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"Yo Gabba Gabba" looks like a show for the kids of club kids


Mom. why are we watching "Yo Gaba Gaba"? That show is stoopid.

OMFG! The meth and club kids of the 1990s are having kids now and this is what they've created to entertain their spawnage?

Even the black guy looks like he's walked out of a Dee-Lite video:


liza's picture

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Did Anderson find his boo?


Albeit this most awesomest moment in TV history, it seems Anderson Cooper's boo is not Donna.

BTW : Yes this is an excuse to flog that video again because I LOVS IT!


liza's picture

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I Think It's Finally Showtime for Me

Thanks to Culture Kitchen's ad lineup, I just learned something I really wanted to know but wouldn't have known to look for any other way, probably. (Keep watching those ads, y'all!)

If Ira Glass' --yes, that's the possessive with an apostrophe and NO extra S! -- new tv show is destined to be as good as his "This American Life" on radio, then I finally have educational justification to add the network airing it to my cable service. His NPR show on superpowers, with John Hodgman interviewing regular folks on the street about whether they'd choose flying or invisibility and why, was an instant classic. And the show about what three things we live and die for -- talk about power of story. . .Ira Glass doesn't tell stories the way anybody else does.

Episode 1 - "Reality Check"
Three stories of people who hatched plans in the hopes of making their dreams come true, but were snapped back to reality by unpleasant outcomes: an elementary school student tries to solve a common childhood problem; a rancher resuscitates a beloved pet, which later turns on him; people team to give an unknown rock band the greatest night of its life.

I remember the last bit, about the unknown rock band, from the radio show. There was a LOT more to it than this, about creativity and community, whether contrived spontaneity and ambush improv is fair (a la Borat?) and whether it's true, for the players OR the unsuspecting audience -- I'm still thinking hard about the cultural questions of meaning it raised for me.


JJ Ross's picture

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Happy Birthday, "School House Rock!"


On this day in 1973, "School House Rock" debuted. Last night, apropos of nothing, my youngest brother mentioned that he had never forgotten any of the lyrics to any of the songs. They had become embedded in his brain, always there for access.

I felt the same way when I took a test in eighth grade in which I had to write the words to the Preamble of the Constitution. I, like everyone else in the class, simply sang the song under my breath as a I wrote.

'Course, I can't find the Preamble on YouTube, but I did find "How a Bill Becomes a Law."

Funny, but nowhere in that song does it mention that the president gets to attach any of his goddamned, fucking, wrong-headed, fascist signing statements to those laws.

Just sayin'.


Lorraine's picture

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Interjections

Some of my college students do not know what an adverb is, and would be absolutely clueless if they were asked to diagram a sentence. I'm seriously considering going back to School House Rock as teaching aid. It taught me great things about language and history and the Constitution--even today, I can SING the Preamble the Constitution.

So, here's today's lesson: INTERJECTIONS!!!!



Lorraine's picture

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Words to live by

Superman is a foreigner in a country composed of foreigners; he is, in the phrase of one literary critic, a "Krypto-American immigrant." On Krypton his name was Kal-El, the Hebrew phrase for "god that is light" in weight--that is, a deity who does not oppress and is so light taht he scoffs at the laws of gravity...In America the man of steel is an outsider who succeeds in a new world. He does so by applying his superhuman powers in a way that Jews typically wished others to behave--by helping the weak...Superman is no Nietzschean Ubermench; instead, he is a sort of New Dealer. Conceived during the presidency of Franklin D. Roosevelt, to whom Jews showed deeper loyalty than did any other ethnic voting bloc, Superman signified the yearning to protect the vulnerable and to stimulate the confidence-building efforts at nationalist recovery. That is why he reliably fights for "truth, justice, and the American way." In his humanitarian acts, he is more effective than the golem who protects the jews of Prague; the benefactor whom Siegel and Shuster fantasized into being is less parochial and this more democratic as well.


— Stephen J. Whitfield in his chapter in Cultures of the Jews, edited by David Biale


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