Robert Mugabe may be a Fighter, but is Barack Obama a 6525th level cleric?  Because that’s apparently what it would take to cast a “World Racial Healing Spell.”  That’s right, the worlds of politics and Dungeons and Dragons have collided on the campaign trail.

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The title here is taken from a recent post by mlawski on the difference between [Strong Female] Characters and [Strong Characters], Female.  The image is a painting by the French artist Louis-Leopold Boilly, which (according to the exhibit guide at the museum I saw it in) is a symbolic representation of “the phallic mother.”

More chicks with…you know…after the jump. more »

Opening Arguments

Last night I finally saw the 2007 Transformers movie.  It was OK, in a Michael Bay sort of way, but it was very clear that it was made for a very specific audience: young white nerdy men who wish they could bone models after watching them sexily fight robots so sweat cascades down their luscious tanned bodies.  All right, fine.  If you must, Michael Bay.  I’d prefer if you objectified some hot men every once in a while, but I also understand that you think that would make you gay, and you don’t want that, Michael Bay.  I understand.

But then I see this quote from Megan Fox, the actress/model playing main hottie of the film:

“Both of the female characters in the movie were very strong characters. Rachel [Taylor]’s character is very intelligent. I thought that they were representing women very well.”

That’s the last straw.  It’s bad enough that they make movies that objectify women, but then to call those women Strong Female Characters?  I do not think that phrase means what you think it means, Megan Fox.

So you know what I say?  I say screw Strong Female Characters.  What we need now are some Weak Female Characters.  My arguments below the fold…

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I present to you as a special peek into my other projects (most of which revolve around a very cool theatre in Greater Boston), an entry into the Providence, Rhode Island 48 hour film project, Monday the 13th, by Nature’s Credit Card Productions (a new team we put together earlier this year). You can watch other 48 hour films at www.48.tv.

Our movie was selected for Best of Providence and won the Audience Award at the Best of Providence showing as well as the “Best Rhose Island movie” for its references and jokes about Providence and the area, which they like to encourage.

To keep you honest, every team in the city gets the same prop, character and line of dialog, and each team picks a genre out of a hat. For us, it was:

Character — A hairdresser named Monty Chaney

Line — “If you see him again, tell me.”

Prop — A pear

Our genre — Horror

Enjoy!

Don’t know what the 48 hour film project is and want to find out? Already know what it is and want to talk about it? Just want to bash my movie? DO SO . . . after the jump –

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The moral values that have held together this country and this world are in an advanced stage of decay. From schools to shops to our own homes, we turn on one another — race against race, religion against religion, nation against nation and brother against brother. Feuds great and small divide us. I say, no more!

In such times, we need strong leadership! We need a Lord Protector who guides with his gut to dispel this discord and disagreement that has sapped the world’s vitality and capacity for greatness! I am proud to say, I am that Lord Protector. And I have a plan.

Our true enemy is excessive and destructive emotional freedom — recklessly granted in the well-meaning spirit of progress, it has been abused to the point of madness.

It’s time for a new moral authority, one of tenderness, true, but one supported by the only thing human beings seem to understand — force.

Stare into our brave new world, after the jump —

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“Da Game is to be told, not to be sold.”
— Snoop Dogg, 14th Annual Conference
on Hip Hop Securitization

In 2003, I identified what I believed to be a speculative bubble for bling bling — the shine, the scrilla, the ostentatious displays of wealth that reinforced and promoted hip hop record sales.

At its heart, the Bling Bubble was a case of overleveraging; even the Ruffest of Ryders and Biggest of Tymers found themselves deep in debt, but still pulling out all the stops, even as record gas prices force them to keep only a quarter tank of gas in their new E-class —

The global Cash Money crisis begins, after the jump —

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There’s a mid-to-large sized kerfuffle brewing over Barry Blitt’s cover art for the latest New Yorker (at left).  As you can see, it shows a caricature of Barack Obama exchanging a “terrorist fist jab” with his wife in the oval office.  His outfit is vaguely Muslim, hers is Sandinista chic (or possibly Black Panther chic).  A picture of Osama Bin Laden hangs on the wall, and the American flag burns in the fireplace.  Subtle it ain’t.

But it’s hard for me to understand why people find this picture offensive.   If I was a right-wing smearmonger, I suppose might be less than pleased with the cartoon’s message (basically, “You guys are dicks”).  But most of the outrage seems to be coming from liberals.   Do they think that the New Yorker is honestly suggesting that this is what an Obama presidency would look like?  Honestly, the New Yorker? A magazine whose editorial slant is two, maybe three steps to the right of Mother Jones?  A magazine, furthermore, as famous for its cartoons as for its liberal slant?  Come on now.  The title of the picture is  “The Politics of Fear,” and while you wouldn’t know that from looking at the cover, the message is still painfully obvious.  Maybe it needs a caption (sort of like the one in that one South Park episode) that says “THIS IS WHAT THE REPUBLICAN SMEAR MACHINE IS ACTUALLY TELLING PEOPLE.”*

But actually, most of the people complaining about this do seem to understand that it’s a joke.  They’re just worried that Joe Six-Pack McVotesalot is going to be too dumb to understand the subtext; an attitude I find both depressing and vaguely insulting.  Others have more generalized complaints:  a spokesman for the Obama campaign just called the thing tasteless and unfunny.  (This is probably to be expected:  political campaigns aren’t really allowed to find anything funny.)  Obama himself  has said that the cover is obviously protected by our right to free speech, but might be offensive to Muslim Americans.  There’s a kernel of truth to this.  It is offensive when people accuse Obama of being a Muslim as if it was a horrible thing.  It’s also offensive when people rush to defend him from the pernicious charge of Muslimhood.  It’s particularly offensive when Obama’s campaign prevents two women wearing hijabs from being photographed with Obama at a ralley. (Thankfully, as the link indicates, Obama has apologized long and hard for this last.) Still, it’s hard for me to see where this picture goes over the line.  Yes, it’s a fairly grim piece of satire, but it’s well within the bounds of what’s appropriate.  Look, people ARE making these claims - not just that Obama is a Muslim, but that he’s a radical Muslim, that he’s soft on terror, and that his wife is a dangerous Marxist.  Are we supposed to ignore that, and hope they’ll shut up before the election?  Are we supposed to engage them in intelligent debate, as if they deserve to be taken seriously?  Mockery is the only sensible response to this insanity; mockery is what the cover delivers.

Or am I off base?  Flame me in the comments if you disagree.

Slate, by the way, has some very good tangentially related stuff.  1:  Where the phrase “terrorist fist-jab” might have actually come from.  2:  The body language terrorists actually use to greet eachother.

23/6 has an excellent and comprehensive guide to moral outrage over the New Yorker cover.

* Except for the flag burning.**

** As far as I know.

The film composer Howard Shore has written an opera. It is an adaptation of one of the movies he did the music for. However, it’s probably not the one you’d expect/hope. Here’s a list of operatic movies Howard Shore has scored, that are NOT the movie in question: The Lords of the Rings, The Departed, The Silence of the Lambs, Philadelphia, The Aviator, and The Gangs of New York.

Instead, Howard Shore looked back upon his body of work, and decided The Fly really needed to be an opera. And there’s a photo after the jump. more »

On this holiest of America’s fireworks-oriented days off from work, I’d like to talk a bit about how much I love my country.

My parents used to take me to the 4th of July parade in our New Jersey town. I thought I loved my country then.

At the fireworks later that night, everyone would talk about the “grand finale” — when was the “grand finale?” I thought I loved my country then.

But when I was 15 years old, again on the 4th of July, I truly learned to love my country.

Because on that day, at the Warner Quad in Ridgewood, NJ, in the company of a friend with the patriotic and appropriate last name of Hancock, I first saw Independence Day.

The top 10 things I learned that day that I would never forget, after the jump —

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Honestly, this seems in bad taste. (winky emoticon)