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The cowriter (with Mike Stoller) of countless hits for Elvis, Peggy Lee, Ben E. King, Shirley Bassey, Big Mama Thornton, Bill Haley, the Drifters, the Coasters etc. died 34 years to the week after Presley’s own death.
While Leiber and Stoller hadn’t many new hits after their ’50s-’60s heyday, their older songs remained alive in the oldies canon, as well as in the general culture.
Alice Walker wrote an oft-reprinted 1983 essay lauding Thornton’s version of “Hound Dog” as superior to Presley’s (an opinion with which Leiber agreed).
Twenty years ago, the Broadway revue Smokey Joe’s Cafe mixed slick-sanitized renditions of 40 Leiber/Stoller oldies within a fab-’50s nostalgia theme.
In the early 2000s, Leiber was an outspoken co-plaintiff in the record industry’s lawsuits to shut down online file sharing.
And, of course, there was the Leiber/Stoller tribute episode of American Idol this past May with guest star Lady Gaga.
from stouttraveladventure.blogspot.com
j.p. at the pike place market centennial, 2007
from buzzfeed.tumblr.com
…It would involve more, not less, government spending… rebuilding our schools, our roads, our water systems and more. It would involve aggressive moves to reduce household debt via mortgage forgiveness and refinancing. And it would involve an all-out effort by the Federal Reserve to get the economy moving, with the deliberate goal of generating higher inflation to help alleviate debt problems.
from thelmagazine.com
There’s bad news today for the book snobs out there.
(You know, the droning turned-up-nose guys who love to whine that Nobody Reads Anymore, except of course for themselves and their own pure little subculture.)
Turns out, according to a study co-sponsored by two industry groups, book sales are actually up over the past three years!
Yes, even during this current economic blah-blah-blah!
Ebook sales have particularly exploded.
But regular dead-tree volumes are also up; except for mass market paperbacks (perhaps the most vulnerable category to the ebook revolution).
Adult fiction sales rose 8.8 percent from early ’08 to late ’10. Also doing well, according to the NYT story about the study: “Juvenile books, which include the current young-adult craze for paranormal and dystopian fiction….” (Good news for people who love bad news, to quote a Modest Mouse CD.)
Oh, as for that other commercial communications medium? You know, the medium that the book snobs call their sworn enemy?
The AP headline says it all: “Pay TV industry loses record number of subscribers.”
•
Has the above inspired you to get with the program, hop on the bandwagon, follow the fad, and start buying some more books for your very own?
I have a great little starter number, just for you.
pride parade viewers at the big popsicle
(A relatively long edition this time, bear with.)
sorry, maude, you didn't make the list
menu screen from 'mickey, donald, goofy: the three musketeers'
About three weeks ago, I wrote about the long term decline of cable access TV, once one of Seattle’s most fertile loci of creativity.
Today, of course, we have online video streaming.
This is so much more convenient for niche-audience programming in several ways. Viewers don’t have to tune in at any specific time. They can easily catch up with past episodes. They can watch wherever they have a computer (or tablet or smart phone) and a broadband or WiFi connection.
And with contemporary digital video gear so much cheaper to buy (or rent) these days, low-budget and no-budget producers can accomplish quite a degree of slickness.
Take for example The Spit Show with Indus & Raquel (produced by Indus Alelia, written and directed by Dan Desrosiers, hosted by Alelia and Raquel Werner).
Like many cable access comedy shows of the 1990s, The Spit Show consists of comedy and music bits, with continuing characters and a loose storyline.
But unlike those older shows, it has fancy production values and is edited with brisk comic pacing.
And without a weekly time slot to fill, it can put out episodes of any length (more or less 10 minutes) at a relatively leisurely frequency (four episodes since February).
Alelia and Werner aren’t asking you to be home at any particular time. They’re not asking you to invest 29 minutes into deciding whether you like their work.
But if you do like their work, they’d like you to keep coming back.
"rupert bear," ironically, was and is a comic in the non-murdoch owned london express.
The sometimes fiercely divided left and progressive factions in the U.S. are today united on one overriding desire.
They’d all like to see the phone-hacking and bribery scandal at Rupert Murdoch’s British newspapers result in the collapse of Murdoch’s American media empire.
Especially of the (deservedly) fiercely-despised Fox News Channel.
Could it happen?
Lefty pundits are pondering possible scenarios that could potentially lead to the sell-off and /or dismemberment of Murdoch’s stateside properties.
Such a move, these pundits guess, could be triggered by shareholders deathly afraid of the Murdochs’ sullied reputations ruining News Corp.’s American brands. Even if no direct link surfaces between the U.S. properties and the Murdoch U.K. papers’ scandals.
I’m not so sure.
If forced to do so, the Murdoch family could sell off its stock in, and retire from leadership of, the Fox broadcast network and its 27 network-owned stations. That move could avert any challenges to those local stations’ FCC licenses.
(Most Fox broadcast affiliates are owned by other companies. Here, KCPQ is owned by the Tribune Co.)
Such a spinoff could leave the Murdochs still in charge of the 20th Century-Fox film studio, along with its TV-production and home-video divisions. Rupert and his offspring could still own The Simpsons, even if they no longer owned the network on which it airs.
The family could also sell what’s left of the once mighty Wall Street Journal and Barron’s;Â perhaps to Bloomberg.
The assorted Fox cable channels are another potential matter altogether.
For one thing, the FCC doesn’t oversee the ownership of or content on cable channels.
And when Viacom spun off its former subsidiary CBS into a separate company again, some of Viacom’s cable properties (MTV, CMT) stayed with Viacom, while others (Showtime, The Movie Channel) became part of the new CBS Corp.
The Murdochs could sell off FX, Fox Movie Channel, Fox Soccer Channel, Speed, Fuel TV, Fox’s distribution/marketing contract with the National Geographic Channel, and its partnerships in the remaining regional FSN sports channels.
And they could keep Fox News Channel and Fox Business Channel.
Just to spite us liberals.
And with the money they get from selling their shares of all those other properties, the family could even keep subsidizing the New York Post for a few more years.
(Answer to yesterday’s riddle: The $25,000 Pyramid.)
It’s a shame so many modern-day folk only know Roald Dahl as a “children’s writer.” He was more of a gruesome fabulist, some of whose stories were marketed as children’s fare.
Even the most famous screen version of his darker side, the once ubiquitously-rerun UK TV series Tales of the Unexpected, isn’t widely associated with Dahl. He hosted the show’s first two seasons, which mostly were adapted from his prose. After he quit the show, it continued another seven seasons without him. The show became noticeably lighter in tone as it evolved further away from Dahl’s conceptions.
But for straight-no-chaser Dahl misanthropy, though, there’s no better visual source than ‘Way Out. (Yes, it was spelled that way.)
It was one of the last prime time anthology shows made in New York. It was produced by David Susskind. Dahl introduced the episodes and wrote only the first, an adaptation of his own story William and Mary. But they all display a devilish cruelty.
Of the 14 episodes produced in 1961, five have made it onto the collectors’ circuit, and from there to YouTube. Those can all be found at this link.
Most of them have no sympathetic or even likable characters. There are no Rod Serling moral lessons, and no Alfred Hitchcock ironic twists. It’s all morbid and deadly.
Which, of course, made it a commercial flop.
And so much fun.
You can tell you’re not in Serling-land right at the opening logo sequence. It’s a series of human hands, reaching up in futility from the ground (buried alive?).