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creator=Rotimi Rainwater directed by=Rotimi Rainwater actor=Halle Berry Year=2019 Duration=105 Minutes. David Howard is upset. His wife, Linda, thinks the two of them are too responsible, too controlled, too…well, stodgy. It’s not fair – he doesn’t like it any better than she, but how else is he supposed to behave? He’s a young, fast-rising ad executive, not a flower child, and as personnel director for an upscale department store, Linda’s hardly a free spirit, either. Besides, David’s certain to be named senior vice president. He and Linda are so sure of that, they’ve bought a new house and David’s pricing Mercedes-Benzes. Life’s not passing them by. Really. And things will look better once David gets the promotion – and that hefty new salary – he’s been working toward for so long. So why, on the very day he’s supposed to be climbing the next rung of the corporate ladder, does David burst into Linda’s office demanding that she quit? He wants her to join him in his sudden state of unemployment. It seems that “his” vice presidential stripes were pinned on someone else’s sleeve, and David blew up, insulted his boss, got himself fired, and generally acted “irresponsibly. ” Instead of being shattered, David feels, for the first time in years, truly alive and excited. For Linda, the years ahead suddenly lose their dreaded predictability; it’s time for her to grow again. Reveling in their newfound sense of freedom, the Howards sell their house, buy a motor home, and set out to do what they had only dreamed of doing when they were younger and poorer: take chances, find themselves, discover what life is all about. Thus begins a comic odyssey as the two answer the call of the open road, only to become “Lost in America. ” Production Notes Albert Brooks’ style of comedy is based on the realities of everyday life. On this film, Brooks and his crew spent only three of the film’s 45-day schedule on a sound stage. The rest of the time, they were on location all across the United States. To provide a vivid, highly American setting for David and Linda’s coast-to-coast odyssey, the filmmakers worked in actual, functioning, facilities, eschewing extras and props in favor of real people and things that were on the scene. While the filmmakers could have used sound stages to substitute actual locales, producer Marty Katz points out that this compromise “would have cheated the audience of a rich movie experience and wouldn’t have fully expressed the theme of the film. ” The story ranges from the work-a-day world of Los Angeles to the razzle-dazzle of Las Vegas to the high energy of New York City; from the stunning beauty of Hoover Dam to the quaint life of roadside trailer camps. In Las Vegas, the picture company worked and lodged at the Desert Inn Hotel, filming in the casino, lobby, and coffee shop. In the casino, usually seen in films as a distant backdrop, special arrangements were made to enable filming at the gaming tables amid customers and employees. Armed with the latest lighting advancements of the time and high-speed film, director of photography Eric Saarinen and his crew avoided using the powerful movie lights that would have detracted from the authentic atmosphere of an operational casino. In striking contrast to Vegas’ neon shimmer was the majesty of the Hoover Dam, where the “Lost in America” company traveled to shoot on both the Arizona and Nevada sides of this landmark. In New York, David and Linda’s motor home was filmed heading south on Fifth Avenue and pulling to the curb at 57th Street, where David pursues an astonished advertising executive into his office building. Departing from their New York location, the filmmakers recorded the Howards’ journey from an Arizona trailer camp to wintery Gotham “in reverse” (or opposite direction from their actual travel), necessitating numerous tricky turnarounds. The trip, depicted in a montage of a few minutes’ screen time, required ten days of grueling roadwork to film. To capture the trek from various points of view, cameras were placed in the motor home’s passenger seat, mounted in a camera car attached to the bizarre convoy, and set up at roadside. The challenging journey features the deserts of Arizona, the ultra-modern Houston skyline, the Native American atmosphere of El Paso, the Mexican ambiance of Las Cruces, N. M., New Orleans, the Gulf Coast, Atlanta’s Peachtree Plaza, Pennsylvania countryside, and Washington, D. C. ’s Capitol. For the filmmakers, as well as for David and Linda, the journey proved to be an exercise in rediscovering America. “I like to make comedy you can take seriously, ” says Albert Brooks, the comedian who went beyond stand-up comedy to become a filmmaker. Now Brooks has created his third film, Lost in America, a Geffen Company Production for distribution by Warner Bros. In this contemporary romantic comedy, Brooks has cast himself and Julie Hagerty as a successful and responsible married couple who suddenly decide “to give up the urban rat race and drop out of society. ” Brooks portrays David Howard, a successful advertising executive “who is good at his job and works very hard within the system to get what he deserves. When he doesn’t, he goes a little crazy. ” Soon he and his resilient wife, Linda (Ms. Hagerty), are on the road and “Lost in America. ” Brooks describes the ensuing comedy as “realistic and honest” and the romantic relationship as a “modern love story in which marriage is depicted as an evolving process. “The comedy – and the romance – are derived from how David and Linda deal with these unexpected twists in the road. Few people get so much calamity thrown at them in such a short time. The Howards are virtually yanked by the neck into the most bizarre two weeks of their lives. ” Dropping out, Brooks admits, is something he himself ponders. “In or out of the system, ” he says, “people harbor the delusion that a new place, a new job, will make everything better, that the solution to your life is just around the corner. “Sometimes I think of opening a restaurant in Oregon, like a teacher of mine from Carnegie Tech did. But mostly I think about fleeing to South America with all the money from this production. ” From the Lost in America press kit, Geffen Film Company, 1985.
03:35 Look at those round cheeks on Ozzy. The glasses make them look even rounder. Lost in america author.
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Lost in america full movie. United States, 1985 Comedy David and Linda Howard are successful yuppies from LA. When he gets a job disappointment, David convinces Linda that they should quit their jobs, liquidate their assets, and emulate the movie Easy Rider, spending the rest of their lives travelling around America…in a Winnebago! This film is not currently playing on MUBI but 30 other great films are. See what’s now showing The movie is resonant because it doesn’t superficially indict David and Linda, rewarding our unearned feelings of superiority. Brooks criticizes yet empathizes with the couple’s yearning to prove that they aren’t simply puppets on a corporate stage, and, in its way, this film is as searching and searing an exploration of a relationship in crisis as any that Ingmar Bergman produced. David and Linda are automatons who ironically achieve individuality by embracing conformity. If there’s a defining mood to Brooks’s work as writer/director/star, it’s one of profound restlessness and dissatisfaction, often followed closely by the shame of leading a life of privilege and comfort and its never being enough… An era-defining comedy about the state of baby boomer values in the Reagan years. Scott Tobias July 25, 2017 Albert Brooks’s transcendent send-up of Easy Rider has aged far more gracefully than the butt of its joke… Naturally it goes disastrously, and Brooks carefully and hilariously unravels the illusions we spin to cope with the impossibility of fulfilling our secondhand desires. Dan Sullivan July 03, 2017.
Lost in américain. Lost in america blog. Lost in america youtube. The song might be old, but its still on my top 15. Lost in america watch online free 123movies. Lost in america casino scene. Lost in america novel. Lost int. american airlines.
I've seen the future. It's a bald-headed man from New York
OMG, I almost forgot how great he is. Lost in america full movie for free. Now 🤔 do you hear the Christian lyrics 🤔. Lost in America Studio album by Pavlov's Dog Released 1990 Studio Douglas Rayburn Studio, Benton Park, St. Louis Breezeway Recording Studios, Waukesha, Wisconsin Genre AOR, Progressive rock Length 43: 02 Label TelectrO Records [1] Producer David Surkamp, Douglas Rayburn Pavlov's Dog chronology At the Sound of the Bell (1976) Lost in America (1990) Professional ratings Review scores Source Rating DMME [2] Rocktimes favorable [3] The Great Rock Bible [4] Lost in America is the third studio album by American progressive rock / AOR band Pavlov's Dog, released in 1990. [1] Disbanded since 1977, Pavlov's Dog reformed in 1990 and recorded the album with only two original members, frontman David Surkamp and multi-instrumentalist Douglas Rayburn. The band's original guitarist Steve Scorfina appears as a guest musician. Track listing [ edit] All tracks credited to David Surkamp and Douglas Rayburn. [5] No. Title Length 1. "Lost in America" 3:59 2. "A Hardly Innocent Mind" 4:49 3. "Don't Rain on Me" 3:47 4. "Not by My Side" 3:07 5. "Pantomime" 5:22 6. "Breaking Ice" 4:34 7. "You & I" 3:38 8. "All Night" 3:22 9. "As Lovers Do" 4:48 10. "Brown Eyes" 5:42 Total length: 43:08 2007 Rockville Music reissue bonus tracks [6] No. Title Writer(s) Length 11. "Late November" (Originally from Pampered Menial, recorded live on Lost in America Tour 1990) Steve Scorfina, David Surkamp 3:21 12. "You & I" (Recorded live on Lost in America Tour 1990) David Surkamp, Douglas Rayburn 4:17 13. "Brown Eyes" (Recorded live on Lost in America Tour 1990) David Surkamp, Douglas Rayburn 5:44 14. "Theme from Subway Sue" (Originally from Pampered Menial, recorded live on Lost in America Tour 1990, performed unplugged by David Surkamp and Douglas Rayburn) David Surkamp 4:13 15. "If We Never Meet Again" (Reckless Sleepers cover, recorded live on European Tour 2005, performed unplugged by David Surkamp and Sara Surkamp) Jules Shear 3:04 16. "Angels Twilight Jump" (Previously unreleased, recorded live on European Tour 2005) David Surkamp 6:22 17. "Suzanne, I Love You" (Previously unreleased, recorded live on European Tour 2006, performed unplugged by David Surkamp) David Surkamp 4:30 18. "Don't Rain On Me" (Recorded live on European Tour 2006, performed unplugged by David Surkamp and Sara Surkamp) David Surkamp, Douglas Rayburn 4:36 Personnel [ edit] All information according to the 2007 Rockville Music reissue liner notes [6] References [ edit].
Take that Tipper and Al Gore. Heavy metal died when lead guitar players stopped breaking through walls to play lead guitar solos. Lost in america netflix. We are stranded in belize Ten hours we must wait They started with a flight show So the airport opens late Nobody really told us Nobody seems to know Now we're sitting here all drinking We hope to catch the show Finally they make the call We toddle to the boarding In the plane we're drunk and loud When the captain gives a shout We are high We are far But we wonder where we are We are lost Lost in america There's a cloud There's a star We should plunder the sky bar We are lost Lost in america Now the captain says the gauges Don't really seem to be In the best trustworthy status As far as he could see Some ridiculous disturbance Or a simple full breakdown Makes it hopeless to impossible To measure where we're bound for Finally they make the call We toddle to the boarding In the plane we're drunk and loud When the captain gives a shout We are high We are far But we wonder where we are We are lost Lost in america There's a cloud There's a star We should plunder the sky bar We are lost Lost in america We are high We are far But we wonder where we are We are lost Lost in america There's a cloud There's a star We should plunder the sky bar We are lost Lost in america We are high We are far But we wonder where we are We are lost Lost in america.
Your current browser isn't compatible with SoundCloud. Please download one of our supported browsers. Need help? Lost in america film. This song describes how I always felt about the system. Happens on every country on the world since always. Perhaps one of the best directors who is never really spoken about as such is Albert Brooks. Delivering quality film after quality film in the 1980s and 1990s, Brooks is the indier version of Woody Allen. Often starring in his own films, exploring relationships between men-and-women, Perhaps one of the best directors who is never really spoken about as such is Albert Brooks. Often starring in his own films, exploring relationships between men-and-women, exploring mortality, exploring weird life decisions, and always led by a neurotic and frantic demeanor, the work of Brooks may be rather unsung nowadays, but is impossible to ignore. In Lost in America, Brooks' David Howard gets fired from his high-paying advertising job after missing out on a promotion. Convincing his wife Linda (Julie Hagerty) to quit her boring personnel director job, the two liquidate all of their assets and buy a camper to travel across America. With about $150, 000 to their name, the two hope to see the country, find themselves, and finally settle in some small town on a huge lot of land that costs just $50, 000 or some other cheap figure. Naturally, things wind up going very differently. Lost in America is a film about the death or misuse of the American dream. Told from youth that if you are smart, go to college, and put your nose to the grindstone, you will rise to the very top of the corporate world. Unfortunately, what is neglected to be mentioned is that there are only so many chairs left and the music is just about to end. Hoping to become Senior VP, only to be transferred across the country, David is a man scorned by this dream. Linda, for her part, is stuck in a dead end job. Both have given just under a decade to their current positions and, yet, both have found there to be no more upward mobility. If they are content, they can stay in these jobs for the rest of time while rotting away on the inside. Or, if the feeling of just waiting for one's death is not appealing, they can always try to find a new job. However, they will never be able to get their present salary, position, or respectability. In essence, at a certain point, there is no more stone to grind with one's nose. Instead, there is a status quo that will remain until action is taken. For David and Linda, the best option is to just drop off of the grid and travel the country. By his own admission, this is a path that David once mocked people for in his youth, but it is one he is not greatly envious of being able to accomplish. Likely a by-product of life always being greener on other side, the idea is nonetheless rather admirable. Similar to the counter work culture experience in the 20th century via films such as Fight Club, American Beauty, and Office Space, Lost in America speaks about the hollow existences experienced by those in the workforce. Get up, get dressed, go to work, come home, pass out, and then do it all over again. This robotic lifestyle has turned us all into corporate drones, merely waiting for our next promotion or opportunity to prove ourselves at work when, in reality, investing in ourselves and in our lives is far more worth our while. Rather than kissing ass at work, why not let loose and live a little for our own mental health? Yet, Brooks' film is smart. Never idealizing the lifestyle of just living on the road, Lost in America shows the perils and sore points that could arise. Loose spending and celebrating one's newly found liberation a little too much could lead to great stress and anguish in the blink of an eye. In essence, Lost in America argues for a balance. Taking time away from work to live one's life is a vital part of living that everybody should attempt. Becoming a mindless zombie who only knows how to go to work is not what the American dream is truly about, no matter what we have been taught growing up. Rather, the American dream is about the freedom to live one's life as they choose. We can never entirely drop off of the grid, as a source of income is a necessary evil in the world. Yet, that necessary evil is no reason to remain stationary and never utilize the freedom of movement. As a result, the American population have misused the American dream through misinterpretation. Believing it to be solely about how anybody can make themselves into something through hard work - implying dedication work - the American dream is truly about how anybody can live their life as they wish and by their own design. Striking a balance between what we need to do - work - and what we want to do - in the case of the film, travel and move to new locations - is where the key to truly utilizing the American dream lies. Becoming a slave to work or an unemployed drifter are perfect examples of taking a lifestyle to the extreme with that way of life feeling too restrictive and dull after a while. Blending the two together allows one to truly find a measure of happiness in a world so dictated by success in the workplace. If, as a society, we came together to realize that work-life balance - and thus, truly realizing the American dream of building a family (life) and a career (work) no matter who you are … Expand.
This is not only for America but also for entire world. All people all culture. I'm lost in Italy me too. This song has saved and saving so many lives. Thank you Alice Cooper. @mooksterUSofA thank you! I will have to start looking. I think I smell something Burning. WE'RE NOT WORTHY! WE'RE NOT WORTHY. Isn't Milwaukee and Indian name? Why yes, Pete, it is. Is that really Kip Winger on bass? He's freaking ripped too.
Just realized what “fur tea cup” means, oh Alice😂😂. Man, handsome, rocker voice. his songs charge me. I really love this song as a recovering drug addict! I used to think partying it up and getting high was the “rock n roll lifestyle” but now I just realize its for idiots and people who cant think for themselves. Thanks Alice for sending a positive message to young people about such things.
Alice is cute. Lost in america documentary. Alice Cooper Buy This Song Watch: New Singing Lesson Videos Can Make Anyone A Great Singer I can't get a girl 'Cause I ain't got a car I can't get a car 'Cause I ain't got a job I can't get a job So I'm looking for a girl with a job and a car Don't you know where you are Lost in America I got a mom but I ain't got a dad My dad's got a wife but she ain't my mom Mom's looking for a man to be my dad But I want my mom and dad to be my real mom and dad Is that so bad Oh, I think I've been had Well, I live at the 7-11 Well, I'm tryin' to play this guitar Well, I'm learning "Stairway to Heaven" 'cause Heaven's where you are I can't go to school 'Cause I ain't got a gun I ain't got a gun I ain't got a job 'Cause I can't go to school So I'm looking for a girl with a gun and a job Become A Better Singer In Only 30 Days, With Easy Video Lessons! Written by: FRANCESCA BEGHE, MARC SWERSKY, MARK SWERSKY Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc. Lyrics Licensed & Provided by LyricFind Discuss the Lost in America Lyrics with the community: Citation Use the citation below to add these lyrics to your bibliography: Missing lyrics by Alice Cooper? Know any other songs by Alice Cooper? Don't keep it to yourself! Watch the song video more tracks from the album The Life & Crimes of Alice Cooper #1 #2 #4 #5 #6 #6 #7 #8 #8 #9 #10 #10 #11 #12 #12 #13 #15 #16 #17 #18 #20 #21 #21 #22 #22 #23 #23 #24 #25 #25 #26 #27 #29 #30 #30 #31 #32 #32 #33 #34 #35 #36 #36 #37 #38 #39 #40 #41 #42 #43 #43 #46 #47 #48 #49 #50 #51 #52 #53 #54 #56 #58 #58 #59 #60 #14 #64 #65 #66 #67 #68 #70 #71 #72 #73 #74 #75 #76 #77 #78 #79 #80 #81 Don't miss Alice Cooper's Upcoming Events » Tue • Feb 18 • 7:30 PM Brisbane Entertainment Centre, Boondall Thu • Feb 20 • 7:00 PM The Trusts Arena, Auckland Sat • Apr 04 • 8:00 PM Miller High Life Theatre, Milwaukee, WI Fri • Apr 10 • 7:30 PM Alerus Center, Grand Forks, ND Sat • Apr 11 • 7:30 PM Centennial Concert Hall, Winnipeg Movies in which is played ».
Lost in america podcast youtube. 1:28 Alice is a Peeping Tom! hehe. Lost in america - film. Im lost in this song coz it's so good. He is brilliant. Stories of people who are lost, histories that are lost, and things that are lost. This show was recorded onstage in front of audiences on a five-city tour in May 2003. The cities: Boston, Washington DC, Portland Oregon, Denver and Chicago. Featuring house band OK Go. Download Share a clip Transcript Chris Ware Thanks to the public radio stations who presented the show in those cities: WBUR in Boston, WAMU in DC, Oregon Public Broadcasting/OPB in Portland, Colorado Public Radio in Denver, and Chicago Public Radio in our hometown. Related If you enjoyed this episode, you may like these Act Two: Your Name Written On Me Reporter Ben Calhoun tells the story of Terrance Green, a 16-year-old who was killed three years ago but is still an iconic presence at Harper. Act One: How Britain Nearly Saved America Reporter Jon Ronson tells the story of how, in the immediate wake of September 11, he became convinced that a man he'd done a story on was responsible for the Anthrax attacks in America. Act One: Letters Ira and playwright David Hauptschein took out advertisements in Chicago inviting people to come to a small theater with letters they've received, sent or found. Staff Recommendations Harper High School - Part One We spent five months at a high school in Chicago where in the last year 29 current and recent students were shot. Harper High School - Part Two Part two of our program on Harper High School in Chicago, where in the last year 29 current and recent students were shot.
Lost in america daniel kadawatha. 
Love this song brings back so many memories back in highschool.
“When I write, I bid farewell to myself, ” Jimmy Santiago Baca said in 1992. “I leave most of what I know behind and wander through the landscape of language. ” This is a memorable quote from a poet whose voice, brutal yet tender, is unique in America. The landscape of language is what redeemed Baca in 1973 when, at 21, illiterate and jailed in a maximum-security prison on charges of selling drugs, he discovered the power of words. And then he let himself loose, reading anything and everything that touched his hands, writing frantically, even magically, a set of autobiographical poems that spoke of injustice and alienation. His characters were young males handcuffed by poverty, with “nothing to do, nowhere to go. ” Denise Levertov once talked of them as fully formed people with engaged imaginations, of the type that witness brutality and degradation yet retain “an innocent eye–a wild creature’s eye–and deep and loving respect for the earth. ” Baca made his name in the late 1970s when Immigrants in Our Own Land & Selected Early Poems was published. After that, he steadily developed an oeuvre, endorsed by small presses, about the tortured experience of Chicanos. The reader sensed a poet ready to denounce, and to do so angrily, but careful not to turn poetry into an organ of propaganda: “I Am with Those/Whose blood has spilled on the streets too often, /Surprising bypassers in hushed fear, ” he wrote in one poem. “I am dangerous. I am a fool to you all. /Yes, but I stand as I am, /I am food for the future. ” These poems came in the aftermath of the Chicano movement, as the country moved away from such activism. Change had been fought for by César Chávez and Dolores Huerta, and by the Crusade for Justice, but its fruits remained intangible. Baca’s anger spoke to the unredeemed and nonaffiliated on the fringes and also to a mainstream audience aware of the social limitations that remained after the civil rights era. He refused to give up denunciation, exposing the tension between whites and Mexicans in the Southwest. But then came an age in which complacency was accentuated and activism was institutionalized. Poetry left the trenches to enter the classroom: It wasn’t what you had done, but the expository strategies you had used, that mattered. The Chicano middle class saw this as an occasion to reject outspokenness and endorse consent. Even the term “Chicano” came under fire and was replaced by “Mexican-American. ” Around this time, Baca’s pathos was acquired by Hollywood. He began to write screenplays, one of which, about gang wars in California’s prisons, became Bound by Honor (1993), an epic directed by Taylor Hackford, with Benjamin Bratt, Damián Chapa and Jesse Borrego. On occasion he would surface with a pugnacious reflection, and eventually he assembled these reflections into a volume with a symbolic title: Working in the Dark (1992). But silence impregnated his poetic journey, silence and detachment. That, at least, was the view of his readership. Was Baca the poet still active, or was he going mute? Black Mesa Poems, published a decade after Immigrants in Our Own Land, showed a shift in Baca’s concerns–from the roughness of crime and conflict to depictions of barrio and rustic life. There are some existential poems in that collection, but a significant number of them deal with community–in particular, with his second home in a New Mexico rancho. These poems are about the redemptive power of love, about birth and death, about motherhood–and about rivers and pinyon trees. The move from the individual to the family, from confrontation to introspection, is apparently what has occupied Baca in all the years since Black Mesa Poems, and his resurfacing comes with a vengeance in the form of two interrelated books: a hefty series of lyrical poems, Healing Earthquakes, billed by the publisher as a love story; and a poignant memoir, A Place to Stand, that is at once brave and heartbreaking. One feels a gravitas in the poet’s voice that was absent before. Impetuosity has apparently given way to fortitude. Baca seems more patient, attentive to the passing of seasons, in tune with the smiles of children and the wisdom of elders. The style of Healing Earthquakes is at times flat, even repetitive, and the book’s plot insinuates itself with the accumulation of insights. But overall the work is stunning, the product of a poet in control of his craft, one worth paying attention to. Divided into five solid, asymmetrical sections that range from adulthood to rebirth and back, the series is shaped as a quest–again, semiautobiographical–for balance in an eminently unbalanced universe. But this is no redraft of Pilgrim’s Progress, from earth to hell and up to heaven. Instead, it is a downpour of passion, which leads the narrator astray as he lusts for women, tangible and chimerical, and explores myths and archetypes that come from Mesoamerican civilization. He reflects on his imperfections, runs into trouble with others and wonders: where to find dignity? Not in religion, it seems, but in morality. It is through others and through their vision that one might find a sense of self. (This reminds me of the late Pablo Neruda, ready to turn himself into a Boswell of the heart’s disasters: burning with life, agitated by the confusion around, yet eager to make poetry into his metronome. ) The poems include an explanation of silence that readers should welcome. The series uses the emphatic “I” that is a sine qua non of minority letters and that is ubiquitous in Baca’s poetry, a device employed as an affirmation of the self in spite of all odds. “Here I am, ” it announces. “You better pay attention to me, because I will not go away. ” But this older Baca has become philosophical with age, and his “I” is now more contemplative: I used to party a lot, but now I study landscapes and wonder a lot, listen to people and wonder a lot, take a sip of good wine and wonder more, until my wondering has filled five or six years and literary critics and fans and fellow writers ask why haven’t you written anything in six years? and I wonder about that– I don’t reveal to them that I have boxes of unpublished poems and that I rise at six-thirty each morning and read books, jot down notes, compose a poem, throwing what I’ve written or wondered on notepads in a stack in a box in a closet. To my mind Baca’s most concentrated, lucid effort is “Martín, ” a forty-five-page exploration about a young Chicano abandoned by his parents, whose travels from Santa Fe to Albuquerque and across states force him to confront his own limitations. After “Martín” appeared in 1987, Baca ran into trouble with Chicano critics for his portrait of Mexican adolescence–a portrait that didn’t shy away from such negative attributes as alcoholism, violence and narcotic escapes. They accused him of pushing his people down by stressing the ugly and not the beautiful. His reaction, in an essay titled “Q-Vo, ” collected in Working in the Dark, was a welcome respite in an atmosphere of cheap ethnic pride. (The title is a phonetic redraw of ¿Qué hubo?, “Wassup? ”) [In the critics’ view] Chicanos never have betrayed each other, we never have fought each other, never sold out; nor have we ever experienced poverty or suffering, wept, made mistakes. I never responded to these absurdities. Such narrowness and stupidity is its own curse…. Because I am a Chicano, it doesn’t mean that I am immune from the flaws and the suffering that make us all human. The incident recalls a comment I once heard from an aspiring Chicano critic, whose teachers reiterated to him that to write a bad review of a fellow Chicano author is to be an Uncle Tom: un traidor. “Why add to the stereotypes? ” he was told. Baca responded to such nearsightedness with courage. And it is that type of unremitting courage that colors A Place to Stand, his memoir, subtitled The Making of a Poet. It is, once again, a thunderous artifact. (Readers of “Martín” especially will find it a box of resonances. ) It follows a straightforward, chronological pattern with an occasional detour into the realm of the fantastic, in which the author offers dreams and imaginary visions of the past. This fantastic element isn’t atypical. For instance, in a chapbook of 1981 that included the poem “Walking Down to Town and Back, ” about rural New Mexico, a widow lights her adobe house on fire after she believes it has been taken over by snakes, and from the flames emerges the image of the Virgin Mary. The tale is delivered in a voice that once belonged to a child, and makes use of what Freud called “the uncanny”: real incidents twisted by memory into supernatural anecdotes. “Miracle, miracle, ” the townspeople announce. Is it all in the widow’s mind? Figuratively speaking, Baca’s memoir only partially takes place in his mind, as he ponders the loss of his father, mother and brother. A few passages push the narration to a more surreal level, but these are far between. Most of the memoir is not about miracles but about the summons of a life on the verge. I was born [in 1952], and it was about this time that Father’s drinking and his absences first became an issue…. The whites looked down on Mexicans. Mother’s frustration began to show. La Casita, with its two tar-papered cardboard rooms, one bed where we all slept, woodstove, and cold water spigot, wasn’t the white picket-fenced house in the tree-lined city suburb she’d dreamed of. A Place to Stand begins here, with Baca’s Indian father leaving the family and his Chicano mother having a romance with a man who persuades her to leave her children behind, mask her Mexican ancestry and begin a WASP family in California. Baca went to his grandparents first, then to an orphanage. He soon found himself destitute on the street, afraid of the deceitful manners of adults. By then he was already a school dropout. His race, obviously, reinforced his status as pariah–Mexican was synonymous with slime. Perennially harassed by the police, he was adrift, disoriented, a stranger in his own land; eventually, he was incarcerated on murder charges for a crime he did not commit. Upon his release, Baca sought to find his center, to turn himself into an honorable man. But he stumbled, and in flight he sold drugs, rambling without direction through San Diego and Arizona. The narcos’ and the FBI’s tête-à-tête in a bullet-infested crash the scene is vividly described in the memoir. Arraigned again, he ended up in solitary confinement, and after defying the system that purportedly sought to reform him (“prison did not rehabilitate me. Love for people did”), he learned to read. From that moment on he read, and read, and read, and then turned ink to paper, at which point he surprised himself a poet–and he surprised others too: His gifts were pristine, unadulterated from the start. I was often overwhelmed by the sorrow and commiseration conveyed in Baca’s memoir. It is a luminous book, honest to a fault. Every so often the author indulges in epiphanies that sound like clichés: for instance, “I didn’t know what I’d done to deserve my life, but I’d done the best I could with what I had. ” But those platitudes are what people less interested in literature and more in the rough-and-tumbleness of life are likely to respond to fully. A Place to Stand is about place in the largest, most flexible sense of the term: as home, but also as the soil of one’s roots and as the literary pantheon in which one fits. In that sense the book belongs to the subgenre of prison tales for which the twentieth century was fertile ground. From The Autobiography of Malcolm X to Vaclav Havel’s diaries, the central paradigm doesn’t change: involuntary confinement as a ticket to enlightenment–and even messianic revelation. In the Americas, this subgenre is obviously substantial, filled with names like Graciliano Ramos and Reinaldo Arenas; north of the Rio Grande, figures like Piri Thomas, Miguel Piñero and Luis J. Rodríguez have also heard the sound of their voice behind bars. Baca too enters jail as a lost soul and leaves it empowered; in the early fragments of the book he is a vato loco, a crazy dude. But after the imprisonment he is an unapologetic, ideologically defined Chicano. “Most people might assume that cons spend their time thinking about what they’re going to do when their time is up, fantasizing about the women they’re going to fuck and scams they’re going to run, or planning how they’re going to go straight and everything will be different, ” Baca writes. “I did think about the future sometimes, but more and more it was the past my mind began to turn to, especially during those first days and nights in solitary. ” Those nights led Baca to a debacle with his own phantoms, and to the conviction that life has a purpose only when one devises one for it. The epilogue of A Place to Stand is especially moving: In it Baca’s mother returns to her Mexican identity, but her second husband stops her short with five bullets in her face from a. 45–a mesmerizing image of defeat, which Baca successfully turns around in his telling. Maturity… For years I’ve been looking for an accurate definition of the word. What does it really mean? “Fullness or perfection of growth or development, ” announces, tentatively, the Oxford English Dictionary, but this is an unsatisfactory explication. The purpose of any artist who takes himself seriously is to make the best of his talents fit the condition in which he finds himself. Is maturity the capacity to change and still remain loyal to one’s own vision? Earlier in this review I referred to Baca’s work as an oeuvre, which isn’t the same as work. Oeuvre implies mutation, the desire to change from one mode to another, the willingness to comprehend nature and society from contrasted stands. Baca’s poetry is monochromatic, but the same might be said of any poet of stature: A set of motifs and anecdotes reappears under different facades. But every time, the reader reaches a depth unlike the previous one. Baca’s latest books are about anger, but he seems to be less angry than before. Time has allowed him to zoom in on his mission: to travel outward and inward as a Chicano in America, with all the complications that the identity entails; and to use language to bid farewell to his many selves. In Healing Earthquakes he describes his search as leading me back across the wasteland of my life to marvel at my own experience and those around me whose own humbled lives graced me with assurance that if I stayed on the path of love, of seeking the good in people, of trying to be an honorable man, that I too would one day have the love of family and friends and be part of life as it spun like a star in the dark radiating light on its journey–. This search, it is clear now, is a towering legacy.
Can we get an extended version of this? Or a 1 or 10 hour version? 😍. 
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I'm pleased that he did another one. I love Daniel music. Thank you epidemic
Lost in america alice cooper. It's the final day of # 12DaysofKindness! Today is Christmas Eve, and there's a lot of people who will spend Christmas in situations that aren't ideal. Anytime you pass someone, on the street, in a store, or anywhere else you might be, take time to wish them a Merry Christmas. You never know what people might be experiencing, and how far a kind word could go. Oh, and from us to you, MERRY CHRISTMAS! Lost int. american. | Roger Ebert March 15, 1985 Every time I see a Winnebago motor home, I have the same fantasy as the hero of "Lost in America. " In my dream, I quit my job, sell everything I own, buy the Winnebago and hit the open road. Where do I go? Look for me in the weather reports. I'll be parked by the side of a mountain stream, listening to Mozart on Compact Discs. All I'll need is a wok and a paperback. In "Lost in America, " Albert Brooks plays an advertising executive in his 30s who realizes that dream. He leaves his job, talks his wife into quitting hers, and they point their Winnebago down that long, lonesome highway. This is not, however a remake of "The Long, Long Trailer. " Brooks puts a different spin on things. Advertisement For example, when movie characters leave their jobs, it's usually because they've been fired, they've decided to take an ethical stand or the company has gone broke. Only in a movie by Brooks would the hero quit to protest a "lateral transfer" to New York. There's something intrinsically comic about that: He's taking a stand, all right, but it's a narcissistic one. He's quitting because he wants to stay in Los Angeles, he thinks he deserves to be named vice president and he doesn't like the traffic in New York. "Lost in America" is being called a yuppie comedy, but it's really about the much more universal subjects of greed, hedonism and panic. What makes it so funny is how much we can identify with it. Brooks plays a character who is making a lot of money, but not enough; who lives in a big house, but is outgrowing it; who drives an expensive car, but not a Mercedes-Benz; who is a top executive, but not a vice president. In short, he is a desperate man, trapped by his expectations. On the morning of his last day at work, he puts everything on hold while he has a long, luxurious telephone conversation with a Mercedes dealer. Brooks has great telephone scenes in all of his movies, but this one perfectly captures the nuances of consumerism. He asks how much the car will cost - including everything. Dealer prep, license, sticker, add-ons, extras, everything. The dealer names a price. "That's everything? " Brooks asks. "Except leather, " the dealer says. "For what I'm paying, I don't get leather? " Brooks asks, aghast. "You get Mercedes leather. " "Mercedes leather? What's that? '' "Thick vinyl. " This is the kind of world Brooks is up against. A few minutes later, he's called into the boss's office and told that he will not get the promotion he thinks he deserves. Instead, he's going to New York to handle the Ford account. Brooks quits, and a few scenes later, he and his wife ( Julie Hagerty) are tooling the big Winnebago into Las Vegas. They have enough money, he conservatively estimates, to stay on the road for the rest of their lives. That's before she loses their nest egg at the roulette tables. "Lost in America" doesn't tell a story so much as assemble a series of self-contained comic scenes, and the movie's next scene is probably the best one in the movie. Brooks the adman tries to talk a casino owner ( Garry K. Marshall) into giving back the money. It doesn't work, but Brooks keeps pushing, trying to sell the casino on improving its image. ("I'm a high-paid advertising consultant. These are professional opinions you're getting. ") There are other great scenes, as the desperate couple tries to find work to support themselves: An interview with an unemployment counselor, who listens, baffled, to Brooks explaining why he left a $100, 000-a-year job because he couldn't "find himself. " And Brooks's wife introducing her new boss, a teenage boy. "Lost in America" has one strange flaw. It doesn't seem to come to a conclusion. It just sort of ends in midstream, as if the final scenes were never shot. I don't know if that's the actual case, but I do wish the movie had been longer and had arrived at some sort of final destination. What we do get, however, is observant and very funny. Brooks is especially good at hearing exactly how people talk, and how that reveals things about themselves. Take that line about "Mercedes leather, " for example. A lot of people would be very happy to sit on "Mercedes leather. " But not a Mercedes owner, of course. How did Joni Mitchell put it? "Don't it always seem to go, that you don't know what you've got, till it's gone. " Reveal Comments comments powered by.
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About The Author: Tommy Vietor
Info: Cohost of Pod Save America. Host of Pod Save the World. Founder of Crooked Media. Former NSC spokesman for President Obama. Writer of long bios.
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