For some reason, the shooting earlier this week seems to have brought out the worst in people. I hear some of the dumbest racist comments by people who consider themselves oh so enlightened and liberal and it just makes me my skin crawl. I'm not so oblivious to think that people don't think this way, but I wasn't raised like this. It goes so much against my way of thinking and my way of life.
It seems like every three days someone is murdered on our streets but the only time anyone makes a big deal about it is when it happens to someone from the suburbs rather than some 17-year-old who lives on 79th and whatever. Suddenly everyone goes "that could be my child," but you know what? That could be anyone's kid who ended up in the wrong place at the wrong time, whether or not they were doing the wrong thing.
I know that stereotypes often have some origination, but this kind of crap is so toxic to the way we live our lives and the culture of this city. Saying that everyone who lives on the east side is a "thug" is just as stupid as saying that everyone in Parma is racist or everyone in Lakewood is gay or that everyone in Westlake or Beachwood is stuck up. That's not going to get anyone anywhere.
When I first heard about Eric Holder's speech, I understood where he was coming from, but it does not reflect the reality of my life and the lives of many others that I know. Me and some of my east side dwelling friends joke about how we've ripped the space-time continuum because we cross over the river to hang out with each other and haven't let history or geography prevent us from having a good time.
It's a beautiful thing, and I wish people knew what they were missing out on when they knowingly isolate themselves.
Showing posts with label rant. Show all posts
Showing posts with label rant. Show all posts
Friday, February 27, 2009
Friday, November 21, 2008
makes me wanna holler...
I hate it when I hear people complain about their jobs when so many people are losing theirs. I really hate it. I can't tell you how many people I know and friends who know people who are losing or have lost their jobs. The ones that are working are barely making ends meet or are dealing with eviction notices and family drama and general life stuff. We're letting people store their stuff in our attic while they find new places to live, offering the use of our couches and the spare room in the back, trying to connect people and their needs so we can all help each other.
Talked to a friend last night who's raising not just her kids but her sister's too, and whose husband just lost his job. They had nothing to eat for dinner yesterday and while she said I didn't have to "put myself out," I ended up bagging up some cans from my pantry and some veggies from the fridge, making a run to save-a-lot on 58th and driving over there.
I don't have much, but dammit, I've got a steady paycheck right now, and evidently this is something that's becoming harder and harder to come by. Besides, I'm supporting me, myself, and I, right now and, as my dad says, I live like a monk. I wouldn't and shouldn't be able to sleep at night.
It seems like some of those who claim to be loving God ignore this or have other things that they're freaking out about, but this is what's been resonating with me:
14 What good is it, my brothers, if a man claims to have faith but has no deeds? Can such faith save him? 15 Suppose a brother or sister is without clothes and daily food. 16 If one of you says to him, "Go, I wish you well; keep warm and well fed," but does nothing about his physical needs, what good is it? 17 In the same way, faith by itself, if it is not accompanied by action, is dead. (james chapter 2)
There was an article in Scene about how for every homeless person in Ohio, there's three abandoned homes. I'm no urban planner by any means, but evidently we worry if these guys fix up these homes on the east side, they can't afford property taxes, yet it's totally ok to give tax breaks to yuppies on the west side who move into neighborhoods and jack the rent up for everyone else? Tell me if I'm missing something. Maybe I am.
And this song seems to be the soundtrack for everything I keep hearing and seeing. How much has really changed?
Talked to a friend last night who's raising not just her kids but her sister's too, and whose husband just lost his job. They had nothing to eat for dinner yesterday and while she said I didn't have to "put myself out," I ended up bagging up some cans from my pantry and some veggies from the fridge, making a run to save-a-lot on 58th and driving over there.
I don't have much, but dammit, I've got a steady paycheck right now, and evidently this is something that's becoming harder and harder to come by. Besides, I'm supporting me, myself, and I, right now and, as my dad says, I live like a monk. I wouldn't and shouldn't be able to sleep at night.
It seems like some of those who claim to be loving God ignore this or have other things that they're freaking out about, but this is what's been resonating with me:
14 What good is it, my brothers, if a man claims to have faith but has no deeds? Can such faith save him? 15 Suppose a brother or sister is without clothes and daily food. 16 If one of you says to him, "Go, I wish you well; keep warm and well fed," but does nothing about his physical needs, what good is it? 17 In the same way, faith by itself, if it is not accompanied by action, is dead. (james chapter 2)
There was an article in Scene about how for every homeless person in Ohio, there's three abandoned homes. I'm no urban planner by any means, but evidently we worry if these guys fix up these homes on the east side, they can't afford property taxes, yet it's totally ok to give tax breaks to yuppies on the west side who move into neighborhoods and jack the rent up for everyone else? Tell me if I'm missing something. Maybe I am.
And this song seems to be the soundtrack for everything I keep hearing and seeing. How much has really changed?
Wednesday, November 19, 2008
the concept of love
I know it's cliche to rant about bad art, and maybe part of it is jealousy because if I knew I could make crazy money just by being the first person to exhibit dead animals floating in formaldehyde, I'd do it too, maybe.
And this is why I have no patience for Thomas Kinkade. Part of this is because he just kind of paints little flecks on prints, but Andy Warhol was just as guilty of crass commercialism. I think what bothers me is that these are deemed inspiring and godly or something and that just seems kind of insulting to God, and embarrassing to me, I guess, though I'm sure that God's used to people doing all sorts of stupid stuff and worse in his name.
He seems to be doing the American enterprising thing and delving into all sorts of other business ventures other than endless replication of country cottage gardens and lighthouses ad nauseam on every conceivable surface imaginable. He's not just inspiring soulless subdivisions, he's moved into book publishing and film territory now as well.
This guy's got an ego bigger than Kanye's and Bono's combined, and here are his filming suggestions from the auteur himself. Thinks he's the next Kubrick or Hitchcock.
Thomas Kinkade's
The Christmas Cottage
The sixteen guidelines for creating the "The Thomas Kinkade Look".
1) Dodge corners or create darkening towards edge of image for "cozy" look. This may only apply to still imagery, but is useful where applicable.
2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.
3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot -- that is, no high vantage points, off-kilter vantage points, or "worms eye view" vantage points. Generally focus on a standing adults viewpoint of the scene at hand.
4) Awareness of edges. Create an overall sense of soft edges, strive for a "Barry Lyndon" look. Star filters used sparingly, but an overall "gauzy" look preferable to hard edge realism.
5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.
6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N's throughout -- preferably thirty N's, commemorating one N for each year since the events happened.
7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.
8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness -- any transitory effect of nature that bespeaks luminous coloration or a sense of softness.
9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick's "Barry Lyndon".)
10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend "stopping down" to shorten focal lengths.
11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.
12) Surprise details. Suggest a few "inside references" that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings -- for example, a "teddy bear mascot" for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I'm aware of normally have hidden "inside references". In the realm of fine art we refer to this as "second reading, third reading, etc." A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.
14) The concept of beauty. I get rid of the "ugly parts" in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30's, 40's, 50's, 60's etc) can be featured along with 70's era cars. Older buildings are favorable. Avoid anything that looks contemporary -- shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be "dirtied up" a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.
16) Most important concept of all -- THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say "Love this movie" and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: "Every scene is the best scene."
The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.
Yeesh. Give me Dave McKean any day.
And this is why I have no patience for Thomas Kinkade. Part of this is because he just kind of paints little flecks on prints, but Andy Warhol was just as guilty of crass commercialism. I think what bothers me is that these are deemed inspiring and godly or something and that just seems kind of insulting to God, and embarrassing to me, I guess, though I'm sure that God's used to people doing all sorts of stupid stuff and worse in his name.
He seems to be doing the American enterprising thing and delving into all sorts of other business ventures other than endless replication of country cottage gardens and lighthouses ad nauseam on every conceivable surface imaginable. He's not just inspiring soulless subdivisions, he's moved into book publishing and film territory now as well.
This guy's got an ego bigger than Kanye's and Bono's combined, and here are his filming suggestions from the auteur himself. Thinks he's the next Kubrick or Hitchcock.
Thomas Kinkade's
The Christmas Cottage
The sixteen guidelines for creating the "The Thomas Kinkade Look".
1) Dodge corners or create darkening towards edge of image for "cozy" look. This may only apply to still imagery, but is useful where applicable.
2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.
3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot -- that is, no high vantage points, off-kilter vantage points, or "worms eye view" vantage points. Generally focus on a standing adults viewpoint of the scene at hand.
4) Awareness of edges. Create an overall sense of soft edges, strive for a "Barry Lyndon" look. Star filters used sparingly, but an overall "gauzy" look preferable to hard edge realism.
5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.
6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N's throughout -- preferably thirty N's, commemorating one N for each year since the events happened.
7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.
8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness -- any transitory effect of nature that bespeaks luminous coloration or a sense of softness.
9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick's "Barry Lyndon".)
10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend "stopping down" to shorten focal lengths.
11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.
12) Surprise details. Suggest a few "inside references" that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings -- for example, a "teddy bear mascot" for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I'm aware of normally have hidden "inside references". In the realm of fine art we refer to this as "second reading, third reading, etc." A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.
14) The concept of beauty. I get rid of the "ugly parts" in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30's, 40's, 50's, 60's etc) can be featured along with 70's era cars. Older buildings are favorable. Avoid anything that looks contemporary -- shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be "dirtied up" a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.
16) Most important concept of all -- THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say "Love this movie" and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: "Every scene is the best scene."
The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.
Yeesh. Give me Dave McKean any day.
Thursday, October 23, 2008
cringe-worthy
I guess no one wants to look like a schlub when they're on tv all the time and such, but $150,000 for hair and makeup and new clothes? I made fun of John Edwards' $400 haircut but this is just so far beyond that, I just don't even know what to say. I can't conceive that amount of money.
And this just gets me.
This reminds me of the time a couple years ago when one of my elderly relatives offered my parents a pretty decent chunk of change to take me and my sisters out on a "shopping spree" because we've helped him out with a lot of things. We're talking a couple thousand for each of us, chump change evidently for those of us who are running for office.
We turned him down on it, however, because it just didn't feel RIGHT. It seemed like an overwhelming amount of cash to spend on yourself when there were so many people who need it more. Besides, I wondered what the heck I would spend it on anyway, considering that most of my clothes come from either the thrift store racks or the cheaper stores.
But back to the $150k. That's about 5 times what I make in a year. That's more than what my parents' house is worth. That could send how many kids to college? Feed how many hungry people? Provide micro-loans to how many entrepreneurs in a third world country?
I think of people who are really down and out, not just in dire straits around the world, but here in our own country, like the father of some of the kids I help teach English to on Saturdays who fled civil war in Burundi to come here only to get paralyzed from the waist down after being hit by a car. Not only is he unable to start a new life for himself the way he'd want to, unable to support his wife and kids on his own, but he's also got huge hospital bills that they can't pay. We've helped them out as much as we can, but there's just so much.
And that's just one situation. There are so many.
And this just gets me.
This reminds me of the time a couple years ago when one of my elderly relatives offered my parents a pretty decent chunk of change to take me and my sisters out on a "shopping spree" because we've helped him out with a lot of things. We're talking a couple thousand for each of us, chump change evidently for those of us who are running for office.
We turned him down on it, however, because it just didn't feel RIGHT. It seemed like an overwhelming amount of cash to spend on yourself when there were so many people who need it more. Besides, I wondered what the heck I would spend it on anyway, considering that most of my clothes come from either the thrift store racks or the cheaper stores.
But back to the $150k. That's about 5 times what I make in a year. That's more than what my parents' house is worth. That could send how many kids to college? Feed how many hungry people? Provide micro-loans to how many entrepreneurs in a third world country?
I think of people who are really down and out, not just in dire straits around the world, but here in our own country, like the father of some of the kids I help teach English to on Saturdays who fled civil war in Burundi to come here only to get paralyzed from the waist down after being hit by a car. Not only is he unable to start a new life for himself the way he'd want to, unable to support his wife and kids on his own, but he's also got huge hospital bills that they can't pay. We've helped them out as much as we can, but there's just so much.
And that's just one situation. There are so many.
Friday, September 5, 2008
two of those things you're not supposed to discuss in polite company.
Here we go again with the politics and religion.
I have not watched any news or television coverage of either convention. Past experience has made me this way after a round of cussing out the tv and throwing things at it. The level of condescension to the Obama family galls me just as much as the people who find it disgusting that Sarah Palin has five kids. Who really cares? Do we need to talk about baby mamas and white trash right now? What does that solve, or does it just make everyone feel good about themselves?
It's been a lot more interesting this election cycle, but just as frustrating too. I don't see much changing for the better in this country. I get wary of people who think that way, who think that they are or that someone else is the answer.
I get so tired of both sides invoking God as if he's that cosmic buddy who happens to agree with their side rather than have his own absolute perspective that transcends the bounds of conservative and liberal.
I don't think God told anyone to invade Iraq, or that he loves us people in the United States more than the rest of the world. I don't picture him as an old white guy sitting up in the clouds zapping evildoers with lightning bolts like Zeus. To be honest, I see more real faith and belief in God in the people that I've met who didn't grow up here, where what you believe in actually has consequences and can cost you your social standing, employment, or life.
I also don't think that in the words of Donald Miller, that Jesus "... gave his own life against the forces of injustice." Sure, He was executed in an unjust manner under the auspices of a corrupt government and religious establishment, but that's oversimplifying everything.
If I remember right, and this is what I heard every week going to Mass as a kid and preached Sunday morning currently, it was our collective sins right? Injustice is one of those, and it's a horrible thing, but it's surely not the only one that humanity is guilty of...
I have not watched any news or television coverage of either convention. Past experience has made me this way after a round of cussing out the tv and throwing things at it. The level of condescension to the Obama family galls me just as much as the people who find it disgusting that Sarah Palin has five kids. Who really cares? Do we need to talk about baby mamas and white trash right now? What does that solve, or does it just make everyone feel good about themselves?
It's been a lot more interesting this election cycle, but just as frustrating too. I don't see much changing for the better in this country. I get wary of people who think that way, who think that they are or that someone else is the answer.
I get so tired of both sides invoking God as if he's that cosmic buddy who happens to agree with their side rather than have his own absolute perspective that transcends the bounds of conservative and liberal.
I don't think God told anyone to invade Iraq, or that he loves us people in the United States more than the rest of the world. I don't picture him as an old white guy sitting up in the clouds zapping evildoers with lightning bolts like Zeus. To be honest, I see more real faith and belief in God in the people that I've met who didn't grow up here, where what you believe in actually has consequences and can cost you your social standing, employment, or life.
I also don't think that in the words of Donald Miller, that Jesus "... gave his own life against the forces of injustice." Sure, He was executed in an unjust manner under the auspices of a corrupt government and religious establishment, but that's oversimplifying everything.
If I remember right, and this is what I heard every week going to Mass as a kid and preached Sunday morning currently, it was our collective sins right? Injustice is one of those, and it's a horrible thing, but it's surely not the only one that humanity is guilty of...
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