Precious, Lee Daniels’ adaptation of author / poet Sapphire’s 1996 novel, Push, has gained wide acclaim for the director. Perhaps even more, though, it has procured deeper regard for both Gabourey Sidibe, as the titular, obese, frequently-raped, illiterate, 16-year-old Claireece “Precious” Jones, above, and comedian Mo’Nique, as her acid-tongued, trigger-hair-violent mother, Mary.
Unless you closely study indy film credits, though, you may not heard of Precious executive producer Lisa Cortés, right. (A sr. v.p. with Lee Daniels Entertainment, she’s also worked with Daniels, in varied roles, on the Academy Award-winning Monster’s Ball, The Woodsman, Shadowboxer, and Tennessee.)
That Cortés does this in comparative obscurity, however, may prove she possesses what those in a producing role actually need, even more than publicists: The ability to work relentlessly, behind the scenes, to make movies happen, and an ego healthy enough not to pursue media visibility as its own end.
Lisa Cortés is a guest today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, December 11th, at 2 pm ET.
Then, Theodore Gray, is cofounder of software company Wolfram Research, makers of the legendary Mathematica. But that’s just his day job. In his spare time, Gray writes Popular Science‘s “Gray Matter” column…and collects samples of the 118 elements which populate the periodic table.
But why leave all that hydrogen, helium, and ununoctium just sitting there? Working with Nick Mann, the two shot seemingly everything in Gray’s hoard for publication.
Organized in order of appearance on the periodic table, each element is represented by a spread that includes a stunning, full-page, full-color photograph that most closely represents it in its purest form. For example, at -183˚C, oxygen turns from a colorless gas to a beautiful pale blue liquid.
You can hear Lisa Cortés’s and Theodore Gray’s ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our live stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
Fellow Scrubs-aholics, no doubt, have this duet from season 6 (“My Musical”) on total recall: After admitting a patient who hears everyone’s speech in the form of singing, the cast works out their usual issues, only tunefully.
For Turk (Donald Faison), left, and JD (Zach Braff), right, above, no topic trumps their bromance. (Favorite couplet: “It’s like I married my best friend / But in a totally manly way!”) Hence their “nothing gay about it” paean to the same.
Today, I’m thankful Scrubs, one of my all-time favorite television shows, will be starting its ninth season on Tuesday, December 1. I’m not hopeful for the series, however. I hope I’m wrong.
Part of this nimble, surreal ensemble comedy’s appeal always lay in the way that it drew nuanced, fully-fleshed out characters, then kept them bumping into each other in highly combinatorial ways. (The central cast consisted of l-r, John C. McGinley, Neil Flynn, Sarah Chalke, Zach Braff, Donald Faison, Ken Jenkins and Judy Reyes.)
Though Braff’s character was central, and, thus, certain relationships were core to the series—see above—it’s hard to think of a character that didn’t have a significant storyline with any other one. So those relationships were, as they are in the best comedies, a big part of the show’s appeal.
All that seems to have been decapitated. After numerous false starts, word is that the new season changes the show’s location from a hospital to a medical school; that McGinley, Faison, and Flynn will be the only regulars, as other cast members make occasional appearances; and that a whole “new generation!” of scrubs will be entering the cast, right.
All of which is enough to make you long for earlier, better days, when Braff wasn’t yet making $350,000 an episode, and Scrubs hadn’t yet jumped the shark.
To Istvan Csicsery-Ronay, Jr., right, you can describe it many ways. But, in the end, “more than a literary genre or a social passion,” sci-fi, or sf, “is a way of organizing the mind to include the contemporary world.”
Well and simply said, and there’s more where that came from. In his book, The Seven Beauties of Science Fiction, Csicsery-Ronay is bullish on sf. A professor of English at DePauw University, and coeditor of the journal Science Fiction Studies, he argues eloquently and passionately for a reconsideration of the form, and for its social utility and intellectual depth.
The title of his book alludes to what he describes as “a constellation of seven diverse cognitive attractions,” pulls, or features, sf possesses, and that make it compelling to fans. These include everything from the way it creates new language to how it handles the notion of history.
Like sf itself, Istvan Csicsery-Ronay, Jr. is a mother lode of ideas. He’s a guest today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, November 20, at 2 pm ET.
One way sci-fi movies used to let you know you were in the future was to make the president Black. But given that he actually is, does that job now fall to Black female rockers, like Danielia Cotton, above, or perhaps journalist Farai Chideya‘s Sophia Maria Clare Lee, the lead in her new novel, Kiss the Sky?
In it, Chideya, right, weaves a fast-moving story of sex, drugs, racial politics, and rock-and-roll; a modern tale of a woman who wants it all, but who also keeps getting in her own way. An ultra-modern woman herself, with credits from Newsweek, MTV, and NPR—where she hosted this blogger numerous times—and other media, Chideya makes no bones about the fact that she’s always wanted to be a novelist. Plus, now that she is one, she gladly shares the good news of how she did it, encouraging others to tell their own unique stories. As she notes in her essay, “How Do I Write A Novel,” “writing — not just the product but the process — is as individual as our fingerprints.”
You can hear Farai Chideya’s and Istvan Csicsery-Ronay, Jr.’s ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
Well, hell has a sequel. On November 17th, in Left For Dead 2 (Xbox 360/PC), Valve revisits the world where an unnamed pandemic is turning human corpses into fast-moving, flesh-eating gargoyles. However, this time, one of the four playable “survivors” is a Black woman, above. Hell better step the hell back.
In your piece, however, I couldn’t help but notice the following excerpt:
Where Mr. Allen lost me (well, he never really had me but I was going in with an open mind since I highly respect the person who referred me to his article), was when he spewed forth this nonsense:
Will hip-hop vocalist / producer Kanye West, as one blogger has insightfully observed, become the next African-American male to live his public existence as a symbol of the race divide’s vitriol? Will he become a scapegoat for white obsessions over the threat Blackness purportedly represents?
The virtual flood of racist, expletive-laden tweets that followed the artist’s brief rant at last night’s MTV Video Music Awards suggest a strong “Yes.”
As many know, West interrupted singer Taylor Swift during her “Best Female Video” honor and acceptance speech, taking the mic to tell her, and all watching, that, “Taylor, I’m really happy for you, I’m gonna let you finish, but Beyoncé had one of the best videos of all-time. One of the best videos of all-time!”, referring to Knowles “Single Ladies,” which had also been nominated.
West’s rude and abortive outburst drew loud, droning catcalls from the audience, while an embarrassed and stunned Swift stood, shocked and still, before being escorted gently from the stage.
After disrespectfully yelling out “You lie!” to the President of the United States, in the middle of Obama’s address to Congress last night, Republican South Carolina Rep. Joe Wilson, above, quickly received the contempt of the body’s fellow members, on both sides of the aisle. (“Stand with me against liberal attacks: Today I need your help more than ever before,” he urged from his home page on Twitter, shamelessly plugging for money.)
Wilson may actually do all right in that department because, according to TwitterCounter.com, as of today, he also has more than 6,000 new followers on the popular social networking site.
Random thought I had today: With the King of Pop’s death in June, the price of superstar conceptual artist Jeff Koons‘ famed 1988 sculpture, Michael Jackson and Bubbles, above, must be rocketing in value. (Made in an edition of three, plus an artist’s proof, one of the life-sized, 42 in. x 70 1/2 in. x 32 1/2 in. porcelain tchotchkes sold at auction for $5.6 million in 2001.)
Indeed, legendary art dealer Larry Gagosian, who reps Koons, right, told The New York Times back in July that if one of the creations
was to come up for sale now, it could make more than $20 million. “And that’s conservative,” he added.
See Orlando, the one in the middle, above? He’s smiling, but, like a lot of Black people, deep down inside, he’s tired of being ignored. Passed over for promotions. Always asked to work on his company’s “ethnic marketing” campaigns.
I mean, look at him: He’s the oldest guy in his unit, because everybody who got hired when he came on has moved up. Meanwhile, Jenny, right, is team leader, and in line for the division president position. Ignore the Asian guy!
Grrrrrrrrrrr. It’s enough to infuriate a person.
Or, at least, it was. But that was before we, at Microsoft, introduced The Microsoft Advantage, courtesy of our most advanced software to-date: Windows RaceChange Suite Express for Vista.
With a few quick taps on his laptop, Orlando, above, becomes “Bob,” below.
WOW! Look at him now! Wouldn’t you like that guy running North American sales? Notice the respect, the vitality! That’s the kind of man that leads men…and Jenny to the bedroom!
Plus, he speaks Polish!
Microsoft Windows RaceChange Suite Express for Vista: And, remember: At Microsoft, race isn’t a bug. It’s a feature.
Unless you closely study indy film credits, though, you may not heard of Precious executive producer Lisa Cortés, right. (A sr. v.p. with Lee Daniels Entertainment, she’s also worked with Daniels, in varied roles, on the Academy Award-winning Monster’s Ball, The Woodsman, Shadowboxer, and Tennessee.)
But why leave all that hydrogen, helium, and ununoctium just sitting there? Working with Nick Mann, the two shot seemingly everything in Gray’s hoard for publication.
Today, I’m thankful Scrubs, one of my all-time favorite television shows, will be starting its ninth season on Tuesday, December 1. I’m not hopeful for the series, however. I hope I’m wrong.
All that seems to have been decapitated. After numerous false starts, word is that the new season changes the show’s location from a hospital to a medical school; that McGinley, Faison, and Flynn will be the only regulars, as other cast members make occasional appearances; and that a whole “new generation!” of scrubs will be entering the cast, right.
To Istvan Csicsery-Ronay, Jr., right, you can describe it many ways. But, in the end, “more than a literary genre or a social passion,” sci-fi, or sf, “is a way of organizing the mind to include the contemporary world.”
In it, Chideya, right, weaves a fast-moving story of sex, drugs, racial politics, and rock-and-roll; a modern tale of a woman who wants it all, but who also keeps getting in her own way. An ultra-modern woman herself, with credits from Newsweek, MTV, and NPR—where she hosted this blogger numerous times—and other media, Chideya makes no bones about the fact that she’s always wanted to be a novelist. Plus, now that she is one, she gladly shares the good news of how she did it, encouraging others to tell their own unique stories. As she notes in her essay, 
