Charlie Rose Loses Walter Cronkite Award for Journalism

Charlie Rose isn’t just losing jobs … Arizona State University just yanked his prestigious Walter Cronkite Award for Excellence in Journalism. Christopher Callahan, the dean of ASU’s Walter Cronkite School of Journalism and Mass Communication,…



Uma Thurman says Harvey Weinstein “doesn’t deserve a bullet,” warns him to “stay tuned”

More than 60 women have accused Harvey Weinstein of rape, sexual assault, and harassment since the New York Times and New Yorker dropped their scorching exposes on the movie producer, whose predatory behavior was an open secret in Hollywood for years. Now, it appears one particular actress is ready to drop the biggest bomb yet on the creep’s withering soul.

(Read: What the Weinstein Scandal and Its Aftermath Reminds Us About Sexual Misconduct)

Uma Thurman starred in seven Weinstein films across her career—most notably in 1994’s Pulp Fiction and 2003’s Kill Bill, her collaborations with Quentin Tarantino, who recently said he “knew enough to do more than I did”—and in an Instagram post she shared on Thanksgiving the actress directly addressed the mogul in truly badass fashion. “I am grateful today, to be alive, for all those I love, and for all those who have the courage to stand up for others,” she wrote alongside a picture of herself in Kill Bill. “I said I was angry recently, and I have a few reasons, #metoo, in case you couldn’t tell by the look on my face. I feel it’s important to take your time, be fair, be exact, so… Happy Thanksgiving Everyone! (Except you Harvey, and all your wicked conspirators – I’m glad it’s going slowly – You don’t deserve a bullet) -stay tuned Uma Thurman.”

Instagram Photo

In October, Thurman refused to comment on the Weinstein allegations during an interview with Access Hollywood, saying she didn’t have “a tidy soundbite” to share. “I’ve learned I am not a child,” she continued, “and I have learned that when I’ve spoken in anger, I usually regret the way I express myself. So I’ve been waiting to feel less angry and when I’m ready, I’ll say what I have to say.” Her use of the #metoo hashtag, which went viral in the wake of Weinstein’s allegations and encouraged women to share their own experiences with sexual harassment as a means of amplifying the issue, shows that she too is familiar with the mogul’s misconduct.

That anger appears to have dissipated. Thurman seems on the verge of sharing her own encounter and the internet is ready for it.

We wait with bated breath.

from Consequence of Sound

How Hey Arnold! Opened the Minds of a Generation of Nicktoons Kids

During the eight-year run of Hey Arnold! on Nickelodeon, from 1996 to 2004, creator Craig Bartlett managed to do something that very few stories aimed at children ever accomplish: create a world that allows for a better understanding of reality, without sanding off many of everyday life’s scarier edges. The show’s starry-eyed version of New York City might have been a generally kind and friendly place, but like any city (or anywhere, really), it wasn’t without its own tragedies and traumas and fits of adversity. From P.S. 118 to the Sunset Arms boarding house, Arnold and his coterie of eccentric friends offered lessons in everything a kid could need to know for the sake of surviving in this world.

This weekend, Hey Arnold!: The Jungle Movie will finally bring closure to the show’s lingering loose ends, including the biggest one of all: what exactly happened to Arnold’s parents when he was left at the Sunset Arms as a baby? While it’ll hopefully offer a satisfying sense of closure to the show, the ambiguity with which the series left off after its 100 episodes has long felt just as appropriate to the spirit of the series in its own way. Arnold may never have solved the riddle of his parentage, but that note felt authentic to the time in which the show existed. The ’90s were full of latchkey kids, with working and/or absent parents, and Hey Arnold! was a show about how their lives weren’t abnormal, but instead universal.

Kids would go out with their friends and wander the streets in the pre-internet age of parents being able to geolocate their brood to an exact position and get into all manner of adventures. They’d have to work things out for themselves and form their own strange urban legends about how the world around them actually works in an attempt to rationalize it. Everybody has these; in the same way that Gerald acted as a sort of gatekeeper of the strange half-truths of the show’s city, everybody knew that weird kid who insisted that his dad worked for Nintendo or the other kid who swore that somebody lived in the woods out behind their apartment. This was how things once worked; the absence of so much knowledge meant working a lot of things out for yourself. Bartlett captured this through a mixture of innocence, skewed comedy, and the occasional Very Special Episode that would see the series address some genuinely painful material with a candor not otherwise present in Nicktoons of the time.

Perhaps the best testimonial to the show’s enduring fandom, at least among a certain age group, is how it really does appreciate with time in a way that few ’90s kid curiosities do. The show is charming at a younger age, and at an older age, you start to notice how Helga’s mother had an alcoholic’s tremors and perpetual malaise, Arnold’s flatmates Oskar and Suzie lived in a borderline-abusive relationship, and Stoop Kid was a 15-minute tragedy of child neglect unto himself. It’s a show about the magic of being a kid and having all the time in the world to kill, but it’s also a show about lonely people searching for connection in the big city. Hey Arnold! owes some spiritual debt to Richard Linklater’s Slacker, in the way that it toys around within an urban space as a sort of existential sandbox. It wanders from character to character, sometimes spending entire episodes with a fringe player just to glance into their world and see where they come from and what makes them tick. From the oddest kids at school to the shop owners at the end of the block to even a washed-up lounge singer, the show’s empathy was boundless. It made the case that everybody has a story worth knowing, everybody comes from somewhere, and nobody is simply the outwardly facing version of themselves.

Some of the best storytelling emerged from these contained episodes. Arnold went home with Sid and discovered that not every kid at school has a technologically advanced bedroom with a skylight. Mr. Huynh lost a daughter to the Vietnam War. That funny, little kid who likes chocolate had an addiction problem and wanted help while being almost entirely unable to control himself. One classmate was struggling with his faith in Judaism and another with the pressures of academic over-achievement and family expectations. The show grappled with class, domestic trouble, the humiliations of youth, and the loneliness of adults with an adept hand, always treating the audience with respect even as the delightfully cartoonish hand-drawn animation kept its stories accessible. But Hey Arnold! stands up to latter-day scrutiny as a show that may have dealt in caricature, but always saw the people beneath them. It opened a window to a bigger and more diverse world for kids, who may never have come anywhere near an actual city, and asked them to relate to people they’d never met before.

It may not be the best-remembered show of the Nicktoons era, or even the most widely admired at the time, but Hey Arnold! was a show of rare depth, one that could switch from lighthearted stories about the perfection of an imperfect Saturday to meditations on the difficulty of confronting and processing the death of a friend with effortless ease. It understood and was able to translate how the world is simultaneously overwhelming and claustrophobic at a certain age and made that not only palatable to a young audience but exciting. After an episode, you wanted to learn about your own area’s folk legends, fall in love at the carnival, help that unconventional old woman down the street that your neighbors didn’t understand, and find something new in even the most familiar places around you. It made the act of discovery feel bold and new in a time where so much of the surrounding pop culture was becoming marked by irony and sarcasm. It was earnest, back before earnestness became a semi-derided cultural marker, and it makes it one of those childhood shows that an adult wants to share with their own kids, somewhere down the line.

from Consequence of Sound

Noel Gallagher explains new scissors player: “It’s almost like she’s snipping away at the last ribbons of Liam’s sanity”

During an appearance on Jools Holland earlier this month, Noel Gallagher welcomed a new musician into his live band: a scissors player. The unexpected addition immediately drew attention, including from his Oasis brethren Liam, who later poked fun at him by recruiting a potato peeler for his own backing outfit (as you’ll recall, Liam famously gave Noel his “potato” nickname).

Now, in a new interview with the Radio X Evening Show with Gordon Smart, Noel has finally offered some context for the newest band of his High Flying Birds. As the British rocker explained, it began with a call for a tambourine player and eventually turned into a total mocking of Liam. “It’s almost like she’s [the scissors player] snipping away at the last ribbons of Liam’s sanity,” somebody quipped, according to Noel.

Here’s a transcription of Noel’s explanation:

“The Scissors. So, what happened with that is, we were rehearsing to do Jools Holland and we’d just arrived back from South America. We had two days and Charlotte [Marionneau] arrives and she’s doing the French announcement and I’d noticed that it was a good couple of minutes before she came in and I said to her ‘can you play the tambourine or something?’. And she did that thing, the French are quite arrogant and particularly French women [laughing] and she kind of went, ‘I will not play the tambourine’. And I was like, ‘well can you play the shakers?’ ‘I do not play the shakers.’ I was like ‘well, what, can you do something?’ And she said, ‘I play the scissors.’ And I was like … and I went, at that point I took my in ear monitor out and went, ‘did you say scissors?’. And she said, ‘yeah the scissors’.

Now she’s in her own band which is called Le Volume Courbe and she’s the singer and she plays the scissors. So, when she whipped out the scissors and started playing them, my bass player, I looked at him and said, ‘this is the greatest thing I’ve ever seen.’ And he went … and he was laughing, and he went ‘tch, tch, tch … do you know what that sound is? That’s the sound of Liam glassing himself’ [laughter] and we were kind of … we laughed and then, after the night it was the TV, somebody quipped, ‘it’s almost like she’s snipping away at the last ribbons of Liam’s sanity.’

So, we laughed all the way home.”

Elsewhere in Noel’s radio show chat, he dedicated a play of The Rutles’ “Cheese and Onions” to Liam. “Okay, well, that was not an outtake from The Way We Were [laughter]. That was in fact ‘Cheese And Onions’ by the Rutles. So, you know, as you weren’t,” referencing Liam’s new solo album, As You Were.

Noel, who recently celebrated the release of Who Built This Moon?, his latest album with High Flying Birds, also relayed a story about how he’d like Matthew McConaughey to play him in a movie after hanging out with him at a wedding.

I imagine we can expect a starchy reply from Liam in 3…2…

from Consequence of Sound

Morrissey says he’d kill Donald Trump “for the safety of humanity”

Morrissey had some rather ridiculous things to say just a few days ago, when he spoke out in defense of both Kevin Spacey and Harvey Weinstein. Believe it or not, the former Smiths frontman has even more explosive opinions he needs to get off his chest. This time, Morrissey claims he’d be OK with killing Donald Trump “for the safety of humanity.”

In a recent interview with German magazine Der Spiegel (via Exclaim), Morrissey spoke at length about the 2016 US election and Trump’s time in the media spotlight. “Trump has received so much attention, especially when compared to other candidates — Bernie Sanders, for example. Although the media said he would not win, every day, all the headlines: Trump, Trump, Trump, Trump!”

“The American media helped Trump, yes, they first created it,” he explained. “Whether they criticize him or laugh at him, he does not care, he just wants to see his picture and his name. The American media have shot themselves in the leg.”

Despite dragging the media through the mud, Morrissey didn’t offer any excuses for our perpetually pathetic excuse for a president. He noted that Trump has “exhausted the world” and simply “grabs after everything like a little child” (or alleged sexual abuser). “He is not a leader,” he added, “He is vermin.”

The interviewer continued to press Moz on his thoughts regarding Trump’s incompetency, asking hypothetically, “If there was a button here and if you pressed on it, Trump would die dead — would you push it or not?” And that’s when Morrissey — never one to mince his words — dropped his bombshell of a statement: “I would, for the safety of humanity. It has nothing to do with my personal opinion of his face or his family, but in the interest of humanity I would push.”

Morrissey’s new solo album, Low in High School, is out now.



from Consequence of Sound