Sep 22, 2009
President Barack Obama sat down with late night TV talk show host David Letterman on Monday.
NEW YORK - PRESIDENT Barack Obama sat down with late night TV talk show host David Letterman on Monday, wrapping up a blitz of television appearances as he tries to build support for his top domestic priority, an ambitious health care overhaul plan.
The president wasn't all business though. By the time Mr Obama came on stage to the taping of the 'Late Show', Letterman had offered up 10 reasons why in the world the president had agreed to do it.
Among Letterman's theories: Mr Obama said yes without thinking about it, or as Letterman put it, 'Like Bush did with Iraq.'
But Mr Obama had other ideas. It turns out he was listening when Letterman had bantered with a woman in the audience who brought a potato in the shape of a heart to the show.
Mr Obama told Letterman: 'The main reason I'm here? I want to see that heart-shaped potato.' The woman tossed the potato to Letterman. She agreed to let Mr Obama keep it. Said the president: 'This is remarkable.'
The Top 10 list was edited out of the broadcast, but it was available on the CBS website. A spokesman said the length of the Obama interview caused the edit. Mr Obama, America's first black president, also had his most irreverent answer yet on the question of whether some of the vitriolic reaction to his health care plan is driven at least partly by racism.
'First of all, I think it's important to realize that I was actually black before the election,' Mr Obama said to huge laughs from Letterman and the audience.
Responded Letterman: 'How long have you been a black man?' Letterman covered a number of topics with Mr Obama - many of them serious - in a taping that ran about 40 minutes. The show will be broadcast Monday evening.
On the economy, Mr Obama offered a sober prediction as the country deals with 9.7 per cent unemployment, the worst level since 1983. He said he expects unemployment will be a 'big problem' for at least another year. But he also said the economy will rebound even stronger.
On the war in Afghanistan, Mr Obama said he knows some people want him to bring troops home, and others are calling for him to increase US force levels to combat the insurgency. The top US commander there is warning the war could be lost without more troops.
Mr Obama said he won't make a decision on sending in more troops, though, until he completes a comprehensive review of the war effort and settles on his next strategy. -- AP
http://www.straitstimes.com/Breaking+News/Lifestyle/Story/STIStory_432898.html
Tuesday, September 22, 2009
Pierre Garcon, a John I. Leonard grad, gets first NFL touchdown to beat Miami Dolphins
Tuesday, September 22, 2009
MIAMI GARDENS — The stands were chock full of Pierre Garcon's family, all waiting for something big to happen.
His mother, Marie Nicolas, had never made the trip from their home in West Palm Beach to Indianapolis to see him play because she said it was too cold. But on Monday she was in the crowd to watch him stand in for injured Colts receiver Anthony Gonzalez.
And with her was the group that had driven from Palm Beach County to watch him: His three sisters. His uncles, aunts and cousins — "lots of cousins," he said. His high school football coach at John I. Leonard and two of his track coaches. Even the pastor of his church. And whomever else, he couldn't even remember.
After all, he had requested or bought 43 tickets to the Dolphins' home opener.
"And it wasn't enough," he said.
All of them sat through three hours of football and saw the ball go Garcon's way only twice, both times falling incomplete.
That changed with 3:18 remaining in the fourth quarter. It was 2nd-and-10 at the Miami 48-yard line and the Colts trailed 23-20.
Colts quarterback Peyton Manning went to the line and scanned the defensive formation. He suspected an all-out blitz.
Then he flailed and gesticulated as he often does to audible into a play that would reward the Garcons for their patience.
The blitz came and Manning threw a wide receiver screen to Garcon, who slipped past a pair of tacklers and followed his blockers 48 yards to score what proved to be the winning touchdown in a 27-23 decision.
"He really has great speed and he showed it on that play," Manning said.
As Garcon closed in on the end zone, he looked up to the big screen to see himself trot in the last few yards.
"I always wanted to do that," said Garcon, who had never before scored an NFL touchdown.
Garcon, who is in his second season out of Mount Union College in Alliance, Ohio, tried to look for his mother in the stands, but was mobbed by his offensive lineman.
"That was the perfect script for me," Garcon said. "Perfect homecoming gift."
Manning got the game ball for becoming the winningest quarterback in Colts history, passing Johnny Unitas with 119 wins.
But Garcon got to keep the ball that Manning threw. It's already on its way to be painted to commemorate the occasion and will end up in a glass case as the first trophy of his pro career.
It was all the more meaningful because he accomplished it on the same field where one of his childhood heroes, Dan Marino, made so much history.
And because Garcon's mother was watching.
"I'll look at it every day," he said of the football he caught. "I'm glad I got a touchdown for her."
By CARLOS FRIAS
Palm Beach Post Staff Writer
http://www.palmbeachpost.com/services/content/sports/epaper/2009/09/22/0922pierre_garcon.html?cxtype=ynews_rss
MIAMI GARDENS — The stands were chock full of Pierre Garcon's family, all waiting for something big to happen.
His mother, Marie Nicolas, had never made the trip from their home in West Palm Beach to Indianapolis to see him play because she said it was too cold. But on Monday she was in the crowd to watch him stand in for injured Colts receiver Anthony Gonzalez.
And with her was the group that had driven from Palm Beach County to watch him: His three sisters. His uncles, aunts and cousins — "lots of cousins," he said. His high school football coach at John I. Leonard and two of his track coaches. Even the pastor of his church. And whomever else, he couldn't even remember.
After all, he had requested or bought 43 tickets to the Dolphins' home opener.
"And it wasn't enough," he said.
All of them sat through three hours of football and saw the ball go Garcon's way only twice, both times falling incomplete.
That changed with 3:18 remaining in the fourth quarter. It was 2nd-and-10 at the Miami 48-yard line and the Colts trailed 23-20.
Colts quarterback Peyton Manning went to the line and scanned the defensive formation. He suspected an all-out blitz.
Then he flailed and gesticulated as he often does to audible into a play that would reward the Garcons for their patience.
The blitz came and Manning threw a wide receiver screen to Garcon, who slipped past a pair of tacklers and followed his blockers 48 yards to score what proved to be the winning touchdown in a 27-23 decision.
"He really has great speed and he showed it on that play," Manning said.
As Garcon closed in on the end zone, he looked up to the big screen to see himself trot in the last few yards.
"I always wanted to do that," said Garcon, who had never before scored an NFL touchdown.
Garcon, who is in his second season out of Mount Union College in Alliance, Ohio, tried to look for his mother in the stands, but was mobbed by his offensive lineman.
"That was the perfect script for me," Garcon said. "Perfect homecoming gift."
Manning got the game ball for becoming the winningest quarterback in Colts history, passing Johnny Unitas with 119 wins.
But Garcon got to keep the ball that Manning threw. It's already on its way to be painted to commemorate the occasion and will end up in a glass case as the first trophy of his pro career.
It was all the more meaningful because he accomplished it on the same field where one of his childhood heroes, Dan Marino, made so much history.
And because Garcon's mother was watching.
"I'll look at it every day," he said of the football he caught. "I'm glad I got a touchdown for her."
By CARLOS FRIAS
Palm Beach Post Staff Writer
http://www.palmbeachpost.com/services/content/sports/epaper/2009/09/22/0922pierre_garcon.html?cxtype=ynews_rss
Monday, September 21, 2009
Hark! An Interview with Kate Beaton
Intelligent, wacky, insightful, silly, educational, hilarious, sloppy, beautiful – it is difficult to pin down Kate Beaton’s work with a single adjective. The Canadian webcomic creator produces comics in a variety of styles, though she is perhaps best known for her strips featuring historical figures (and history is never funnier than when filtered through Beaton’s unique perspective!). Whether she is illustrating the likes of Napoleon Bonaparte or Brian Mulroney, conversations with her younger-self or other autobiographical tales, Beaton’s most consistently recognizable trait isn’t the characters she uses or the format she tells her tales in but the underlying wit and humour that powers her art throughout.
In between illustrating the antics of Canadian Prime Ministers of old and the latest Shetland Pony Adventures, Kate Beaton found some time to chat with (Cult)ure.
(Cult)ure: Your historical and autobiographical comics are approached with a thin-lined loose feel and your 'paint' comics are full-on minimalist. Do you consciously approach your work from a minimalist perspective?
Kate Beaton: No, I wouldn't say it that way. I might take a long time thinking up a set-up with a certain historical figure, then boil it down and draw it rather quickly. My art is impatient more than it is minimalist. Also, I used to make the msn paint comics while I was at work on breaks since there was nothing else to do.
It has been argued that the role of the illustrator in webcomics is overemphasized, while the role of the writer is underappreciated. Are you able to separate your work as a writer from your work as an illustrator, or do you see them as one in the same?
They are one in the same! People like to think of comics in terms of a division of labour because some people are better at one aspect than the other or because some people collaborate in this way. But when you are presenting a story in words and pictures, there is no way one can just carry the other, and I believe most comic artists don't think of them separately.
Something rather unique about your dialogue is the lack of punctuation. For the most part, your characters' dialogue is grammatically unadorned.
It is a little manic, isn't it? I get a lot of comments on that, but to be honest it was never really intentional. It might come from cramming comics that should be longer into one page, but no one has told me yet that they don't read well in spite of it. I probably squeak by because I am lucky to have a knack for expression, which takes some of the pressure off exact appropriate voice and emphasis in dialogue.
Another striking aspect of your work is your totally unique phrasing.
This may sound strange, but I think part of that comes from the place where I was raised. Cape Breton, like Newfoundland, is famous for odd turns of phrase, and while you wouldn't notice it if you were speaking to me, I've retained a lot of that different speech structure – especially with my approach to humour, which is directly related to the old Gaelic style humour of Nova Scotia.
In what other ways has being Canadian influenced your art and its perspective?
Well, my experience is Canadian; it is pretty simple. It doesn't affect my art much, but the type of humour I employ and the topics I choose take a lot from living here. There is a common thought that Canadian history is boring, which I find disappointing, and I like proving otherwise if I can. I'm fascinated by the history of this country and the complexities of the national character, and I am for the promotion of Canadian culture because there are so many interesting things going on but comparatively little said about it. I sense this from readers as well; there is always such a wonderful response when I choose a topic from our history.
Your autobiographical comics and 'conversations with younger self' are often self-deprecating. Do you consider humility an important part of comedy?
The worst thing most people can do making comics is try to make themselves look cool! The internet is a safe haven for a lot of sort of autobio comics about dudes being awesome, hanging out, and saying witty things back and forth. They are also supposed to be funny, but the majority of these are awful, of course. Humility is important in the sense that it is honest and relatable, and comedy is, in many ways, about knocking people down to size. You can't have it both ways – as nice as it would be, there is nothing funny about being the wittiest and best looking person in the room. That said, I understand I am particularly self-deprecating and probably a good example of taking it too far the other way. I just think the easiest person to make fun of is yourself.
You’re probably best known for your comics poking fun at historical figures. What is the connection between history and comedy?
History is really delightful because anyone can "own" it. The affection or respect or hate I have for a certain figure can be equally felt by almost any person. I think we read history in a really personal way, so the act of taking humour out of it has a special joy. Which explains why people gravitate towards it but not why it is funny. It is funny because we have no one to tell us where to draw the line. The remove we have from the events gives us the ability to make light of absolutely terrible situations without anyone being offended. Plus, the past looks peculiar to us: the clothes, beliefs, and manners are all fair game. I shy away from modern history quite a bit because those topics are tricky, people are touchy, and I worry about tact. In another century, however, they are maybe going to make jokes about, say, the Quebec separatist movement and people are going to love it.
Do you draw any sort of line for yourself regarding how close you stick to historical fact and how 'out there' you will go for laughs?
A real problem with doing comics about history – if you like history – is getting attached to the subjects and not wanting to make someone look bad or foolish because of this attachment. I've read about certain things for days then have been unable to get a joke out of it because I've gotten too serious about it and can't ignore the complexities of the story. That is usually an occurrence with lesser known figures who require a lot of reading to get to know; however, there are certain figures that are, in a way, in the public domain – everyone knows about them and little research or thought is required. These are usually going to be old white men, your Washingtons and Napoleons, etc. They are much easier to poke fun at in a very exaggerated way, and I like the silliness of it, but I would not want all comics to be that way.
Your comics don't stick to any single format or subject matter. Do you enjoy the freedom this affords you as a creator, or is it more difficult when there is no strict formula to follow?
It is a bit of both. Freedom to do any topic is very nice, but staring at a blank paper with no idea what to put on it is not very nice. Sometimes I think it would be much better to have a comic with a story that goes on and on, so you always know where to start your next page, but I don't think I would like that situation for very long.
Would you have any interest seeing your strips published in newspapers, or do you consider newspaper a dying medium?
I think everyone considers newspapers to be a dying medium, which is a little sad. But I have only heard that working with the syndicates is frustrating and limiting, and I would not be happy doing that even if newspapers were booming. In any case, they probably wouldn't give me a job even if I wanted one. I am published in some newspapers, though, from time to time.
What's the future of your website and for Kate Beaton comics as a whole?
The future for the website is to get rid of the current one and make a new one. It really was built on the worst website design program, but I didn't think much about the implications of those things when I made it. I will be glad when it is done. The future for the comics is only that I will keep making them. I haven't any specific plans, but you never know what opportunities may pop up.
Written by Kevin Johns for (cult)ure magazine
http://culturemagazine.ca/art/hark_an_interview_with_kate_beaton.html
In between illustrating the antics of Canadian Prime Ministers of old and the latest Shetland Pony Adventures, Kate Beaton found some time to chat with (Cult)ure.
(Cult)ure: Your historical and autobiographical comics are approached with a thin-lined loose feel and your 'paint' comics are full-on minimalist. Do you consciously approach your work from a minimalist perspective?
Kate Beaton: No, I wouldn't say it that way. I might take a long time thinking up a set-up with a certain historical figure, then boil it down and draw it rather quickly. My art is impatient more than it is minimalist. Also, I used to make the msn paint comics while I was at work on breaks since there was nothing else to do.
It has been argued that the role of the illustrator in webcomics is overemphasized, while the role of the writer is underappreciated. Are you able to separate your work as a writer from your work as an illustrator, or do you see them as one in the same?
They are one in the same! People like to think of comics in terms of a division of labour because some people are better at one aspect than the other or because some people collaborate in this way. But when you are presenting a story in words and pictures, there is no way one can just carry the other, and I believe most comic artists don't think of them separately.
Something rather unique about your dialogue is the lack of punctuation. For the most part, your characters' dialogue is grammatically unadorned.
It is a little manic, isn't it? I get a lot of comments on that, but to be honest it was never really intentional. It might come from cramming comics that should be longer into one page, but no one has told me yet that they don't read well in spite of it. I probably squeak by because I am lucky to have a knack for expression, which takes some of the pressure off exact appropriate voice and emphasis in dialogue.
Another striking aspect of your work is your totally unique phrasing.
This may sound strange, but I think part of that comes from the place where I was raised. Cape Breton, like Newfoundland, is famous for odd turns of phrase, and while you wouldn't notice it if you were speaking to me, I've retained a lot of that different speech structure – especially with my approach to humour, which is directly related to the old Gaelic style humour of Nova Scotia.
In what other ways has being Canadian influenced your art and its perspective?
Well, my experience is Canadian; it is pretty simple. It doesn't affect my art much, but the type of humour I employ and the topics I choose take a lot from living here. There is a common thought that Canadian history is boring, which I find disappointing, and I like proving otherwise if I can. I'm fascinated by the history of this country and the complexities of the national character, and I am for the promotion of Canadian culture because there are so many interesting things going on but comparatively little said about it. I sense this from readers as well; there is always such a wonderful response when I choose a topic from our history.
Your autobiographical comics and 'conversations with younger self' are often self-deprecating. Do you consider humility an important part of comedy?
The worst thing most people can do making comics is try to make themselves look cool! The internet is a safe haven for a lot of sort of autobio comics about dudes being awesome, hanging out, and saying witty things back and forth. They are also supposed to be funny, but the majority of these are awful, of course. Humility is important in the sense that it is honest and relatable, and comedy is, in many ways, about knocking people down to size. You can't have it both ways – as nice as it would be, there is nothing funny about being the wittiest and best looking person in the room. That said, I understand I am particularly self-deprecating and probably a good example of taking it too far the other way. I just think the easiest person to make fun of is yourself.
You’re probably best known for your comics poking fun at historical figures. What is the connection between history and comedy?
History is really delightful because anyone can "own" it. The affection or respect or hate I have for a certain figure can be equally felt by almost any person. I think we read history in a really personal way, so the act of taking humour out of it has a special joy. Which explains why people gravitate towards it but not why it is funny. It is funny because we have no one to tell us where to draw the line. The remove we have from the events gives us the ability to make light of absolutely terrible situations without anyone being offended. Plus, the past looks peculiar to us: the clothes, beliefs, and manners are all fair game. I shy away from modern history quite a bit because those topics are tricky, people are touchy, and I worry about tact. In another century, however, they are maybe going to make jokes about, say, the Quebec separatist movement and people are going to love it.
Do you draw any sort of line for yourself regarding how close you stick to historical fact and how 'out there' you will go for laughs?
A real problem with doing comics about history – if you like history – is getting attached to the subjects and not wanting to make someone look bad or foolish because of this attachment. I've read about certain things for days then have been unable to get a joke out of it because I've gotten too serious about it and can't ignore the complexities of the story. That is usually an occurrence with lesser known figures who require a lot of reading to get to know; however, there are certain figures that are, in a way, in the public domain – everyone knows about them and little research or thought is required. These are usually going to be old white men, your Washingtons and Napoleons, etc. They are much easier to poke fun at in a very exaggerated way, and I like the silliness of it, but I would not want all comics to be that way.
Your comics don't stick to any single format or subject matter. Do you enjoy the freedom this affords you as a creator, or is it more difficult when there is no strict formula to follow?
It is a bit of both. Freedom to do any topic is very nice, but staring at a blank paper with no idea what to put on it is not very nice. Sometimes I think it would be much better to have a comic with a story that goes on and on, so you always know where to start your next page, but I don't think I would like that situation for very long.
Would you have any interest seeing your strips published in newspapers, or do you consider newspaper a dying medium?
I think everyone considers newspapers to be a dying medium, which is a little sad. But I have only heard that working with the syndicates is frustrating and limiting, and I would not be happy doing that even if newspapers were booming. In any case, they probably wouldn't give me a job even if I wanted one. I am published in some newspapers, though, from time to time.
What's the future of your website and for Kate Beaton comics as a whole?
The future for the website is to get rid of the current one and make a new one. It really was built on the worst website design program, but I didn't think much about the implications of those things when I made it. I will be glad when it is done. The future for the comics is only that I will keep making them. I haven't any specific plans, but you never know what opportunities may pop up.
Written by Kevin Johns for (cult)ure magazine
http://culturemagazine.ca/art/hark_an_interview_with_kate_beaton.html
Monday, September 14, 2009
Patrick Swayze Dies
September 14, 2009, 8:34 pm
Patrick Swayze Dies
By Anita Gates
Patrick Swayze, the balletically athletic actor who rose to stardom in the films “Dirty Dancing” and “Ghost” and whose 20-month battle with advanced pancreatic cancer drew wide attention, died Monday. He was 57.
His publicist, Annett Wolf, told The Associated Press in Los Angeles that Mr. Swayze died with family at his side.
Mr. Swayze’s cancer was diagnosed in January 2008. Six months after that, he had already outlived his prognosis and was filmed at an airport, smiling at photographers and calling himself, only half-facetiously, “a miracle dude.” He even went through with plans to star in “The Beast,” a new drama series for A&E, and filmed a complete season while undergoing treatment. Mr. Swayze insisted on continuing with the series.
“How do you nurture a positive attitude when all the statistics say you’re a dead man?” he said to Bill Carter of The New York Times last October. “You go to work.”
The show, on which he plays an undercover F.B.I. agent, had its premiere in January and earned him admiring reviews.
A week before the series began, Mr. Swayze was the subject of a one-hour “Barbara Walters Special” on ABC, talking about his illness. “I keep my heart and my soul and my spirit open to miracles,” he told Ms. Walters. But he said he was not going to pursue every experimental treatment that came along. If he were to “spend so much time chasing staying alive,” he said, he wouldn’t be able to enjoy the time he had left. “I want to live,” he said.
Full story at http://artsbeat.blogs.nytimes.com/2009/09/14/patrick-swayze-dies/
Patrick Swayze Dies
By Anita Gates
Patrick Swayze, the balletically athletic actor who rose to stardom in the films “Dirty Dancing” and “Ghost” and whose 20-month battle with advanced pancreatic cancer drew wide attention, died Monday. He was 57.
His publicist, Annett Wolf, told The Associated Press in Los Angeles that Mr. Swayze died with family at his side.
Mr. Swayze’s cancer was diagnosed in January 2008. Six months after that, he had already outlived his prognosis and was filmed at an airport, smiling at photographers and calling himself, only half-facetiously, “a miracle dude.” He even went through with plans to star in “The Beast,” a new drama series for A&E, and filmed a complete season while undergoing treatment. Mr. Swayze insisted on continuing with the series.
“How do you nurture a positive attitude when all the statistics say you’re a dead man?” he said to Bill Carter of The New York Times last October. “You go to work.”
The show, on which he plays an undercover F.B.I. agent, had its premiere in January and earned him admiring reviews.
A week before the series began, Mr. Swayze was the subject of a one-hour “Barbara Walters Special” on ABC, talking about his illness. “I keep my heart and my soul and my spirit open to miracles,” he told Ms. Walters. But he said he was not going to pursue every experimental treatment that came along. If he were to “spend so much time chasing staying alive,” he said, he wouldn’t be able to enjoy the time he had left. “I want to live,” he said.
Full story at http://artsbeat.blogs.nytimes.com/2009/09/14/patrick-swayze-dies/
Sunday, September 13, 2009
Beyonce Brings Taylor Swift On VMA Stage After Kanye West Rant
In a classy display of selflessness, Taylor Swift got a do-over at the 2009 MTV Video Music Awards when Beyoncé brought the teen singer up following B's Video of the Year win.
Beyoncé told the audience about her first VMA win as a 17-year-old with Destiny's Child and how much it meant to her. The singer then called Swift from backstage to huge applause.
Earlier in the show, Swift won the Best Female Video award for "You Belong With Me" over B's "Single Ladies (Put a Ring on It)." But during her acceptance speech, Kanye West crashed the stage, took the microphone from her and protested the win, saying Beyoncé deserved it.
B and Swift both wore bright-red dresses and exchanged a hug before Beyoncé passed the mic to the teen artist.
"Maybe we can try this again," Swift said, drawing a laugh.
"I would really like to thank Roman White, who directed the video, and Lucas Till for being in it," Swift said. "I would like to thank all the fans on Twitter and MySpace and everyone that came out to my shows this summer. And I would like to thank my little brother's high school for letting us shoot there."
Swift barely had a moment to utter a word during her first acceptance speech early in the show; West took the microphone away from her almost immediately.
"I'm sorry, but Beyoncé had one of the best videos of all time," he proclaimed as B looked on from the crowd, stunned. West later left Radio City Music Hall after he was booed heavily for his rant.
This report is from MTV News.
Beyoncé told the audience about her first VMA win as a 17-year-old with Destiny's Child and how much it meant to her. The singer then called Swift from backstage to huge applause.
Earlier in the show, Swift won the Best Female Video award for "You Belong With Me" over B's "Single Ladies (Put a Ring on It)." But during her acceptance speech, Kanye West crashed the stage, took the microphone from her and protested the win, saying Beyoncé deserved it.
B and Swift both wore bright-red dresses and exchanged a hug before Beyoncé passed the mic to the teen artist.
"Maybe we can try this again," Swift said, drawing a laugh.
"I would really like to thank Roman White, who directed the video, and Lucas Till for being in it," Swift said. "I would like to thank all the fans on Twitter and MySpace and everyone that came out to my shows this summer. And I would like to thank my little brother's high school for letting us shoot there."
Swift barely had a moment to utter a word during her first acceptance speech early in the show; West took the microphone away from her almost immediately.
"I'm sorry, but Beyoncé had one of the best videos of all time," he proclaimed as B looked on from the crowd, stunned. West later left Radio City Music Hall after he was booed heavily for his rant.
This report is from MTV News.
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