August 1st, 2014
It just seems like right now we’re in a place where people are being witch-hunted for expressing an opinion. Even if it’s a lousy opinion or a shitty opinion, and comics I don’t think can ever fall into the trap of any groups that want to censor what a person says or thinks or punish a person for expressing what they think. Anything you say about a social issue is going to offend half the country. I don’t care how nicely you say it, I don’t care how well you construct the joke, simply by stating the opinion, you are for something and anti something else.
August 1st, 2014

When was the last time your dick came up with a good plan? Oh, it’s got some great ideas, but when was the last time it came up with a good plan beyond “Do it”?

That’s your dick’s entire plan: “Do it.”

Forget preparation, forget looking for possible pitfalls, forget everything. If your dick were a person, it would be on America’s Dumbest Criminals.

August 1st, 2014
While there may be power in forgiveness, there is even more power in lobbing a Molotov cocktail through someone’s dining room window.
August 1st, 2014
Successful people are always looking for opportunities to help others. Unsuccessful people are always asking, ‘What’s in it for me?’
August 1st, 2014
If a man hasn’t what’s necessary to make a woman love him, it’s his fault, not hers.
August 1st, 2014
Any fool knows men and women think differently at times, but the biggest difference is this. Men forget, but never forgive; women forgive, but never forget.
August 1st, 2014
Above all, be the heroine of your life, not the victim.
August 1st, 2014

We Are Now Seeking: Non-Fiction Essays, Journalistic Scoops, Interviews, and Book Reviews

Interested in having your article, personal essay, interview with an author or publisher, or book review published? Send your work to as a doc file and, at the very least, we’ll read your written work.

Label the submission appropriately by putting Article / Essay / Interview / Review in the headline of the e-mail.

We’ll get back to you within business one week if we’re interested in publishing your piece.

Reblogged from That Lit Site
August 1st, 2014
Random Fast Ghost Voice
Shootin' It with Jayme K.
Shootin' It with Jayme K.


"Random Fast Ghost Voice"

I was reviewing tonight’s audio and randomly stumbled upon a whisper (that I picked up during the show) while Mike was on mute and Brandi was missing from the chat. It is not the voice of myself, Jack, or Greg who was on the line.

Reblogged from
July 31st, 2014

The Scorsese Conundrum


Martin Scorsese has listed two of British director (and masterful film legend) Michael Powell’s films as primary influences: Black Narcissus (1947) and The Red Shoes (1948). Both of these wonderful films feature female leads, and deeply explore the female experience through superb characterization. Recently, Scorsese has been mildly criticized by Meryl Streep (whose work Scorsese has highly praised) for not featuring any female leads in his extensive career. This sentiment isn’t 100% true, as Boxcar Bertha (1972) did, in fact, have a female protagonist. The Age of Innocence (1993) also revolved strongly around two female characters despite being seen through a male protagonist’s perspective. The question remains, however, why does Scorsese shy from female leads?
I speak here as a film student, amateur critic, and film historian (I’ve been studying for 9 years both independently and at various schools.) Martin Scorsese, as I’ve noted previously on this blog, is my favorite director. The sense of innovation, the mixture of high art style with “low brow” stories, the flawless technique all draw me to him. I’ve seen most, although not all, of his work, and feel that I should comment on this issue.
Scorsese is not alone in the disinterest of women in film. Look at Akira Kurosawa, who wrote women as liars and manipulators. (Rashomon, Throne of Blood, Ran.) Or, if you must, watch the obscene misogynist films of Sam Peckinpah, who saw women as objects of brutal, needless violence. (Bring Me The Head of Alfredo Garcia, Straw Dogs.) What makes Scorsese so unique among these filmmakers is that he truly doesn’t see women as lesser than men. His eye for the women in his films are notable and they always command strong presence and power. (Look at how women, especially Cate Blanchett, steal the show in The Aviator!)
So why have there been no female leads? Is this sexism? Probably not, although I’ve seen the term “sexism by omission” come up in my brief research on this topic. My purpose is writing this is to explain that Scorsese may be making a genuine, artistic decision not to include female protagonists in his films.
It’s a common, albeit understandable, misconception that Scorsese works exclusively in the realm of the crime films. Sure, Mean Streets (1973) and Taxi Driver (1976) put him on the map. Goodfellas (1990) and The Departed (2006) garnered heavy attention from The Academy. But his pallet stretches far beyond gangs and New York. There is, however, in all his films an overarching theme. Masculinity. Not “machismo.” Masculinity, with all the insecurities and shortcomings that go along with it. In Raging Bull (1980),Jake LaMotta buries his jealousy, guilt, and insecurity under mounds of brutal violence. Travis Buckle, of Taxi Driver fame, sees himself as a knight in shining armor when he takes it on himself to “save” a child prostitute. (Note his existential malaise until he comes to this decision.) The Last Temptation of Christ (1987) brings Jesus Himself down to the realm of Manhood. He experiences self-doubt, masculine - and masochistic - resilience, and sexual temptation. Scorsese likes these stories. They relate to him. Growing up in Vatican I era, Italian Staten Island, Scorsese came to experience life as a surge of Catholic guilt. His films (notably Mean Streets) explore this inner level to his being. He is a man. He understands his inner-conflicts through the prism of masculinity. Does this mean he cannot relate to women? Of course he can! Men and women are not, contrary to popular belief, all that different. But there are some differences, and it’s the masculine side of things that draws Scorsese to a given story. Can he do a female character-driven story in the future? I hope he does. It’d be great to see what he can do with a female protagonist! But I cannot fault him, as some understandably do, for not trying such a story as of late.

Reblogged from The Kingjoy Chronicle
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