Welcome back kids! It’s time for the first Tom & Jerry cartoon in my Banned Cartoons series!

Tom & Jerry have a ton of shorts where large parts of them are either cut, edited, or even re-dubbed. For instance, any blackface or Native American references are altered or cut out entirely. The most obvious change that we see today is the new voice of Mammy, the maid that worked in the house. Her voice was re-dubbed in a less offensive women’s voice that speaks without any grammatical errors.

Warner Home Video bought the rights to Tom & Jerry and decided to release the complete uncensored and unedited shorts that were directed by William Hanna and Joseph Barbera in three volumes. The duo made 114 shorts but the collection excluded two of them: Mouse Cleaning and Casanova Cat.

It is believed that Mouse Cleaning was excluded because there was too much to be edited and hardcore fans would demand another callback (Volume 1 had a major callback issue thanks to accidental inclusion of edited shorts). Mammy has several speaking lines and the last scene has what Americans would call one of the most racist depictions in any cartoon.

As always, I think that cartoons should be kept as they are. Children that watched them 20 years ago haven’t become racist and they know that acting on racism is bad. Today, children are taught the same thing. There is no need to change history. All we can do now is produce politically correct cartoons and still enjoy the old ones that we all love.

By all means, enjoy the cartoon.

Has anyone jumped on the Twitter train. I thought it was lame and stupid, but now I think it’s fun and stupid. It’s kind of like Diet Blogging. Check it out.

I’m over the anonymity thing so I don’t care. It’s not like someone is going to steal my identity or anything (I hope I didn’t jinx myself).

Anyway checkout my profile. I’ve got a photo+tweat thing going on at the moment.

P.S. Big ups to my big brother for getting married on Thursday. Sadly, I couldn’t be there but at least I heard it over the phone.

City of God is a Brazilian movie directed by Fernando Meirelles and written by Braulio Mantovani. Based on a true story, this movie was an adaptation from a novel by Paulo Lins with the same title. The main characters were “Rocket,” played by Alexandre Rodrigues, “Li’l Ze” was played by Leandro Firmino, “Benny” by Phellipe Haagensen, and Douglas Silva as “Li’l Dice.”

Almost all actors in the movie, major or minor, have little or no experience at all. To provide the movie with authentic acting and displays of action and drama, many of the actors were actually from the infamous town the movie was based on. The intended audiences were fans of the novel, which chronicled the author’s life in Cidade de Deus, a shantytown or ‘favela’ in the Brazilian cit of Rio de Janeiro.

The story spans three decades starting in the 1960s and ending in the 80s. The plot of the movie revolves around Rocket’s narration of how he grew up in Cidade de Deus to be come the man he became at the end. It starts off with Rocket and Li’l Ze as young boys living in the shadows of the current drug lords and hoodlums of the town. Rocket being the younger brother of a drug lord, and Li’l Ze being the look-out incase the cops showed up during holdups. When the 70s roll in, Rocket is still at school while Li’l Ze grew up to be the most respected hood in Cidade de Deus. He then killed off all the drug lords in town and became the “boss,” the sole leader of all drug businesses in the city. Rocket, however, became a photographer for the newspapers.

The main theme of the movie is the cycle children go through to become brutal killers for the sake of their bosses, and the chance to move up the ladder of success. With the help of current leaders, these boys are groomed and taught the ways of the streets. This phenomenon is portrayed well in the movie since both sides of the track are shown for the purpose of comparisons. Two boys living in the same town grow up in the slums. One becomes a notorious drug lord and the other an aspiring photojournalist. His first journalistic break is being the inside photographer of Li’l Ze’s gang as they are at war with the rival drug lord and his gang.

Crime and drama would be the classified genre this movie would be under due to the extreme violence and brutality. This movie has been fairly liked by many (voted #18 in the top 250 best movies in IMDb.com), however I feel the director and the writer missed some important factors. Throughout the movie, the characters are very much 2-dimensional. A lot of focus is on the actions of those characters and not on their personalities. This ultimately results in the lack of sympathy from the audience as most characters fall to their demise.

An excellent performance was delivered by the actors who truly showed audiences the way it is. This is due to the fact that many actually came from the real Cidade de Deus. Filming also took place in the slum to further increase the authenticity of the movie. That authenticity is exposed very well in the cinematography, acting, and the direction. A very raw style of filming was used, in which the cameras were operated by hands and not stands that would keep it steady. Movements of the camera paralleled the actions and emotions of the scenes. When there was an intense violent scene, then the camera was a bit shaky, and when there was a sex scene, the camera was moving in a fluid motion and zoomed in on the action as to not show the whole picture; to leave room for the audience’s imagination, and to intensify their excitement and curiosity.

After you watch the movie, read the interesting movie trivia. Some of them, you won’t believe.

I found this on YouTube. It’s a great song sung by someone who is not known by a huge number of people, although a few of her songs are very familiar to us.

Asmahan was Fareed Al Atrash’s sister, born Amal. She had a beautiful voice and, after finding this video, I see that she was gorgeous as well.

This song is called Emta Hataaraf and it was for the second and last movie she made, Gharam Wa Enteqam. She died in a dramatic car accident (crashed into the Nile) before production ended. Asmahan was only 26 years old.

After building a reputation for being a great photographer to the stars, he decided to find other subjects to shoot. Avedon was deeply intrigued by the blue-collar workers of the West in the late 1970s and early 1980s. This resulted in a multi-state trip across the West photographing people in various states of appearances and financial statuses.

Published in 1985, In the American West features over 120 portraits. They are all in black and white and are as simple as a portrait can get. The way the subjects ‘look’ gave me the impression that most of them were hard-working town folk struggling to get by. But there were a couple of photographs that were of a different kind. They were of abstract personalities that contrasted the serious depictions of the other people. I think that Avedon included them to further underline the fact that America is filled with people from all stages and facets of life.

The photographs are extremely detailed. Every wrinkle, hair, and scar is clearly seen and little is done to hide them. Avedon developed the prints to have as much contrast as possible, always making the backdrop as white as white can get. This helped make the figures stand out more and further defined their physical features.

In the book there are photographs of teenagers, fathers, mothers, oil field workers, coal miners, drifters, cowboys, convicts, carnies, farm workers, and others. All of them appear to be trying not to let themselves become exposed. It is said that Richard Avedon sat and conversed with each subject before a shoot. Some were cheerful and some were stressed and emotional, but they all tried to hide whatever it was when they stood in front of the camera. They appear to be expressionless at first, but looking deeper into the photographs and studying the stances and physical knick-knacks of their bodies reveals so much information about themselves. More than they would have liked to share at least.

All of the photographs were taken in roughly the same way. The subject stands facing and looking straight at the camera with a brilliant white solid background behind them. In fact, he eliminates any reference to a landscape completely, an integral part of the glorified image of the West. I don’t know if Avedon let them know the precise moment that he took the photographs of if he prepared them with a countdown of some sort. But it appears to me that that was not the case. I think he took the shots at random moments. This minimalist approach to the photographs served its purpose well. Only the essential elements are seen in the photograph and those elements are the subjects themselves and what they have to offer of themselves.

An example of this minimalist style of photography, that result in the multiple interpretations of the stories behind the subjects is the image titled Bubba Morrison, Oil Field Worker, Albany, Texas, June 10, 1979. All that is standing there is a boy not much older than 16 or 17 wearing a sleeveless shirt, cap, and pants. He is completely covered in grime and is awkwardly standing with his arms across is stomach. His facial expression is unusual coming from a seemingly adult worker. It is the facial expression a child makes when he wants to let his parents know that he is sad or is upset with them. Maybe he really is. Perhaps he was forced to grow up quickly, rushed through childhood, and felt that it was necessary to start making a living right away. With that photograph that has very few things to look at, in fact only one thing, I was able to conjure up this boy’s life story thanks to his completely natural contribution.

Another photograph that demonstrates Avedon’s effective minimalist style of portraiture is the two-page spread titled Jesus Cervantes and Manuel Heredia, prisoners, Bexar County Jail, San Antonio, Texas, June 5, 1980. Unlike the oil field worker covered in grime and experiencing a temporary emotion, these two persons have nothing but their physical bodies and the permanent mementos to tell their story. They both stand side by side almost identical. The only thing different between them is that one of them is missing an arm. They share the same Jesus tattoo covering most of their chest, and the same scars on their torso and face. This resemblance gives me the impression that these two were partners in crime and will probably remain partners for the rest of their lives.

Clarence Lippard, Drifter, Interstate 80, Sparks, Nevada, August 29, 1983 probably is the best example in the book for using so little to say so much. This man looks to be in his 60s but he probably is middle aged. Age plays a big role in this photograph as it helps tell this man’s story. His face is completely covered by freckles, whether they are genetic or from working in the sun for many years is unknown, but either way it is a given that this drifter has been through tough times as most of the subjects in this book have. Avedon keeps the wrinkles intact and completely visible to us, telling us that this man is a tired man. He is tired but not broken. The right side of this two-page spread tells us that even though he goes through times of unemployment, he is a proud man. The solid arm on the hip and the face titled upwards to look down on the camera tells me that he still has pride and dignity, and that he demands the respect of others as well.

One can say that the photographs are structured to be an ‘in-your-face’ form. I would say that that is true since the subjects are literally standing right up to the camera. They are hiding nothing from me. They haven’t glammed themselves up as the models do in fashion photography, nor did they do any type of posing as well. Instead, the style is very harsh. The subjects appear as they are, without any editing to hide any unacceptable blemishes, dirt, markings, or scars. All is revealed. In fact, those infractions are very welcomed to Avedon in this book because without them, most of the portraits would have nothing to tell us about the their subjects.

The best photo that I think demonstrates this blunt appearance is Red Owens, oil field worker, Velma, Oklahoma, June 12, 1980. The subject almost looks like a tribe warrior. He is a large stocky man with a long thick beard and is completely covered in oil, grime, and sweat. The oil streaks on his arms and the white paint-like substance on his face looks as if it were war paint and that he is ready to face battle. The only gentle things about him are his eyes. In fact, they are the only clean things on him as well. Avedon helps us see that behind that rough exterior there could have been a loving family man with a wife and kids to go home to after a hard day of work at the oil field.

Boyd Fortin, Thirteen Year Old Rattlesnake Skinner, Sweetwater, Texas, March 10, 1979 is also a straightforward portrait. It is a boy displaying his line of work. This is who he is and what he does. His face is as intense as his craft. With blood and rattlesnake guts spattered all over him, it is hardly an activity a boy his age would do for fun. Unlike the other photographs I mentioned, I cannot think up a situation or story for this boy. His extreme concentration is intimidating and that is without considering the fact that he is a rattlesnake skinner.

Some might view the book as a collection of sad people with gloomy lives, but that is not necessarily the case. Richard Avedon specifically chose the photographs himself and there is a reason he included many hard working folk and few where there is someone actually smiling. It was important for him to clearly illustrate the dismal state of the people of the West but he did not want to completely erase any signs of hope, pride, and the everyday joys of living no matter what the socio-economic might be, which is a right allotted to all people living in America.

What better way to tell the American public that the glamorized West seen in Hollywood movies is a myth than by showing them in photographs that allow the viewer to see right into these people’s souls. Richard Avedon captured those souls beautifully and presented them in the simplest way possible. Of the countless photographs of people that he took in the five years he spent working on this project, only 124 were chosen to be in the book. We can only imagine what the unpicked portraits would have looked like. Who would they have been and what would they have told us, that is unknown. What is known however is that together they all represented the true image of the American West.

There was no immediate claim of responsibility, but al-Qaida No. 2 Ayman al-Zawahri recently called for attacks on Danish targets in response to the publication of caricatures in Danish newspapers depicting the Prophet Muhammad.

[Newsvine - AP]

Oh my God. Are we still dealing with this issue?

WTF. Seriously, have these people run out of reasons to kill people in the name of God? They heard us the first time. They probably won’t do it again. Enough!

We need to stop this right now. Support for terrorist groups have not gone down at all and the proof is that there are still many brainwashed recruits signing up.

We need to promote peaceful Islam. Updating religion books in our schools is a start. Education is the only way to go.

This is going to be heaven to those that love football and tennis. Every summer we get three Grand Slam tennis tournaments and they are fantastic. However, every other second year we get an even greater treat of the three Grand Slams plus either the FIFA World Cup tournament or the UEFA EURO Championship. But behold this year has five events! They are the three Grand Slams, either the World Cup or EURO, and the Olympics. This highly anticipated combo/combo is like cocaine to me. It’s bad because I almost have no sleep, and good because it just makes me feel so happy.

Roland Garros (French Open) // May 25 - June 8
EURO 2008 // June 7 - 29
The Championship (Wimbledon) // June 23 - July 7
2008 Olympic Games // August 8 - 24
US Open // August 25 - September 7

But sadly I won’t be enjoying the first three as I would have hoped because I’m a @$(%#! $%#)@ ^Y#%. That’s basically it. At the moment, I’m trying be less pissy about it and just get over it and enjoy whatever I can enjoy.

I hope to be regularly writing updates and reviews on the events as they go by so stay tuned, tennis and football fans!

HAVE NO FEAR, THERE BE NO SPOILERS HERE!

First of all, I want to congratulate Manchester United on a fantastic season and hope they will do the same (plus one!) in the next.

OK I just got back from the movie and as a lifelong Indy fan, I approve. I’m so glad that Steven Speilberg and George Lucas continued right where they left off in terms of direction and production of the movie. It looks exactly like the previous three. The action sequences were great, just as was expected. They did use some CGI but thank God they didn’t over-do it like movies today. I was worried that the action sequences wouldn’t look believable for a man of Indy’s age to do, but thankfully I didn’t think they looked out of place for an Indiana Jones movie. The sequences were nice and long, just the way I like them. Oh and there’s something that is so unbelievably gross but amazing (and frightening) to watch. It’s one of the best moments in the movie.

Something I didn’t remember to expect was the totally over the top ending. Speilberg and Lucas are best known for their science fiction masterpieces and unrealistic imagination. They never failed to include some of those elements in the first three movies. Remember the melting faces, the man that was still alive after having his heart ripped out, and the holy grail? So it is unfair for critics to hold that against them.

Last but not least, the characters and the actors who played them were perfect. Harrison Ford did look older obviously but that was because of his grey hair. Once he wore his hat and was his usual active self it was as if he’d only aged five years since the last movie. He still has his undying wit and sense of humor. He just rocks my socks, man. Shia LaBoeuf plays an intuitive sidekick for Indy and he was great as well. Rumors say that Speilberg and Lucas ended the movie so that there would be a possibility that Shia LaBoeuf’s character would be the lead in a spinoff series. Karen Allen plays Marion Ravenwood, the feisty love interest from the first Indiana Jones movie. She was always my favorite of the three love interests so I was glad that she was included in the adventure.

Overall, the movie fits very nicely in the series. I honestly do think that the style in the writing and directing of the movie is exactly the same. Change is one of the things I hate and I’m just so happy that the crew didn’t change a thing.

Bottom line, go see it. Either you will appreciate the quality, or will be a satisfied longtime fan.

P.S. They had a little competition before the movie at the theater I went to and were asking trivia questions and the one that answers correctly wins. There were only two authentic posters as prizes and I wanted one so bad. I won one!