Hey! Since we here in the United States are not traveling so much on this traditional week of travel, how about we take that time and read this longform article by Jonathan English all about mass transit in the United States. It unearths some assumptions about what mass transit is and can be and how those assumptions developed over the past 100 years or so.
Besides the fond memories evoked by seeing the picture above (I was there for the grand opening of Washington’s Metro — you were able to ride free all day), I also found his premises interesting.
Librarians, archivists, and bibliophiles are well represented in my family, so I’ve always enjoyed Banned Book Week.
Since many library systems are closed due to the pandemic, many of you probably can’t saunter over to your local library and see their cool “Banned Book” displays. The site does have plenty of resources to read and download — as well as the always interesting top 100 books challenged or banned.
That list also provides me with one of my annual activities: reading one of the books on the list that I haven’t read before. This year, it’s Maya Angelou’s I Know Why the Caged Bird Sings, one of those well-regarded books I’ve missed.
If you are looking for something insidious to do this week that will possibly expose you to some new perspectives and definitely piss off The Man, I highly recommend it.
Back in 2006, writer John August wrote (and presented) a really great talk called “Professionalism and the Rise of the Amateur.” It drew on his own experience as a writer, but it could be applied to other jobs — basically, anywhere where you’re trying to be “professional” — and what that word means, really.
This past weekend, I was talking about the National Theater Institute of which I am quite a happy alumnus. They practice a maxim of “Risk. Fail. Risk again” which is kind of like the positive spin of the War Boys’ outlook in Mad Max: Fury Road. Same flamethrower guitars (metaphorically), less desolation.
Now, in the face of a more meditative and gritty look at the origins of Joker –with more than a few homages to Martin Scorsese’s films– Scorsese himself felt the need to denigrate the Marvel film juggernaut as not “cinema.”
Now, on the one hand, that assertion is silly. It’s like saying a hamburger isn’t food because its preparation and presumed nutritional value isn’t on par with the fare from a three-star Michelin restaurant (and yes, you won’t surprise me if you produce examples of people asserting just that).