Barack, up close and personal...

A very interesting story has been published over at the Houston Press by Todd Spivak, titled "Barack Obama and Me". It gives an interesting picture of Barack's rise to power from his earlier days in Chicago and why many local black politicians aren't the biggest fans of him:

When asked about his legislative record, Obama rattles off several bills he sponsored as an Illinois lawmaker.

He expanded children's health insurance; made the state Earned Income Tax Credit refundable for low-income families; required public bodies to tape closed-door meetings to make government more transparent; and required police to videotape interrogations of homicide suspects.

And the list goes on.

It's a lengthy record filled with core liberal issues. But what's interesting, and almost never discussed, is that he built his entire legislative record in Illinois in a single year.

Republicans controlled the Illinois General Assembly for six years of Obama's seven-year tenure. Each session, Obama backed legislation that went nowhere; bill after bill died in committee. During those six years, Obama, too, would have had difficulty naming any legislative ­achievements.

Then, in 2002, dissatisfaction with President Bush and Republicans on the national and local levels led to a Democratic sweep of nearly every lever of Illinois state government. For the first time in 26 years, Illinois Democrats controlled the governor's office as well as both legislative chambers.

The white, race-baiting, hard-right Republican Illinois Senate Majority Leader James "Pate" Philip was replaced by Emil Jones Jr., a gravel-voiced, dark-skinned African-American known for chain-smoking cigarettes on the Senate floor.

Jones had served in the Illinois Legislature for three decades. He represented a district on the Chicago South Side not far from Obama's. He became Obama's ­kingmaker.

Several months before Obama announced his U.S. Senate bid, Jones called his old friend Cliff Kelley, a former Chicago alderman who now hosts the city's most popular black call-in radio ­program.

I called Kelley last week and he recollected the private conversation as follows:

"He said, 'Cliff, I'm gonna make me a U.S. Senator.'"

"Oh, you are? Who might that be?"

"Barack Obama."

Jones appointed Obama sponsor of virtually every high-profile piece of legislation, angering many rank-and-file state legislators who had more seniority than Obama and had spent years championing the bills.

"I took all the beatings and insults and endured all the racist comments over the years from nasty Republican committee chairmen," State Senator Rickey Hendon, the original sponsor of landmark racial profiling and videotaped confession legislation yanked away by Jones and given to Obama, complained to me at the time. "Barack didn't have to endure any of it, yet, in the end, he got all the credit.

"I don't consider it bill jacking," Hendon told me. "But no one wants to carry the ball 99 yards all the way to the one-yard line, and then give it to the halfback who gets all the credit and the stats in the record book."

It also shows us Obama isn't always so happy and hopeful, especially when you try to report on something that doesn't make him look so good:

It's not quite eight in the morning and Barack Obama is on the phone screaming at me. He liked the story I wrote about him a couple weeks ago, but not this garbage.

Months earlier, a reporter friend told me she overheard Obama call me an asshole at a political fund-raiser. Now here he is blasting me from hundreds of miles away for a story that just went online but hasn't yet hit local newsstands.

It's the first time I ever heard him yell, and I'm trembling as I set down the phone. I sit frozen at my desk for several minutes, stunned.

Click here to read the whole article.

The Word: Good Bad Journalism

Stephen Colbert shows that good bad journalism can be done in a sonnet or a limerick. Too funny! The writers have come back in full force!

(Note: You have to wait until the end to hear the limerick.)

Breaking idols ...

Dear friends,

When I first wrote about the messianic connections with Obama it was more a joke than anything to me. However, as Obama hype continues to rise (surely the bubble will break eventually, but when?), I grow increasingly uneasy towards many things happening in his campaign. The following blog sums up pretty well all of the messianic and obsessive-compulsive tendencies among many (though certainly not all) of his supporters, something that completely disgusts me (it's pretty funny to read about though!):

"Is Barack Obama the Messiah?"

However, far more so than that, I'm concerned by the very things that Obama is doing and saying and what he stands for as a politician. Now, I for one will be the first to admit that Hillary Clinton has practiced power politics in the past and is far from perfect, but at least that is out in the open, as it is with most other politicians. What I can't stand about Barack Obama is the way in which he has somehow convinced so many that he is taking the "high road" this election cycle when there are countless actions and statements that point to the contrary.

The guy is not a saint but rather a walking hypocrite who I sincerely believe will probably be more corporate and conservative over all than Hillary Clinton (just look at his economic advisers), yet strangely enough, countless numbers of people, including many in the progressive netroots movement, think he is their bastion of hope. In fact, one of the best blogposts out there shows in detail how the Obama campaign has duped the netroots progressives into ironically backing a candidate of Lieberman-esque centrist quality that they would have cringed at and fought hard against several years ago. I highly recommend reading this post, as it points out a number of his weaknesses that have yet to be given much attention in the media or by many of his supporters:

"Who Represents the Progressive Movement?"

Ultimately, I suppose all I can say is that I don't think Barack is what he appears to be, so please carefully consider things before giving him your vote. That being said, I'm probably ultimately going to vote for Ralph Nader in the general election, so perhaps my input here won't matter much to you. Whatever the case, I do plan to vote for Hillary Clinton over Obama in the Ohio primary and I encourage you all to do the same (in Ohio or in your own home state).

There, I've come out and said it: Go Hillary! (for now, at least)

Feel free to question and criticize my present decision (which as always, is open to the possibility of change in the future).

p.s. I realized after writing this that I should have emphasized how I don't think Obama is a terrible candidate. McCain is much worse. I just happen to think that Hillary is better than both of them. Of course, I also think Ralph Nader tops them all. And of course, none of this takes into consideration who might be more "popular", but is simply an assessment of who I think is more right for president according to my views and beliefs regarding what would be best for our country at this time.

My Oscar Predictions

These aren't necessarily all my favorites, but merely the ones I think will win.

[UPDATE: I'll be highlighting the actual winners in green and my incorrect predictions in red. My picks will remain in bold too.]

Performance by an actor in a leading role
George Clooney in "Michael Clayton" (Warner Bros.)
Daniel Day-Lewis in "There Will Be Blood" (Paramount Vantage and Miramax)
Johnny Depp in "Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)
Tommy Lee Jones in "In the Valley of Elah" (Warner Independent)
Viggo Mortensen in "Eastern Promises" (Focus Features)

Performance by an actor in a supporting role
Casey Affleck in "The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.)
Javier Bardem in "No Country for Old Men" (Miramax and Paramount Vantage)
Philip Seymour Hoffman in "Charlie Wilson's War" (Universal)
Hal Holbrook in "Into the Wild" (Paramount Vantage and River Road Entertainment)
Tom Wilkinson in "Michael Clayton" (Warner Bros.)

Performance by an actress in a leading role
Cate Blanchett in "Elizabeth: The Golden Age" (Universal)
Julie Christie in "Away from Her" (Lionsgate)
Marion Cotillard in "La Vie en Rose" (Picturehouse)
Laura Linney in "The Savages" (Fox Searchlight)
Ellen Page in "Juno" (A Mandate Pictures/Mr. Mudd Production)

Performance by an actress in a supporting role
Cate Blanchett in "I'm Not There" (The Weinstein Company)
Ruby Dee in "American Gangster" (Universal)
Saoirse Ronan in "Atonement" (Focus Features)
Amy Ryan in "Gone Baby Gone" (Miramax)
Tilda Swinton in "Michael Clayton" (Warner Bros.)

Best animated feature film of the year
"Persepolis" (Sony Pictures Classics): Marjane Satrapi and Vincent Paronnaud
"Ratatouille" (Walt Disney): Brad Bird
"Surf's Up" (Sony Pictures Releasing): Ash Brannon and Chris Buck

Achievement in art direction
"American Gangster" (Universal): Art Direction: Arthur Max; Set Decoration: Beth A. Rubino
"Atonement" (Focus Features): Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
"The Golden Compass" (New Line in association with Ingenious Film Partners): Art Direction: Dennis Gassner; Set Decoration: Anna Pinnock
"Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount): Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
"There Will Be Blood" (Paramount Vantage and Miramax): Art Direction: Jack Fisk; Set Decoration: Jim Erickson

Achievement in cinematography
"The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.): Roger Deakins
"Atonement" (Focus Features): Seamus McGarvey
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn): Janusz Kaminski
"No Country for Old Men" (Miramax and Paramount Vantage): Roger Deakins
"There Will Be Blood" (Paramount Vantage and Miramax): Robert Elswit

Achievement in costume design
"Across the Universe" (Sony Pictures Releasing) Albert Wolsky
"Atonement" (Focus Features) Jacqueline Durran
"Elizabeth: The Golden Age" (Universal) Alexandra Byrne
"La Vie en Rose" (Picturehouse) Marit Allen
"Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Colleen Atwood

Achievement in directing
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn), Julian Schnabel
"Juno" (A Mandate Pictures/Mr. Mudd Production), Jason Reitman
"Michael Clayton" (Warner Bros.), Tony Gilroy
"No Country for Old Men" (Miramax and Paramount Vantage), Joel Coen and Ethan Coen
"There Will Be Blood" (Paramount Vantage and Miramax), Paul Thomas Anderson

Best documentary feature
"No End in Sight" (Magnolia Pictures) A Representational Pictures Production: Charles Ferguson and Audrey Marrs
"Operation Homecoming: Writing the Wartime Experience" (The Documentary Group) A Documentary Group Production: Richard E. Robbins
"Sicko" (Lionsgate and The Weinstein Company) A Dog Eat Dog Films Production: Michael Moore and Meghan O'Hara
"Taxi to the Dark Side" (THINKFilm) An X-Ray Production: Alex Gibney and Eva Orner
"War/Dance" (THINKFilm) A Shine Global and Fine Films Production: Andrea Nix Fine and Sean Fine

Best documentary short subject
"Freeheld" A Lieutenant Films Production: Cynthia Wade and Vanessa Roth
"La Corona (The Crown)" A Runaway Films and Vega Films Production: Amanda Micheli and Isabel Vega
"Salim Baba" A Ropa Vieja Films and Paradox Smoke Production: Tim Sternberg and Francisco Bello
"Sari's Mother" (Cinema Guild) A Daylight Factory Production: James Longley

Achievement in film editing
"The Bourne Ultimatum" (Universal): Christopher Rouse
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn): Juliette Welfling
"Into the Wild" (Paramount Vantage and River Road Entertainment): Jay Cassidy
"No Country for Old Men" (Miramax and Paramount Vantage) Roderick Jaynes
"There Will Be Blood" (Paramount Vantage and Miramax): Dylan Tichenor

Best foreign language film of the year
"Beaufort" Israel
"The Counterfeiters" Austria
"Katyn" Poland
"Mongol" Kazakhstan
"12" Russia

Achievement in makeup
"La Vie en Rose" (Picturehouse) Didier Lavergne and Jan Archibald
"Norbit" (DreamWorks, Distributed by Paramount): Rick Baker and Kazuhiro Tsuji
"Pirates of the Caribbean: At World's End" (Walt Disney): Ve Neill and Martin Samuel

Achievement in music written for motion pictures (Original score)
"Atonement" (Focus Features) Dario Marianelli
"The Kite Runner" (DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics): Alberto Iglesias
"Michael Clayton" (Warner Bros.) James Newton Howard
"Ratatouille" (Walt Disney) Michael Giacchino
"3:10 to Yuma" (Lionsgate) Marco Beltrami

Achievement in music written for motion pictures (Original song)
"Falling Slowly" from "Once" (Fox Searchlight) Music and Lyric by Glen Hansard and: Marketa Irglova
"Happy Working Song" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
"Raise It Up" from "August Rush" (Warner Bros.): Music and Lyric by Jamal Joseph, Charles Mack and Tevin Thomas
"So Close" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
"That's How You Know" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz

Best motion picture of the year
"Atonement" (Focus Features) A Working Title Production: Tim Bevan, Eric Fellner and Paul Webster, Producers
"Juno" (A Mandate Pictures/Mr. Mudd Production) A Mandate Pictures/Mr. Mudd Production: Lianne Halfon, Mason Novick and Russell Smith, Producers
"Michael Clayton" (Warner Bros.) A Clayton Productions, LLC Production: Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
"No Country for Old Men" (Miramax and Paramount Vantage) A Scott Rudin/Mike Zoss Production: Scott Rudin, Ethan Coen and Joel Coen, Producers
"There Will Be Blood" (Paramount Vantage and Miramax) A JoAnne Sellar/Ghoulardi Film Company Production: JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

Best animated short film
"I Met the Walrus" A Kids & Explosions Production: Josh Raskin
"Madame Tutli-Putli" (National Film Board of Canada) A National Film Board of Canada Production Chris Lavis and Maciek Szczerbowski
"Même les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)" (Premium Films) A BUF Compagnie Production Samuel Tourneux and Simon Vanesse
"My Love (Moya Lyubov)" (Channel One Russia) A Dago-Film Studio, Channel One Russia and Dentsu Tec Production Alexander Petrov
"Peter & the Wolf" (BreakThru Films) A BreakThru Films/Se-ma-for Studios Production Suzie Templeton and Hugh Welchman

Best live action short film
"At Night" A Zentropa Entertainments 10 Production: Christian E. Christiansen and Louise Vesth
"Il Supplente (The Substitute)" (Sky Cinema Italia) A Frame by Frame Italia Production: Andrea Jublin
"Le Mozart des Pickpockets (The Mozart of Pickpockets)" (Premium Films) A Karé Production: Philippe Pollet-Villard
"Tanghi Argentini" (Premium Films) An Another Dimension of an Idea Production: Guido Thys and Anja Daelemans
"The Tonto Woman" A Knucklehead, Little Mo and Rose Hackney Barber Production: Daniel Barber and Matthew Brown

Achievement in sound editing
"The Bourne Ultimatum" (Universal): Karen Baker Landers and Per Hallberg
"No Country for Old Men" (Miramax and Paramount Vantage): Skip Lievsay
"Ratatouille" (Walt Disney): Randy Thom and Michael Silvers
"There Will Be Blood" (Paramount Vantage and Miramax): Christopher Scarabosio and Matthew Wood
"Transformers" (DreamWorks and Paramount in association with Hasbro): Ethan Van der Ryn and Mike Hopkins

Achievement in sound mixing
"The Bourne Ultimatum" (Universal) Scott Millan, David Parker and Kirk Francis
"No Country for Old Men" (Miramax and Paramount Vantage): Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
"Ratatouille" (Walt Disney): Randy Thom, Michael Semanick and Doc Kane
"3:10 to Yuma" (Lionsgate): Paul Massey, David Giammarco and Jim Stuebe
"Transformers" (DreamWorks and Paramount in association with Hasbro): Kevin O'Connell, Greg P. Russell and Peter J. Devlin

Achievement in visual effects
"The Golden Compass" (New Line in association with Ingenious Film Partners): Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood
"Pirates of the Caribbean: At World's End" (Walt Disney): John Knoll, Hal Hickel, Charles Gibson and John Frazier
"Transformers" (DreamWorks and Paramount in association with Hasbro): Scott Farrar, Scott Benza, Russell Earl and John Frazier

Adapted screenplay
"Atonement" (Focus Features), Screenplay by Christopher Hampton
"Away from Her" (Lionsgate), Written by Sarah Polley
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn), Screenplay by Ronald Harwood
"No Country for Old Men" (Miramax and Paramount Vantage), Written for the screen by Joel Coen & Ethan Coen
"There Will Be Blood" (Paramount Vantage and Miramax), Written for the screen by Paul Thomas Anderson

Original screenplay
"Juno" (A Mandate Pictures/Mr. Mudd Production), Written by Diablo Cody
"Lars and the Real Girl" (MGM), Written by Nancy Oliver
"Michael Clayton" (Warner Bros.), Written by Tony Gilroy
"Ratatouille" (Walt Disney), Screenplay by Brad Bird; Story by Jan Pinkava, Jim Capobianco, Brad Bird
"The Savages" (Fox Searchlight), Written by Tamara Jenkins

Can you tell I liked Juno and No Country For Old Men?
________________________________________

UPDATE #2: Looks like I was right on 6 out of 8 (75%) for the Major Awards, but only 12 for 24 (50%) overall. Bourne Ultimatum really threw me the biggest curveball, picking up 3 Oscars when I didn't think it deserved any. Oh well. By the way, to show that there was some thought put into all of this, out of all the nominees, these are the films that I saw over the past year:

"No Country for Old Men"
"Juno"
"There Will Be Blood"
"Atonement"
"Ratatouille"
"Michael Clayton"
"Sicko"
"Sweeney Todd: The Demon Barber of Fleet Street"
"The Bourne Ultimatum"
"Enchanted"
"The Golden Compass"
"Transformers"
"Pirates of the Caribbean: At World's End"

Now it's time to start watching foreign films, beginning with "La Vie en Rose".

The Penny Loafers and the Predatory Wasp

I just came across an interesting a capella cover of one of my favorite songs by Sufjan Stevens (both for the lyrics and the music): “The Predatory Wasp Of The Palisades Is Out To Get Us!” In my humble opinion, it's not even close to as good as the original, but nonetheless impressive considering it's all human vocals:

A troubling politics of hatred...

An excerpt from Paul Krugman's op-ed piece in todays New York Times, "Hate Springs Eternal":

The bitterness of the fight for the Democratic nomination is, on the face of it, bizarre. Both candidates still standing are smart and appealing. Both have progressive agendas (although I believe that Hillary Clinton is more serious about achieving universal health care, and that Barack Obama has staked out positions that will undermine his own efforts). Both have broad support among the party’s grass roots and are favorably viewed by Democratic voters.

Supporters of each candidate should have no trouble rallying behind the other if he or she gets the nod.

Why, then, is there so much venom out there?

I won’t try for fake evenhandedness here: most of the venom I see is coming from supporters of Mr. Obama, who want their hero or nobody. I’m not the first to point out that the Obama campaign seems dangerously close to becoming a cult of personality. We’ve already had that from the Bush administration — remember Operation Flight Suit? We really don’t want to go there again.

What’s particularly saddening is the way many Obama supporters seem happy with the application of “Clinton rules” — the term a number of observers use for the way pundits and some news organizations treat any action or statement by the Clintons, no matter how innocuous, as proof of evil intent.

The prime example of Clinton rules in the 1990s was the way the press covered Whitewater. A small, failed land deal became the basis of a multiyear, multimillion-dollar investigation, which never found any evidence of wrongdoing on the Clintons’ part, yet the “scandal” became a symbol of the Clinton administration’s alleged corruption.

During the current campaign, Mrs. Clinton’s entirely reasonable remark that it took L.B.J.’s political courage and skills to bring Martin Luther King Jr.’s dream to fruition was cast as some kind of outrageous denigration of Dr. King.

And the latest prominent example came when David Shuster of MSNBC, after pointing out that Chelsea Clinton was working for her mother’s campaign — as adult children of presidential aspirants often do — asked, “doesn’t it seem like Chelsea’s sort of being pimped out in some weird sort of way?” Mr. Shuster has been suspended, but as the Clinton campaign rightly points out, his remark was part of a broader pattern at the network.

I call it Clinton rules, but it’s a pattern that goes well beyond the Clintons. For example, Al Gore was subjected to Clinton rules during the 2000 campaign: anything he said, and some things he didn’t say (no, he never claimed to have invented the Internet), was held up as proof of his alleged character flaws.

For now, Clinton rules are working in Mr. Obama’s favor. But his supporters should not take comfort in that fact.

For one thing, Mrs. Clinton may yet be the nominee — and if Obama supporters care about anything beyond hero worship, they should want to see her win in November.

For another, if history is any guide, if Mr. Obama wins the nomination, he will quickly find himself being subjected to Clinton rules. Democrats always do.

But most of all, progressives should realize that [this] is not the country we want to be. Racism, misogyny and character assassination are all ways of distracting voters from the issues, and people who care about the issues have a shared interest in making the politics of hatred unacceptable.

I should note that just this past week I had so-called "progressive" pro-Obama friends citing Republican/conservative rhetoric (just as the Obama campaign has been doing) and conservative writers (is Peggy Noonan, a speech writer for Reagan and Bush Sr., really a progressive?) in order to question Clinton's healthcare plan and campaign. Who really sold out to corporate special interests here though? The one with the plan closer to universal healthcare (i.e. Clinton) or the one further away (i.e. Obama)?

Perhaps Barack's "high road" isn't so high after all though. Perhaps he's the one doing the real "bamboozling" in these elections. I can only hope that Obama's supporters have the intelligence and humility to admit to his imperfections, otherwise their movement of "change" will continue to look to me to be incredibly hypocritical and superficial just like almost everything else in politics, but perhaps even more so precisely because of their continuous claims not to be so.

UPDATE: I just came across two entertaining and interesting blogposts by Stanley Fish, "All You Need Is Hate" and "A Calumny a Day To Keep Hillary Away". He too is writing about the strange phenomena of Hillary hatred that seems to permeate this country, quipping that "Compared to this, the Swift Boat campaign against John Kerry was a model of objectivity" and "If she answers questions aggressively, she is shrill. If she moderates her tone, she’s just play-acting. If she cries, she’s faking. If she doesn’t, she’s too masculine. If she dresses conservatively, she’s dowdy. If she doesn’t, she’s inappropriately provocative." The second article, a follow-up to the first, is especially funny.

Mardi Gras: Made in China

Yeah, umm, sorry to ruin the fun, but about those beads...



(here's a link to a better quality Quicktime movie of the trailer)

Have a nice day!