When I was a young teenager, PBS aired a 9-part documentary on the history of baseball by the legendary Ken Burns, which completely mesmerized me. My Grandma recorded the whole series on VHS for me, and to this day I still have those tapes in my closet. Burns made a few other great documentaries, including ones on the Civil War, World War II, and the history of jazz, and up until recently, the Burns series of documentaries have been the only things I have ever watched on PBS. However, PBS has just started playing a new documentary by James Chressanthis called No Subtitles Necessary, and this lives up to the standard of the Ken Burns films.

No Subtitles Necessary follows the incredible story of legendary cinematographers Laszlo Kovacs and Vilmos Zsigmond, two life-long friends and incredible filmmakers who escaped Hungary together during the Soviet invasion and went on to be perhaps the most important figures in the American New Wave of film in the 60’s and 70’s. Films they worked on include Easy Rider, Paper Moon, What’s Up Doc?, Deliverance, and Say Anything. The pair have an amazing story, and it is told very well in this movie, making me really glad that other people actually donate money to PBS to keep it on the air.

Of course, no post here would be complete without a bit of music, and No Subtitles Necessary delivers on this front as well, with two stellar songs. First, the immortal trombonist J.J. Johnson’s song “Seven Days to Tahiti” is used during the film as a great mood-setter, playing under some beautiful shots of 1960’s Hollywood. I haven’t listened to J.J. Johnson in years, and was thankful for the reminder of a man who my parents always told me was on the level of Charlie Parker and Miles Davis.

The other song, “Sascha” by Jolie Holland, plays during the credits. I’ve always loved Jolie Holland for her ability to seamlessly cull a large amount of influences into her own unique brand of folk, and few songs exemplify this better than “Sascha.” I hope to have clips of these scenes for you guys soon, but for now you can watch a preview clip below.

Jolie Holland on MySpace

J.J. Johnson fan page on MySpace

É inevitável dizer que o novo profissional aguardado pelo mercado de trabalho desta época de retomada de crescimento econômico praticamente já  deverá nascer com o compromisso de fazer a diferença. 

Exageros à parte, como neste simpático comercial da LG, continuará valendo a soma de competências dos recursos humanos de uma empresa para se desenvolver projetos bem-sucedidos e manter o espaço da organização neste mercado cada vez mais competitivo. Nenhum projeto tem como dar certo se não houver o reconhecimento que pessoas é que continuam fazendo a diferença. Chorar é só uma consequência e um ato inerente ao ser humano.

Em tempo: no comercial da LG, o verso da música ”Born to be wild”, algo como “Nascido para ser selvagem”, da banda Steppenwolf, é parte da trilha do filme Easy Rider (Sem Destino, 1969) que aborda a história de dois motociclistas que viajam pelos Estados Unidos, com a ideia de alcançarem a liberdade pessoal.

Que bons profissionais tenham sempre destinos conhecidos e que sejam agressivos (e não selvagens) apenas na forma de fazerem a diferença. E que as empresas permitam a liberdade de atuação, orientada e pautada por políticas que sejam sempre respeitadas, de forma ética e profissional.

Parlano, parlano di libertà,
ma quando vedono la penna libera,
allora il panico li provoca.

[liberamente, da Easy Rider:
in claris fit interpretatio]

«Non mi sono mai sentita a Casa – Quaggiù» scrive Dickinson. «Riporta questo selvaggio a Casa» canta Dickinson. Emily e Bruce. E nello stesso sentire: sentirsi sempre fuori luogo. Perché fuori di testa, fuori dai denti, fuori dal coro e fuori dal metro. E ne parlavo con l’amico. L’amico della kerkoporta. Mi ricorda, ancora, la kerkoporta: «devi farti kerkoporta, basta farsi kerkoporta. Costantinopoli – si dice – cadde a causa della kerkoporta, una piccola porta secondaria».
Alla quattrocentocinquatatreesima volta che mi sprona a diventar kerkoportiforme gli comunico che, per contrappasso dantesco, sarà concluso in una belìn di kerkoporta per l’eternità… E nel delirare e demandare all’Alighieri i tormenti di chi ci/mi cianura/cianurò la vita in vita, nasce la Metalli Commedia. E l’amico della kerkoporta offre occhio e orecchio all’opera. E presta mano: per contenere le cascate chiare [ché lui computa accenti e corregge e contiene i *cazzi* che Dama usa/abusa come virgola], per assegnare assilli all’arco dell’alloro che – no! Non è peccato mortale  sostituire Virgilio con Alice Cooper! E se – sì: è peccato mortale, m’ho da confessare…
E l’amico della kerkoporta presta i polsi: per formulare fastidi e ferrare il forte sentire – altro. Oltre il BellPaese buonista che caramella carmina e canta cliché: zecca l’oro che copre tutte le carie e tutte le carenze. Carenza che buca la pagina la parola il plasma: nella marea massmediatica di bbbuoni/socialmente impegnati/altruisti/benefattori/attivisti d’ogni sorta – chi sono i cattivi? E se non sono i giovani sono i metallari e quando sono giovani&metallari – sono prede prelibate da patibolare. E se prima l’etichetta [dai gloriosi esponenti della gloriosa Italietta Ipocrita] era: *alfiere dell’anoressia*, ora è: *paladina dei metallari*. Vera è la violenza con cui difendo ogni mio dire/dare – e non ho nessuna intenzione di smettere. Perché e per chi – non è difficile comprendere: troppo comodo parlare/prosare/poetare nei corposculi di qualche/qualsivoglia corrente. Assuefatti e accecati e accomodati nell’Arcadia e nell’Ammmore – asserire che la parola è cruda e crudele, che l’essere umano [tanto perfettibile quanto fallibile] prova e provoca Rabbia – è [ancora] realtà che non si vuole accettare.

E allora? Non potendo assumersi la responsabilità di tutta la gamma emotiva, non sforzandosi più d’indagare quelle scomode zone d’ombra – che non è mai piacevole percorrere quelle pieghe, quelle delle passioni più pericolose – la maggioranza deve *trovare i colpevoli*. Gli aizzapopoli, i corpi violenti da violentare. Gli abiti da bruciare per purificarsi. Abiti e ambiti naturalmente adatti allo scopo: e allora – attacca i metallari che, AnimaliBruttiCattiviDannati, suonano/sondano anche gli stati più scuri/secreti dell’umanissimo sentire/sentirsi!

E allora: vi dico non basta! Non basta dirsi controcultura e poi bigottare buone azioni. E allora vi dico: affarinculo le denunce davanti e dietro lo schermo, mentre si coccolano scheletri armadi e maschere – quando nessuno vede [ma qualcuno vede/vedrà sempre: OGNI mondo è un mondo piccolo]. E allora vi dico: dedico tutto – al popolo borchiato che conosce la Rabbia e – quando distrugge – è per costruire: domani migliori.

E, in primis, ringrazio il di lui kerkoportante Guglielmo Amore. E si ringrazia – sempre – Fabrizio Centofanti e LPELS tutta per aver permesso la pubblicazione dei primi estratti [ché lapidazione da parte dei puristi si prepara. E no: non cercate la perfezione delle terzine. E sì: “Lo spirito creatore giuoca con gli oggetti che ama” avverte il buon Carl Gustav.  E no: nessuna numerologia già data, la cabala Chiara digita il dado di Dama, colorando Dante – e segue il grido del globulo: il metallo ha forgiato. Da sé. Questo sì: non esiste cambiamento quando canoni/controlli sono le sole *cure/curie*].
Omaggio senza tempo, nei tempi dispari: alla [mia] famiglia di Metallari. La [mia] casa di Marshall e doppiacassa!

«La società va compiaciuta, laddove è possibile; se non la si compiace, bisogna sbalordirla; se non la si può né compiacere né sbalordire bisogna provocarla e farla INORRIDIRE» [Jordan in: Jung, Psychologische Typen]

I

Nel mezzo del gran sol di Satriani
mi ritrovai per caso tra poeti
che non vi so dir le lagne immani

né lo girar di gonadi per vieti
ch’imposer alla di me mia scrittura
di ferro – in quel mollo di profeti

Ahi quanto maledir esta uggia pura
esta massa massiva d’arroganza
che sol nel rum ne vinsi la lordura

tanto pedanti lator di mattanza,
torma munta dallo monatta stanco
quale Infame Colonna ch’avanza…

Così rimembrando il Manzo mastro
in sua gran pompa or’è al mio fianco
ecce Lisandro! E il dice capestro:

«memento memento Renzo e l’Arno
memento mori, voi turpi metallati!
null’è casto nello custom indarno,

echi neoclassici avete infangati?
in settenari sarete puniti:
studenti a vita e disoccupati!»

Quand’ecco qual dardo divino scocca:
«Vade retro! bigotta co’pruriti
I’son l’Alice ch’elogia la potta!

Vade retro: fermo, vetusta bocca!
I’son l’Alice che scuole conclude
e’l pitone sul bavero – arrocca!»

«O dello metallo il primiciglio,
padre mio, mie ghigliottine sì crude
Tu’l solo tu’l veleno tu’l piglio

macabro tu mentr’ io mi maraviglio
Cooper nostro, sia tu il benvenuto
in mio incubo ché dolor sferraglio

l’atro censore m’impone bavaglio
m’impone sestine carche di pianto
m’impone sua sola – guisa di canto
secca per me codesto psicopompo!»

E al Manzo or preme suo meato,
sì piange per lo supplizio inflitto:
scuoio perpetuo, dal Simmons leccato

Manzo si spela, di strato in strato,
perde pelle sotto sferza di lingua
sua condanna: damnatio ad metalla

all’osso reso, mero cranio roso
miracola e membra e midolla
e torna assillo: daccapo abraso.

«Dove mi è?» il padre mio novella
«nei tre giri dell’Arte» – il canticchia:
«nell’inferno di chi strupò favella

sei, di giustizia, nella prima cerchia!
Diffida! Spetti sempre diffidare
dell’oro, credi al chiodo che borchia

la fine dello falso formulare!
Vendica con nota che luce brilla
tutto’l corrotto cinico fangare

nel nero ch’all’occhio goccia, pupilla
pinta pura, spada sarotti e scudo
nel tristo guadar stilla coccodrilla:

spartito – mira – nel fangoso feudo
più d’uno che ragliò, stonato musico,
come il piaga il suo guardian crudo»

[to be continued…]

This summer, I drove out of San Diego… Well, you can read the rest over at Slate, where my long-brewing piece on Easy Rider is running all week. I spent a lot of time on this project, so it’s really gratifying to see it in print. (Even if there’s a contingent ready to dismiss the whole thing because I made the trip in a PT Cruiser. I tried to rent a Jeep. Would that have helped?)

From Rebel Without a Cause to Easy Rider and now Crash, Dennis Hopper’s acting career spans six decades. But he is also a painter, photographer, writer and art collector. As he explains to Thomas Caldwell, it’s all about being creative.

"Self-portrait at the Porn Stand", oil on canvas by Dennis Hopper, 1962-2008

When I speak to Dennis Hopper he is in New Mexico, US, making the second series of Crash, a TV program based on the 2004 film of the same name. Hopper plays a wild character he describes as a Phil Spector type: “He’s a music mogul from the ’60s. He’s into orgies, drugs and all sorts of crazy insanity.” For those familiar with Hopper playing the deranged villain in films such as Speed (1994) this sounds like sensible casting.

The truth is, however, that Hopper has mellowed significantly, especially since his more excessive days during the ’70s. In conversation, he sounds a lot like the character he played in Elegy (2008); he is polite, amiable, full of admiration for his colleagues, and speaks slowly and deliberately.

Hopper, 73, is happy to reflect on his career, and talks passionately about what is clearly his favourite subject: art. Besides acting, he is a recognised painter, photographer, writer, director and art collector. His work has been exhibited internationally, and has been used on many magazine covers, including Vogue and Artforum.

Hopper may well emerge as a great American Renaissance Man of the late-20th and early-21st century. This would be an unlikely and unexpected outcome for someone who describes his own career as unfortunate. Indeed, after making Easy Rider (1969), one of the definitive counter-culture films of all time, Hopper’s cinematic career went through a tumultuous period. He has been sober for more than 20 years, but, as he has acknowledged previously, alcohol and substance abuse hit him hard during the 70s. It was during this period that he developed his tormented, wild and dangerous on-screen persona in films such as Wim Wenders’ The American Friend (1977) and Francis Ford Coppola’s Apocalypse Now (1979).

It wasn’t until 1986 that Hopper arrived back in Hollywood and revived his acting career, appearing in both David Lynch’s Blue Velvet, as the frighteningly primal psychopath Frank Booth, and in the more family friendly Hoosiers, for which he received an Academy Award nomination as best supporting actor. These are two roles that Hopper looks back on fondly. However, he still regards Easy Rider as the high point of his career: “Being involved in the writing, directing and acting for my first film; accomplishing what I set out to do by showing the country and showing what was happening in the country at the time; and playing this goofy sort of sidekick. I’m very proud of that.”

Peter Fonda and Dennis Hopper in Easy Rider (1969)

Hopper and his Easy Rider co-writers, Peter Fonda and Terry Southern, not only received an Academy Award nomination for best original screenplay, they created a film that still resonates 40 years on. In the film, Hopper and Fonda play a pair of drug dealers travelling across America on motorbikes. One of the many people they meet is a ‘square’ alcoholic lawyer – memorably played by Jack Nicholson, in a breakthrough role. Easy Rider was made independently from the studio system and its experimental approach to filmmaking captured an early representation of the hippie movement, which included communal living, drug use and the way such a lifestyle threatened the mainstream establishment.

Although Hopper acknowledges that Easy Rider is something of a time capsule in terms of fashion and music, its independent and rebellious spirit is still relevant today. “I’ve seen it recently with young audiences and they are very surprised. It hasn’t really aged at all.”

Easy Rider is just one example of how Hopper has both documented and contributed to some of America’s most exciting and influential cinematic and artistic movements. Now his direct involvement has been captured in an exhibition, Dennis Hopper and the New Hollywood, which will be presented at The Australian Centre for the Moving Image, Melbourne. When Hopper is asked how this exhibition reflects his career and legacy he is keen to make it clear that its focus is on the era rather than himself: “I think it’s more about the time that I was living. It really deals a lot with the art world in my life. My photographs deal with 1961 to 1967, with subjects like Martin Luther King Jr, the civil rights movement and my involvement in the hippie movement. Then there’s my art collection, as I was very involved when Marcel Duchamp [the influential French artist] had his first retrospective in Pasadena in 1963. I was also very involved with Ed Ruscha and Andy Warhol and all the pop artists of the 60s. That’s basically the history of my life besides being in films – and this all happened before I did Easy Rider. To walk through this exhibition is to walk from 1954 until now.”

"Paul Newman", gelatin silver print by Dennis Hopper, 1964

The year 1954 is significant, as that was when Hopper turned 18 and was contracted by Warner Bros. “I’ve been in the public eye for a long time. I forget about it at times. But then I’m rudely reminded!” As well as Martin Luther King Jr, Hopper has also photographed Warhol, singer James Brown and actor Paul Newman, although Hopper insists on clarifying the circumstances in which those photographs were taken: “I wasn’t doing assignments or anything. The people I photographed were friends of mine. I didn’t photograph a lot of movie actors because it wasn’t appropriate. It would have been an intrusion. They were being photographed all the time. Paul Newman was an exception because he was a really close friend.”

One of Hopper’s other iconic actor friends was James Dean, with whom he shared the screen in Rebel Without a Cause (1955; Hopper’s first film role) and Giant (1956). Hopper once described Dean as the most talented and original actor he had encountered. “I thought I was the best young actor in the world, and then I saw James work. I came out of playing Shakespeare at the Old Globe Theatre in San Diego. I’d never seen anybody improvise before. I was used to learning lines. It was a whole other side to acting – to live in the moment and have no preconceived ideas. That was not the way I was working. So when I came onto the set of Rebel Without a Cause and we started rehearsing I suddenly realised that he’d been working off the page and it was amazing to me. I’d never seen anything like it; doing it in the moment without preconceived ideas.”

Hopper also greatly values art that exists in the moment and reflects the time it was created. His own painting style is conceptual; influenced by abstract expressionism. A pivotal episode in his development occurred in 1962, when a friend who owned an art gallery in Los Angeles showed Hopper pictures of a cartoon and a soup can. “The cartoon was by Roy Lichtenstein and the soup can was by Warhol. Neither one of them had ever had shows before. I suddenly started jumping up and down and said ‘That’s it! That’s it! That’s the return to reality.’”

"Andy Warhol with flower", oil on vinyl by Dennis Hopper, 1963-2000

Hopper went to New York, where he met with Henry Geldzahler (then head of 20th-century art at New York’s Metropolitan Museum of Art) and also pop artists Warhol, Lichtenstein, Jasper Johns, Robert Rauschenberg and James Rosenquist. “They were all the major players and they had never really had any shows at all,” recalls Hopper who, as well as being part of Duchamp’s first and only retrospective, was also part of Warhol’s first exhibition.

“Warhol was dabbling in the commercial area, doing silkscreen work and 20-foot high murals, while fine art was seen as something that was three-by-two feet. It was a different time and a different way of looking at things. Warhol and Lichtenstein stand a real chance of being remembered for their time because they did represent it.”

One of the more curious entries on Hopper’s resumé is his lead role in the 1976 Australian film Mad Dog Morgan, in which he played the notorious real-life bushranger Dan Morgan (alongside Jack Thompson). He loved the experience, describing the film as “way ahead of the curve”. And Hopper sounds delighted when I tell him that Morgan is one of many Australian ‘Ozploitation’ genre films from the 70s and 80s that are now being re-evaluated.

Dennis Hopper in Mad Dog Morgan (1976)

He also responds to concerns that Australia is not doing enough to make commercially viable cinema: “Look, Australian filmmakers are making great movies. They really are. Most of the time they are really hitting the mark. I can figure in my head what might be commercial and what might not be commercial, but in the end that isn’t really the filmmakers’ responsibility. The filmmaker should make his or her film. If they can get financing to make their film then they should make their film.” But Hopper does worry that filmmaking as art is being devalued by films that can turn a profit: “It’s all about what the big hit is going to be on the weekend.”

So how can people be encouraged to see more innovative movies? Hopper has an intriguing proposal: “I’ve always thought that when people build these cineplexes that they should have 10 theatres. Have one for the history of cinema to show old classic films, then have one for foreign films, and one for experimental and art films. Then the other seven can play the Hollywood game… After a year, people would start making a steady line into those other three theatres, because they’d want other people to see them standing in those lines rather than the others!”

It seems that Hopper is never going to be short of ideas or inspiration. There is a pattern running through his career: when one avenue for expression temporarily closes down, he finds another. So is Hopper one of those people who always feels compelled to create? “Yeah, that’s all I do. I never had to stop the things I did in high school, like taking photographs and painting, and that allowed me to have a cultural life. When I was young, most people were going skiing and going to the beach and doing other things. My mother managed a swimming pool so I didn’t need to be going there. I wanted to go to the art galleries. I wanted to find the artists that I liked. I wanted to meet them and I wanted to do that kind of work.”

Dennis Hopper and the New Hollywood will be at the Australian Centre for the Moving Image (ACMI) from Thursday 12 November 2009 to Sunday 25 April 2010.

Originally appeared in The Big Issue, No. 341, 2009

© Thomas Caldwell, 2009

Ed and Frankie welcome actress Gail Gerber (The Loved One, Village of the Giants) and film historian Tom Lisanti, co-authors of Trippin’ with Terry Southern: What I Think I Remember, a poignant look at the life and career of iconic novelist and screenwriter Terry Southern

http://media.podcastingmanager.com/9/3/5/3/3/142636-133539/Media/110209tvc33_1.mp3

Dies ist eine US Serie, die von dem US-Sender FX produziert wird. Im Mittelpunkt der Serie steht Clay Morrow (Ron “Hellboy” Perlman), der Mitglied einer Motorrad Gang im San Francisco Bay Gebiet ist. Clay entstammt dabei einer Dynastie von Verbrechern und war somit schon immer für ein Leben im Untergrund bestimmt. Der größere Handlungsbogen spannt sich darum, ob es ihm gelingt, dieses Leben, das einzige was er kennt, abzustreifen.

Auf die Serie bin ich gekommen, als mein Lokaler DVD-Store vor kurzem die Vorgängerserie „The Shield“ und die erste Staffel von „Sons of Anarchy“ bewarb (Als US-Import). Vorher kannte ich ehrlich gesagt weder eine der beiden Serien noch den Sender FX. Eine echte Neuentdeckung in jeder Hinsicht für mich. Auf Serienjunkies.de kommt Sons of Anarchy auf Platz 261 der Beliebtheitsskala womit es ganz klar zu den unbekannteren Serien gehört.

Ende der 90´ziger gab es im Orange County (Kalifornien) einen großen Rocker Krieg und auch heute, bei uns in Deutschland kommt das Thema immer mal wieder hoch, zumindest bei Spiegel TV. Das dürfte wohl auch der Grund sein, warum ich mich für die Serie entschieden hab.

An dieser Stelle mache ich einmal das Fazit am Anfang und sage, dass die Pilot Folge eigentlich nichts besonderes ist. Sex and Crime und ein Hauch von Intrige wehen die Serie, ohne Sie wirklich voranzubringen, fast wieder aus. Es hat mich also nicht so vom Hocker gerissen.

Zu Gute halten möchte ich der Serie drei Dinge: Erstens, Pilotfolgen fallen  immer ein wenig anders aus, als die spätere Serie.  Zweitens, sind die Kommentare in anderen Blogs zu der Serie durchweg positiv ausgefallen. Drittens, finden sich bei YouTube viele Ausschnitte aus Serie in der der Audiotrack gerippt wurde. Die Musik scheint also den Geschmack der Masse zu treffen.

Bleibt als Letztes zu sagen, dass in den USA bereits die zweite Staffel gesendet wird und eine dritte wohl schon in der Mache sein soll. Die Amis haben Gefallen an der Serie gefunden.

Im Mittelpunkt der Serie steht ein Motorrad Club namens “Sons of Anarchy” in der fiktiven Stadt Charming. Während sie am Tag ganz normalen und gutbürgerlichen Arbeiten nachgehen, gehens sie nachts und am Wochenende ihrer kriminellen Passion nach. Hauptsächlich heißt das: Verkaufen von Waffen an rivalisierende Gangs. Jack, der Hauptdarsteller der Serie (Charlie Hunnam), ist Mitte oder Ende zwanzig und in dem Club aufgewachsen. Sein Vater hat den Club gegründet und sein Stiefvater ist zurzeit der President des Clubs. Seine Mutter Jenna, übrigens der wohl stärkste Charakter in der Serie, wird von Katey Sagal gespielt, trat schon als Al Bundy’s Ehefrau Paggy auf. Für so eine gute Schauspielerin hätte ich sie dann doch nicht gehalten.

Los Angeles, California (CNN) — Actor and filmmaker Dennis Hopper has been diagnosed with prostate cancer, his manager Sam Maydew said Friday.

Hopper is being treated in a special program at the University of Southern California, according to CNN news affiliate KTLA.

He was expected to appear at an exhibition of his photography at the Australian Centre for the Moving Image in Melbourne but has cancelled in order to focus on treatment.

For the full article go to:  http://www.cnn.com/2009/SHOWBIZ/Movies/10/30/dennis.hopper.cancer/index.html

PROSTABLOG NZ: Celebrity prostate cancer is big at the moment: in the same week we heard Andrew Lloyd Webber (right) has it, there’s now an announcement Dennis Hopper (at left, star of iconic Baby Boomer movie Easy Rider) is afflicted. READ MORE> and HERE>

Join us as we remember two of the biggest icons of the 1960s, legendary screenwriter Terry Southern (Easy Rider, Dr. Strangelove, The Cincinnati Kid, Barbarella) and the classic sci-fi Western series The Wild, Wild West, on the next edition of TV CONFIDENTIAL, premiering Monday, Nov. 2 at 10pm ET, 7pm PT on Shokus Internet Radio, with a rebroadcast Tuesday, Nov. 3 at 11pm ET, 8pm PT on Share-a-Vision Radio, KSAV.org.

Our scheduled guests include dancer/actress Gail Gerber, co-star of many films from the 1960s, including Beach Ball, Girl Happy, Harem Scarum, the cult classic Village of the Giants and the scathing satire on the funeral industry, The Loved One. It was on the set of The Loved One that Gail first met Terry Southern, the iconic novelist and screenwriter whose Oscar-winning 1969 screen play for Easy Rider was about to turn the film industry on its head. Gail’s new book, Trippin’ with Terry Southern: What I Think I Remember, is a poignant look at her 30-year relationship with Southern, a bona fide celebrity who was equally at home in the worlds of art, literature and film, yet often struggled to make ends meet despite his enormous fame. Gail and her co-author, film and TV historian Tom Lisanti, will join us beginning at 10:05pm ET, 7:05pm PT.

Then in our second hour we’ll welcome Susan Kesler, author of The Wild, Wild West Book, a behind-the-scenes look at the iconoclastic television Western starring Robert Conrad and Ross Martin as intrepid Secret Service agents Jim West and Artemus Gordon, and Michael Dunn as their nemesis, Dr. Miguelito Loveless. Recently updated with an arsenal of new information about the 1965-1969 CBS-TV series since its original 1988 publication, The Wild, Wild West Book is not only one of the best, most comprehensive television histories ever written, it’s also a lot of fun. Sue Kessler joins us at beginning at 11pm ET, 8pm PT.

If you want to be part of our conversation, if you grew up watching The Wild, Wild West or are a fan of the films of Terry Southern, we invite you to join us for our live broadcast, premiering Monday, Nov. 2 at 10pm ET, 7pm PT on Shokus Internet Radio. Phone number is (888) 746-5875 / (888) SHOKUS-5. If you have questions or comments you’d like to send in advance, our email address is talk@tvconfidential.net.

TV CONFIDENTIAL with Ed Robertson and Frankie Montiforte
Mon-Sun 10pm ET, 7pm PT
Shokus Internet Radio
Every other Tuesday at 11pm ET, 8pm PT
Share-a-Vision Radio, KSAV.org
www.tvconfidential.net
blog.tvconfidential.net
Also available as a podcast via iTunes and FeedBurner

って見た事ありますか。古い映画です。この秋にニューオリンズへミッチェル・ゴーデさんの個展見に行ったんだけど、（個展の話はReiko’s Chamberでまたこんど！）その時ニューオリンズの墓地ツアーをしてもらって古い墓地を３つくらい見てきました。その中のひとつがイージーライダーに出てるんだよということだったので、へ〜墓のシーンとかあったっけ？ともう一度見ようと思ってたので、ビデオ（何故かDVDの中に一本ビデオがあった）を借りて来てみてみました。

おお〜墓のシーンありましたね。多分これはセントルイスNO.1墓地ですな。ニューオリンズの古い墓地の墓はとても大きくまるでちょっとした納屋くらいの大きさがあり、様々な装飾が施されてそれは見事です。装飾にはいちいち意味があり、とても興味深いものです。その話もまた今度ね。墓は観光用にツアーとかあって毎日沢山の人が見に来ます。ミッチェルさんは筋金入りの墓マニア。ツアーに行きたいと言ったら、墓の事なら俺に聞けみたいな勢いで連れて行ってくれました。彼は旅行に行くと必ずその土地の墓を見に行くらしい。とても気が合うのでございます。

しかしこの映画、カトリックの歴史ある墓でLSDはやるは娼婦といけない事しちゃうわで、これは物議をかもしたことでしょうな。若き日のジャックニコルソンがいい味をだしてたし、若い頃見た印象とはまるで違ってなかなか感慨深く楽しみました。ジャックニコルソン扮するジョージセリフがとても印象的だったのでちょっと紹介。

「自由を語るのと自由である事はまったく別の事なんだよ。あくせく働いて自分を切り売りしてたら自由でいるってのは本当に難しいのさ。そこらの奴にあんたは自由じゃないなんて言ったら殺されるぞ。あいつらは自分たちが自由だってことを証明するために平気で人殺しするんだよ。奴らは自由についてあんたにいくらでもくっちゃべるだろうが、いざ本当に自由な奴がいるのを見ると心底恐ろしくなるんだよな。」

訳は適当ですが、こんな事を言っておりました。ホントそうだよな、と思いました。しかしワードプレスてアマゾンのリンクが貼れない？なんかありえなくない？変なの。ではまた〜

Reiko

The original line-up for the Byrds lasted just three short years, from 1965 through mid-1968, long enough to produce the timeless tracks “Mr. Tambourine Man” and “Turn! Turn! Turn!” (among a dozen others), plus four great folk-, psychedelic- and early country-rock albums. But guitarist Roger (nee Jim) McGuinn was forced to reconstitute the band when, over an 18-month period, original members Gene Clark quit, David Crosby left for Crosby, Stills & Nash, and Michael Clarke and Chris Hillman left for the Flying Burrito Brothers. From 1968 to their eventual breakup in 1972, McGuinn and the in-name-only Byrds underwent several other rounds of personnel changes, the middle of which led to the October 29, 1969 release of The Ballad of Easy Rider. The album has (obvious) close ties to the terrific July 1969 cult counterculture movie, Easy Rider, starring Peter Fonda and Jack Nicholson. The film soundtracked several Byrds tunes, including the title track and the wonderful, rambling, spacey, folk-rock gem “Wasn’t Born To Follow.” Interest in a revitalized Byrds peaked after the movie’s summer release, and the working title of the album was originally Captain America (after the film’s anti-hero character). Despite all the hype, The Ballad Of Easy Rider peaked at just #36 in the U.S. Nonetheless, it’s a great late-60s country-rock album.

Check out my Byrds playlist at DrRock.com. The Ballad Of Easy Rider is available as download tracks from iTunes (click here) and as a CD from Amazon (click here).

Sono trascorsi quarant’anni dal film cult Easy Rider, diretto da Dennis Hopper, ma il protagonista Peter Fonda è sempre in sella alla sua Harley Davidson ribattezzata Captain America.

Kevin Murphy just did a new shoot for Vogue Australia. He sent us his insider tips and tricks about how he achieved the look!

Step #1 Use lots of HEATED.DEFENCE and dry into the hair. The more you use, the better the hold.

Step #2 Roll the hair forward and under, using one point of origin. The model should be facing you at all times. This exercise was focused on over-direction, as flipping the head forward over-directs the section and allows you to get heaps of body in the hair. 
I sprayed the hair with a little DAMAGE.MANAGER then set the hair using a really small-barreled curling iron. I then stretched the hair around a medium size roller.

L’appuntamento è sempre allo stesso posto, al centro commerciale Le Gru. Quando arrivano, il frastuono delle marmitte, le borchie e gli sguardi truci di rito provocano sempre un misto di vitalità e inquietudine fra le tranquille famigliole venute a fare la spesa. Sono gli easy rider torinesi e questo è il loro punto di raccolta. Stivali d’ordinanza e jeans, sempre. Mettono le moto una accanto all’altra e le lasciano lì, a farle scrutare dalla curiosità divertita dei passanti. Alcuni le passano accuratamente in rassegna, come a una fiera: una diversa dall’altra, modificate in base ai gusti e allo stile di ogni centauro. Ovviamente, la simbologia classica fatta di teschi, croci celtiche e feticci sessuali deve essere presente in ogni custom che si rispetti. L’osanna “viva la gnocca”, poi, è appiccicato su quasi tutte le targhe. «Un tempo eravamo una cinquantina, davvero tanti – dice Giorgio, capelli lunghi raccolti in una coda e tatuaggi sugli avambracci -. Oggi la vecchia compagnia si è frammentata in altri piccoli sottogruppi. Ma tutti continuiamo ad andare in moto». Cavalca una Harley Davidson Nightrain color canna di fucile, sterzo larghissimo e marmitte assordanti. Di lavoro fa il panettiere, in corso Massimo D’Azeglio, e quando può accende il motore e salta in sella.

Il contesto dove si muovono questi epigoni della cultura on the road non sono le sterminate e desertiche highway americane, ma gli austeri e razionali corsi dell’antica capitale sabauda. Al loro passaggio, annunciato già a un chilometro dai rombi arroganti, la gente si volta, sorride, si dà di gomito. Anche la tradizionale diffidenza dei torinesi si scioglie di fronte agli harleysti di casa, che vengono salutati con naturalezza per lo più con la gestualità universale del pollice in alto. Loro rispondono sempre, pigiando i clacson dai quali fuoriescono i suoni più bizzarri e divertenti. «La gente si diverte quando ci vede. Portiamo buonumore. Una volta dei vigili hanno fermato due di noi, volevano multarli. Moltissima gente si è messa a sbraitargli contro dicendogli di lasciarli stare. Alla fine, niente multa».

Le tappe obbligate dell’itinerario cittadino sono quasi sempre la Gran Madre, la collina di Superga, il colle della Maddalena. Non mancano anche le puntate fuori porta, soprattutto nei weekend: al lago di Avigliana o a quello di Viverone, ma anche oltre confine, in Francia, a Saint Tropez e Menthon. Quando rimangono in città fanno cose normalissime, caffè o aperitivo, con un occhio sempre alla loro harley. Chiacchierano. L’argomento? Moto e sempre moto.

Chiunque può unirsi a loro, dato che non fanno capo a nessun gruppo, a nessuna sigla di bikers. Tempo fa a Torino c’erano i Brotherhood, adesso pare si siano sciolti. Alcuni hanno allora deciso di unirsi alla versione italiana degli Hells Angels, la banda americana di motociclisti-teppisti spesso salita agli onori della cronaca negli anni cinquanta e sessanta. «Noi non siamo mai stati in un gruppo. Farne parte è come stare nell’esercito, con delle gerarchie e dei doveri. Preferiamo salire in moto quando siamo liberi e compatibilmente con i nostri impegni» dice Enzo, tolto il casco, un artigiano. Difatti l’aria da duri è solo una maschera: non si drogano e bevono il giusto. Tantomeno si dedicano alla criminalità. La moto è per loro un hobby come un altro e non uno stile di vita. Hanno quasi tutti famiglia, e l’harley è il loro modo di passare il tempo libero. Soprattutto d’estate, con il bel tempo, quando scorrazzano lungo i viali torinesi scuotendo con le loro marmitte una città intorpidita dalla calura e svuotata dalle ferie.

Pietro Bellantoni

So our drummer left, we thought Apocalypse  was happening Now

We searched everywhere, from the sticks to Chinatown

In fact we were Raging like a  Bull in the Heat of the Night

felt surreal like Blue Velvet caught ourselves a fright

But we kept on til we found one, then down to business

connected thru our Network now we’re all pistons

we move together like Clockwork, Orange

We move Back to the Future cuz looking back is too boring

We went from Men in Tight spots like Robin Hood

To trying to find our way out of The Wood

We were Hunter’s of Deer  Crouching like Tiger

Keeping our Dragon Hidden til our eyes got wider

Now we Terminator the show

Full Metal Jacket the flow, Tap Spinals

Bring Heat whether on record or Vinyl

We came from an Animal House to become Godfather’s

Worry bout ex band members why bother?

We don’t let it slide, we just know the Dude Abides

This life wasn’t mean to be an Easy Ride

So as we pass the piece, we say, “Peace, until next time”

Dude, Chad Ochocinco not only reads your blog but he’s been stealing your pick-up tips.  He claimed to invent the “borrow a girls cell phone and call your own number” routine that you had published months before Hard Knocks was taped. -Maleman

I’m sure other people get good ideas, too. I’ll give him the benefit of the doubt.  I posted my successful pick-up techniques so others could reap the benefits now that I am married.  I won’t take an issue with the situation until he tweets that he invented “wingman goes first” or tells the story about how he kicked a little kid in the face for peeping on his lady in a dressing room.

Rush Limbaugh dropped by group trying to buy American Football team, thoughts? -Czechlist

I thought that his defense that he was an entertainer and just saying divisive things simply to fill a void in the market and garner ratings wasn’t much of an excuse.  I certainly would respect him more if he believed in the things he’s talking about.  Like saying hateful divisive things is okay, if you are doing it for the money.  What kind of reasoning is that?

Poor Meghan McCain, I just saw her “controversial” pic. People are SOO lame. People are calling her a slut and stuff on her twitter because of this picture of her in a tank top. -loverslayer

I’ll be sure to feel sorry for an attention whore who’s just now finding out that all attention is not pleasant.  Shes getting what shes asking for, and making herself feel better by blaming others.  Up hers.

What movie monster/villain would you have sex with? -Triggah2K8

Mystique, hands down.   She could be any woman you wanted for the evening, including any other villan you could come up with.

so do gay people get off by looking at their gay parts? -nivekkevin

Only the narcissistic ones.

I hate when someone is playing video games on TV or in movies.  Can you possibly overact more? Who plays video games like that?  Jesus.  -Otaku21

And then they stop playing to have a conversation and the game is still being played by an invisible entity.  That’s what kills me.

Who ya got on Top Chef Las Vegas? -phkb33

I still can’t believe they dumped Ash for cat food maker.  I mean, obviously they kept Robin in because she breeds drama and she’s the only one giving it to them.  So, she’ll stick around until the shows credibility is completely used up, which already might have happened in everyones eyes but the producers.

I take issue with Tom Colicchio giving Ash flak for complimenting the older twin, saying it was an honour to wash Picasso’s paint brushes.   At least he’s honest. All the Italian Mike guy does is pump himself up and shit on everyone else, and he’s not better a better cook than Ash.

No one knew who the competition was until they got there. Is everyone who realizes someone is better than them supposed to drop out of the competition on the first day?  Its Tom Colicchios biggest mistake in 6 years, if you ask me.

But to answer the question,  Jennifer, Kevin and the twins, with Kevin and the older brother in the finale.  Kevin wins it all.  He’s awesome.

Hey Heene Family, awesome parenting. Be sure to leave a mysterious flying machine within arms length of your kids. -CanadiAnne

Questionable parenting, but legitimate engineering.

If you like Vice City more than San Andreas, it’s only because you are racist. -SkullandCrown

VC had better story and voice acting. But, that small advantage completely pales in comparison to the epic awesomeness that SA offered.  If you prefer gameplay to storylines and voice acting, and claim VC is a better game, then you are likely a racist.

How much is the Roman Catholic Church including the Vatican worth? -infodeleted

In what currency? US Dollars? Italian Lira? 11 year-old penises? Blood of the non-believers?

whats your favorite film made before 1970?  Mine is the Manchurian Candidate. -hezzbowler

Easy Rider,  North by Northwest, Reefer Madness, The Sting? Was that pre 70? Or is the Black and White throwing me off?

Cult and classic favorites, new editions, and complete series collections dominate today’s new release schedule.

Christmas is a little over nine weeks away, and already the movie studios and television networks are pumping out special editions of DVD and Blu-Ray sets unmistakable for their gift potential, including new editions and expanded versions of cult and classic favorites. This week shows a pretty broad cross section of the last forty years of film and television, including at least one half-forgotten classic TV series, possibly the best cop show ever, and a half-dozen other, smaller releases with appeal to more selective audiences.

The big release this week, of course, is Transformers 2: Revenge of the Fallen on DVD and Blu-Ray. Nevertheless, the following is just a sampling of what else is available, including the suggested manufacturer’s list price. Of course, prices may vary according to retailer, and will likely decrease as the holidays bear down on us.

Planes, Trains, & Automobiles – “Those Aren’t Pillows” Edition ($14.98)  Boasting career highs from both writer-director John Hughes and co-star John Candy, this 1987 classic features Steve Martin as Neal Page, an uptight Chicago executive stuck in a series of accidents, near-accidents and strokes of bad luck while trying to fly home for Thanksgiving. Candy plays Del Griffith, the slovenly shower curtain ring salesman who dogs his every errant step and false move. The chemistry between Candy and Martin is almost legendary, with each new calamity building on the last to overwhelm the mismatched travelers. Full of quotes and scenes you’ll re-create with friends through the holidays. “Dell Griffith, please to meet you.”

This new DVD includes Hughes and Candy retrospectives and a deleted scene.

Monsoon Wedding – The Criterion Collection ($39.95) This 2001 dramatic comedy won the Golden Lion at the Venice Film Festival and helped reignite foreign film afficianados’ love affair with Bollywood cinema. Directed by Mira Nair (the upcoming Amelia), the story follows the entanglements and complications arising from a traditional Punjabi wedding, showing the ups and downs of both the family members and the servants on whose shoulders the celebration ultimately rests. Maybe some of the characters are a bit broad, and the observations a little precious, but audiences who enjoy family centered works such as this probably won’t care anyway.

The Criterion edition contains all the usual premium-grade extras you’d expect, including three short documentaries about India directed by Nair. Also available on Blu-Ray disc.

Easy Rider ($38.96) - The iconic road movie about 60s rebellion comes – only a little ironically – to Blu-Ray disc with a new featurette and commentary by director and co-star Dennis Hopper. For those few who don’t already know, the 1969 film follows two rebels (Hopper and Peter Fonda) as they drive from California to New Orleans in order to see Mardi Gras. Along the way they pick up a small-town lawyer (Jack Nicholson, in his star-making role) who shares their disillusionment with society and its trappings. For a treatise on freedom, the film’s attention to form, structure, and even geographic accuracy are appropriately loose, with digressions and long talky passages frequently interrupting the travelogue montage sequences. And the infamous ending, though explosive at the time, today feels both pretentious and stiff. Still, the movie overall captures the era’s zeitgeist, even while as a work of cinema it gets creakier by the year.

Vega$: The First Season Volume 1 ($36.98) More than twenty years before the sexy lab rats of CSI:, Las Vegas was kept safe by freewheelin’ private detective Dan Tanna (Robert Urich), cruising the streets in his vintage Thunderbird and solving cases with his bumbling sidekick and single-mom secretary. The show is vintage late 70s cheese, right down to the swanky, horn-driven music and do-your-thing attitude, and with his cool car and hip bachelor pad Tanna is the archetypal private eye of the period. Urich, who might be described not unkindly as the Tim Daly of his generation, holds the show down thanks to his easy charm. The three-disc set includes the first half of the first season, though why CBS video wouldn’t spring for the other half is anybody’s guess.

Homicide: Life On The Street – The Complete Series ($149.95) About as far from Vega$ as humanly possible in tone and approach alike, NBC’s critically-adored, audience-starved 1993-99 procedural consistently struggled to find its audience, and no wonder. The show was simply ahead of its time, as demonstrated by the success of The Wire, Homicide creator David Simon’s later effort and a sequel to this earlier series in all but name. Based on Simon’s book chronicling his year with the Baltimore Police homicide department, Homicide the series ranks among the best television ever produced, and for our money it’s the best cop show ever. Utterly and completely riveting for six of its seven seasons, with the seventh (following the departure of breakout star Andre Braugher) being only very good. The middle seasons depicting the mammoth “Luther Mahoney Saga” are essential viewing for any cop show fan.

The equally mammoth 35-disc collection includes all 122 episodes, three crossover Law & Order episodes, and the 2001 telepic Homicide: Life Everlasting, which served as coda and elegy and for the series.

The Hunger: The Complete Second Season ($39.98) Possibly the closest thing Generation X’ers might ever get to their own Twilight outside of the Whedonverse (True Blood arguably notwithstanding), the second and final season of this British anthology series featured demons, vampires, and smart erotica mixed into a potent swirl and hosted by David Bowie, who at 62 years old still has more erotic cool than the somnambulant hipsters of Twilight likely ever will.

The four disc set includes all 22 episodes, produced by Tony and Ridley Scott and featuring appearances by Anthony Michael Hall, Giovanni Ribisi, Eric Roberts, Brad Dourif, Jennifer Beals, and many others. The first season, hosted by Terrence Stamp, is also available.

- Michael Kabel

:: :: :: :: :: :: :: :: :: :: ::

Internet schlebia naszym: niecierpliwości, braku konsekwencji i silnej woli. Tu mamy wszystko od razu, na nic nie musimy czekać. A jeśli czymś czujemy się zniecierpliwieni, z miejsca znajdujemy alternatywne rozwiązanie. O dawne niekonsekwencje, przewinienia nie musimy się martwić, bo pamięć nasza zawiera się w sporej części w wyszukiwarkach, a te łaskawe są dla treści popularnych. W najgorszym razie zmieniamy pseudonim, komputer, jego adres i zaczynamy wszystko od nowa. Z carte blanche. Tak jak świadek koronny, który dostaje nową tożsamość.

Strach jest najgorszym doradcą. Jeśli zaczniecie się obawiać o to czy wasze słowo kogoś urazi, dotknie, jeśli pozwolicie sieciowym prawnikom – cwaniaczkom po wieczorowych kursach na uniwersytecie w Psiej Wólce dyktować warunki w blogoprzestrzeni, obudzicie się z ręką w nocniku. Dlatego trzeba stanowczo, acz z rozwagą, reagować na przemoc administracyjną. Bezpieczni będziecie, jeśli sami tak będziecie się czuć.
Wedle mnie, tworzenie grup dyskusyjnych, wspólnych blogów i forów, sprzyja swoistemu zacieśnianiu więzi. Wszak jest się wtedy długo z grupą i siłą rzeczy dochodzi do wymiany prywatnych i poufnych informacji o innych. I to w pewnym stopniu ogranicza i degeneruje takie forum. Dochodzi w nim do wymiany treści zaszyfrowanych, przeznaczonych jedynie dla jednej lub kilku osób. Konsekwencją tego zaś jest niezrozumienie przebiegu dyskusji przez innych, co z kolei blokuje pozostałych, będących nie na bieżąco albo tych całkiem niezorientowanych. Wtedy nadchodzi – często wspominana przeze mnie – faza plateau. Nikt nowy nie dojdzie do nas, nic ciekawego się już nie wydarzy, taka myśl nasuwa się posępnie.
Ważnym jest też inny aspekt: prawdy czy opinie ogólne, mogą być odbierane – w takich zamkniętych kręgach – jako sygnały personalne. Przykładowo napiszę: wszystkie kobiety w sieci są grube i mają brzydkie uzębienie. Jeśli poznałem którąś z kobiet, bliżej, czy to tylko via net czy realnie, może ona odebrać tę opinię ad personam. Że na podstawie jej przypadku, metodą indukcji logicznej, wysnułem ten wniosek. Jeśli ktoś jest przewrażliwiony na swoim punkcie, ma do mnie zaufanie, a ponadto uważa się za kogoś z kim moje kontakty są bogate, na nic zda się tłumaczenie, że to przypadek, żart czy prowokacja. Jeśli zatem zależy nam na utrzymywaniu tych kontaktów, na spójności i stabilności grupy dyskusyjnej, musimy zachować ostrożność. Choć grupa dyskusyjna to najpewniej przesadzone określenie. Chodzi bardziej o krąg towarzyski czy o towarzystwo z sieciowej kafejki. No i ta wspomniana przeze mnie powściągliwość może stać się uciążliwa. Będzie mnie zniechęcać, nakaże ważyć słowa do tego stopnia, bym nie był podejrzany choćby o niedyskrecję.

Innym, całkowicie różnym, aspektem jest element władzy. I tu napiszę o moich intencjach, motywach, które skłoniły mnie do rezygnacji z administrowania na blogu Poltergeistem666. Lubię tamtejsze towarzystwo, dobrze się tam czuję, ale uczucie przewagi nad innymi uczestnikami w dyskusji – z racji tego, że miałem tam pewną władzę – ciążyło mi. I nie ma tu znaczenia, że jako administratorzy nie stosowaliśmy żadnych sankcji wobec pozostałych komentatorów.
Wobec grupy, jeśli jestem jak tam w składzie redakcyjnym, czuję się również zobowiązany do wypełniania moich obowiązków. A ostatnio nie jestem nadto twórczy, stąd nie byłem w stanie wypełniać przynależnych mi obowiązków. Po cóż mam być w redakcji, skoro prawie wcale tam nie piszę. Moim zdaniem czymś takim zawodzę resztę, korzystam z przywilejów administratora, nie wypełniając jego obowiązków. Może i nawet pasożytuję na reszcie w pewien sposób.
Pewne znaczenie, z mojego punktu widzenia wcale niemałe, ma to, że dzięki paru aktywistom z Bloksa i Gazety.pl mam opinię sieciowego rynsztokowca i trolla. Tym samym mój kiepski wizerunek może szkodzić osobom kooperującym ze mną. Likwidacja Cyca, forum Zawróceni w Czacie, blokady znajdujących się w mej wirtualnej bliskości loginów na Wykopie, Blipie, obsrywanie ich tam. Uporczywe, drobnomieszczańskie i maglowe donosy Olsa i chwilowa blokada loginów związanych z Wprost na WordPressie. Przykłady mógłbym mnożyć, część moich żali jest tu wypłakana na tym blogu. A ja sobie chcę popłakać i nie mam ochoty bywać w towarzystwie, które popiera takową cenzurę i magiel konfidencki w wykonaniu gazetowych Kup z Blipa i Wykopu. Ale mam też świadomość, że wypisując swoje żale narażałem też Poltergeista na ewentualne sankcje, co było – w pewnym sensie – nie fair. Po doświadczeniach jakich doznałem, nie są to bezpodstawne obawy. Rozumiem, że dla innych nudne, schematyczne i wręcz durne.
Oczywiście na Polterze będę pisał, rozmawiał, ale już bez tej presji wypełniania przypisanej mi szpalty redakcyjnej. Zawsze chętnie tam pogadam, o ile będę miał coś do powiedzenia albo nastrój na komplementy czy połów leszcza.

Nigdy nie piszę o tym czy mam czas, czy też nie. Przecież to widać i czuć. Jeśli mniej się udzielam, mam mniej czasu albo ochoty na blogopisanie. To chyba proste, więc po cóż informować o tym czytających?

Takie przetasowania, zmiany, paradoksalnie dobrze świadczą o ludziach tworzących miejsca w sieci. Bo to sygnał, że mamy do czynienia z indywidualistami, ludźmi nieprzeciętnymi, stąd nieco kapryśnymi. Choć jak wiadomo, czytelnik woli stabilizację, przewidywalność i bezpieczeństwo. Takie, choćby krótkotrwałe, stworzenie ciekawej grupy jest sukcesem. A wielu z Was brało udział w takich przedsięwzięciach, w których i ja miałem zaszczyt uczestniczyć. Sam mam zwariowaną i spiskową teorię internetowych dziejów i sądzę, że co duże, popularne, a za tym opiniotwórcze, zagraża władzy i ta będzie się starać to udupić, skanalizować. Likwidowali mi czaty, fora i blogi nie dlatego, że były złe, wulgarne czy prowadziły działalność przestępczą, a z zazdrości, zawiści i w trosce o bezpieczeństwo i popyt na własne usługi administrujących. No, ale to są nudne teorie, na które mogę sobie pozwolić na własnym zadupiu, bez obaw, że kogoś narażę, urażę czy znudzę. Bo przecież na tym blogu ja jestem dla mnie najważniejszy.
Aha i zapomniałem o tytule, który jak wiadomo sugeruje, że klient w krawacie jest mniej awanturujący się, ale i przez to bardziej sztywny. Poluzowany krawat jest na pewno idealnym kompromisem.

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