Hollywood hates free-markets: Wall Street: Money Never Sleeps edition

From Reason.tv:

Oliver Stone’s uber-villain Gordon Gekko is back in the new film, Wall Street: Money Never Sleeps, which (surprise!) features greedy capitalists behaving badly. It might remind you of Avatar, Mission Impossible 2 or roughly a zillion other films in which capitalists destroy the environment, concoct killer viruses, harvest organs, and cover up murder in order to feed their lust of profit. Even when capitalism isn’t the primary target, the representatives of commerce are often flat-out repulsive (think Jabba the Hutt).

Perhaps it’s ironic that Hollywood filmmakers practice what they preach against. Sure he palls around with socialist dictators Fidel Castro and Hugo Chavez, but there’s no doubt Oliver Stone hopes to rake in obscene profits with his new flick.

See also Alex Tabarrok’s Wall Street Journal op-ed:  Capitalism: Hollywood’s Miscast Villain – Why the film industry is so good at getting business wrong.

(via Christian Toto at Pajamas Media)

songs from Myers Elementary in the early ’80s

I attended Myers Elementary School (suburban Philadelphia) from first grade through fourth grade – autumn 1981 through fall of 1985. I recall our music classes singing some tunes I would not expect to find in the, err, “syllabus,” for such a class. Robert Goltz and Jan Goltz taught the classes I was in. I compile the songs can I remember here:

“Pick a Bail of Cotton”: Video (1945) by Leadbelly:

Yes, a slave song (see bottom of this page). Skiffle musician Lonnie Donegan has a version here.

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Mutually discovering & creating improvisational (comedy) scenes

The final class of the Bovine Metropolis Theater‘s Level 3 series started off with an excellent exercise: we stand in a circle. The rules are to do what everyone else is doing, and exaggerate or subdue it. Eventually everyone is doing the same thing, which is evolving. No one is leading or following. It’s clearly a metaphor for how a good scene works: everyone is present, looking out for themselves and others, and there are no “wrong” moves, as others will respond appropriately.

Then we played some games where our character had a mantra, and everything was interpreted through it. I suspect these were inspired by Viola Spolin. That works because, of course, that’s how people are in a stylized sense. Eventually that clicked for me. By the end I’d entered each scene with a song in my head, and responded appropriately according to whatever song it was. This works well because songs embody emotions, motivations, attitudes, etc., the basis of a character.

When the scenes clicked, it was because each player brought something to it (e.g., a character trait), and neither they or the audience knew what was going on. With each line of dialog the players filled in a picture consistent both with what had been said before and with their character choice. Just as in the first exercise, no one was leading, there were no preconceived paths, and the scene grew.

Madcap Theater – Improv Comedy in Westminster, CO

Today my improv comedy class from Madcap Theater performed a couple of shows to demonstrate what we had learned in the six week “Level 1″ class. As with the first performance, it went great. What is even more satisfying that what I’ve learned through the classes is the story of Madcap Theater as a successful family-owned entrepreneurial venture.

I’ve been taking the classes since September, and gradually realized the extent to which this is a family-owned and run business – from the actors, bar tenders, servers, to the behind-the-scenes marketing and other business aspects. Check out this televised feature on Metrobeat TV. I don’t know how long this like will be valid – I appear briefly in the part about classes – at 3:11 into the segment. Also, the Boulder Daily Camera has a nice article on it.

Marc Salem’s Mind Games: naturalistic “magic”

What I do isn’t psychic. What I do isn’t supernatural. It has absolutely no relation whatsoever toMarc Salem those other realms, whether or not they even exist. – Marc Salem

My friend Andrew told me about this show, and I highly recommend the May 2005 60 Minutes segment (transcript), where Salem repeatedly stuns Mike Wallace with his ability to guess words on a page of books people are holding, serial numbers on currency, the sum of numbers chosen my audience members, etc. I’ve seen tricks like this before, for example, from street performers on Pearl Street, but Salem (real name is Moshe Botwinick) takes it to another level, and is willing to explain, in a calm matter-of-fact manner, some of the skills he has which allows him to accomplish seemingly miraculous feats. In short, Salem is keenly perceptive of people’s body language, just as I’m sure many professed “psychics” are. He has assisted and trained law enforcement in detecting lies, directed research on Sesame Street, and according to his website, “has been on faculty of several major universities for close to two decades.” Since Salem recommends the book The Silent Language by anthropologist Edward T. Hall, I wonder if Salem is familiar with the work of Paul Eckman. Or maybe he’s just a natural. According to this profile in the Jewish Journal, his PhD research focused on nonverbal communication. (Yes, I searched Google Scholar and Web of Science for papers. No luck.) Anyway, just watch the video – fantastic!

Notes from my improvisational comedy class

Tonight I attended was the third of eight Level 1 Improvisational Comedy classes given my the Bovine Metropolis Theater. During the first two weeks most of the exercises involved work with imaginary objects. For example, we’d envision ourselves eating at our favorite restaurant, doing an everyday activity like flossing, or playing catch with objects of different weights. One challenging exercise was to lead or follow a partner in such an activity. We’d mirror the leading partner in his motions until the instructor clapped, which indicated a switch in the leader & follower. The challenge for me, which surely occurs in all levels of improv, is to be attentive to what my partner’s doing when leading, and not try to make it something according to what’s in my head. This is especially true in an exercise where we hand an imaginary object around a circle. Each time it changes hands it must also transform in a coherent manner.
They made me very conscious of what I was doing with my body. The day after my first class I was quite aware of how my feel and legs felt while I was walking. I was aware of sensations I’d never before attended to. After the second class I was very conscious of everyday activities. For example, while emptying the dishwasher, felt the cool metal of spoon against my fingers – I never pay attention to that!

The third class started off with a fun game: attacker-defender. With everyone on stage (about six), we each designated (in our mind) someone who’s trying to attack us, and someone who can defend us. Like the other participants, my job was to move around the stage so as to keep my “defender” between me and my “attacker.” A simple algorithm resulting in brilliant patterns. A fun party game, too.

While the first two weeks involved no speaking, this week’s class introduced gibberish. Well, not formal gibberish, which resembles Pig Latin, or Opish, which my mother is quite fluent, but merely sounds that can convey emotions. My gibberish was quite vowel-heavy, along the lines of what Charlie Brown’s teacher sounds like. I suppose had I chosen a language to emulate, such as Chinese or French, it would have sounded quite different. The diversity of gibberish was rather broad, for example, Jim’s was clearly Scandinavian. Mine probably sounded as it did because I was constructing real sentences behind it was English words, and introduced random noise. (Yes, I do work with a bunch of optical signal processing engineers.)

Anyway, a few fun exercises were:

1. A 30-second television advertisement. A student gets up and the class tells him the product. He first does it in gibberish, then in English. I had MaryLee try to sell anvils. And I’m still wondering what they are for – I only know them through the Road Runner cartoons. Ah, now I know.

2. Interpreter (2 person). In a talk-show like setting, one person is a famous expert on a subject, and the interpreter translates her gibberish and gestures. Quite funny, and it was difficult for us to not laugh. The way the gibberish speaker and English speaker worked from and interpreted each other’s contributions was great, and the heart of the comedy.

3. Interpreter (3 person): This is like the above, but the interpreter is between two gibberish speakers of different languages who know each other well. For example, coaches of the same Little League team, a divorced couple (I interpreted them), owners of a pet shop (I played one), and a father and his gay son (I played the father).

All of these exercises were fun, humorous, and challenging. The challenge comes in both interpreting and going with what your partner gives you, and giving them things to work with. As I mentioned above, trying to control the scene with a preconceived notion of how it’s going to play out is a recipe for killing it. It’s like trying to pull an outside pitch in baseball – you’ll just ground out to short.
More to come…

movie: Little Miss Sunshine

I can’t remember the last time I saw a movie that I enjoyed so much that I would not hesitate recommending to anyone. That movie would be Little Miss Sunshine. Well, maybe to people I don’t like, but why spend the time considering them? It’s a story about a family, and how they relate and what they experience together runs the gamut from tension, conflict, cooperation, love, and hilarity. And as a bonus, soundtrack includes many songs be DeVotchKa, track #12 not being one of them.

Cherry Creek Arts Festival

On Saturday Dominic and I browsed the Cherry Creek Arts Festival in Denver. Three artists were noteworthy. Nanographic Arts, by George Clark and May Ann Clark, used scanning electron microscope images to create stimulating images. The second artist did sketches, and unfortunately I can’t track down his contact information. The one I liked was darkly humorous.

The third is John Harris, shown here, whose work includes paintings that look three dimensional. For example, the canvas showing the water looked rippled from a distance, so it was impressive to approach the canvas and see that it was flat. Here’s a link to his image gallery.