"The world owes me a living."

A phrase from an old Disney cartoon song came to mind as we were talking about the pretty face in the previous post. I don't know anything about the real Hunter Park, the unusually handsome young man who was arrested over threats to "shoot every black person I see" at the University of Missouri. I don't even know whether he is the author of the threat. But we got to talking about the psychology of unusually good-looking people who squander their beauty endowment. No sooner do we see the face than we must despise it. What goes on in the mind of a person with such a nice endowment? Does the beauty itself deceive him into thinking that the world owes him a living?

I went looking for the old song, and here it is, in a tremendously enjoyable cartoon of "The Grasshopper and the Ants."



If you watch the whole thing — which you will not regret — you'll probably want to talk about politics. What's left-wing and right-wing here? But maybe you'll be like me if: 1. You observe, early on, that the grasshopper is working, as a musician, and then feel richly rewarded at a later plot point, and 2. You're quite touched by the charity of the ants, and 3. You're cracked up by how happy the insects are when they're happy, and 4. You love the brilliance of the depiction of the seasons changing and think the image of ants' home in the snow looks like a Thomas Kinkade painting.

Hey! I just realized this post gets one of my favorite tags: Insect Politics!

R. Crumb on Adam and Eve and his deal with a publisher to draw a comic of all of Genesis.

The word "stupid" comes up twice...



... Adam and Eve were stupid and so was that deal (because there's a lot more in Genesis than the vivid tale of Adam and Eve... and he's not really happy with the way he decided to draw God). Nice little video with a view into his work space (in France (not the one in the great old documentary)). Not really safe for work, of course, Adam and Eve being naked (until they realized they were naked).

Here's the book in case you don't already have it.

AND: There's an interview here. Excerpt:

"The hippie culture of Haight-Ashbury, where it all started for me, was full of men doing nothing all day and expecting women to bring them food. The ‘chick’ had to provide a home for them, cook meals for them, even pay the rent. It was still very much ingrained from the earlier patriarchal mentality of our fathers, except that our fathers, generally, were providers. Free love meant free sex and food for men. Sure, women enjoyed it, too, and had a lot of sex, but then they served men. Even among left-wing political groups, women were always relegated to secretarial, menial jobs. We were all on LSD, so it took a few years for the smoke to dissipate and for women to realize what a raw deal they were getting with the ne’er-do-well hippie male. Men who acquired preeminence at the time were all frauds, fake gurus who were paying lip service to peace and love, charismatic cons who just wanted to fuck all their adoring disciples. Timothy Leary was like that. A big phony."

ADDED: I was interested that Crumb drew a cover for The New Yorker on the subject of gay marriage that the magazine never published.  I'd like to see it! And: "The America that I missed died in about 1935... In the U.S [in the 1920s] there were thousands and thousands of bands, dance halls, ballrooms in hotels, restaurants had dance floors, school auditoriums, clubs in small towns. A small town of 10,000 would have a least a hundred bands. In the mid 30’s radio spread very fast in America and the depression killed a lot of the venues where live music was performed. You could go to the movies for 10 cents. Then in the 50’s TV finished it all off. Mass media makes you stay home, passive. In the 20’s there was live music everywhere in the States.... The current pop music in the Western world is just plain god-awful. America is long gone. The ’80s killed it for me. The Reagan era, AIDS. It was an awful decade."

MORE: You can see The New Yorker cover here, and it's pretty obvious that it's not at the right taste level. 

"[New Yorker editor David] Remnick would not give the reason for rejecting the cover, either to the cover editor, or to me. For this reason I refuse to do any more work for the New Yorker. I felt insulted, not so much by the rejection as for the lack of any reason given. I can't work for a publication that won't give you any guidelines or criterion for accepting or rejecting a work submitted. Does the editor want to keep you guessing or what? I think part of the problem is the enormous power vested in the position of chief editor of the New Yorker. He has been ‘spoiled' by the power that he wields. So many artists are so eager to do covers for the New Yorker that they are devalued in the eyes of David Remnick. They are mere pawns. He is not compelled to take pains to show them any respect. Any artist is easily replaced by another. Fortunately for me, I do not feel that I need the New Yorker badly enough to put up with such brusque treatment at the hands of its editor-in-chief. The heck with him!"

Crumb said that back in 2011. In the new interview, he's still pissed off at Remnick.

"Imagine creating the best work of your life, some of the best music of its day, and no one cares."

"Now imagine playing those songs 47 years later to a screaming and loving bunch of fans and getting what seems like a hero's welcome. That's part of the story of The Zombies, who played the classic 1968 album Odessey and Oracle, along with a set of other hits and brand new songs, live in Washington, D.C. last month. Now we have their nearly note-for-note live reproduction of Odessey and Oracle for you here."

"'Wrapping Paper' is the most appalling piece of shit I've ever heard in my life! I was totally against it, right from the start... Eric and I didn't like it."

Said Ginger Baker.



Listen. That's Jack Bruce, composer of the music (not the lyrics), singing the lead vocals and playing bass guitar, piano, cello.
Click for more »

"These things just sortof happened. I needed a job, and I got a job in a day-care center, and it was horrible."

"I started playing the guitar and doing role-play, which is what they do at that age. And the other teachers were like, ‘Are you drugging these kids? Why are they listening to you? Why are they not bored? Why are they not whining?’ I was like, 'I was speaking their language.'" The kids asked: "'Are you a kid or an adult? And also are you a boy or a girl?' They had no idea."

Explained Peaches, who's somebody I'm aware of because she was on Marc Maron's podcast. And I just watched "Dick in the Air."

IBM gets me to embed its ad for IBM Watson.

I'm happy and thoroughly enthusiastic about propagating this:



Most viral video I've ever encountered on the internet. I'm susceptible to the virality of Bob Dylan, who does a subtle, lovely acting job. And I'm enjoying the closeup photography of his wrinkly face.

And let me give Apple equal time, and not because I've always been an Apple and not an IBM person. The Dylan ad reminds me — because of the nicely photographed closeup face and the pleasing music — of an ad that played during last night's football game:

"Make Someone Happy."

Alternate versions: 1. Doris Day, 2. Jimmy Durante, 3. Audra MacDonald, 4. Perry Como, 5. Barbra Streisand.

"The Singing Contractors had a request to sing this song 'How Great Thou Art'..."