Tag Archives: culture

Jimmy Fallon Makes Sex Jokes With Mitt Romney as They "Slow Jam the News"

Mother Jones

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On Friday, Mitt Romney joined Jimmy Fallon and the Roots on NBC’s Late Night to “slow jam the news.” The main topic of the segment was President Obama’s upcoming State of the Union address. Highlights include Fallon making a 47-percent quip, a once-you-go-black-you-never-go-back joke (regarding Romney’s loss to President Obama in the 2012 election), and other sex jokes, all while Romney sat behind him.

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“President Obama looked the American people up and down and said, ‘I’d tap that,'” Fallon says, on the subject of NSA surveillance.

Fallon and the Roots have previously slow-jammed the news with New Jersey Gov. Chris Christie and Obama (Breitbart.com even accused NBC of violating campaign finance law by having the president on to slow-jam the news, a claim that was of course nonsense). Romney’s appearance on Friday answers CBS News’ nearly two-year-old question, “Will we ever see…Mitt Romney follow in President Obama’s footsteps and slow jam the news?”

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Jimmy Fallon Makes Sex Jokes With Mitt Romney as They "Slow Jam the News"

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T Bone Burnett on How He Chooses The Music For "True Detective"

Mother Jones

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True Detective, a dark new anthology series that premiered on HBO earlier this month, has been greeted with wide critical praise. “True Detective could be the next Breaking Bad,” gushed The New Republic. The philosophical drama (written by Nic Pizzolatto and directed by Cary Fukunaga) stars Matthew McConaughey and Woody Harrelson as Louisiana homicide detectives Rustin Cohle and Martin Hart, respectively. The show follows their hunt for a serial killer, as well as their struggles with inner demons and family.

The series’ brooding atmosphere is framed by an expertly crafted soundtrack—some of the songs are haunting, some are bluesy, some are both. The music is selected by none other than T Bone Burnett, the Oscar-winning producer and musician.

“I have a long history with detective movies—almost as long as I have with rock ‘n’ roll,” Burnett says. “I’ve always been interested in crime and true crime. If you listen to my records, like Criminal Under My Own Hat, you can feel it. I love Chandler and Hammett; I love detective movies.”

T Bone Burnett. Kulturvultur/Wikimedia Commons

Burnett’s musical accomplishments are wide-ranging: He was musical director for Roy Orbison’s fantastic 1988 black-and-white special and played guitar on the road with Bob Dylan, for instance. In recent years, Burnett has made an even bigger name for himself through his acclaimed work on movie soundtracks, from O Brother, Where Art Thou? to The Hunger Games.

When Burnett cracked open the 500-page script for True Detective‘s first season (each season tells a different story, with the initial one spanning eight episodes), he instantly fell in love with the characters and dialogue (which he calls “some of the best tough-guy dialogue I’ve ever heard”). More than that, he felt an artistic connection to the material.

“It was like reading a good novel,” Burnett says. “Right from the very beginning, when I read the description of a burnt-out field, I thought of the cover of my album Tooth of Crime, and said to myself, ‘This guy’s been tapping my phone!'”

Burnett’s affection for the series comes through in his song selection, which plays like a sinister blues and gospel party mix. When he began working on this project, he and Pizzolatto both agreed that there should be an unofficial policy to veer the soundtrack away from Louisiana swamp blues and Cajun music because “it’s already been done so much,” Burnett says. The soundtrack includes tracks like “Bring It to Jerome” by Bo Diddley, “Clear Spot” by Captain Beefheart and the Magic Band, “Stand By Me” by The Staple Singers, and “Honey Bee (Let’s Fly to Mars)” by Grinderman. “It’s like scoring an eight-hour movie,” Burnett says.

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T Bone Burnett on How He Chooses The Music For "True Detective"

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This Is How Ringo Starr Got Involved With the New "Powerpuff Girls" Special

Mother Jones

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Earlier this month, you might have heard the latest song by ex-Beatle and former NORAD Santa tracker Ringo Starr. It’s a new track he recorded for (of all things) The Powerpuff Girls, a beloved Cartoon Network series about three adorable little girls with superpowers and their professor father. The show ended its original run nine years ago, but an all-new special episode, titled The Powerpuff Girls: Dance Pantsed, is set to air on Monday night. Starr guest-stars as a mathematician named Fibonacci Sequins (click here to check out his cartoon look), and recorded “Wish I Was a Powerpuff Girl” for an animated music video (which you can watch below).

The A.V. Club called the video “trippy.” BuzzFeed dubbed the tune “the most adorable song.” And Rolling Stone reported that the “video, if nothing else, proves that the experimental Sixties spirit still shines bright.”

This isn’t the first time The Powerpuff Girls has been associated with The Beatles. The episode “Meet the Beat Alls,” which follows a villainous supergroup’s reign of terror, is packed full of Beatles references. But how exactly did the former Beatles drummer end up playing a part in The Powerpuff Girls? Well, according to Dave Smith (who directed the new episode and served as a storyboard artist during the show’s initial run), it took some convincing—and it almost didn’t happen.

“Brian Miller, who runs Cartoon Network in Los Angeles, came up to us one day and said that he’s one degree separated from Ringo Starr, and asked us if we wanted to reach out to him for a role,” Smith says. “We thought Ringo Starr would be fantastic as the mathematician. So we came up with a character design and sent Ringo a brief synopsis of the show and the characters he could play. And he politely declined.”

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This Is How Ringo Starr Got Involved With the New "Powerpuff Girls" Special

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Real-Life "Lone Survivor" Marcus Luttrell Really Hates the Liberal Media

Mother Jones

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Journalist Jake Tapper has taken some heat for an interview that aired on CNN last Friday. The segment focused on the new war film Lone Survivor, and Tapper, who was interviewing actor Mark Wahlberg and former Navy SEAL Marcus Luttrell (the real-life lone survivor who co-wrote the movie’s source material), raised serious questions about the planning and command-level decisions that led to the failed mission in Afghanistan depicted in the movie. At one point, when Tapper asked about the “senseless” deaths of American military personnel during the 2005 operation, Luttrell got mad at Tapper and accused him of implying that his brothers-in-arms “died for nothing.”

Subsequently, Tapper, who is well-known for his support for US servicemembers, met with the expected conservative outrage. Fox News personality Megyn Kelly hosted a segment that ran with the chyron, “some in media suggesting Navy SEALs in ‘Lone Survivor’ died for nothing.” The right-wing crusade to portray MSMers as liberal Blame-America Firsters who don’t appreciate or back the US military is nothing new. But perhaps one reason Tapper’s interview with Luttrell was so tense is that Luttrell has an intense distrust of the media and seems to view them, as is common in certain quarters, as the liberal media.

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Real-Life "Lone Survivor" Marcus Luttrell Really Hates the Liberal Media

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How to Raise Black Children (on Camera)

Mother Jones

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Like many parents, Joe Brewster and Michèle Stephenson decided to capture their first-born’s major milestones on video—first day of school, basketball games, middle-school graduation, preparations for the prom. They filmed the mundane moments, too: Walking the family dog, meltdowns over homework, a trip to the doctor that resulted in an ADHD diagnosis. All told, the family compiled more than 800 hours of footage starting the day that their son, Idris, and his best friend, Seun, entered kindergarten at Manhattan’s Dalton School—two middle-class black boys on scholarships at one of the nation’s most exclusive, and predominantly white, educational institutions.

In the resulting documentary, American Promise, which won a Sundance Jury Award and airs nationally on PBS on February 3, parents will see much that they recognize from their everyday struggles to raise confident, well-rounded kids—from the last-minute cramming on the drive to school to arguments around the kitchen table over a mediocre report card. But at a time when study after study shows black boys on the wrong side of a staggering achievement gap, the film offers an intimate look at the additional burdens of cultural bias and the social typecasting of young black men. Here’s a trailer:

This week, the Brewster and Stephenson release a new parenting book, Promises Kept: Raising Black Boys to Succeed in School and Life. Based on their 13-year-experiment, the book includes expert advice on dealing with bias and stereotyping. I reached the couple at home in Brooklyn as they prepared for a final screening at the New York Film Festival to discuss overbooked kids, Trayvon Martin, and what it’s like raising a child under the camera’s watchful eye.

Mother Jones: How has American Promise been received on the festival circuit?

Joe Brewster: We were told we were the first in history to get a two-time standing ovation at the New York Film Festival. That’s kind of amazing, although another film got one the same night so I think they’re in the standing ovation mode over there. But the kids were there and they got one for themselves. And a number of parents came up to us, talking about how it spoke to them.

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How to Raise Black Children (on Camera)

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What’s Kathleen Hanna Listening to 16 Years Post-Bikini Kill?

Mother Jones

Two decades ago, Bikini Kill’s Kathleen Hanna, who now fronts a quintet called The Julie Ruin, was at the forefront of the punk-rock feminist movement. I asked the riot grrrl icon what she’s listening to nowadays, and here’s what she had to say. To read the rest of our interview, click here.

1. I’d say Santigold is probably my favorite younger artist. “Creator” is the song that I listen to when I’m really like, “I can’t do it anymore!” It’s such a bold statement about being someone who makes stuff, whatever that stuff is. It gives me so much confidence.

2. I really like Grimes a lot. I love that she produces her music and she’s unapologetic about being a feminist. It sounds like a contradiction to mix fashion with feminism and I really love that she just walks through that like, “What do you mean? There’s no contradiction.”

3. I’ve been really into Vic Chesnutt lately. His music is so moving and so beautiful, and his voice is just so different than anybody else’s. I’ve lost a lot of people to suicide and I can’t listen to the music of friends who died of suicide, but I can listen to his, because he wasn’t my friend. There is sadness in his pain and also just joy. I love the idea that he survives through his music. That’s a really hopeful, sweet thing.

4. I really love LCD Soundsystem—like everybody else on the planet—just the way that James Murphy took so many references of Joy Division, or whatever he was referencing, and really was able to make it his own. He has a great record collection and knows a lot of music and it really comes out in such an interesting, beautiful way. He mixed a song on our record, so I got to meet him, and it was really fun.

5. I love old country music: Hank Williams Senior, Patsy Cline, Tammy Wynette, and all that kind of stuff. George Jones is a favorite. I just really love the style of writing where every chorus is colored by the verse and the verses change what the chorus means. It tells stories of peoples’ lives. I listened to country music as a kid. I’m kind of leaning toward that way of writing as I get older.

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What’s Kathleen Hanna Listening to 16 Years Post-Bikini Kill?

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WATCH: Tina Fey and Amy Poehler Roast Celebrities at the 2014 Golden Globes

Mother Jones

On Sunday, Tina Fey and Amy Poehler once again hosted the Golden Globe Awards. Their opening bit was—reliably—a good time. The pair spent those first ten minutes roasting nominated celebrities: “It’s the story of how George Clooney would rather float away into space and die than spend one more minute with a woman his own age,” Fey said, describing the Best Drama nominee Gravity.

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Amy Poehler & Tina Fey – Opening Monologue… by IdolxMuzic

And here they are hosting the Golden Globes last year:

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WATCH: Tina Fey and Amy Poehler Roast Celebrities at the 2014 Golden Globes

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How the Artists of "The Square" Fueled Egypt’s Revolution

Mother Jones

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Jehane Noujaim’s The Square, which won an audience award at the 2013 Sundance Film Festival and is on the shortlist for an Oscar this year, delivers a fierce and frenetic portrait of life on the Cairo streets during two years of Egypt’s ongoing political unrest. Based on more than 1,600 hours of footage, the film tags along with several revolutionaries—among them Ahmed, a fiery grassroots activist, Magdy, a member of the Muslim Brotherhood, and Khalid, a foreign-born actor—as they struggle against a suffocating regime and attempt to breathe new life into Egypt’s governance.

The Square made headlines when it became Netflix’s first major film acquisition—it will stream exclusively through the service starting January 17—and also because its only scheduled public screening in Egypt was canceled at the last minute. The country’s censorship board still hasn’t give Noujaim, whose past work includes Control Room and Rafea: Solar Mama, permission to screen the film in public.

The doc’s narrative arc initially hinged on the deposition of Hosni Mubarak and subsequent election of Mohamed Morsi as president. But history is often messier than we would wish to tell it. In January 2013, as Noujaim scrambled to meet her Sundance deadlines, she learned that her main characters “were back in the streets again saying, ‘Morsi is using the tools of democracy to create another dictatorship.'” The story wasn’t over.

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How the Artists of "The Square" Fueled Egypt’s Revolution

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Brutal War Film "Lone Survivor" Will Survive its Producers’ Ties to International Drug Trade, Convicted Murderer

Mother Jones

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Lone Survivor, written and directed by Peter Berg, has a lot going for it—especially for a film released in January, a month typically reserved by film studios for dumping less than stellar product. The movie (which gets a wide release on Friday) is a gripping, uniquely brutal portrait of warfare that dramatizes Operation Red Wings, the failed mission to capture or kill a militia leader in Afghanistan’s Kunar province in 2005.

The film has earned generally positive reviews. It’s a riveting story of Americans, as well as Afghan, courage. It features solid performances, particularly from Mark Wahlberg as Navy SEAL and lone survivor Marcus Luttrell (the film is based on the book he co-wrote). And the film has received its fair share of support from US servicemembers. For instance, the Army provided four helicopters (two Apaches and two Chinooks, along with their crews) shown in a scene where Army Rangers attempt to rescue the SEAL team, and ex-congressman and Iraq War vet Patrick Murphy introduced and praised the film at a special screening at the US Navy Memorial Heritage Center in Washington, DC, in December.

But earlier this month, the people behind Lone Survivor got the kind of publicity that no studio or filmmaker wants to receive right around the time of their film’s premiere. On January 2, LA Weekly published their investigation into Remington Chase and Stepan Martirosyan, two Hollywood financiers and Lone Survivor executive producers who just so happen to come with the baggage of separate convictions for cocaine trafficking. Oh, and both have them have worked as federal informants, and have gone by multiple aliases. (The LA Weekly also details an allegation the producers faced from a convicted murder who, imprisoned for a violent robbery plot that he correctly suspected Chase had helped expose, sought to convince police Chase and Markosian had hired him to execute a contract killing in Russia. A spokesman for the local US Attorney later said “justice was best served by dismissing the charges.”) Here’s an excerpt from the incredible story, focusing on the pair’s drug connections:

In May 1993, Martirosyan arranged financing and traveled to Costa Rica to check on suppliers. Unfortunately for him, the DEA had infiltrated the suppliers. Over the course of several meetings with an undercover agent, he agreed to help transport 800 kilos to St. Augustine, Fla. They agreed that Martirosyan would send $200,000 from L.A. to Colombia, and that the cocaine would be shipped from Colombia to Costa Rica and on to Florida. Instead, in September 1993, he was arrested in a St. Augustine hotel room.

In all, nine people were indicted. In Costa Rica, the head of the federal police held a press conference and announced that the group had controlled much of the Costa Rican drug trade, according to an article in La Nación.

Naturally, the producers went into damage control mode. They hired crisis lawyer Howard Weitzman, whose clientele has included O.J. Simpson, Justin Bieber, Marlon Brando, and the Michael Jackson estate. One of Chase and Martirosyan’s pending film projects at the time of this story breaking was the big-screen adaptation of the Hasbro board game Hungry Hungry Hippos.

So this is all terrible news for the producers, and not-so-great news for the movie. Sure, some Hollywood producers have had insane lives, but most of them manage to stay far away from stuff like this. But there’s so far no indication that the negative press has yet to hurt Love Survivor, which has earned plaudits for depicting a true story of survival and remarkable heroism. Advance tickets sales have been strong, and the film is predicted to bring in about $15 million during its first weekend in wide release. (Some have estimated closer to $30 million.) Observers are expecting the picture to do particularly well in red states.

Universal, which distributed Lone Survivor, did not respond to a request for comment, but Army personnel weighed in a bit. “The bad publicity is not a concern of mine, and not something that I’m even aware of it,” Ken Hawes, an Army public-affairs officer who visited the filming of Lone Survivor, said. “Our involvement begins and ends when the Army is on the scene during the act of filming,” Lt. Col. Steven Cole, an Army film and television liaison in Los Angeles, says. “We don’t deal with the ins and outs of the industry.”

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Brutal War Film "Lone Survivor" Will Survive its Producers’ Ties to International Drug Trade, Convicted Murderer

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The KKK Leader Haunted-House Song the Late Phil Everly Never Got To Write

Mother Jones

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Phil Everly, who with his older brother Don made up the country/rock ‘n roll duo the Everly Brothers, died on Friday in Burbank, California, due to complications from chronic obstructive pulmonary disease. He was 74.

The Everly Brothers’ influence on popular music in the 1950s and 1960s was immense. The songs they strummed and sang (in legendary harmonies) were often big hits. During the height of their powers, they had almost three dozen hits on the Billboard Hot 100 singles chart, including “Wake Up Little Susie” and “Bye Bye Love.” The Everly Brothers were among the first ten acts inducted into the Rock and Roll Hall of Fame. The duo influenced some of the best artists of the 20th century, such as The Beatles and The Byrds. “We owe the Everly Brothers everything,” Bob Dylan said. “They started it all.”

I’m not going to pretend that I’m capable of writing the definitive or the most comprehensive Phil Everly obituary. There are a lot of remembrances already out there, and plenty of rock historians who can tell you much more about Everly’s place in musical history than I ever could. But what I can offer is my favorite Everly story—one regarding perhaps the most brilliant song that Everly never wrote.

In an interview with the Wall Street Journal published in June 2013, he talks about his beautiful house outside of Nashville, Tennessee, in Maury County. It was built in 1846, and has this unique bit of history to it, according to Everly:

During the Civil War, a famous Confederate lieutenant general named Nathan Bedford Forrest had a violent argument with a lieutenant named A. Willis Gould. Words were exchanged, Gould shot Forrest in the hip, and Forrest wound up fatally stabbing him. Forrest recuperated in our bedroom. I suppose there’s a song in that story someplace.

I’m not sure if Forrest’s ghost is hanging around, but I have a theory about this house. It won’t let you do anything to the structure it doesn’t like. We had a roof leak a few years back, and the carpenter impulsively wanted to solve the problem by drilling a hole in the floor. But the bit snapped right off. The house wouldn’t let him do it. This kind of thing has happened several other times.

(For the record, Forrest died in Memphis, but let’s just say it’s plausible that this Confederate ghost could find its way back to this estate.)

The idea for a Nathan Bedford Forrest death-match / freaky haunted-house country-rock song is even more interesting when you consider that Forrest was also the first Grand Dragon of the Ku Klux Klan, the namesake of Forrest Gump, and an accused war criminal. Under Forrest’s command, Confederate troops carried out the atrocity at Fort Pillow, where hundreds of surrendered black soldiers were slaughtered.

So who knows if he was being serious about this song. I hope so, since it would make for a terrific song. Sadly, it seems that Everly never got around to writing and recording it. But what he accomplished in life was, of course, already way more than enough. Some of the greatest rock music of the ’60s would not have sounded the way it did if it weren’t for Phil and Don. That’s a hell of a legacy to leave behind.

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The KKK Leader Haunted-House Song the Late Phil Everly Never Got To Write

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