Kev from Fandor has compiled the best fights in Wong Kar Wai’s The Grandmasters.
He has a bit of a dorky sounding voice but I think most of his insights hold up.
For some reason I feel like a biscuit.
Meet The Dread Pirate Roberts, The Man Behind Booming Black Market Drug Website Silk Road
By Andy Greenberg
In February 2012 a post appeared on Silk Road’s forums proclaiming that the site’s administrator would henceforth be known as the Dread Pirate Roberts, a name taken from the dashing, masked protagonist in the fantasy film The Princess Bride –tellingly, a persona that is passed down in the film from one generation of pirate to another. He soon began to live up to his colorful alter ego, posting lofty manifestos about Silk Road’s libertarian political ideals and love letters to his faithful users and vendors; he’s even hosted a Dread Pirate Roberts Book Club where he moderated discussions on authors from the Austrian school of free market economics. Commenters on the site describe Roberts as a “hero,” a “job creator,” “our own Che Guevara” and a “name [that] will live [on] among the greatest men and women in history as a soldier of justice and freedom.”
“Silk Road doesn’t really sell drugs. It sells insurance and financial products,” says Carnegie Mellon computer engineering professor Nicolas Christin. “It doesn’t really matter whether you’re selling T-shirts or cocaine. The business model is to commoditize security.”
Something about this reminds me of this Chapelle bit
From Jungle Rot, originally released in 1975.
A hot tune recommended by my pal Alex
Could someone please confirm that this song is not about what I think it’s not about?
Source: SoundCloud / Ulrich_
Elmore Leonard RIP
(October 11, 1925 – August 20, 2013)
Here he is in 1983.
I love his ten rules
These are rules I’ve picked up along the way to help me remain invisible when I’m writing a book, to help me show rather than tell what’s taking place in the story. If you have a facility for language and imagery and the sound of your voice pleases you, invisibility is not what you are after, and you can skip the rules. Still, you might look them over.
1. Never open a book with weather.
If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.
2. Avoid prologues.
They can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in nonfiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’s “Sweet Thursday,” but it’s O.K. because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks… . figure out what the guy’s thinking from what he says. I like some description but not too much of that… . Sometimes I want a book to break loose with a bunch of hooptedoodle… . Spin up some pretty words maybe or sing a little song with language. That’s nice. But I wish it was set aside so I don’t have to read it. I don’t want hooptedoodle to get mixed up with the story.”
3. Never use a verb other than “said” to carry dialogue.
The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said is far less intrusive than grumbled, gasped, cautioned, lied. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated,” and had to stop reading to get the dictionary.
4. Never use an adverb to modify the verb “said” …
… he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs.”
5. Keep your exclamation points under control.
You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.
6. Never use the words “suddenly” or “all hell broke loose.”
This rule doesn’t require an explanation. I have noticed that writers who use “suddenly” tend to exercise less control in the application of exclamation points.
7. Use regional dialect, patois, sparingly.
Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won’t be able to stop. Notice the way Annie Proulx captures the flavor of Wyoming voices in her book of short stories “Close Range.”
8. Avoid detailed descriptions of characters.
Which Steinbeck covered. In Ernest Hemingway’s “Hills Like White Elephants” what do the “American and the girl with him” look like? “She had taken off her hat and put it on the table.” That’s the only reference to a physical description in the story, and yet we see the couple and know them by their tones of voice, with not one adverb in sight.
9. Don’t go into great detail describing places and things.
Unless you’re Margaret Atwood and can paint scenes with language or write landscapes in the style of Jim Harrison. But even if you’re good at it, you don’t want descriptions that bring the action, the flow of the story, to a standstill.
10. Try to leave out the part that readers tend to skip.
A rule that came to mind in 1983. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. What the writer is doing, he’s writing, perpetrating hooptedoodle, perhaps taking another shot at the weather, or has gone into the character’s head, and the reader either knows what the guy’s thinking or doesn’t care. I’ll bet you don’t skip dialogue.
My most important rule is one that sums up the 10.
If it sounds like writing, I rewrite it.
Or, if proper usage gets in the way, it may have to go. I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative. It’s my attempt to remain invisible, not distract the reader from the story with obvious writing. (Joseph Conrad said something about words getting in the way of what you want to say.)
If I write in scenes and always from the point of view of a particular character — the one whose view best brings the scene to life — I’m able to concentrate on the voices of the characters telling you who they are and how they feel about what they see and what’s going on, and I’m nowhere in sight.
What Steinbeck did in “Sweet Thursday” was title his chapters as an indication, though obscure, of what they cover. “Whom the Gods Love They Drive Nuts” is one, “Lousy Wednesday” another. The third chapter is titled “Hooptedoodle 1” and the 38th chapter “Hooptedoodle 2” as warnings to the reader, as if Steinbeck is saying: “Here’s where you’ll see me taking flights of fancy with my writing, and it won’t get in the way of the story. Skip them if you want.”
"Sweet Thursday" came out in 1954, when I was just beginning to be published, and I’ve never forgotten that prologue.
Did I read the hooptedoodle chapters? Every word.
I especially loved Raylan 2: Riding the Rap and Forty Lashes Less One, read those first and thenTishomingo Blues. (Yep don’t bother with Raylan 1, 2 RULES!!! A cowboy chasing Miami Gangters in Italy!)
Thanks for the chucklefest Elmore, particularly when I was in my short lived running phase.
Bradley Manning – a man who did a thing – has been sentenced to 35 years in jail.Hosni Mubarak – a man who did another thing – was released from jail today.Bradley Manning’s “thing” was releasing evidence of American war crimes to a website, while Hosni Mubarak killed thousands of people in Egypt. See how similar those things are? They both involve killing thousands of people through acts of horrific violence. Totally the same. Yep. Things are super balanced and totally cool. (Oh wait, no, the U.S. government admitted that not a single person died as the result of Manning’s leak.)
Shame, Shame, Shame.
From One Second To The Next
We’ve all done it. This short film shows the repercussions.
Galarrwuy Yunupingu with Prime Minister Malcolm Fraser at Jabiru, Northern Territory, 1978. Via the Fraser Archive
Malcolm Fraser on Coalition asylum plans:
No limits to the inhumanity
Former Liberal prime minister Malcolm Fraser speaks to Guardian Australia about a “breach of common decency”
There are no limits to which the opposition will not go to demonstrate inhumanity to people with a significantly demonstrated need. [This is] inhumanity demonstrated against some of the most vulnerable people in the world.
This is a total reversal of some of the values Australia had become renowned for. It saddens me to think that the Liberal party, and as I understand it also the Labor party, are thinking of additional ways to make their policies more brutal.
The policies have become so unreal, so inhumane overall, it’s very hard to look at just one aspect, which increases the uncaring nature of the opposition. The terrible thing is that the opposition and the government both believe they can win votes by behaving in this way.
I don’t really believe they can.
I believe these steps have gone so far that people will be looking for alternatives to voting for either Liberal or Labor.
Click through to the Guardian to hear the 83 year old speak and read the rest
Mesa Verde is pumping up the mid week taco scene!
$15 will get you two of your choice of a rotating cast of taco starlets and a cerveza to fuel the ascent towards hump day.
The tacos and beer will kick off at 6pm on Tuesday, August 27th with Sean Whelan on the decks.
RSVP for the opening party at firstname.lastname@example.org
Get involved kids!