A recent video shows the teeniest, tiniest miniature horse — only 3 days old — chasing after one of his carers, whom he’s apparently decided is his new best friend. And it might just be the cutest thing in the history of the universe.
Wherever his new friend runs, the tiny horse follows. And when he finally catches him and get some well-deserved pets, he wags his little horse tail just like a puppy….(read more)
It’s rare to see Western singers attempt to sing in Chinese.
“I started to really feel like ‘where do I belong, who am I?’ And I was like, ‘maybe I’m not one of these people.’ So I thought ‘well, maybe I better just be a Westerner like the rest of the Westerners’ or something.”
Dion’s appearance may have been a one-off event, but in Hong Kong, there’s a Western singer named Corinna Chamberlain who’s fully committed to having a career in one of the city’s most famous exports, Cantopop (Cantonese popular music).
Her song “Yi Jung” opens with lyrics that are unlike any other Cantopop song. She sings that she feels like an “Alien from Mars” who’s landed on Earth.
“In a body with this skin color,” she continues, “I’m not quite like them. In fact, what kind of race am I?”
“Yi Jung” translates as “Different Breed,” which Chamberlain, also known as Chan Ming Yan (陳明恩) — is.
“I know it’s really not easy for a Westerner to have that kind of acceptance in Hong Kong. Westerners are accepted as Westerners, but as one of your own? That’s something really touching for me.”
Her parents are from Australia and New Zealand; she’s white and has long, curly blonde hair. But unlike most Westerners here, she grew up in a remote part of Hong Kong, far from any ex-pat enclave. She attended local schools and speaks fluent Cantonese.
Growing up immersed in local culture caused something of an identity crisis for Chan. In high school, she had many friends. But not necessarily close friends.
“When it comes, like, especially to the girls in Hong Kong, to have your best, best friend, it’s always somebody who is the same as them,” Chan says. “Somebody who likes Hello Kitty, somebody who likes Snoopy as much as them.”
A best friend who’ll go everywhere with you — everywhere. Read the rest of this entry »
If there’s one thing we know for certain, it’s that there will always be more awesomely weird and wonderful things to learn about Japan. Today we learned about the annual Pikachu invasion/festival that takes place in Yokohama. For one week in August countless giant Pikachu swarm that Minato Mirai district.
They parade through the streets in perfectly synchronized formation, always smiling and never blinking, a cute yet frightening spectacle as only Japan could create:
If there weren’t so many images of this kawaii spectacle all over the Internets, we’d think we were dreaming. Head over to RocketNews24 for even more photos and videos of packs of people in Pikachu costumes plotting world domination parading and dancing around Yokohama this year and last year.
Jon Stewart has been a major cultural and political commentator for the past 16 years. He liked to take down the powerful—at least, when his head wasn’t shoved up Uncle Sam’s ass.
As “The Daily Show” host ends his run, reminisce with Reason TV the top five ways Jon Stewart was full of shit.
Approximately 5 minutes. Read the rest of this entry »
“In Texas, we cook bacon a little differently than most folks.”
Cruz is seen wrapping bacon around the barrel of a machine gun prior to firing away at a shooting range. The video was released Monday by the Independent Journal Review.
“There’s grease comin’ down…Mm… machine gun bacon!”
Stephen Coyle was flying his DJI Phantom 3 drone near a Letterkenny, Ireland, school when he spotted a few kids running on the roof and seemingly up to no good. In a video posted to YouTube, Coyle writes that the kids spotted the drone and mistakenly assume it was after them, causing a comedy of errors that led the kids to where he was piloting the drone….(read more)
Don’t you love the theme music?
20140406 Shōten 笑点 #2409
Media analyst Mark Dice asks minorities in San Diego, California to sign a petition to support adding a “White Privilege Tax” on the income of all white Americans to help fund social programs for minority communities to offset Caucasians’ supposed “white privilege.” The results are predictable.
[VIDEO] Pixar Tech Director Alonso Martinez is Building His Own Desktop Robot Companion with Emotional IntelligencePosted: July 13, 2015
Technical director at Pixar, Alonso Martinez, is currently in the early stages of developing a new companion robot. Mira, as it is currently named, is apparently an exploration into human-robot interaction and emotional intelligence. While currently in the very early stages of development, the small desktop companion is already equipped with some pretty impressive facial recognition and quite an adorable little personality.
“As her understanding of the world and people’s emotions get richer so will her ability to interact with people in a more meaningful way.”
As you can see in the video above, Mira’s favorite activity at the moment is peak-a-boo. Able to realize when you have covered your face, it will light up in excitement like a small child once revealed again making happy blips and bleeps while changing color. Read the rest of this entry »
[VIDEO] IT’S ON: Megabots Inc. vs Suidobashi Heavy Industry: USA Challenges Japan to Giant Robot Duel, Japan Accepts Fight!Posted: July 7, 2015
“Suidobashi, we have a giant robot. You have a giant robot. You know what needs to happen. We challenge you to a duel. Prepare yourselves and name the battlefield. In one year, we fight.”
Japanese engineers have accepted a challenge from an American company to duel with giant robots.
It all started last week when American company MegaBots, Inc. released a YouTube video showing off its 12,000-pound Mk. II robot.
Wearing an American flag as a cape, MegaBots’ Matt Oherlein bragged about the Mk II’s big guns: a cannon capable of shooting 3-pound paintballs at 100 mph. Read the rest of this entry »
James A. Holleman, Music Director | Debra Wyse, Accompanist/Assistant Conductor
Robert Nason writes: In Alfred Hitchcock’s films, the lack of information—or the possession of it—can have deadly consequences. The titles are revealing: “Suspicion” (1941), “Notorious” (1946), “The Man Who Knew Too Much” (1934, 1956). In his concise, insightful book on the director, Michael Wood asserts that in Hitchcock’s films there are “only three options: to know too little, to know too much . . . and to know a whole lot that is entirely plausible and completely wrong.”
“Some claim that Hitch was a sadist who took ‘pleasure in seeing beautiful women in harm’s way.’ Mr. Wood argues that Hitchcock worked out his own fears on film: ‘Far from enjoying the torments of these women at risk, he identified with them.'”
Hitchcock was born on Aug. 13, 1899, the son of a greengrocer. Members of this economic class, Mr. Wood says, were suspicious of the posh people above them and the unruly ones below. Hitchcock’s films would abound with upper-class villains and fearful mobs. As a Catholic, Hitchcock was an outsider in Protestant England; he would later be an English outsider in America.
Shy, chubby and intelligent, the young Hitchcock had few friends. He preferred attending sensational London trials—and movies. Instead of fan magazines, Hitch—as he preferred to be called—avidly read technical film journals and landed a job designing movie title cards. As a fledging director of silents, he was influenced by the shadowy lighting and dynamic camera movements of German Expressionist cinema. He would combine their beauty and atmosphere of anxiety with a dash of black humor and a blonde in jeopardy. All the ingredients were in place for his third feature, “The Lodger” (1927), the film “in which he became Hitchcock,” as Mr. Wood puts it. The title character is suspected by everyone as a Jack-the-Ripperish killer. Is he or isn’t he? “Innocence and guilt,” Mr. Wood notes, “leave many of the same traces.”
When Hitchcock came to Hollywood in 1939, he had already imparted alarming warnings to his British countrymen in a recent string of thrillers. He would send the same message to Americans: A menace threatened not only Great Britain and the United States but civilization as a whole. In many of Hitchcock’s great British films, from “The 39 Steps” (1935) to “The Lady Vanishes” (1938), we’re usually not told who the spies are working for, but there’s little doubt who the enemy is. Likewise, in his early Hollywood film “Foreign Correspondent” (1940), the “peace activist,” suavely played by Herbert Marshall, is actually a spy working for the unnamed foe.
While some Hitchcock films deal with global threats, the truly frightening works dwell upon more intimate dangers. In the film that was the director’s personal favorite, “Shadow of a Doubt” (1943), Joseph Cotton plays a dapper killer of wealthy women, proving that evil could lurk even in anytown America. In “Strangers on a Train” (1951) and “Rear Window” (1954), brutal murders occur, respectively, in an amusement park and a middle-class apartment building. Hitchcock became an American citizen in 1955, the same year that his hit television program “Alfred Hitchcock Presents” debuted. Mr. Wood suggests that the habitually fearful Hitchcock worried about “losing what he most cared about” at the pinnacle of his career, and this contributed to the richness of his confident yet melancholy films during the next few years.
Mr. Wood devotes more space to “Vertigo” (1958) than to any other Hitchcock film. In this masterpiece of misinformation and obsession, Jimmy Stewartplays a retired private investigator fascinated by a suicidal woman who is hardly who she seems to be. In “North by Northwest” (1959), Cary Grant plays Roger Thornhill, a shallow Madison Avenue advertising man thought by enemy spies to be an American intelligence officer who in fact doesn’t exist. Read the rest of this entry »
Does heckling let the real comedian stand up and shine, or does it trample a punchline and mangle a routine?
Lary Wallace writes: Probably the closest thing you can compare it to is the fighting in ice hockey. Think about it: an activity somehow both integral and non-essential that many in the audience consider more entertaining than those parts of the performance that require actual talent. But here’s the difference between fighting in hockey and heckling in stand-up comedy, and it’s an essential one: the former is all about the players, while the latter is all about the fans trying to be the players.
That’s why it drives comedians nuts when it’s asserted – as it was at length in the Chicago Tribune a couple of years ago – that heckling is often not only the best part of stand-up but often, indeed, the only memorable part of stand-up. Chris Borrelli – who, with another writer at the paper, Nina Metz, engaged in a forum-type discussion on the subject – went so far as to write: ‘I have seen countless comedians and theatre performances and live events in general, and forgotten most of them. But I remember each and every time I have witnessed a performer get into it with an obnoxious audience.’
The article got noticed in the comedy community, where it was regarded with contempt. The US stand-up Patton Oswalt wrote a post on his personal blog expressing ‘disgust’ with the two writers, characterising the piece as ‘an asinine, pro-heckling space-filler article’, before specifying: ‘hecklers don’t make a show memorable. They prevent a show from being a fucking show. Comedians do not love hecklers. They love doing the original material they wrote and connecting with an entire audience, not verbally sparring with one cretin while the rest of the audience whoops and screams, disconnecting from the comedian….’
An even more elaborate rebuttal to the article was provided by the comedian and journalist Steve Heisler, who wrote: ‘Hecklers make comedy memorable in the same way vacations are made memorable when you get mugged on them. You’re forced to make lemonade out of lemons. But make no mistake: there are fucking lemons.
‘This is a vibrant… art form,’ he continued, ‘that benefits from a deep understanding of what it takes to craft a set. What it takes to hone a joke. What it takes to devote your life to a career that is 99.99 per cent rejection, and STILL keep going….’
All of which is capable of making you feel pretty guilty if, like me, you’re a fan of stand-up who’s sometimes entertained by what happens when somebody heckles.
It’s not like this whole idea of heckling-is-good-for-comedy is some imaginary construct of journalists and other outsiders. It has very earnest proponents among stand-ups themselves. Billy Crystal – the furthest thing imaginable from a comedy outsider – made and starred in a movie, Mr. Saturday Night(1992), in which the fictional comedian Buddy Young Jr finds his voice as a comic precisely because of a heckler. He’s a young kid, up there on the big stage doing his shticky routine, and bombing terribly. A guy starts coming at him from the crowd with insults, and the insults Buddy volleys back are what bolster his material and his confidence, and put the crowd on his side. A career is born.
It’s not just in the movies, either. The comedian Franklyn Ajaye has written a terrific book called Comic Insights: The Art of Stand-Up Comedy (2002), in which the following words appear: ‘Sometimes a heckler can be good for your show, particularly if you’re at a point where you don’t have any new material and you’re a little bored with your act. Dealing with a heckler can be a chance for you to play around and see how your mind handles fresh stimuli.’
It’s worth emphasising that what Ajaye says here isn’t that heckling is good for comedians because it helps them prepare for dealing with other hecklers; what he says is that heckling is good for comedians because it helps improve their actual comedy.
The Canadian-born comedian Harland Williams, who is interviewed in the documentary Heckler (2007), says: ‘I just like the challenge of a heckler. I like it when people yell out, because basically they’re just shooting a bullet at you – it’s like a verbal bullet. You’re in the middle of something, and all of a sudden – pshoo-oooww – and you can either, like, do a Matrix [leaning away from and underneath the bullet], or you can catch it [catching the bullet with one hand] and go: “Let’s go buddy – it’s party time!”’
And we shouldn’t ignore the undeniable fact that comedians have been known to sometimes hire hecklers, planting them in the audience because of the frisson of danger they can give a show. Granted, these plants are working from scripted material, entirely on the comedian’s own terms, often written by the comedian himself. Two examples from Richard Zoglin’s biography Hope: Entertainer of the Century (2014) illustrate perfectly what I mean. Read the rest of this entry »