It's Wednesday, July 23
and a teenager says he looked into the mirror after beating two homeless men to death and "saw the devil,"
APD cornered a fugitive and shot at him for the second time in six months. This time, they killed him.
A boy exploring an abandoned house in Ohio discovered a mummified corpse hanging in the closet.
Archaeologists have found the remains of a huge, 7-foot-long dog buried near the site where a demonic hound was said to have murdered church-goers in the 16th century.
A mysterious, yawning crater has opened up in the Yarnal region of Siberia and nobody knows why. Please note that "Yarnal" translates to "End of the world."
And some women are rejecting feminism because they need help opening jars.
The seemingly-mythical Downtown grocery store may soon be one step closer to becoming a part of our reality.
Here's a guy who decided that drunk driving wasn't dangerous enough.
The New Mexico Mind Research Institute is scanning prisoners' brains to try and predict whether they will re-offend. We can only assume that this will result in a future super-villain's origin story.
Tea Party fave and all around crazy/evil person Michele Bachmann won't be seeking congressional re-election. So sorry to see her go.
Hard-working, industrious beaver industriously murders man.
A goat went crazy, goat style.
Sexism in the music industry is alive and well. But it’s almost 2013, you might say. We’re more than a half-century removed from the height of ’50s paternalism. Sadly, we’re not quite as distanced from the weaker-sex mentality as we’d like to think. Whether exploring industrial music, producing or music-related subcultures, misogyny still patiently waits to be acknowledged and abolished. We chatted with Burqueña noisemakers and aural curators about their experiences with sexism in our burg. Read all about it in Burqueñas Talk Musical Misogyny.
25 percent of marriages in the state are interracial.
New Mexico ditches No Child Left Behind.
Honduras prison fire kills inmates, many of whom hadn't been charged or convicted.
Congressional hearing on birth control includes no women.
Santorum says birth control is harmful.
One time, Romney put the family dog on the roof of his car during a road trip. Now, it's haunting his campaign.
Linsanity is no accident.
People who walk slowly may be prone to dementia.
Mamma Mia! actor to play Linda Lovelace, star of Deep Throat.
Is this bikini model fat?
Some people call this the best punk movie nobody's seen. With its release on Netflix InstaWatch, I'm sure that's becoming less true. The flick was made in the early '80s but wasn't released on DVD for 26 years.
When it first came out, The Fabulous Stains never saw its way to many theaters; early test screenings showed that people didn't quite know what to make of it.
The flick kind of doesn't know what to make of itself. The pacing is weird and the themes obscured. Maybe that's because it was directed by a music biz type but written by Nancy Dowd, (who, it's rumored, disliked the final version of the movie so much she put it out under the pseudonym Rob Morton).
The basic plot is this: Corinne Burns' (Diane Lane) mother has died. She takes her sister (Marin Kanter) and cousin (Laura Dern) and flees their sad, industrial hometown. They're The Stains. They've practiced three times. They can't play their instruments, but somehow, they're given a chance to join a tour with a washed up-metal/prog act and The Looters, a fake up-and-coming punk band.
The Looters' lineup is enough reason to catch the movie: Sex Pistols drummer Paul Cook and guitarist Steve Jones, Clash bassist Paul Simonon and Tubes frontman Fee Waybill. Also making a cameo: Black Randy.
So The Stains take the stage at a club for the first time, and the band's sound would be OK at the worst high school talent show ever. There's no drummer.
Third Degree Burns (Corinne's new stage name) slowly reveals her new self. From under a hat, a skunk pattern dyed into her hair. From behind a trenchcoat, no pants (now we know where Lady Gaga got the idea), and a see-through old-lady blouse with no bra.
The show goes badly. People hate her. Burns' bandmates leave the stage, shocked by her outfit and the audience response. But she just turns up the wry observation and presence, talking shit about a woman in the crowd who looks like she came to the show hoping one of the dude band assholes would notice her.
The performance generates buzz, and The Stains become the big deal on the tour, overtaking their male counterparts. Burns rises to stardom over a month due to a ton of media attention. All of her fans begin emulating the look and the mantra: "We're The Stains, and we don't put out!" Burns explains in an interview that this is about "not getting screwed."
The Looters' singer hates Burns. Predictably he falls in love with her, softens her toward him, and then screws her over. He takes the stage to open for The Stains, and the entire audience is women with skunk hair and red blouses. The Looters try to play, but the crowd is impatient and calls for The Stains throughout the set. He gets angry, and makes a speech about how Burns is just taking their money. The fickle audience turns on The Stains, and a male newscaster is the first in line to critique Burns harshly, saying he knew all along that she was a phony.
So, in some ways, the film is about how media build up young women, fascinated by their sexuality, and then tear them back down.
But it's also about a teen who manipulates the media and her circumstances to her advantage. Remember: In the beginning of the movie, nothing is working out for Burns. She can't get a job, and she's trying to figure out how to take care of her sister.
Plus, the flick is an interesting commentary on rock and roll. The Stains never learn how to play their instruments. They never get a drummer. They're only show, message and fashion.
Despite a lot of awkwardness (that I'm willing to attribute to the direction) there are moments of profundity that come from the script.
In one particularly memorable scene, Burns' aunt is being interviewed by a reporter. She hasn't heard from her daughter or nieces for a month. She says that she's truly sorry for berating them all the time, for not believing in them and for breaking down their confidence. That's how her mother trained her, she says.
Really great monologues and dialogue exchanges show a variety of pressures and people bearing down on the situation and tell the tale of how a desperate youth can capture the public eye.
Congressman Ben Ray Lujan sent out a news release today announcing that he’s being targeted by Abusegate, Investigate!. According to its site, the group is bent on ending the “domestic violence industry.” But a further look at the principles and goals of the organization reveals some real gems. (My gift to you. Happy Thursday, everyone.)
Lujan is being singled out because he is one of 20 lawmakers who supports “discriminatory laws such as the International Violence Against Women Act that are known to violate fundamental civil rights and escalate partner tensions,” according to the news release.
Such laws contribute to the destruction of families, says the brain trust propelling Abusegate. There’s also a sister organization called Concerned Women for America that would like to “take the ‘gender’ politics and ‘politically correct’ agenda out of public policy solutions.”
Wha ... ?
Newsman and Alibi contributor John Bear is fed up with the portrayal of female reporters in film. Hollywood’s hypersexualized, girly journalists should all be fired, Bear opined, for sleeping with their sources.
Crazy Heart sparked his observation and criticism. In the movie, Maggie Gyllenhaal plays a single-mom music writer who interviews an old alcoholic country musician and falls for him. In this interview with Steven Zeitchik of The Roanoke Times, Gyllenhaal addresses sexism, ageism and journalism.
Q: What have the reactions been to the age difference in the on-screen relationship?
A: I get some indignance from women journalists. I think it's difficult for a relationship with a 30-year age difference to be healthy. But it happens all the time. So, what, you don't make movies about it if you think it's not the healthiest thing in the world?
I got sent this article—and I've been trying not to read press—about sexism in our culture, and they cited "Crazy Heart" as an example of yet another movie where the guy's much older and the woman's much younger. And I felt like this person who was writing maybe didn't see the movie. We're not this sexy hero and heroine who are championing our love affair! You can't choose who turns you on.
Q: You play a journalist in this film, which must make it a little bit odd when you're having, well, conversations like these.
A: It's tough talking to journalists because I think (the character) Jean is very green. She's not a seasoned journalist. And sometimes they can be a little critical.
But I think Jean is interested in finding out something true, which is something I'm interested in, in terms of journalists.
Some people have interviewed me, before I stopped reading press—which I haven't entirely done, but I try—and I read the article and thought, "That person came in with an open mind and did their best to figure out something true about me." Other times, I think someone has a fantasy or idea of me and just writes it up. Jean is the first kind.
Q: Have any journalists said things that weren't simply evaluations of your job performance?
A: I had a great interview with the Carpetbagger woman (Melena Ryzik of the New York Times). I loved her—we really got along—but she was like, "I'm so tired of seeing movies where the woman journalist sleeps with her subject." And I was like, "I don't know if it happens, but it happened here." And she's not as tough as you are. Jean isn't as grounded. She's such a feeler. She's fighting through all of that to write this article and be a journalist, but the opposition to that is this powerful, serious attraction.
Q: Which eventually wins out.
A: Yes (pause). And I wonder what (Ryzik) would have done if she was in a room with Jeff Bridges.