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We’ve got some debates town halls to cover, we’ve got a good old fashioned social media shadow banning scandal, Joe Biden’s son is bad at influence peddling, we had a Supreme Court nominee sail through her hearing, and we get into the nitty gritty on the 1619 Project. But most importantly, we spend some quality time with Kim Strassel, she of the Wall Street Journal, and one of the most ardent supporters of the President. We of course talk about that with her, also the Senate, the previously mentioned big tech/media controversy.
Music from this week’s show: Amie by Pure Prarie League
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And you thought he only colorized part of it? Interesting.
But who is?
Perhaps only Neil Kinnock, if we’re lucky.
If anyone thinks that “not getting the wall” is reason to vote for Biden, or to not vote at all… well, as someone said once, “you can’t fix stupid.”
I dont remember any of the movie being B&W. Maybe its my memory. I havent seen the movie in at least 35 years.
Unless Ted Turner has colorized the start and the finish, it starts as B&W when Dorothy is on the farm etc, up to and including the tornado. It becomes color when Dorothy leaves the house after the tornado. And returns to B&W after Dorothy clicks the heels and returns home to the farm.
Years ago when colorization by Turner was all the rage, my brother Don @donwatt suggested that the way to end it would be to colorize the beginning and ending of The Wizard of Oz.
So, many colorized movies just look terrible and washed out. The fad happily died out.
BTW – The beginning and ending of The Wizard of Oz are actually in sepia-tone. FWIW.
I am pleased to hear that. My only window into the coverage of America in Japan is the NHK podcast, and they generally express outrage at Trump for recklessness with regard to the virus. Japanese cultural tendencies make that almost inevitable, especially with a virus so threatening to high density urban culture, but it is good to hear that there is some balance.
You’ve never eaten a meal with Mark and Molly, and they are first class journalists.
The first decade or so of colorizations really just slapped muddy faded-looking colors onto B&W prints, without really caring all that much how good they looked or whether or not the selected colors made sense, and Turner was at the lead in that (in fact, as much as Turner Classic Movies is now revered, when Ted got hold of the pre-1948 Warner Bros. and then the RKO film libraries, there was talk that he planned to colorize Casablana and Citizen Kane. That really started a firestorn and he backed off — the biggest thing he colorized was Season 1 of Gilligan’s Island).
Most of the stuff colorized in the past 20 years does a better job of not giving the color a sickly feeling (and you can even dig around online to find people who have done non-authorized colorizations of B&W efforts — usually TV shows — that are light years ahead of the professional colorization jobs of the 1990s. Still wouldn’t justify colorizing Casablanca or Citizen Kane, though).
I try to keep in mind when I rip on journalists that there are some that I quite like. It’s just that 93% of them give the rest a bad name.
Especially their own.
It is contemptible to shoot the wounded.
That’s what bayonets are for.
James: For us classic liberals, this podcast (and a few others) represents a merciful island of sanity in an ocean of Left Wing bedlam. I adore what you, Peter, and Rob are doing to calm those waters, or at least, to help the rest of us navigate them. (End of metaphor — I swear).
But I do wish you guys would devote more time to what you spent all of 3 minutes on this week: Critical Race Theory. Because CRT, more than any other single issue (or, Lord knows, any upcoming election) is what is tearing the culture apart right now. Honestly, it doesn’t matter who wins the White House next month, Critical Race Theory (aka “wokeness” aka “intersectionality” — call it what you will) is going to continue to metastasize, capturing more and more elementary schools, high schools, universities (including the STEM fields), corporate HR departments, advertising agencies, news outlets, publishing houses, and of course, purveyors of scripted media.
Critical Race Theory. That’s where the true threat lies. But most Conservatives can’t see past the next election. And I wish you guys would talk about that.
I must never have sat still long enough to watch the black & white parts – I dont remember seeing those parts of the movie before.
I downloaded and watched the movie now, Its actually a very touching movie. Even with the Disney levels of silly song and dance in the middle of the movie…Its going on my Christmas movie list for sure.
Color film in one form another had been around for decades prior to 1939’s THE WIZARD OF OZ. Three-strip Technicolor — which looks magnificent, by the way — had been around since the early thirties, but the first full-length feature to be shot in this process was BECKY SHARP, released in 1935. In other words, OZ wasn’t even close to being the first movie to be shot in three-strip Technicolor, but it is a fine example of its glories. So is THE ADVENTURES OF ROBIN HOOD, released the year before.
A friend of min (RIP) was interested in that stuff too, and I got stuff for him from TCM mostly, including stuff made with two-strip Technicolor. I think one of them was called The Flag…
Yep, that was it. 1927.
I really like the look of early color films. I dont know if its the lighting, the film processing but the colors seem to be so bright in contrast to later films where the colors are more sedate or even mundane.
Google lomography. That is similar. I think that died off because you can do it with computers now or something.
Fun trivia fact — Six years before the MGM movie arrived, a cartoon version of “The Wizard of Oz” was made, and like the movie, filmed its scenes in Kansas in black & white and went to color when the story shifts to Oz.
The cartoon was done by independent producer Ted Eshbaugh, and — being a 1930s cartoon and just under eight minutes long — takes liberties with the Oz story line (the 1933 film also apparently took liberties with the new three-strip Technicolor process — only Disney was allowed to use it in ’33 — and was blocked from release at the time it was made. But it is interesting to see where MGM got the idea for the B&W and color split in the story). Carl Stalling, in-between his time at Disney and Warner Bros., does the music here.
I’m a reluctant fan of the president, but I’ve never really objected to Rob’s Never Trump viewpoint. But now he seems to be explaining to us that political graft is the way the world works, and we’re naive to be outraged by the revelations about the Biden gravy train. Well I’m willing to believe that I have been naive. I’m not willing to accept that now that I have been schooled in the true ways of the political world that I must just accept it. That seemed to be Rob’s message in the podcast today. On the other hand, maybe he just wants to protect Biden long enough to drive a stake through Trump’s heart. Hidden agenda much?
The swamp needs draining, and we’ve been given a gift. Let’s start with the Bidens and vigorously pursue every stinking miasmic tributary oozing out from there. Rob thinks that’s naive, and he may be right. Maybe it’s a fools errand. But I’d like to find out for myself. Trump is not the champion we might have wanted, but with just three weeks to go until the election, he’s the only champion we’ve got.
Mikescapes: I agree. This all gets white-washed once Biden wins. His AG won’t move against Hunter – obviously. And Barr won’t investigate no matter how long Trump hangs on before leaving office. He’s already done that in other political corruption cases. I believe he let Scholtz and his girlfriend walk.
Gratz to you, @susanquinn, for getting some love from the guys!
They’re still behind, though. It’s not linked in the show notes, and not showing in the sidebar.
Indeed. My thought was instead “if we’re paying for Technicolor, we want colorful” for the answer. Wikipedia, the Great and Powerful, concurs.
And pay no attention to the man – or algorithms – behind the curtain, making sure that only leftist “news” shows up.
Wow! I knew there’d been some b&w silent versions of OZ produced before the 1939 musical version, but until now I had never heard about the animated short that, incredibly, shifts from b&w to color when the heroine lands in Oz. Incredible. And, yes, it can’t be a coincidence that the musical version incorporated this same (brilliant) idea into its visual scheme. Thanks for the share!
Yes, there were also silent versions of Ben Hur, and Hunchback Of Notre Dame, and lots more. I got a bunch of stuff like that for my friend (RIP), usually from TCM but occasionally Fox Movie Channel had silents.
If anyone wants to see those, I keep everything. So I can make dvds like I did for my friend.
You guys almost gave me a heart attack. I was listening to the podcast while on the elliptical and heard my name! Member Post of the Week! Thanks so much, I really appreciate hearing that from such fine writers. And hearing all your kind remarks.