Those who watched the 85th Academy Awards on February 24 witnessed some truly moving episodes:
- Dame Shirley Bassey, at 76, still able to belt out the title song to the classic James Bond film, “Goldfinger.” True, she could no longer hit some of the high notes she reached almost 50 yearss ago. But she made up for that with the final line–“He loves gold!”–where the word “gold” seemed to last forever.
- Daniel Day-Lewis receiving a standing invitation when he won the Best Actor Oscar for his portrayal of America’s 16th President in “Lincoln”. The audience seemed to be paying tribute not only to his brilliant performance but to the greatness of Abraham Lincoln himself.
- Adele’s turning the latest James Bond song, “Skyfall,” into a beautiful anthem of love and defiance in the face of oblivion.
But these wonderful episodes were proceeded by one that wasn’t so wonderful:
We saw your boobs
We saw your boobs
In the movie that we saw, we saw your boobs.
Meryl Streep, we saw your boobs in “Silkwood”
Naomi Watts’ in “Mulholland Drive”
Angelina Jolie, we saw your boobs in “Gia”
They made us feel excited and alive.
Yes, that was Seth MacFarlane’s opening number as host of the show.
As he danced and “sang” across the stage,, no doubt many viewers were stunned by the sheer juvenile antics of the segment. It was is if a classroom of junior high-school boys had been turned loose to “honor” the actresses they most wanted to boff.
Anne Hathaway, we saw your boobs in “Brokeback Mountain”
Halle Berry, we saw them in “Monster’s Ball”
Nicole Kidman in “Eyes Wide Shut”
Marisa Tomei in “The Wrestler,” but
We haven’t seen Jennifer Lawrence’s boobs at all.
Making it all the more bizarre: MacFarlane was accompanied by the Los Angeles Gay Men’s Chorus. For this group, the lyrics “We Saw Your Butt” would have been far more appropriate.
Here was a group of tuxedo-wearing men, supposedly paying tribute show to the greatest actresses in today’s Hollywood. So what did they “pay tribute” to?
The actresses’ singing talent?
Their acting talent?
Their greatest roles?
Don’t be stupid.
What the song failed to mention, however, was that several of the actress’ topless moments occurred during rape scenes.
Actress Jane Fonda–no stranger to sexually-alluring films–offered a scathing commentary on her website:
“I agree with someone who said, ‘If they want to stoop to that, why not list all the penises we’ve seen?’
“Better yet, remember that this is a telecast seen around the world watched by families with their children and to many this is neither appropriate or funny.”
So the question naturally arises: Why didn’t this occur to the men–and Hollywood is still almost entirely a man’s world–planning the 2013 Oscars?
This is, after all, Hollywood’s most important show. Those who oversee this event must decide:
-
Who will be chosen as host.
-
Who will be invited as guests.
- The songs that will be showcased.
- The number of rehearsals.
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The best wasy to provide security for the attendees.
Given the time and effort devoted to making this “Hollywood’s finest hour,” someone should have said: “This is a disgusting skit that will offend every actress at the ceremony–and God knows how many viewers!”
Many reviewers of the Oscars ceremony have put the blame entirely on MacFarlane. After all, the “humor” of the song was very much in keeping with the offensive material found in his comedy series, Family Guy.
One Family Guy show featured a musican number called “Down’s Syndrone Girl.” Among its lyrics:
You wanna take that little whore
And spin her on the dancing floor,
But boy, before you do a single twirl,
You must impress that effervescing,
Self-possessing, no BS-ing
Down’s Syndrome girl.
Click here: Family guy – that down syndrome girl – YouTube
But the Oscars isn’t a one-man show. It’s a huge assembly of talent–singers, dancers, choreographers, lighting technicians, makeup artists, special effects masters.
Not to mention a parade of distinguished actors, singers and directors chosen to present awards to those who are to be honored.
Any number of these people could have spoken up and said: “I refuse to be a part of a show that disgraces itself in this way.”
But if any one person must assume final blame for this number, it’s Howard Winchel “Hawk” Koch, Jr., the president of the Academy of Motion Picture Arts and Sciences.
Koch is a movie producer and assistant director, and the former road manager for the musical groups The Dave Clark Five and The Supremes.
Among the film successes with which he’s been involved: The Way We Were (1973); Chinatown (1974); Marathon Man (1976); Heaven Can Wait (1978).
Clearly the instincts that brought him so far through the entertainment business utterly failed him at the 2013 Oscars.
So, ultimately, the buck has to stop with Koch. But everyone else who held a supervisory position with the event stands equally guilty.
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MENTALITIES, NOT PARTIES, MAKE HISTORY
In History, Politics, Social commentary on September 30, 2014 at 1:46 amSteven Spielberg’s Lincoln is more than a mesmerizing history lesson.
It’s a timely reminder that racism and repression are not confined to any one period or political party.
At the heart of the film: Abraham Lincoln (Daniel Day-Lewis) wants to win ratification of what will be the Thirteenth Amendment to the United States Constitution. An amendment that will forever ban slavery.
True, Lincoln, in 1862, had issued the Emancipation Proclamation. This–in theory–freed slaves held in the Confederate states that were in rebellion against the United States Government.
But Lincoln regards this as a temporary wartime measure.
He fears that, once the war is over, the Supreme Court may rule the Proclamation unconstitutional. This might allow Southerners to continue practicing slavery, even after losing the war.
To prevent this, Congress must pass an anti-slavery amendment.
But winning Congressional passage of such an amendment won’t be easy.
The Senate had ratified its passage in 1864. But the amendment must secure approval from the House of Representatives to become law.
And the House is filled with men–there are no women menmbers during the 19th century–who seethe with hostility.
Some are hostile to Lincoln personally. One of them dubs him a Negroid dictator: “Abraham Africanus.” Another accuses him of shifting his positions for the sake of expediency.
Other members–white men all–are hostile to the idea of “equality between the races.”
To them, ending slavery means opening the door to interracial marriage–especially marriage between black men and white women. Perhaps even worse, it means possibly giving blacks–or women–the right to vote.
In fact, the possibility that blacks might win voting rights arises early in the movie. Lincoln is speaking to a couple of black Union soldiers, and one of them is unafraid to voice his discontent.
He’s upset that black soldiers are paid less than white ones–and that they’re led only by white officers.
He says that, in time, maybe this will change. Maybe, in 100 years, he guesses, blacks will get the right to vote.
(To the shame of all Americans, that’s how long it will eventually take. Not until the passage of the Voting Rights Act of 1965 will blacks be guaranteed legal protection against discriminatory voting practices.)
To understand the Congressional debate over the Thirteenth Amendment, it’s necessary to remember this: In Lincoln’s time, the Republicans were the party of progressives.
The party was founded on an anti-slavery platform. Its members were reviled by slavery supporters as “Black Republicans.”
And until the 1960s, the South was solidly Democratic. Democrats were the ones defending the status quo–slavery–and opposing freed blacks in the South of Reconstruction and long afterward.
In short, in the 18th century, Democrats in the South acted as Republicans do now.
The South went Republican only after a Democratic President–Lyndon B. Johnson–rammed the Civil Rights Act of 1964 through Congress.
Watching this re-enactment of the 1865 debate in Lincoln is like watching a rerun of the 2012 Presidential campaign. The same mentalities are at work:
During the 2012 Presidential race, the Republicans tried to bar those likely to vote for President Barack Obama from getting into the voting booth. But their bogus “voter ID” restrictions were struck down in courts across the nation.
Listening to those opposing the Thirteenth Amendment, one is reminded of Mitt Romney’s infamous comments about the “47%: “
If slavery is outlawed, they argue, then black men will no longer “know their place” and even dare to marry white women.
Romney, in turn, showed the same contempt for those he clearly regarded as his social inferiors:
“Well, there are 47% of the people who will vote for the president no matter what….
“Who are dependent upon government, who believe that–-that they are victims, who believe that government has a responsibility to care for them, who believe that they’re entitled to healthcare, to food, to housing, to you name it.
“But that’s-–it’s an entitlement. And the government should give it to them.”
But by the end of the movie, it is Abraham Lincoln who has the final word. Through diplomacy and backroom dealings (trading political offices for votes) he wins passage of the anti-slavery amendment.
The movie closes with a historically-correct tribute to Lincoln’s generosity toward those who opposed him–in Congress and on the battlefield.
It occurs during Lincoln’s Second Inaugural Address: “With malice toward none, with charity for all….To bind up the nation’s wounds. To care for him who shall have bourne the battle and for his widow and his orphan….”
This ending presents a vivid philosophical contrast with the sore-loser comments Romney made after the campaign: “The president’s campaign, if you will, focused on giving targeted groups a big gift.”
Watching Lincoln, you realize it is not political parties that make history. It is the mentalities of men and women who follow their hearts to bringing liberty–or slavery–to others.
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