Racial harmony, circa 1986: Everybody, especially Lou Reed, sings "Soul Man."

I ran across that this morning because the Jessica Krug story (see previous post) got me thinking about the old movie "Soul Man," which I've never seen, but remember very well, because it was about affirmative action in law school, in which a white guy misidentifies himself as black so he can qualify for a black-only scholarship at Harvard Law School. The movie is named after the old Sam and Dave song, and Sam participated in that remake with Lou Reed — known for, among other things, the song "I Wanna Be Black"* — of the already-old song.

The use of blackface in the movie was criticized at the time, most notably by Spike Lee. The actress Rae Dawn Chong, who played the main character's love interest, said: "It was only controversial because Spike Lee made a thing of it. He'd never seen the movie and he just jumped all over it... If you watch the movie, it's really making white people look stupid… I always tried to be an actor who was doing a part that was a character versus what I call 'blackting,' or playing my race, because I knew that I would fail because I was mixed. I was the black actor for sure, but I didn't lead with my epidermis, and that offended people like Spike Lee, I think."

Anyway, it has always been a terrible idea for a white person to adopt a black identity to get ahead within higher education. That was a subject of a Hollywood movie in 1986. It's amazing that real people so recently have attempted this sort of fraud. Jessica Krug has outed herself (perhaps because she would have been outed by others), but it makes you wonder how many other people are out there who've furthered their careers by pretending to be black.

I'm writing this post mostly because I was struck by the racial healing acted out in that music video — as if getting white people to sing "I'm a soul man" could bring us all together. To quote another Lou Reed song: You know, those were different times.
__________________
* Listen to the song "I Wanna Be Black" here. Read the lyrics, here. They're quite shockingly racist, but the key line, for comprehension purposes is, "Oh, I don't wanna be a fucked up/Middle class college student no more." The annotation at the lyrics link says:

"This song [is] described by Ann Powers as 'a proto-rap unspooling of racist stereotypes that makes fun of white hipsters by forcing a deep wallow in ignorance.' Though racist, this song attempts to be a satire of bored young white men in America and their attitudes and beliefs around black men. Whether it passes Poe’s Law or not, is up for debate."

What's Poe's Law? Wikipedia says:

"Poe's law is an adage of Internet culture stating that, without a clear indicator of the author's intent, it is impossible to create a parody of extreme views so obviously exaggerated that it cannot be mistaken by some readers for a sincere expression of the views being parodied." 

I guess you "pass" Poe's Law when you're clear enough that you are not the thing you are parodying. So, Lou Reed was singing all these racist things but then he let us know that he's really making fun of the "fucked-up, middle class [white] college student" who fantasizes about acquiring a black identity.

"I Wanna Be Black" is from the album "Street Hassle," released in 1978.

"I’d just like to say Woody Allen is a great, great filmmaker and this cancel thing is not just Woody. And I think when we look back on it..."

"... we are going to see that — short of killing somebody — I don’t know that you can just erase somebody like they never existed."

Said Spike Lee on the radio on Friday, New York Magazine reports.

On Saturday, he was all: "I Deeply Apologize. My Words Were WRONG. I Do Not And Will Not Tolerate Sexual Harassment, Assault Or Violence. Such Treatment Causes Real Damage That Can't Be Minimized.-Truly, Spike Lee."

Deeply!

So he thought when he would look back on it, he'd see that you can't really just erase somebody who's done some great work, but the looking back happened the very next day and he looked back and saw that he was WRONG. That is, the new position, which he feels very deeply, is that you can just erase somebody like they never existed. And "this cancel thing" really can be just about Woody. Isolate that one man and erase him. It won't have a wider effect. It can be as if he never existed!

"I get a coffee, egg whites and a bowl of grits. I’m trying to cut out bread. Oh, I have one slice of buttered, whole-wheat bread with grape jelly."

"I go to a place across the street. It’s called Academy. Coffee, cream and three natural brown sugars. No more sugar for me."

From "How Spike Lee Spends His Sundays" (NYT).

There must be a Greek term for the rhetorical device he uses twice in that quote. I really enjoyed that. The Times has a regular feature on how somebody or other spends their Sunday. I enjoy the feature, but I especially like this Spike Lee one, because he doesn't fit their pattern, doesn't treat Sunday as special. The usual celebrity has some fussy Sunday particularity to it, and he so delightfully unspecial about Sunday: "I wake up, brush my teeth, take a shower, put my clothes on, and I go to work. It’s not like for me Sunday is the Sabbath. I got work to do."

Did you watch the Oscars?

I did — in bits, popping forward to skip all the commercials and all the swanning out onto the stage and the introductions and clips and most of the song-singing and all of the kissy-face and walking up to the stage except the many parts where females in thick, inflexible upholstery struggled to hoist themselves up the stairs — up the stares — to the swirly vertiginous stage. I wasn't really interested in anything or rooting for anyone. I found myself merely mischievously hoping for upsets, and I got some good jolts — "Green Book" for Best Picture, Olivia Colman for Best Actress.

Oh, I see Spike Lee showed his disturbance at the "Green Book" upset. Deadline Hollywood reports:

Our Pete Hammond reported from the Dolby Theatre that Lee clearly was furious, got up and walked toward the back of the auditorium in a huff. He then turned back and appeared to get into an intense conversation with Jordan Peele, who was behind him. Lee paced the aisle and stormed to the back of the auditorium. When he came back, he turned his back to the stage during the speech....

Asked backstage at the Dolby Theatre if his Adapted Screenplay win makes up for Do the Right Thing loss at the 1990 Oscars and the Academy overlooking it for a Best Picture nomination, Lee quipped in reference to that year’s Driving Miss Daisy Best Picture win and this year’s Greek Book [sic] Oscar in the top category: “I’m snake bit. Every time somebody is driving somebody, I lose – but they changed the seating arrangement!”

I'm afraid he's jinxing himself. The voting is secret, so the you owe me! message is unlikely to work.

ADDED: I did watch the "In Memoriam" montage. I'll confess that when it ended, I said out loud, "It was a slow year for death."

"Surprisingly, it was not controversial," says a University of Richmond professor who taught courses called "American Blackface" and "Blackface in Post-Soul Literature and Culture."

“I honestly do not recall it being uncomfortable, mostly because I guess we were taking it seriously. We weren’t looking at if as, ‘Hey, isn’t this funny?’”

I'm reading "Where blackface is concerned, outrage is appropriate, says UR professor," by Michael Paul Williams in the Richmond Times-Dispatch. He's quoting Bertram Ashe, who teaches English and American Studies.

Ashe said the history of blackface dates far back to about the 1830s and extended well into the 20th century. He described it as “a weird obsession with blackness that grows out of that master-slave relationship.”

“What folks don’t know is it was primarily a Northern entertainment,” he said. For Northerners who had never set foot in the South, it was a way for white audiences “to imagine what they thought black life was in Southern spaces,” he said.

“It’s a portal. It’s a space through which [white people] can behave and act in a way that is not like ordinary middle-class whites behave,” Ashe said. “It appears to be irresistible to a certain type of person who cannot keep themselves from blackening their skin and imagining a type of black persona.”

I found that article because I was looking for discussion connecting the Northam story to Spike Lee's movie “Bamboozled.” The movie is mentioned in the article, but not in any significant way. I haven't seen this movie (and it's not available for streaming at Amazon (I'd have to buy the DVD — and it's $89.99)), but I've seen the trailer and read descriptions, like this from The New Yorker:

Pierre Delacroix (Damon Wayans) is the sole black programming executive at a TV network. Wanting to prove his bosses’ obliviousness, he proposes a monstrous absurdity—a “Saturday Night Live”-style minstrel show, featuring black actors, in blackface, reprising vile stereotypes. To Pierre’s horror, the show is picked up and becomes a hit, restoring those stereotypes to popular culture... The exuberant performances of the show’s stars—a comedian (Tommy Davidson) and a tap dancer (Savion Glover)... —bring out Lee’s potent theatrical paradox. The pleasure of mocking stereotypes risks perpetuating them, which is why comedy... is, in Lee’s view, a high and serious calling.

But this was not a popular movie, so I think white people did not take advantage of what seems like  permission to laugh at a minstrel show. And that was 20 years ago.



Blackface is a serious subject. Spike Lee made a movie about it, but it seems hard to watch because it's set up to cause us to laugh like racists and then feel horribly ashamed of ourselves. That's an interesting idea, artistically, but since we can see the trap, we can avoid it, by not watching. We're not lured in, so we don't have the experience of confronting our own corrupt heart. The professor's course sounds excellent, and it does seem to be a subject we could educate ourselves about. "What folks don’t know is it was primarily a Northern entertainment." We don't know what's inconvenient to know.

Phrases from the past: "Crotchgate" and "pro-sex feminism."

After writing that post about Gayle King adjusting her position relative to Charlie Rose, I created a 2 new tags: "Era of That's Not Funny" and "Trump's Access Hollywood remarks." Both tags can be applied retrospectively to the archive, but the second one is going to take a long time, and I'll get to that eventually. The first one is a more recent concept, and I'm only applying it retrospectively to posts where I've used that exact phrase, and that task is done. But in searching for the phrase, which I failed to put in quote marks, I turned up a few random things, including, from December 2006, "Camille Paglia on... it's not my word.... 'crotchgate.'"

What was "crotchgate"?! I see that there's something right now that's got a #crotchgate and Donald Trump has even weighed in:

POTUS weighing in on #Bakergate #CrotchGate pic.twitter.com/LvpwEk1SHa

— Tennessee Sooner (@TN_Sooner) November 22, 2017

Oh, I see. A college football player grabbed his own crotch (in a taunting gesture):

Baker Mayfield didn't feel like taking the high road today pic.twitter.com/30Q5UFk264

— Sports Illustrated (@SInow) November 18, 2017

But what was "Crotchgate" in 2006? It was something I only blogged about because Camille Paglia took it on: Some female targets of paparazzi — Britney Spears, Paris Hilton, Lindsay Lohan — were flashing their pantsless crotches. Paglia said:

"These girls are lowering themselves to the level of backstreet floozies. It angers me because I fought a bitter fight to get feminism back on track and be pro-sex at the same time. This is degrading the entire pro-sex wing of feminism.... [T]hey are cheapening their own image and obliterating all sexual mystery and glamour, which are the heart of the star system... These are women who are clearly out of control because the old studio era is over. The studio system... guided and shaped the careers of the young women who it signed up. It maximized their sexual allure by dealing it out in small doses and making sure you don’t have -- what has become here -- a situation of anarchy."

So the women are bringing the anarchy of too much uncontrolled sex?! That's not how it looks today, after the Weinstein revelations. But, of course, Weinstein and the men like him were active back in 2006, exercising control, trying to wrest "small doses" of "sexual allure" out the actresses for their own gratification. But, as Paglia put it then, the "girls" were "lowering themselves." And Paglia expressed anger, because it interfered with her "wing" of feminism: "pro-sex feminism."

Is anyone talking about "pro-sex feminism" — or "sex-positive feminism" — these days? Searching for both terms in the news of the last month, I find only a reference to Taylor Swift song lyrics and a description of a 1986 movie character (who's being brought back for a new TV show).

No one seems to be jumping at the opportunity to reconcile "pro-sex feminism"/"sex-positive feminism" with the new, staunch, zero-tolerance approach to sexual abuse. I'm sure many of those who write about feminism today are too young to remember the feminism of the 1980s, so they're unlikely to see that the things that are happening now resemble what sex-positive feminism fought against. And won. For a while.

But nobody wants to talk about sex-positive feminism now, and no female pop stars are seeking attention by giving paparazzi an unobstructed view of naked crotch.

ADDED: By today's standards, the flashing of naked crotch is considered sexual abuse. If a man were to do it, he'd be professionally and socially dead. 

AND: I've done the retrospective adding of the tag "Trump's 'Access Hollywood' remarks." 49 posts so far, including this one. I might do a project of analyzing my personal reactions over time. I'm told I really changed over time, and obviously the context has changed.

Spike Lee predicts a sex strike.

"I'd like to say this: What's happening on college campuses today, you know, with what happened at the University of Missouri where the football players got together and said unless the president resigns, they weren't going to play... I think a sex strike could really work on college campuses where there’s an abundance of sexual harassment and date rapes. Second semester it’s going to happen. Once people come back from Christmas, there are going to be sex strikes at universities and colleges across this country, I believe it."

He's promoting his movie "CHI-RAQ" about a sex strike in Chicago. 

It would merge the campus anti-rape movement with the race-related protests that seem to have overshadowed it.

"Lysistrata" — the ancient Greek play about women withholding sex to stop a war — made the news twice this week.

1. Withdrawing from the race for the Democratic presidential nomination in the setting of the Democratic National Committee's Women's Leadership Forum, Lincoln Chafee said: "Since today is all about women’s leadership it reminds me of one of my favorite Greek plays; Lysistrata, a comedy from about 400 BCE by Aristophanes. In that play, a group of women, fed up with the war mongering of their husbands, agree to withhold their favors until peace returns. And it worked!"

2. Spike Lee is squabbling with Chicago Mayor Rahm Emanuel. The subject is Lee's new movie, "Chi-Raq," which, Hollywood Reporter tells us, "is an update of the classical Greek play Lysistrata and stars Teyonah Parris as a woman who protests the city's black-on-black gun violence."

Here's the full text of the play at Project Gutenberg, which flaunts this jaunty frontispiece:



ADDED: Here's a full set of the Aubrey Beardsley illustrations for "Lysistrata." They're even jauntier. NSFW.

"Mayor Rahm Emanuel said Wednesday he had an 'honest, frank conversation' with Spike Lee to let the movie director know..."

"... that he doesn’t like, 'Chiraq,' the working title of Lee's coming movie on black-on-black violence based in Chicago’s crime-ridden Englewood community."

Emanuel didn’t say whether he asked Lee to change the name.... But the mayor made it clear that he had used the Hollywood pipeline provided by his brother, super-agent Ari Emanuel, to make his feelings known directly to Spike Lee. The face-to-face meeting took place in the mayor’s office prior to Wednesday’s City Council meeting....

In an apparent attempt to soften the blow of the title, "Chiraq," Lee... noted that gun violence is “not limited” to Chicago. It’s happening in Philadelphia, Baltimore and New York, where he’s from. He even talked about the derogatory name used to describe a part of Brooklyn where he’s from. He talked about how similarly insulting names applied to Philadelphia and Baltimore.

Well, apparently "Chiraq" is a great title. It's getting such high level attention. You can't buy that kind of PR. Obviously, it's also negative PR for the city, but Rahm is trying to squeeze good PR out of the bad (on the theory that Chicago isn't really that bad and even if it is, other cities are also bad... or worse).



ADDED: From a year ago: "How Chicago Became 'Chiraq'":

President Obama may have gotten our troops out of Iraq, but the gunfire in his hometown of Chicago is still earning it a searing nickname coined by young people who live there.

Chiraq.

"I don’t care who you are, if you’re African-American in this country, you know what the deal is … the deal that you’re black."

Said Spike Lee, who was asked what he tells his own children about race. It was: "People who get in trouble are the people who forget they’re black."

Spike Lee doesn't want "a riot." He wants an "uprising."

"Uprising" was the word that was used around here for the Wisconsin protests.

ADDED (the next morning): I was rushing out of the house as I posted this last night. (We went out to Spring Green to see the play "Travesties" (which includes, amongst the various characters, Lenin).) So I didn't have one extra minute to put a link on "Uprising" to the book "Uprising: How Wisconsin Renewed the Politics of Protest, from Madison to Wall Street." From the reviews at Amazon:

Reading this highly emotional and polemical account of the Wisconsin Act 10 controversy/crisis/uprising, the reader would never know that the "movement" Nichols writes about -- LOST!...

"American Slavery Was Not A Sergio Leone Spaghetti Western."

"It Was A Holocaust. My Ancestors Are Slaves. Stolen From Africa. I Will Honor Them."

Spike Lee, being noble, perhaps, but also horning in on another director's movie. Still, why should Quentin Tarantino be able to get away with doing a movie about slavery?

"All I'm going to say is that it's disrespectful to my ancestors to see that film. That's the only thing I'm gonna say... I can't disrespect my ancestors. I can't do it. Now, that's me. I'm not speaking on behalf of anybody but myself. I can't do it."

And that's the only thing he's going to say.

"What does he want to be made, an honorary black man?... I want Quentin to know that all African-Americans do not think that word is trendy or slick."

He had to say that too.

I think it's fine for him to say all these things. First, it looks like people are going to him with questions. And, second, everything he said was true.

"RAT is an anagram of ART. Do you think that inspired them, perhaps subconsciously?"

Asks Dr Weevil.

"A weevil is any beetle from the Curculionoidea superfamily. They are usually small, less than 6 millimetres... and herbivorous." Sounds delicious!

Dr Weevil. A nice portmanteau pseudonym. Combines Dr. Evil with our theme-of-the-day: pests.

Let's listen to Tex Ritter and Mantan Moreland:



10 things I judge to be interesting:

1. The term "portmanteau" originated in "Through the Looking-Glass," as Humpty Dumpty explains "Jabberwocky," within which, for example, "slithy" combines "lithe and slimy" and "mimsy" combines "flimsy and miserable." "You see it's like a portmanteau—there are two meanings packed up into one word." (The word "portmanteau" already meant suitcase.)

2. "Portmanteau" comes from French — combining words for "carry" and "coat" — but the French don't say "portmanteau" to refer to "suitcase words." They say mot-valise — which they came up with by making a literal translation of the English term "suitcase word." That makes "portmanteau" something that's called a "false friend" (a term I did not know).

3. Tex Ritter's real name was Woodward Maurice Ritter. You'd think if he needed a nickname, Woody would have popped up. Think of all the Woodys that that had to stretch to get to "Woody." Woody Allen, for example, was named Allan Stewart Konigsberg. I can't discern how he got to Woody from his Wikipedia entry, which says: "It the age of 17, he legally changed his name to Heywood Allen." That sounds like he was setting up a knock-knock joke: "Heywood who?"

4. Now Woody Guthrie got to Woody quite directly. He was named Woodrow Wilson Guthrie. Born in 1912. You might say: Woodrow Wilson! Woodrow Wilson didn't even become President of the United States until 1913. Yes, but he was Governor of New Jersey. No matter that Woody Guthrie was born in Okemah, Oklahoma. It would be like somebody today living in some state that's not New Jersey naming their new baby Chris Christie Smith or Chris Christie Jones or whatever.

5. Back to Mantan Moreland, the other guy in the Tex Ritter "Boll Weevil" video. Looking at his Wikipedia page, I see he was in a surprising number of movies, including many movies I'd never heard of like "Freckles Comes Home" (1942) and "King of the Zombies" (1941). "He is perhaps best known for his role as chauffeur Birmingham Brown in Monogram's Charlie Chan series. (The lyrics of The Coasters' 1963 song 'Bad Detective' are sung from the first-person perspective of Birmingham Brown, Mantan Moreland's character in the Charlie Chan movie series.)" There's some very heavy racial context here. Spike Lee's movie "Bamboozled" appropriates some things about Moreland. And the Beastie Boys sampled something of his about mashed potatoes, and you can listen to the original (NSFW) here.

6. Moreland "was briefly considered as a possible addition to the Three Stooges when Shemp Howard died in 1955." And he was in the 1957 Broadway stage production of "Waiting For Godot." He played Estragon, the role played by Bert Lahr in the original production of the play.



7. In the "Waiting for Godot" with Moreland, Geoffrey Holder played the character Lucky.



8. You may remember Geoffrey Holder from 1970s-era 7-Up commercials.

9. The New York Dolls recorded "Bad Detective" — replete with the opening notes that you may well recognize as the music that was always used in the past to signify: This is Chinese.

10. Mantan Moreland was known for his "Incomplete Sentences" comic routines. They went like this (from some Charlie Chan movies):

Retweet the Right Thing.

Next time Spike "Do The Right Thing" Lee does racial politics on Twitter, perhaps he'll be a little more more circumspect. He was certainly clever to settle quickly with that elderly couple who fell victim to his impetuousness:

Elaine and David McClain are in their 70s and say they have a son named William George Zimmerman, who lived in their Sanford area home in the mid-1990s. They say he is no relation to 28-year-old George Zimmerman, who killed 17-year-old Trayvon Martin on Feb. 26....

“At this point in time, we have come to an agreement with Spike Lee and his attorneys, and at this point, the matter is fully resolved,” Morgan said. “Spike has agreed to compensate the McClains for their loss and for the disruption into their lives. He’s taken full responsibility.”....

“He was really kind,” Elaine McClain said. “And when he called us, you could just tell he really felt bad about it. And it was just a slip, and I just know that he really, really has been concerned.”

Yeah, it was just a slip. He intended to send the lynch mob to the other George Zimmerman's house. Did he apologize for that? And what did the McClain's get out of Lee other than an apology? Did he buy them a new house at a new address? What's the market value of their old house, now that the address is out there in digital-vigilante-o-sphere?

Meanwhile, the street address of the parents of the real George Zimmerman is out there. Roseanne Barr retweeted it, then took it down — because she was criticized. She said that that at first she thought it “was good to let ppl know that no one can hide anymore.” Since she needs to be popular and she got some pushback, she stepped back and tweeted as if she'd reached a higher level of morality: “But vigilante-ism is what killed Trayvon. I don’t support that.” But she kept her moral understanding fuzzy: “If Zimmerman isn’t arrested I’ll rt his address again... maybe go 2 his house myself.”

Puzzling -- but pretty cool, I guess -- advertising.

(Via Popwatch.)

More info: The commercial, for Gatorade, was directed by Spike Lee. The voiceover is by Li'l Wayne.

I like this kind of advertising and think it is necessary. If you just obviously promote some product, I'm going to skip over it. This, I enjoyed watching, and I accepted the unobtrusive presentation of the product's name. It probably created a favorable opinion of the brand.

ADDED: You don't see "Gatorade." The product is now called G. You have to find out what the product is independently of the commercial.

AND: As for finding out the name of the product independently, I have become a product information provider, because it's viral video. And I made you watch the commercial, with my seal of approval. So, clearly, it's fabulous advertising if it can do all that.

What movies have you walked out on?

This is a topic that came up in the comments thread here. Rather than add my own contribution to what was — let's be honest — a thread hijack, I'm starting a new thread.

For reasons I can no longer recall, I walked out on the 1968 movie "Petulia." Trailer:



The walk-out took place circa 1970, and I just wasn't in the mood for that sort of thing. I can't remember why. Oddly, I stopped walking out on movies, so for many years, this was the only movie I'd ever walked out on. I was giving everything a chance, or maybe I felt like I was wasting money if I didn't consume the whole bad/boring/pointless thing. And I must have averaged a movie a week for the next 30 years.

Then in 1998, I went to see "Antz" — a computer-animated movie voiced by Woody Allen, Sharon Stone, and others. The giant closeups of the ant faces were literally making me ill — even angry. I walked out, and I have never viewed another computer-animated movie, even on TV. Channel-surfing, I've occasionally glanced at a few minutes of some highly praised thing like "Finding Nemo" or "Shrek," but it has only reconfirmed my visceral hatred of the medium (which extends to live-actor movies with a lot of CGI).

The other movie I walked out on was Spike Lee's "Summer of Sam." This was 1 year after I walked out on "Antz." I was watching an opening sequence with a couple of ordinary people in a car, and I knew the story was that they were going to be murdered. I didn't want to sit there and watch. I'd paid good money to watch a movie I thought was going to be good and to my taste, but I suddenly felt that I didn't want to be subjected to it, and without wasting any time thinking about it — I had to decide quickly or I'd see the murder — I got right up and left.

I kept going to movies in 1999, which turned out to be one of my all-time favorite years: "The Matrix," "Being John Malkovich," "Fight Club," "Man on the Moon," "Election." I thought we were entering a golden age. But the next year seemed entirely different to me. Was CGI leaking into everything, making me sick? That was the year of "Gladiator" and "The Perfect Storm" (which I avoided). I saw some things that were praised that I hated, like "Traffic" — which I didn't walk out on. After that, I became a lot more selective, and I haven't had to walk out on things. In fact, I force myself to go through with the experience once I've selected a movie. For example, this past year, I saw "Into the Wild" and "Across the Universe." (I'm a sucker, apparently, for titles that begin with a preposition and end with "the [something vast].") With both of them, I had to struggle not to give in to my urge to escape, and there were some good things I would have missed if I'd indulged my ever-present desire for flight.

What have you walked out on? When did you conquer a strong urge to flee and did you regret your submission? Oh, I'm only talking about movies, you know. Unless you want to hijack this thread too.

"The very idea of an institutional blog is a contradiction in terms."

Writes Terry Teachout. (This comes up in the context of talking about the trouble Lee Siegel got into blogging at The New Republic.)

The best blogs are idiosyncratic, unmediated expressions of an individual sensibility, a notion which tends to make old-media executives squirm, so much so that many print-media publications refuse to let their employees blog.

I think that’s a mistake. In fact, I think editors and reporters should be encouraged to blog independently of the publications for which they work.

I said something similar to that first paragraph in that Yale Law Journal Pocket Part essay I mentioned this morning. The essay is mainly about whether law journals should change in response to the internet, but at one point I talk about institutional blogs, specifically law school faculty blogs:

[You law journal editors don't] need to host a blog to talk about your articles. In fact, it is better if you don’t. Institutionalized blogs tend to be flat and safe.

I have put some effort into starting a faculty blog at my law school, perhaps something like The University of Chicago Law School Faculty Blog. But I have little hope that this project will go well, and I note that the Chicago project has never gained much traction. Since the original spike of attention that greeted the announcement of its existence, the traffic to the site has waned. And there is no bloggish energy to the site, with a post – usually a long one – going up only every few days. I don’t think this is a special Chicago Law School problem, but a predictable consequence of worrying about preserving the dignity of the institution they so conspicuously represent.

To continue to Teachout's train of thought... of course, I'm in favor of lawprofs blogging independently from the law school's website. Law schools shouldn't fret too much about their lawprofs expressing themselves idiosyncratically in our own separate blog spaces. There's a temptation for the law school and the lawprof blogger to try to improve things by making a bigger, better law school website replete with blogs, but it will suck the energy out of the blogging.

Postscript: Speaking of Lee Siegel, I enjoyed watching Bob Wright and Mickey Kaus argue about it on BloggingHeads.

Friday night and the new "Real Time with Bill Maher."

Did you watch Episode 1 of the new season of "Real Time with Bill Maher" last night? I hope you didn't, because it was Friday night, and it would probably be good if you had something more exciting to do, though perhaps you had to work or participate in an argument or drink yourself into a stupor or rob a restaurant like Honey Bunny and Pumpkin:

Nobody ever robs restaurants. Bars, liquor stores, gas stations... you get your head blown off sticking up one of them. Restaurants on the other hand, you catch with their pants down. They're not expecting to get robbed. Not as expectant anyway.

But who am I to pry into your Friday night? I watched the show, mostly because I saw that Markos Moulitsas and Christopher Hitchens were going to be on -- and they're two characters I follow, more or less, not to the point where I think about what they'd do on a Friday night if they weren't doing "Real Time with Bill Maher." But they were there, Hitchens looking unusually healthy. Markos, perky as ever, with those big eyes and that turn-the-world-on-with-your smile.

Bill did his typical monologue, each joke beginning with the recitation of a recent news story and then swooping down for a low punchline. One punchline, about Mark John Karr -- he's so hilarious -- made me laugh, but I can't remember it this morning.

Then he interviewed Spike Lee, who was there -- on a video screen -- to promote his documentary "When the Levees Broke." But Lee wasn't into the promotion enough to pump any energy into the segment. Maher shifted from the subject of Lee's movies to the topic of a recent Bob Herbert column -- TimeSelect link -- and quoted the line "If white people were doing to black people what black people are doing to black people, there would be rioting from coast to coast." (The column was about Juan Williams's new book "Enough." And I wish the Times would make it available now for open linking.) Spike Lee acted like he couldn't understand what Herbert was talking about. Maher got stern and said he knew what it meant, and Lee murmured his way to the finish line.

Next up was Elvis Costello, who had something to promote, I think. And it was his birthday, which is such a less interesting fact than people seem to realize. We were supposed to care that he took time from his birthday -- like it matters when you've had 52 of them and when he was only on a video screen. For some reason, Maher went into a riff about how there's never been a whiff of scandal about Elvis Costello and his name is as pure as the driven snow or some such nonsense. Elvis opted neither to agree or disagree, and I made a mental note to Google later, because I thought there was something. Yeah. This:

In March 1979, Costello capped off this productive period in his extra-artistic life by getting himself into a scrap with Stephen Stills (of Crosby, Stills, Nash and Young fame) and Bonnie Bramlett (a minor singer from the '60s) in a hotel bar in Ohio. Again motivated by an unclear principle, he did his best to offend them, finally resorting to a burst of profanity and bigotry, capped with the assertion that Ray Charles was a "blind, ignorant n*****."

There's no evidence that Costello was a racist -- he'd been active in Rock Against Racism before it was fashionable and was too smart in any event to let it show if he was -- but he was being as stupid, reckless and out of control as any of the broken-down '60s stars his energy, brains and invective were supposed to be an antidote for. In any event, Bramlett industriously publicized the exchange and Costello tried to explain and apologize. He took his lumps in a months-long transatlantic brouhaha; to this day some serious critics hold him in contempt.

In any event, Costello showed all signs of being more boring than Spike Lee so I muted the sound and finished the Friday crossword.

I unmuted when the panel came out. It was Christopher Hitchens, Senator Max Cleland, and Vali Nasr (a scholar who's written this book -- "The Shia Revival"). Maher framed a question about Iraq in terms of how finally, after all these years, even the idiots have figured out that the war in Iraq has nothing to do with terrorism. He cited a poll that showed only 1% of Brits thought it did. The other guests went along with the demonstration of how everybody knows this is true, and you, the HBO subscriber, were supposed to get the point that you're going to be an object of horrible mockery if you don't get in line. It was Hitchens's turn, and he called himself one of "the elite," because he was in that 1%, and proceeded to explain why. When the audience booed, he gave them the finger and said "F**k you." Then, when Maher tried to recentralize his point that everyone knows Iraq has nothing to do with terrorism and the audience cheered, Hitchens turned on the audience and abused them again. He abused Maher too, for leading the herd along and building himself up with their cheap support, and then he praised Maher for not letting Spike Lee wriggle out of the question he damned well understood. Hitchens knows how to do TV. [ADDED: Video!]

Maher had a comic bit set up where he had various products that you can't take on a plane anymore, like a bottle of "Jihad, Your Hair Smells Terrific" and "Behead and Shoulders." There were about ten of these things, and the funniest part of it really was how much it cracked up Senator Cleland. In case you're wondering if the format has changed, Maher also did his "New Rules" routine.

And somewhere in the middle of that, they video-screened Markos Moulitsas, who lacked any edge or ennui or signs of age or anything but the positive energy of a guy doing an interview for college admission. He believes in his blog project and it's all for the good, bringing people together, la, la, la. Maher has no material to make this interesting, so he resorts to a discussion of the word "blog." He doesn't like it. That's so 2004, Bill. Ending the interview, Maher says, "Goodbye, Carlos." Carlos. Come on. If it was Carlos, it would be The DailyLos. Ah, well, I'm sure Markos found a way to take a cloudy night and suddenly make it all seem worthwhile.

Rewatching movies.

Slate asked several directors and critics to name the movies they've rewatched the most. Spike Lee names "Election." He's watched it more than 40 times. Excellent choice. I've rewatched that one a few times. Nowhere near 40 though. [CORRECTION: Slate's layout confused me. Spike Lee names "West Side Story," with zero commentary, and the next guy, Adam McKay, a director I'd never heard of, names "Election."]

Lots of other interesting choices -- along with some crushingly boring ones. I mean, even if your true answer is "Citizen Kane," please spare me. I wrote that before reading through the whole list and getting to Dana Stevens, who begins: "Leaving out the movies everyone's seen countless times (The Wizard of Oz, Citizen Kane, It's a Wonderful Life)...." I suspect most of the answers followed that rule without saying it.

I love this subject of what you want to rewatch. To watch something the first time is to respond to some mysterious mix of your own imagination and the various things you've heard. Maybe something about a poster or some feeling about a movie star pulls you in. Then you find out if it was what you thought it would be or if you're surprised in a good way. But rewatching a movie, you know basically what's there, and you're making a choice to relive what you know or you have a sense that there are places in there where new things can be found. It's a richer, deeper experience. Oh, that reminds me of what Andre says about marriage -- as opposed to an affair -- at the end of my most rewatched movie, "My Dinner With Andre."

ADDED: Neo NeoCon responds.

"And would those cheering, white 'Bama football fans check her name when they're in the privacy of the voting booth?"

WaPo op-ed columnist Eugene Robinson contemplates Condoleezza Rice running for President:

Black conservative Shelby Steele recently speculated with an interviewer from the American Enterprise, a conservative journal, about how a race between Hillary Clinton and Rice might turn out. "If Hillary runs against a man, my guess is there's a certain women's vote out there that will go for her, even many Republicans," he said. "But if she's running against Condoleezza Rice, that would disappear. A large bit of the black vote that Democrats are so desperately dependent upon would also disappear. If Condoleezza Rice ran, she could win by simply taking an extra 15 percent of the black vote."

But from my own anecdotal observation, Spike Lee speaks for a lot of African Americans who have strong negative feelings about Rice. If she runs, he told the New York Observer, "African Americans will have to really, really, really, really, really , REALLY analyze the secretary of state's record, and get past the pigmentation of her skin. . . . I'm not going to vote for that woman. No. Way. "

Steele acknowledges that he might be wrong, that Rice might turn out to be a lousy politician. Lee acknowledges that "I'm not the spokesperson for 45 million African Americans." The truth is that nobody knows how voters would respond to a black woman who loyally serves an administration so reviled in the black community.

And would those cheering, white 'Bama football fans check her name when they're in the privacy of the voting booth?

Nobody knows. But I'll bet that someday -- maybe not soon, but someday -- we'll find out.

I hope we do.