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Showing posts from October, 2019

MAMA I’M SURE HARD TO HANDLE [204]

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This is Part 3 of an apparent series about the 1970 film “Myra Breckinridge” – find part 1 here [ link ], and part 2 here [ link ]. In short, I think “Myra Breckinridge” is the worst film ever made because I needed it to be the best ever made, and it wasn’t – a statement I made so snappily in my notes, I didn’t realise I hadn’t used it in my first two thousand words on the subject.  Having given myself time to recover, I can return to my study of “Myra Breckinridge” to discuss what happened next. To further understand my enemy, I have invested in my own copies of the sources of information that have most influenced the opinions made about the film, and one that even Gore Vidal’s original novel couldn’t do without. My intention is ultimately to refer to them when I eventually write the definitive book on “Myra Breckinridge” – I have already pointed out the rarity of a transgender film buff writing about a film whose protagonist is also a transgender film buff – but, in the meantim

WHEN YOU TELL ME WHAT WILL BE [203]

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I don’t like being given opportunities to feel old, especially as I am still in my thirties, but the inevitability of progress in technology, working against my human stubbornness to adapt to a new way of working, will provide more situations to reflect on where that progress leaves you. What am I talking about? It’s more that I don’t expect my devices to talk back at me, mainly because I turned off their ability to talk. Even more, I have turned off their ability to evaluate my commands. Before I make myself sound even more paranoid, this is based on the principle of knowing that, if I want something, I will ask for it. I will not say “Alexa...” or “Hey Siri,” “Hey Google,” “Hey Cortana” – I’m not really a “hey” kind of person – and expect the artificial intelligence based on previous interactions to throw up what it thinks is the right answer, or what is the first answer, or the answer most accessed by others.  The only virtual assistant I do use is Siri, on my Apple TV

I’M GIVING UP ON TRYING TO SELL YOU THINGS THAT YOU AIN’T BUYING [202]

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A direct link to the video is here: https://youtu.be/7v9vB0SNG6I Below is the script for the video:  Hello there, this is Leigh Spence is Dancing with the Gatekeepers, I’m Leigh Spence, and this is Fratton Road, one of the main shopping streets in Portsmouth, on a rainy, windy morning in October 2019 - my umbrella had already broken by this point. It was quite early, and most shops hadn’t opened yet. This video will look around a shopping mall I made a video about two years ago, mostly because I kept getting requests to film an update, and because people like watching videos about dead malls over videos about calculators.  Incidentally, my video about the INTERESTING HP-12C calculator is available on this channel. Fratton Road is receiving money from a Government fund to revitalise high streets, provide better transport links, and find new uses for vacant buildings. However, I don’t see much of a future for the former Troxy cinema, a building so derelict

SOMETHING GOING ON THAT’S NOT QUITE CLEAR [201]

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From Michel Gondry and Spike Jonze to Michael Bay and David Fincher, many film directors began their careers working on music videos. However, it was not the opening of MTV, in 1981, that legitimised the form of music videos, but rather when established directors began to be invited to direct: Michael Jackson’s “Thriller” by John Landis, and “Bad” by Martin Scorsese, Bruce Springsteen’s “Dancing in the Dark” by Brian De Palma, and Julian Lennon’s “Too Late for Goodbyes” by, of all people, Sam Peckinpah. Therefore, it isn’t that surprising that Lionel Richie - someone whose music, to me, is the line painted down the middle of the road - would seek out Stanley Donen to direct a video for him. Donen, whose name is attached, three times as co-director alongside Gene Kelly, to classic MGM musicals like “On the Town,” “Singin’ in the Rain,” “It’s Always Fair Weather” and “Seven Brides for Seven Brothers.” Donen later directed Cary Grant and Audrey Hepburn in “Charade,” Peter Cook an