Folks Movie Quotes

Frodo: I can't do this, Sam. Sam: I know. It's all wrong. By rights we shouldn't even be here. But we are. It's like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness, and danger, they were. And sometimes you didn't want to know the end, because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end, it's only a passing thing, this shadow. Even darkness must pass. A new day will come. And when the sun shines, it'll shine out the clearer. Those were the stories that stayed with you. That meant something. Even if you were too small to understand why. But I think, Mr. Frodo, I do understand. I know now. Folk in those stories had lots of chances of turning back only they didn't. They kept going. Because they were holding on to something. Frodo: What are we holding on to, Sam? Sam: That there's some good in this world, Mr. Frodo...and it's worth fighting for.

Some believe it is only great power that can hold evil in check, but that is not what I have found. It is the small everyday deeds of ordinary folk that keep the darkness at bay. Small acts of kindness and love. [Incorrectly attributed to Tolkien. It is a line from the Hobbit movie that did not appear in the books.]

I hate a song that makes you think that you are not any good. I hate a song that makes you think that you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are too old or too young or too fat or too slim or too ugly or too this or too that. Songs that run you down or poke fun at you on account of your bad luck or hard travelling. I am out to fight those songs to my very last breath of air and my last drop of blood. I am out to sing songs that will prove to you that this is your world and that if it has hit you pretty hard and knocked you for a dozen loops, no matter what color, what size you are, how you are built, I am out to sing the songs that make you take pride in yourself and in your work. And the songs that I sing are made up for the most part by all sorts of folks just about like you. I could hire out to the other side, the big money side, and get several dollars every week just to quit singing my own kind of songs and to sing the kind that knock you down still farther and the ones that poke fun at you even more and the ones that make you think that you've not got any sense at all. But I decided a long time ago that I'd starve to death before I'd sing any such songs as that. The radio waves and your movies and your jukeboxes and your songbooks are already loaded down and running over with such no good songs as that anyhow.

Shouldn't he at least be waiting to see if it works with you or not before he dates the next guy?" "It doesn't work like that." "I think it should," she told me. "This isn't a Disney movie," Michael told her. She smacked him hard. "I know all about how gay men hook up. My Aunt Susan has Queer As Folk on DVD.

What is most appealing about young folks, after all, is the changes, not the still photograph of finished character but the movie, the soul in flux.

Don’t be afraid to do weird stuff, so long as you do it cheaply and cover everyone’s bets. Be bold. Be stupid, if you have to: so long as you don’t hurt anybody, what’s it matter how dopey your dream is? If I hadn’t made TUSK? If I’d let it die as a podcast? I wouldn’t have three other movies I’m now making within the span of a year. Some folks will try to shame you for trying something outside the norm; the only shame is in not trying to accomplish your dreams.

We need allies who are going to help us achieve a victory, not allies who are going to tell us to be nonviolent. If a white man wants to be your ally, what does he think of John Brown? You know what John Brown did? He went to war. He was a white man who went to war against white people to help free slaves. He wasn’t nonviolent. White people call John Brown a nut. Go read the history, go read what all of them say about John Brown. They’re trying to make it look like he was a nut, a fanatic. They made a movie on it, I saw a movie on the screen one night. Why, I would be afraid to get near John Brown if I go by what other white folks say about him. But they depict him in this image because he was willing to shed blood to free the slaves. And any white man who is ready and willing to shed blood for your freedom—in the sight of other whites, he’s nuts. As long as he wants to come up with some nonviolent action, they go for that, if he’s liberal, a nonviolent liberal, a love-everybody liberal. But when it comes time for making the same kind of contribution for your and my freedom that was necessary for them to make for their own freedom, they back out of the situation. So, when you want to know good white folks in history where black people are concerned, go read the history of John Brown. That was what I call a white liberal. But those other kind, they are questionable. So if we need white allies in this country, we don’t need those kind who compromise. We don’t need those kind who encourage us to be polite, responsible, you know. We don’t need those kind who give us that kind of advice. We don’t need those kind who tell us how to be patient. No, if we want some white allies, we need the kind that John Brown was, or we don’t need you. And the only way to get those kind is to turn in a new direction.

What would you say to a loved one if you had only a few seconds to impart a last message? What language does love speak? Some of you speak love with wine and roses. For other, "I love you," is best said by breakfast in bed, carefully set aside sport sections, or night out at the movies, complete with buttered popcorn. Children spell love T-I-M-E. So, I think, do older folks. Teenagers spell it T-R-U-S-T. Sometimes parents spell love N-O. But no matter what the letters, the emotion beneath the wording must be tangible, demonstrable, and sincere.

Turns out I really like bookstores. You know, I meet a lot of people in my line of work. A lot of folks pass through Alice Island, especially in the summer. I've seen movie people on vacation and I've seen music people and newspeople, too. There ain't nobody in the world like book people. It's a business of gentlemen and gentlewoman.

Sitcom white folk, movie-of-the-week white folk were our coon show.

She says that if this were a movie, someone would find a poem about cursed snakes and it would give us the clue we needed

Fact is, blatant heterosexuals are all over the place. Supermarkets, movies, on your job, in church, in books, on television every day and night, every place - even in gay bars. & they want gay men & women to go hide in the closets - So to you straight folks i say - Sure, i'll go if you go too but i'm polite so - after you.

In America, racism exists but racists are all gone. Racists belong to the past. Racists are the thin-lipped mean white people in the movies about the civil rights era. Here’s the thing: the manifestation of racism has changed but the language has not. So if you haven’t lynched somebody then you can’t be called a racist. If you’re not a bloodsucking monster, then you can’t be called a racist. Somebody has to be able to say that racists are not monsters. They are people with loving families, regular folk who pay taxes. Somebody needs to get the job of deciding who is racist and who isn’t. Or maybe it’s time to just scrap the word “racist.” Find something new. Like Racial Disorder Syndrome. And we could have different categories for sufferers of this syndrome: mild, medium, and acute.

Sometimes on flat boring afternoons, he'd squatted on the curb of St. Deval Street and daydreamed silent pearly snowclouds into sifting coldly through the boughs of the dry, dirty trees. Snow falling in August and silvering the glassy pavement, the ghostly flakes icing his hair, coating rooftops, changing the grimy old neighborhood into a hushed frozen white wasteland uninhabited except for himself and a menagerie of wonder-beasts: albino antelopes, and ivory-breasted snowbirds; and occasionally there were humans, such fantastic folk as Mr Mystery, the vaudeville hypnotist, and Lucky Rogers, the movie star, and Madame Veronica, who read fortunes in a Vieux Carré tearoom.

Jump back twenty years to the white house where I grew up with my father shooting super-8 movies of my brother and me running around the yard. Jump to present time with my folks sitting on lawn chairs at night, and watching these same super-8 movies projected on the white side of the same white house, twenty years later.

Good horror is written by people who understand that fear is one of the cardinal passageways into the core of humanity. Good horror is generally written by folks who grew up on horror; books, movies, etc. You can’t simply decide to write—in any genre—if you don’t first have an understanding of the topic and a strong mental backlog of reference.

Up above Aliens hover Making home movies For the folks back home Of all these weird creatures Who lock up their spirits Drill holes in themselves And live for their secrets

Dude,” Austin said as we exited the freeway, “in fifty years, all of the old folks’ homes are going to be filled with seniors listening to Justin Bieber on the oldies station and talking about how movies used to be in two-D.

Thomas Edison was a graduate of Cooper Union. Like Otis, he is principally famous for things he didn’t do. He didn’t invent electricity, or the lightbulb, the phonograph or the movies. These misappropriations didn’t bother him much: he didn’t correct folk. What he was good at, what he really knew, was patents.

Turns out I really like bookstores. You know, I meet a lot of people in my line of work. A lot of folks pass through Alice Island, especially in the summer. I’ve seen movie people on vacation and I’ve seen music people and newspeople, too. There ain’t nobody in the world like book people. It’s a business of gentlemen and gentlewomen.

Taking a trip with the Air Force Special Operations Wing folks is not like a flight on a normal airliner. For one thing, passengers and crew are all armed to the teeth. The seating is awful, the noise is incredible, and there is no movie. Your stewardess is likely to be a guy wearing a shoulder holster, and he will not bring you a pillow.

Madame Vernoique arched an eyebrow imperiously. "Due to being exiled, your parents have been ... isolated in these mountains." "Did she just call us hillbillies?" Quinn drawled. "Hey," Duncan broke in mildly. "Some of my friends are hillbillies." "Are they horror-movie mountain folk like us?" "I'll be sure to ask Bryn next time I see her.

JANE: What to do when it is that time in your girl child's life: 1. Sit down calmly and explain sex to her? 2. Buy her a book, video, or CD that gives her the details? 3. Buy her condoms and put her on the pill? Or do as many mothers before you did—just stick your head in the sand and hope she joins a convent. Of course these days your child may know more about sex than you did at her age, what with in-school health lessons, and out-of-school R-rated movies easily accessed on the TV, not to mention the Starr Report! In the days of fairy tales, sex was dangerous because so many women died in childbirth. Today sex is again dangerous because of diseases like AIDS. So what do we say?

A lot of folks tend to tie the word home up with family. But most of the time family members living under the same roof will ignore each other for media. If home is about love, much of that love is focused on the web, television, movies, music, books… Love is in action, it’s in what you spend your time doing. That could be hanging out with members of your family, or taking in media.

It was around the time of the divorce that all traces of decency vanished, and his dream of being the next great Southern writer was replaced by his desire to be the next published writer. So he started writing these novels set in Small Town Georgia about folks with Good American Values who Fall in Love and then contract Life-Threatening Diseases and Die. I'm serious. And it totally depresses me, but the ladies eat it up. They love my father's books and they love his cable-knit sweaters and they love his bleachy smile and orangey tan. And they have turned him into a bestseller and a total dick. Two of his books have been made into movies and three more are in production, which is where his real money comes from. Hollywood. And, somehow, this extra cash and pseudo-prestige have warped his brain into thinking that I should live in France. For a year.Alone.I don't understand why he couldn't send me to Australia or Ireland or anywhere else where English is the native language.The only French word I know is oui, which means "yes," and only recently did I learn it's spelled o-u-i and not w-e-e. At least the people in my new school speak English.It was founded for pretentious Americans who don't like the company of their own children. I mean, really. Who sends their kid to boarding school? It's so Hogwarts. Only mine doesn't have cute boy wizards or magic candy or flying lessons. Instead,I'm stuck with ninety-nine other students. There are twenty-five people in my entire senior class, as opposed to the six hundred I had back in Atlanta. And I'm studying the same things I studied at Clairemont High except now I'm registered in beginning French. Oh,yeah.Beginning French. No doubt with the freshman.I totally rock.

The uneducated writer may successfully tell the stories of the people around him, may set down their longings and sufferings in comic or deeply moving or awe-inspiring ways; and if he is a self-educated writer, one who reads books, goes to good movies, and listens intently to the stories he hears among his friends and fellow workers, he may even become a subtle and original storyteller. But he will almost certainly remain a sort of primitive, that is, a kind of folk writer; he has difficulty becoming a virtuoso, one of those writers whose fictions impress us not only by their truth to life but also by their brilliance, their value as performance.

Storytelling, Johnson taught his students, was the key to successful debating. In contrast to the previous public speaking teacher who came from the “old school,” and trained his debaters to “be bombastic and loud,” Lyndon urged a conversational style that illustrated points with concrete stories. “Act like you’re talking to those folks,” he counseled his students. “Look one of them in the eye and then move on and look another one in the eye.” During competitions, he utilized all his supple array of gestures and facial expressions to cue and prompt—now frowning, narrowing his eyes, creasing his brow, shaking his head, gaping in wonder—creating a silent movie to steer and goad his charges to victory.

When it comes to people we admire, it is in our nature to be selective with information, to load with personal associations, to elevate and make heroic. That is especially true after their deaths, especially if those deaths have been in any way untimely and/or shocking. It is hard to hold onto the real people, the true story. When we think of the Clash, we tend to forget or overlook the embarrassing moments, the mistakes, the musical filler, the petty squabbles, the squalid escapades, the unfulfilled promises. Instead, we take only selected highlights from the archive-the best songs, the most flatteringly-posed photographs, the most passionate live footage, the most stirring video clips, the sexiest slogans, the snappiest soundbites, the warmest personal memories-and from them we construct a near-perfect rock 'n' roll band, a Hollywood version of the real thing. The Clash have provided us with not just a soundtrack, but also a stock of images from which to create a movie we can run in our own heads. The exact content of the movie might differ from person to person and country to country, but certain key elements will remain much the same; and it is those elements that will make up the Essential Clash of folk memory. This book might have set out to take the movie apart scene by scene to analyse how it was put together; but this book also believes the movie is a masterpiece, and has no intention of spoiling the ending. It's time to freeze the frame. At the very moment they step out of history and into legend: the Last Gang In Town.

In order to understand what this lady was saying about her upstairs neighbors,” I went on, because no one else was saying anything, “you have to turn the situation around. If the two sweet homosexuals hadn’t fed the cats at all but instead had pelted them with stones or tossed poisoned pork chops down to them from their balcony, then they would have been just plain dirty faggots. I think that’s what Claire meant about Guess Who’s Coming to Dinner? That the friendly Sidney Poitier was a sweet boy too. That the person who made that movie was absolutely no better than the lady in that program. In fact, Sidney Poitier was supposed to serve as a role model. An example for all those other nasty Negroes, the uppity Negroes. The dangerous Negroes, the muggers and the rapists and the crack dealers. When you people put on a good-looking suit like Sidney’s and start behaving like the perfect son-in-law, we white folks will be your friends.

Our Ideal Citizen—I picture him first and foremost as being busier than a bird-dog, not wasting a lot of good time in day-dreaming or going to sassiety teas or kicking about things that are none of his business, but putting the zip into some store or profession or art. At night he lights up a good cigar, and climbs into the little old 'bus, and maybe cusses the carburetor, and shoots out home. He mows the lawn, or sneaks in some practice putting, and then he's ready for dinner. After dinner he tells the kiddies a story, or takes the family to the movies, or plays a few fists of bridge, or reads the evening paper, and a chapter or two of some good lively Western novel if he has a taste for literature, and maybe the folks next-door drop in and they sit and visit about their friends and the topics of the day. Then he goes happily to bed, his conscience clear, having contributed his mite to the prosperity of the city and to his own bank-account.

Racism was a constant presence and absence in the Obama White House. We didn’t talk about it much. We didn’t need to—it was always there, everywhere, like white noise. It was there when Obama said that it was stupid for a black professor to be arrested in his own home and got criticized for days while the white police officer was turned into a victim. It was there when a white Southern member of Congress yelled “You lie!” at Obama while he addressed a joint session of Congress. It was there when a New York reality show star built an entire political brand on the idea that Obama wasn’t born in the United States, an idea that was covered as national news for months and is still believed by a majority of Republicans. It was there in the way Obama was talked about in the right-wing media, which spent eight years insisting that he hated America, disparaging his every move, inventing scandals where there were none, attacking him for any time that he took off from work. It was there in the social media messages I got that called him a Kenyan monkey, a boy, a Muslim. And it was there in the refusal of Republicans in Congress to work with him for eight full years, something that Obama was also blamed for no matter what he did. One time, Obama invited congressional Republicans to attend a screening of Lincoln in the White House movie theater—a Steven Spielberg film about how Abraham Lincoln worked with Congress to pass the Thirteenth Amendment abolishing slavery. Not one of them came. Obama didn’t talk about it much. Every now and then, he’d show flashes of dark humor in practicing the answer he could give on a particular topic. What do you think it will take for these protests to stop? “Cops need to stop shooting unarmed black folks.” Why do you think you have failed to bring the country together? “Because my being president appears to have literally driven some white people insane.” Do you think some of the opposition you face is about race? “Yes! Of course! Next question.” But he was guarded in public. When he was asked if racism informed the strident opposition to his presidency, he’d carefully ascribe it to other factors.

Kruchina was an archaic word for grief, found mostly in the old folk songs and poems. Kruchina grief was not regular sadness or disappointment with everyday troubles, but rather the existential sorrow about a woman’s lot that never goes away, not even at the happiest of moments.    Masha remembered this song from one of the movies of her youth, when all the movies and books were about the war and patriotism, about the great sacrifice for the future. German soldiers were burning a Russian village. The children screamed, the helpless grandmas and grandpas shrieked, the animals and fowl scattered for their lives. A young German soldier broke into the last izba standing and found two women huddled on a bench. Except for a single candle, the house was dark and it was hard to see what was in the shadowy corner: a trunk or a cradle.    Before the soldiers could reload their guns, the women began to sing “Kruchina.” In the middle of this chaos, time stopped. The soldiers listened as the voices washed over their round helmets and tense shoulders, crept into their machine guns, and spread through their stiffened veins and cold stomachs, like mother’s milk.    Sveta might not have even seen the movie, but she and Masha always sang “Kruchina” when their hearts, one or both, were in the wrong place.

University, where she is an adjunct professor of education and serves on the Veterans Committee, among about a thousand other things. That’s heroism. I have taken the kernel of her story and do what I do, which is dramatize, romanticize, exaggerate, and open fire. Hence, Game of Snipers. Now, on to apologies, excuses, and evasions. Let me offer the first to Tel Aviv; Dearborn, Michigan; Greenville, Ohio; Wichita, Kansas; Rock Springs, Wyoming; and Anacostia, D.C. I generally go to places I write about to check the lay of streets, the fall of shadows, the color of police cars, and the taste of local beer. At seventy-three, such ordeals-by-airport are no longer fun, not even the beer part; I only go where there’s beaches. For this book, I worked from maps and Google, and any geographical mistakes emerge out of that practice. Is the cathedral three hundred yards from the courthouse in Wichita? Hmm, seems about right, and that’s good enough for me on this. On the other hand, I finally got Bob’s wife’s name correct. It’s Julie, right? I’ve called her Jen more than once, but I’m pretty sure Jen was Bud Pewtie’s wife in Dirty White Boys. For some reason, this mistake seemed to trigger certain Amazon reviewers into psychotic episodes. Folks, calm down, have a drink, hug someone soft. It’ll be all right. As for the shooting, my account of the difficulties of hitting at over a mile is more or less accurate (snipers have done it at least eight times). I have simplified, because it is so arcane it would put all but the most dedicated in a coma. I have also been quite accurate about the ballistics app FirstShot, because I made it up and can make it do anything I want. The other shot, the three hundred, benefits from the wisdom of Craig Boddington, the great hunter and writer, who looked it over and sent me a detailed email, from which I have borrowed much. Naturally, any errors are mine, not Craig’s. I met Craig when shooting something (on film!) for another boon companion, Michael Bane, and his Outdoor Channel Gun Stories crew. For some reason, he finds it amusing when I start jabbering away and likes to turn the camera on. Don’t ask me why. On the same trip, I also met the great firearms historian and all-around movie guy (he knows more than I do) Garry James, who has become

If the American culture of movies, shopping males, and soft drinks cannot inspire us, there are other Americas that can: Americas of renegades and prisoners, of dreamers and outsiders. Something can be salvaged from the twisted wreck of the “democratic sprit” celebrated by Walt Whitman, something subverted from the sense that each person has worth and dignity: a spirit that can be sustained on self-reliance and initiative. These Americas are America of the alienated and marginalized: indigenous warriors, the freedom fighters of civil rights, the miners’ rebelling in the Appalachian Mountains. America’s past is full of revolutionary hybrids; our lists could stretch infinitely onwards towards undiscovered past or future. The monolith of a rich and plump America must be destroyed to make room for many Americas. A folk anarchist culture rising in the periphery of America, and can grow in the fertile ground that lies beneath the concrete of the great American wasteland. Anyone struggling today – living the hard life and fighting the even harder fight – is a friend even if he or she can never share a single meal with us, or speak our language. The anarchists of America, with our influence as wide as our prairies and dreams that could light those prairies on fire, can make entire meals on discarded food, live in abandoned buildings, and travel on the secret paths of lost highways and railroads, we are immensely privileged.

One additionally watches Hmong movies on YouTube or on Hmong journals also. This Hmong motion picture is for his or her Hmong folks in their own language.

Saint Joseph, Michigan is a hamlet catered specifically to the tastes of rich, vacationing city folk. In the summer, these wealthy tourists haul their yachts out of storage and settle into their lakeside summer homes. When they aren’t oiling up on the beach, they flock to quaint ice cream parlors and overpriced clothing and art stores along Dove Street. Of course, none of the permanent residents of St. Joe can afford to buy anything from those boutiques, but we do get a little pleasure when yuppies get their stilettos stuck in the cracks of our brick-paved roads. Apart from the beach and movie theater, it’s our main source of entertainment.

In Barbie's early years, Mattel struggled to make its doll look like a real-life movie star. Today, however, real-life celebrities—as well as common folk—are emulating her. The postsurgical Dolly Parton looks like the post-surgical Ivana Trump looks like the postsurgical Michael Jackson looks like the postsurgical Joan Rivers looks like

Movies with interfering in-laws and kids are often presented as comic, the ridicule bringing welcome relief to beleaguered married folks suffering offscreen at the hands of relatives.

Now, though, as we assembled the crew to work on our second film, A Bug’s Life, drawing on people who’d been key to Toy Story’s evolution, I discovered we’d completely missed a serious, ongoing rift between our creative and production departments. In short, production managers told me that working on Toy Story had been a nightmare. They felt disrespected and marginalized—like second-class citizens. And while they were gratified by Toy Story’s success, they were very reluctant to sign on to work on another film at Pixar. I was floored. How had we missed this? The answer, at least in part, was rooted in the role production managers play in making our films. Production managers are the people who keep track of the endless details that ensure that a movie is delivered on time and on budget. They monitor the overall progress of the crew; they keep track of the thousands of shots; they evaluate how resources are being used; they persuade and cajole and nudge and say no when necessary. In other words, they do something essential for a company whose success relies on hitting deadlines and staying on-budget: They manage people and safeguard the process. If there was one thing we prided ourselves on at Pixar, it was making sure that Pixar’s artists and technical people treated each other as equals, and I had assumed that that same mutual respect would be afforded to those who managed the productions. I had assumed wrong. Sure enough, when I checked with the artists and technical staff, they did believe that production managers were second-class and that they impeded—not facilitated—good filmmaking by overcontrolling the process, by micromanaging. Production managers, the folks I consulted told me, were just sand in the gears.

*I’ve always had an alternative reading of the Body Snatchers movies (Siegel’s, Kaufman’s, and Ferrara’s). Each movie presents the Pod People in a sinister light. Yet really, almost nothing they do on screen really bears out this sinister interpretation. If you’re one who believes that your soul is what makes you you, then I suppose the Pod People are murdering the Earthlings they duplicate and replace. However, if you’re more of the mind that it is your intellect and your consciousness that make you who you are, then the Pod People transformation is closer to a rebirth than a murder. You’re reborn as straight intellect, with a complete possession of your past and your abilities, but unburdened by messy human emotions. You also possess a complete fidelity to your fellow beings and a total commitment to the survival of your species. Are they inhuman? Of course, they’re vegetables. But the movies try to present their lack of humanity (they don’t have a sense of humor, they’re unmoved when a dog is hit by a car) as evidence of some deep-seated sinisterness. That’s a rather species-centric point of view. As human beings it may be our emotions that make us human, but it’s a stretch to say it’s what makes us great. Along with those positive emotions—love, joy, happiness, amusement—come negative emotions—hate, selfishness, racism, depression, violence, and rage. For instance, with all the havoc that Donald Sutherland causes in the Kaufman version, including the murder of various Pod People, there never is a thought of punishment or vengeance on the Pod People’s part, even though he’s obviously proven himself to be a threat. They just want him to become one of them. Imagine in the fifties, when the Siegel film was made, that instead of some little town in Northern California (Santa Mira) that the aliens took root in, it was a horribly racist, segregated Ku Klux Klan stronghold in the heart of Mississippi. Within weeks the color lines would disappear. Blacks and whites would be working together (in genuine brotherhood) towards a common goal. And humanity would be represented by one of the racist Kluxers whose investigative gaze notices formerly like-minded white folks seemingly enter into a conspiracy with some members of the county’s black community. Now picture his hysterical reaction to it (“Those people are coming after me! They’re not human! You’re next! You’re next!”). *Solving the problems, both large and small, of your actors—lead actors especially—is the job of a film director.

The street was vacant. Like a big old movie set. Nothing. Nobody to do a thing with. What could she do alone? Better yet, what could she do alone that could exclude the white folks, who were nowhere to be seen except in her wounds and aches of memories. Betsey decided to play hop-scotch, but she laid the hop-scotch pattern out with enough room to write “For Colored Only,” “Crackers and Dogs Not Allowed,” “Peckerwoods Got No Welcome Here,” “Guineas Go Home.” Betsey’s hop-scotch was something to behold. Chalk never seemed so powerful as when it messed with white folks.

If you think about how many magical Negro, Native American, or wise Asian mentor tropes you’ve watched in movies over the years, it’s easy to understand why so many white folks have been brainwashed into believing that POC exist to support their growth and evolution. The utter failure to comprehend that gaining respect and validation from white folks is not a ubiquitous goal for folks of color is exhausting.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

President Obama: We cannot have a society in which some dictator someplace can start imposing censorship here in the United States. Because if somebody is able to intimidate folks out of releasing a satirical movie, imagine what they start doing when they see a documentary that they don’t like or news reports that they don’t like. Or even worse, imagine if producers and distributors and others start engaging in self-censorship because they don’t want to offend the sensibilities of somebody whose sensibilities probably need to be offended. So that’s not who we are. That’s not what America is about. Again, I’m sympathetic that Sony, as a private company, was worried about liabilities and this and that and the other. I wish they had spoken to me first. I would have told them, “Do not get into a pattern in which you’re intimidated by these kinds of criminal attacks.”…I think it says something interesting about North Korea that they decided to have the state mount an all-out assault on a movie studio because of a satirical movie….I love Seth and I love James, but the notion that that was a threat to them, I think gives you some sense of the kind of regime we’re talking about here.

That movie, what you call a spell, I believe, works to induce hate on a mass scale,” Molly says. “Like how a lynching riles individuals into a mob.” Sadie scoffs. “Then why come it only riles white folk?

This too has been made into a movie very effectively. [One in 1971 and one in 1992.] In Chapter 17, you will read about how there was unusual interest in this story by our biological warfare folks.

It might look like people are ahead of you, be it in money, looks or opportunity, but here's what - Eyes on your own paper, folks! Everyone has to do the work. People who just get handed opportunity without the effort usually fuck it up and end up much lower than when they started. Your career is something that starts with the first step, not with a promotion or a movie or an award. It begins the minute you say you are going to do it. So make it all count.

We tend to understand our world through labels and through stories. Well, I love a good story. You know that. But... sometimes... I see folks getting themselves all twisted up over stories. I mean the stories we apply to ourselves. The story of our identities. Younger folks, older folks too, get anxious because they feel like their story hasn’t actually begun. That they are in a play and they’ve missed their cues and forgotten their lines. Or, they turn into literary critics of life and criticize their own character, looking for steady growth and rising action. A satisfying plot tying events together. Here’s the thing. Lives aren’t stories. They aren’t written to be tidy or to hang tight to a central theme or conflict. We consume a lot of carefully constructed stories and it can be easy to forget that life is not one of them. You aren’t headed toward a thoughtful climax and, so, you can’t be off track within your own narrative. Life doesn’t work that way. We live and then we don’t. That’s the simple truth of it. Our stories are happening now and if we get preoccupied looking for satisfying character arcs or a steady build toward some conclusion, well we miss what’s here in the moment and we will always fall short of our expectations. We can’t judge ourselves like we judge the protagonist in a book or movie. Life isn’t failing you because it isn’t delivering a cohesive story. You aren’t failing because you haven’t stuck to a clear and explainable hero’s path. Stories are a great way to understand the world, but they are paper thin compared to actual life. You, in contrast, are complicated. Make room for that truth and love yourself in all your messy complexity. (The Cryptonaturalist episode 39: Bittersweet)

Honesty and openness is always the foundation of insightful dialogue. Most of us have not been raised in homes where we have seen two deeply loving grown folks talking together. We do not see this on television or at the movies. And how can any of us communicate with men who have been told all their lives that they should not express what they feel. Men who want to love and do not know how must first come to voice, must learn to let their hearts speak—and then to speak truth. Choosing to be fully honest, to reveal ourselves, is risky. The experience of true love gives us the courage to risk.

She says that if this were a movie, someone would find a poem about cursed snakes and it would give us the clue we needed, so she’s gone off to find one. The archivists don’t know what to do with her.

Sure, but I think the traps should work.” I set my hands on my hips, not wanting to tranquilize the bears unless absolutely necessary. “The ketamine isn’t just for the bears.” Drew gave me a sympathetic look, then promptly turned and left, Roscoe on his heels. “I think he expects me to use the ketamine on the film folks.” I chuckled, knowing Drew wasn’t serious. It was pretty darn close to a joke though. I was proud of my boss, he rarely made jokes. “Or use it on each other.” Cletus gulped the rest of his coffee, smacking his lips before adding. “If these movie people are as crazy as Drew thinks they are, we can self-medicate until we pass out. It’s always good sense to have an escape plan.

Daniel and the Pelican As I drove home from work one afternoon, the cars ahead of me were swerving to miss something not often seen in the middle of a six-lane highway: a great big pelican. After an eighteen-wheeler nearly ran him over, it was clear the pelican wasn’t planning to move any time soon. And if he didn’t, the remainder of his life could be clocked with an egg timer. I parked my car and slowly approached him. The bird wasn’t the least bit afraid of me, and the drivers who honked their horns and yelled at us as they sped by didn’t impress him either. Stomping my feet, I waved my arms and shouted to get him into the lake next to the road, all the while trying to direct traffic. “C’mon beat it, Big Guy, before you get hurt!” After a brief pause, he cooperatively waddled to the curb and slid down to the water’s edge. Problem solved. Or so I thought. The minute I walked away he was back on the road, resulting in another round of honking, squealing tires and smoking brakes. So I tried again. “Shoo, for crying out loud!” The bird blinked, first one eye then the other, and with a little sigh placated me by returning to the lake. Of course when I started for my car it was instant replay. After two more unsuccessful attempts, I was at my wits’ end. Cell phones were practically non-existent back then, and the nearest pay phone was about a mile away. I wasn’t about to abandon the hapless creature and run for help. He probably wouldn’t be alive when I returned. So there we stood, on the curb, like a couple of folks waiting at a bus stop. While he nonchalantly preened his feathers, I prayed for a miracle. Suddenly a shiny red pickup truck pulled up, and a man hopped out. “Would you like a hand?” I’m seldom at a loss for words, but one look at the very tall newcomer rendered me tongue-tied and unable to do anything but nod. He was the most striking man I’d ever seen--smoky black hair, muscular with tanned skin, and a tender smile flanked by dimples deep enough to drill for oil. His eyes were hypnotic, crystal clear and Caribbean blue. He was almost too beautiful to be real. The embroidered name on his denim work shirt said “Daniel.” “I’m on my way out to the Seabird Sanctuary, and I’d be glad to take him with me. I have a big cage in the back of my truck,” the man offered. Oh my goodness. “Do you volunteer at the Sanctuary?” I croaked, struggling to regain my powers of speech. “Yes, every now and then.” In my wildest dreams, I couldn’t have imagined a more perfect solution to my dilemma. The bird was going to be saved by a knowledgeable expert with movie star looks, who happened to have a pelican-sized cage with him and was on his way to the Seabird Sanctuary.

Daniel and the Pelican So there we stood, on the curb, like a couple of folks waiting at a bus stop. While he nonchalantly preened his feathers, I prayed for a miracle. Suddenly a shiny red pickup truck pulled up, and a man hopped out. “Would you like a hand?” I’m seldom at a loss for words, but one look at the very tall newcomer rendered me tongue-tied and unable to do anything but nod. He was the most striking man I’d ever seen--smoky black hair, muscular with tanned skin, and a tender smile flanked by dimples deep enough to drill for oil. His eyes were hypnotic, crystal clear and Caribbean blue. He was almost too beautiful to be real. The embroidered name on his denim work shirt said “Daniel.” “I’m on my way out to the Seabird Sanctuary, and I’d be glad to take him with me. I have a big cage in the back of my truck,” the man offered. Oh my goodness. “Do you volunteer at the Sanctuary?” I croaked, struggling to regain my powers of speech. “Yes, every now and then.” In my wildest dreams, I couldn’t have imagined a more perfect solution to my dilemma. The bird was going to be saved by a knowledgeable expert with movie star looks, who happened to have a pelican-sized cage with him and was on his way to the Seabird Sanctuary. As I watched Daniel prepare for his passenger, I couldn’t shake the feeling that I knew him from somewhere. “Have we ever met before?” I asked. “No I don’t think so,” was his reply, smiling again with warmth that would melt glaciers. I held my breath as the man crept toward the pelican. Their eyes met, and the bird meekly allowed Daniel to drape a towel over his face and place him in the cage. There was no struggle, no flapping wings and not one peep of protest--just calm. “Yes!” I shrieked with excitement when the door was latched. What had seemed a no-win situation was no longer hopeless. The pelican was finally safe. Before they drove away, I thanked my fellow rescuer for his help. “It was my pleasure, Michelle.” And he was gone. Wait a minute. How did he know my name? We didn’t introduce ourselves. I only knew his name because of his shirt. Later when I called the Sanctuary to check on the pelican, I asked if I might speak with Daniel. No one had ever heard of him.

Even though I’m almost seventy years old, I got a lot to learn too. I used to spend a lotta time worryin that I was different from other people, even from other homeless folks. Then, after I met Miss Debbie and Mr. Ron, I worried that I was so different from them that we wadn’t ever gon’ have no kind a’ future. But I found out everybody’s different—the same kind of different as me. We’re all just regular folks walkin down the road God done set in front of us.

Excerpted From Chapter One “Rock of Ages” floated lightly down the first floor corridor of the Hollywood Hotel’s west wing. It was Sunday morning, and Hattie Mae couldn’t go to church because she had to work, so she praised the Lord in her own way, but she praised Him softly out of consideration for the “Do Not Disturb” placards hanging from the doors she passed with her wooden cart full of fresh linens and towels. Actually Sundays were Hattie Mae’s favorite of the six days she worked each week. For one thing, her shift ended at noon on Sundays. For another, this was the day Miss Lillian always left a “little something” in her room to thank Hattie Mae for such good maid service. Most of the hotel’s long-term guests left a little change for their room maids, but in Miss Lillian’s case, the tip was usually three crinkly new one dollar bills. It seemed like an awful lot of money to Hattie Mae, whose weekly pay was only nineteen dollars. Still, Miss Lillian Lawrence could afford to be generous because she was a famous actress in the movies. She was also, Hattie Mae thought, a very fine lady. When Hattie Mae reached the end of the corridor, she knocked quietly on Miss Lillian’s door. It was still too early for most guests to be out of their rooms, but Miss Lillian was always up with the sun, not like some lazy folks who laid around in their beds ‘til noon, often making Hattie Mae late for Sunday dinner because she couldn’t leave until all the rooms along her corridor were made up. After knocking twice, Hattie Mae tried Miss Lillian’s door. It opened, so after selecting the softest towels from the stacks on her cart, she walked in. With the curtains drawn the room was dark, but Hattie Mae didn’t stop to switch on the overheard light because her arms were full of towels. The maid’s eyes were on the chest of drawers to her right where Miss Lillian always left her tip, so she didn’t see the handbag on the floor just inside the door. Hattie Mae tripped over the bag and fell headlong to the floor, landing inches from the dead body of Lillian Lawrence. In the dim light Hattie Mae stared into a pale face with a gaping mouth and a trickle of blood from a small red dot above one vacant green eye. Hattie Mae screamed at the top of her lungs and kept on screaming.

They all lived within a stone’s throw from the gurdwara, went to Punjabi school twice a week, and hung out together afterward at one another’s houses—watching Bollywood movies or Punjabi dramas, or practicing bhangra dances they made up and performed at folk festivals and celebrations.

I'm just me. Samuel Clearwater. I was born in this shit hole town. My favourite word is any variation of FUCK. I like my whiskey with a side of blow and maybe a little weed. I have a running theme song in my head for pretty much every occasion and I like to sing it at the top of my lungs, regardless of who is around or where I am. One of my most favorite things to do in this life is to give my friend Bear shit 'cause the look on his face is fucking priceless. I love all kinds of movies and I cried like a little bitch during the entire two hours of PS I Love You. I dig all kinds music. Countrey. Folk. Pop. Blues. Rap. Everything from Tupac to Taylor Swift. I have an unnatural obsession with making perfect pancakes.

Then the center of influence shifted to London, with the Beatles and the Rolling Stones, Cream, the Who, the Kinks, and all the bands that orbited them. San Francisco, with the Grateful Dead, Jefferson Airplane, and Santana, had its moment in a psychedelic spotlight around the Summer of Love and the Monterey Pop Festival in 1967, but as the 1960s gave way to the '70s, the center of the musical universe shifted unmistakably to Los Angeles. "It was incredibly vital," said Jonathan Taplin, who first came to LA as the tour manager for Bob Dylan and the Band and later relocated there to produce Martin Scorsese's breakthrough movie, Mean Streets. "The nexus of the music business had really moved from New York to Los Angeles. That had been a profound shift . . . It was very clear that something big had changed."'' For a breathtaking few years, the stars aligned to glittering effect in Los Angeles. The city attracted brilliant artists; skilled session musicians; soulful songwriters; shrewd managers, agents, and record executives; and buzz-building clubs. From this dense constellation of talent, a shimmering new sound emerged, a smooth blend of rock and folk with country influences. Talented young people from all over the country began descending on Los Angeles with their guitar cases or dreams of becoming the next Geffen. Irving Azoff, a hyper-ambitious young agent and manager who arrived in Los Angeles in 1972, remembered, "It was like the gold rush. You've never seen anything like it in the entertainment business. The place was exploding. I was here—right place, right time. I tell everybody, `If you're really good in this business, you only have to be right once,' so you kind of make your own luck, but it is luck, too. It was hard to be in LA in that time and have any talent whatsoever in the music business—whether you were a manager, an agent, an artist, a producer, or writer—[and] not to make it, because it was boom times. It was the gold rush, and it was fucking fun.

all talking in a tense and agitated fashion, like a scene in a movie where folks find out the mining company has poisoned their water.

JOURNALIST— (3) TERRIFIED TO DISAPPOINT MISS HABER AND HER READERS, WE WILL TRY TO ACCOMMODATE HER “FASCINATING RUMORS, SO FAR UNCHECKED” BY BUSTING UP OUR MARRIAGE EVEN THOUGH WE STILL LIKE EACH OTHER. JOANNE & PAUL NEWMAN This was a stunner, and it got folks talking. The Newmans’ marriage, then eleven years along, was considered stable: all those kids, the famed Connecticut home, the films they’d worked on together, the collaborative success of Rachel, Rachel. It didn’t seem right. Gossipy movie fan magazines had often tried to goose a few sales out of articles speculating that the Newmans were at odds with each other (“Shout by Shout: Paul Newman’s Bitter Fights with His Wife”; “Strange Rumors About Hollywood’s ‘Happiest Marriage’”) or that forty-three-year-old Newman was feeling randy and seeking consolations outside the home (“Paul Newman’s Just at That Age”; “Is Paul Newman’s Joanne Too Possessive?”). Invariably, they all stopped short of actually announcing real trouble or accusing Newman of adultery. The Newmans were supposed to be examples. But this strange advertisement didn’t so much squelch rumors as give people reason to wonder about them. They didn’t have to wait long for a fuller story. Later that year a gossip magazine

Happily Ever After was a phrase for little girls and movie stars. Grown women concentrated on their careers, maintained their dignity, and never let anyone inside their heart’s walls. Peace and safety on the inside, pain and weakness on the outside. Keep the line moving, folks. Nothing to see here.

If you see a movie scene in which people are smiling, you are more likely to smile yourself (whether or not the movie is funny); yawns are contagious, too. Conventional wisdom has it that if two people live together for a long time, they start to look like each other. This bit of folk wisdom turns out to be true. (For the curious: they grow to look alike partly because of nutrition—shared diets and eating habits—but much of the effect is simple imitation of facial expressions.) In fact couples who end up looking alike also tend to be happier!

Somewhere along the way, I picked up the unspoken belief that I was made for white people. That might sound weird, but it's true. Much of my teaching (and learning) managed to revolve around whiteness - white privilege, white ignorance, white shame, the things white folks "needed" in order to believe racial justice is a worthy cause. Movie discussions on Do the Right Thing or Crash often focused on the white characters, and "privilege walks" focused on making white people recognize the unearned advantages they'd gotten at birth. I worked as if white folks were at the center, the great hope, the linchpin, the key to racial justice and reconciliation - and so I contorted myself to be the voice white folks could hear. It's amazing how white supremacy even invades programs aimed at seeking racial reconciliation.

Act like you’re talking to those folks,” he counseled his students. “Look one of them in the eye and then move on and look another one in the eye.” During competitions, he utilized all his supple array of gestures and facial expressions to cue and prompt—now frowning, narrowing his eyes, creasing his brow, shaking his head, gaping in wonder—creating a silent movie to steer and goad his charges to victory.

dustpan that he emptied into a larger trash can. If I were him, picking up after people who carelessly dropped stuff on the ground, I’d be nothing but angry. They call it littering when you carelessly drop things. They call the careless folks who drop things by a cute name: litterbug. There’s nothing cute about dropping things carelessly. Dropping garbage and having puppies shouldn’t be called the same thing. “Litter.” I had a mind to write to Miss Webster about that. Puppies don’t deserve to be called a litter like they had been dropped carelessly like garbage. And people who litter shouldn’t be given a cute name for what they do. And at least the mother of a litter sticks around and nurses her pups no matter how sharp their teeth are. Merriam Webster was falling down on the job. How could she have gotten this wrong? Vonetta asked me again. Not because she was anxious to meet Cecile. Vonetta asked again so she could have her routine rehearsed in her head—her curtsy, smile, and greeting—leaving Fern and me to stand around like dumb dodos. She was practicing her role as the cute, bouncy pup in the litter and asked yet again, “Delphine, what do we call her?” A large white woman came and stood before us, clapping her hands like we were on display at the Bronx Zoo. “Oh, my. What adorable dolls you are. My, my.” She warbled like an opera singer. Her face was moon full and jelly soft, the cheeks and jaw framed by white whiskers. We said nothing. “And so well behaved.” Vonetta perked up to out-pretty and out-behave us. I did as Big Ma had told me in our many talks on how to act around white people. I said, “Thank you,” but I didn’t add the “ma’am,” for the whole “Thank you, ma’am.” I’d never heard anyone else say it in Brooklyn. Only in old movies on TV. And when we drove down to Alabama. People say “Yes, ma’am,” and “No, ma’am” in Alabama all the time. That old word was perfectly fine for Big Ma. It just wasn’t perfectly fine for me.

if necessary, leave. The party may be spoiled, you might not be able to see the end of the movie, etc. so what? It’s better than getting your head knocked in or being around to watch the stomping that is about to happen. somebody is going to get seriously hurt. That means hospitals and police—not fun, folks. oddly enough, when you are really tough, it’s easier to walk away from this sort of thing.

Then we caught the presidential debates. The people you folks elect are sort of scary. And you Americans are the folks that do it the best on this entire planet. Besides, your president only speaks for Americans. American movies speak for your world. Who hasn’t seen Wizard of Oz? Or Jaws? Or Star Wars?