rally. I trust that in doing their job, they will present both sides of the story. But who decided that what we do in our personal lives could be controlled by the corporations we work for? Why do we let this continue?

I agree wholeheartedly with Jarvis. Let's make this a trending topic on Twitter. Let's speak out about this in all our social media. It really speaks to the heart of why this country is so messed up right now.