You leave yourself naked in the public square, but in a way that allows people to realize that you are clothed in the truth, and it’s not about you at all.
I'm one of the ignorant naysayers who balks at the inclusion of Rap(Hip/Hop) in the
Rock & Roll Hall of Fame . When Billy Innis puts those who disagree on that issue in that box,I would say characterizing Lamar's halftime show as rock & roll is the sort of metaphorical use that does an injustice to the music under description-just because you liked it ,loved it, were moved by it doesn't make it rock & roll. Using rock metaphorically, to take an extreme example ,is what disgusted Greil Marcus when he heard about American soldiers attacking a village in Iraq ,rev themselves up by saying: Let's rock or let's rock& roll (I don't remember which ) When in the 1980's& 90's I was exposed to Rap by kids beatboxing and spitting lyrics informally because they loved M C Lite, Biggie Smalls ,Rakim ,and all the rest -those kids did not think that what they were doing was rock and roll.Those kids didn't listen to or express any affection for rock & roll. Call it the American Music Hall of Fame & I would make no objection to the inclusion of any Rap/Hip Hop artist deemed worthy . To Billy Innis' point; you're nullifying the achievements and specificity of Rap/Hip Hop by subsuming that music under the category of Rock & Roll-actually. a version of rock & roll imperialism -the desperate attempt to remain relevant in a time when Hip Hop &Rap essentially stole the spotlight from rock & roll . Calling a Rap performance that you love ,reducing it to rock & roll-when it is music that is substantially different ,and wants its own Hall of Fame -which I imagine it has -is like the Humpty Dumpty Bit when he says the word means whatever I want it to mean. Cross fertilization of genres -healthy & normal-doesn't obliterate the distinctions that the genres originally enacted.
I take it when considering casting Philip Marlowe that you haven't seen Sugar on Apple TV+. Shows on that channel don't seem to make a big splash, bringing to mind Dean Torrance's remark that if America had been on Liberty Records it would still belong to the Indians. As to the series itself, it takes a really weird left turn at the end, as if it didn't realize how good it was going to be simply as a thriller. Among other things it demonstrates that contrary to Ross MacDonald, the sun-blinded streets of Los Angeles have a romantic presence without benefit of Chandler. As far as one of the old-Marlowe follow-ups Russell Crowe would be a candidate, though I don't think he can be bothered to do accents these days.
Greil played a role at the beginning of our project.
Sometimes its not always clear where to place the moral. There's good and evil from church. And All Shook Up from Elvis. Roch critics love All Shook Up because didn't Bob Dylan tell us to live more? But what if All Shook Up brings you closer to evil than good. That's what happened to me..
Nobody tried to look at the early project. In a few quick strokes-
I sent in a 26 page story about accounting firms. There was two girls and a guy. I wanted the story to come out better with women than a disaster. It was life and i put a lot into it.
Greil didn't like it. He used the Socratic method to berate me in front of the group. He wanted rock writing. I couldn't sleep for six days and almost lost my job. I was increasingly out of sorts. There was a catastrophe with a woman.
Its my responsibly. The law looks to who did it. My boss says to own it. And yet there are poets, writers and filmmakers who look for a different type of truth than who did it. They might ask what the neighborhood was like. Mean Streets is a community portrait. Those people will find a story where a man beat a middle class man again and again and again to make him a punk rocker until he snapped.
But you know what I got over it. I was able to shake it off. And she will be able to shake it off too. There's no reason to hate over this. Use it as grist for a work of art that will see everyone's reputation take a hit. A good story. I'm sure she'll be alright.
I'm one of the ignorant naysayers who balks at the inclusion of Rap(Hip/Hop) in the
Rock & Roll Hall of Fame . When Billy Innis puts those who disagree on that issue in that box,I would say characterizing Lamar's halftime show as rock & roll is the sort of metaphorical use that does an injustice to the music under description-just because you liked it ,loved it, were moved by it doesn't make it rock & roll. Using rock metaphorically, to take an extreme example ,is what disgusted Greil Marcus when he heard about American soldiers attacking a village in Iraq ,rev themselves up by saying: Let's rock or let's rock& roll (I don't remember which ) When in the 1980's& 90's I was exposed to Rap by kids beatboxing and spitting lyrics informally because they loved M C Lite, Biggie Smalls ,Rakim ,and all the rest -those kids did not think that what they were doing was rock and roll.Those kids didn't listen to or express any affection for rock & roll. Call it the American Music Hall of Fame & I would make no objection to the inclusion of any Rap/Hip Hop artist deemed worthy . To Billy Innis' point; you're nullifying the achievements and specificity of Rap/Hip Hop by subsuming that music under the category of Rock & Roll-actually. a version of rock & roll imperialism -the desperate attempt to remain relevant in a time when Hip Hop &Rap essentially stole the spotlight from rock & roll . Calling a Rap performance that you love ,reducing it to rock & roll-when it is music that is substantially different ,and wants its own Hall of Fame -which I imagine it has -is like the Humpty Dumpty Bit when he says the word means whatever I want it to mean. Cross fertilization of genres -healthy & normal-doesn't obliterate the distinctions that the genres originally enacted.
I take it when considering casting Philip Marlowe that you haven't seen Sugar on Apple TV+. Shows on that channel don't seem to make a big splash, bringing to mind Dean Torrance's remark that if America had been on Liberty Records it would still belong to the Indians. As to the series itself, it takes a really weird left turn at the end, as if it didn't realize how good it was going to be simply as a thriller. Among other things it demonstrates that contrary to Ross MacDonald, the sun-blinded streets of Los Angeles have a romantic presence without benefit of Chandler. As far as one of the old-Marlowe follow-ups Russell Crowe would be a candidate, though I don't think he can be bothered to do accents these days.
Greil played a role at the beginning of our project.
Sometimes its not always clear where to place the moral. There's good and evil from church. And All Shook Up from Elvis. Roch critics love All Shook Up because didn't Bob Dylan tell us to live more? But what if All Shook Up brings you closer to evil than good. That's what happened to me..
Nobody tried to look at the early project. In a few quick strokes-
I sent in a 26 page story about accounting firms. There was two girls and a guy. I wanted the story to come out better with women than a disaster. It was life and i put a lot into it.
Greil didn't like it. He used the Socratic method to berate me in front of the group. He wanted rock writing. I couldn't sleep for six days and almost lost my job. I was increasingly out of sorts. There was a catastrophe with a woman.
Its my responsibly. The law looks to who did it. My boss says to own it. And yet there are poets, writers and filmmakers who look for a different type of truth than who did it. They might ask what the neighborhood was like. Mean Streets is a community portrait. Those people will find a story where a man beat a middle class man again and again and again to make him a punk rocker until he snapped.
But you know what I got over it. I was able to shake it off. And she will be able to shake it off too. There's no reason to hate over this. Use it as grist for a work of art that will see everyone's reputation take a hit. A good story. I'm sure she'll be alright.
Idris Elba would be a fine Phillip Marlowe.