July 22, 2007

MySpace Sex Spam and Cop Phishing

This is a message I sent to MySpace.

I've only been on MySpace a few months so I'm still discovering what it is. Because of my varied interests, I get add requests from total strangers. That's terrific. I've also sought friends with interests of mine, and now enjoy the dialogue with them.

My problem is offensive content in the friend requests.

I waste time sometimes going to their page to see if they're legit or another scam to get me to go to some porno site. I'm no prude, but I demand the right to choose when to turn my attention to sexuality.

I always report these as spam because I don't like to be expecting to meet a new friend but get a sex ad slammed in my face instead.

I am sure you are doing your best to beat a problem that wastes a lot of bandwith.

So, please, MySpace, continue with our thanks.


above Abstract photograph "Making Love with Eyes Closed" by Mansel Davies (be sure to check out this beautiful gallery)

below - check out Photographer Elfie's 50 Years of Social Justice

The other kind of add request I hate are those that appear to be from underage young people. I am often approached because of my interests and that includes my actual daily life as well as my virtual life, and I'm happy to share what I know. The problem is that the add request may actually be a law enforcement officer hoping to catch a child predator. I don't know whether this has happened to me, but I suspect that I received a few. Yes, yes, yes we must protect children from predators, but must this be at the expense of my comfort and enjoyment in visiting the world through MySpace? I don't like that kind of crap, and I don't want to see or read that garbage regardless of who is actually sending it.

So what can be done?

First, law enforcement should be strongly encouraged to refine their search technique to seek out only those who are actual predators and leave the rest of us alone. Regardless of what the Patriot Act says, our Constitution forbids unwarranted searches. At the same time the constitution gives law enforcement every right to enforce our laws. There is deep wisdom in our constitutional legal system which was created to avoid the abuses and excesses of the countries from which we came.

Second, since your MySpace software is constantly evolving, please consider an additional message channel that provides a parental-like buffering so that I can avoid denying anyone's request who legitimately wants to share interests with me? Perhaps messages on this channel would include a notice and an agreement by the user that the messages be available for public viewing, thus watchdogs could spot illegal chat. Perhaps it could work so that not only could the young person make a request in safety, but when we get queried to approve a request it can be a referral to use this additional message system. I think this is a much better way to deal with this real problem, than offending and disturbing me.

What do you think?

July 20, 2007

Behind the Curtain at Eavesdropper

Other Reviews:
"Karma Cafe" (movie)
"Talk to Me" (movie)
"A Mighty Heart" (movie)
Alexandros Kapelis (piano recital)

It's a tale of two cities. The play "The Eavesdropper" opened a Northern California run in the Off Market Theater in San Francisco with an energetic and talented cast.


Meanwhile the original Hollywood production has been thrown into chaos with off stage dramas fueled by an outside influence, not by the actors or actresses themselves. Similar to the play's tagline "Always check behind the shower curtain" and illuminated by the Wizard of Oz "Pay no attention to the man behind the curtain.", the production has seen vicious personal attacks, assaults, bizarre behavior, rumors of sexual harassment, favoritism and firings. None of this appears to be the fault of the cast in any way.

These kids are working hard to have a legitimate career in their craft of acting, and they ought to be protected from toxic exposure. I hope the good guys all wake up and rid themselves of this malignancy, and get back on track with their legitimate aspirations. Meanwhile, many of the actors, like Dave Tolemy, have managed to rise to bloom like lotuses out of the swampy waters. However, the darkness that has swept over this company remains an elusive mystery to those of us on the outside.

June 25, 2007

Review of "A Mighty Heart"

Other Reviews:
"Karma Cafe"(movie)
"Talk to Me" (movie)
"Eavesdropper" (play)
Alexandros Kapelis (piano recital)





The true story of Mariane Pearl, wife of the Wall Street Journal reporter Daniel Pearl beheaded by the Taliban on video for all to see, is a film I wanted to appreciate if not like if only to honor their lives. Sad to say, although this film is a dignified tribute to Daniel Pearl and the courage and equanimity of his wife, it was tiresome, confusing and surprisingly lacking in emotional impact. Perhaps it's existence is justified, as it is said at the closing, so that their son will know who his father was, and how his mother dealt with it.

When telling a story of which the outcome is already known, we need to learn something about the characters we didn't know and we need to be shown the dynamics that set up the conflict and the outcome. Might Heart does some of this but the fractured structure of flashbacks and parallel actions do not illuminate any of this. Daniel's disappearance should have been a descent into the mouth of evil, but there was barely a hint of danger. The filmmakers rightfully spared us the horror of Daniel's murder, but we saw nothing of his capture or captivity, nor anyone talking about it, to awaken our sympathy for him. I kept feeling like I should be feeling the pain of this woman, and I am one who does react emotionally to movies a lot. There's an ongoing business with the chart created by Mariane and updated throught the picture in trying to track down the kidnappers, but the filmmakers never give us an exposition of what it means, and how the pieces are fitting together that allows the Pakistani police to find their suspects and raid their homes.

Angelina Jolie performed Mariane's character with sensitivity and authenticity. Dan Futterman and the rest of the cast were up to their roles, so any disappointment with this film was not the fault of the actors. The Pakistani captain played by Irrfan Khan was especially good.


The one real sour note I felt was the implication that torture was a justifiable tool in the hands of the "good guys". I am disgusted beyond measure that this country has abandoned its moral high ground, and now we debate how much torture we can allow so that we do not fall below the morality of our worst enemies. This is no surprise when we consider how much we have turned away from American bravery and honor, and forgotten that warning by Ben Franklin. "Those who would give up essential liberty to purchase a little temporary safety, deserve neither liberty nor safety."

I imagine the idea was to show the chaos of the Pakistani city of Kerachi, but the editing and narrative was worse than chaotic. The digital video imagery was so poor I got exhausted looking at it. In fact, the CNN news footage was cleaner looking than the stuff shot to tell the story. This should have been shot on film, at least Super 16mm so the imagery could have expression and feeling. Message to filmmakers, from studio to student, "Show me you respect me enough as your audience, to create your works on film. Show me you respect your work as a filmmaker enough to create your works on film. Otherwise, you get no respect from me, and you'll lose me from your audience!"

Other Reviews:
"Talk to Me" (movie)
"Eavesdropper" (play)
Alexandros Kapelis (piano recital)
"Karma Cafe"(movie)

June 08, 2007

Review of "Karma Cafe"

Other Reviews:
"Talk to Me" (movie)
"Eavesdropper" (play)
Alexandros Kapelis (piano recital)
"A Mighty Heart" (movie)




The first movies were all short films, and although the feature film has become the mainstay of the theater, shorts have never lost their appeal. Recent proliferation of film classes and access to equipment has produced an overwhelming flood of short films. Of the thousands I have seen, only a few have stuck with me beyond the Warner cartoons of my childhood. "The Secret Cinema" by James Bartel in 1968, the 1932 Oscar winning "The Music Box" by Laurel and Hardy, the George Lucas USC student film, "THX 1138" or "A Sense of History" by James Broadbent in 1992 are a few that always come to mind. Now I happily add "Karma Cafe" by Eben Kostbar to the list. In spite of the tens of thousands of entries to film festivals, Eben's movie has been lighting a lot of film festival screens and garnering well deserved awards.

At the “Karma Café,” every cup tells a story.

A Coffee Shop cashier instills confidence in a lonely, young man seeking love. Are they the words of “The Wise” or simply acts of coincidence? Welcome to the “Karma Café!”AWARDS
Audience Choice – DC Shorts FF
Honorable Mention – Beverly Hills HD FF
Best Short – Flickering Image FF
Honorable Mention – Smogdance FF
Audience Choice – East Lansing Children’s FF
Audience Choice & Best Entertainment Value – Pumelo Independent FF (India)

FESTIVALS (partial list)
Newport Beach FF
Rhode Island Int FF
Indianapolis Int FF
Cleveland Int FF
Memphis Int FF
Bahamas Int FF



Eben Kostbar plays Dustin, a lonely young man
Craig James Pietrowiak plays another lonely young man
Paige Jarvie plays Amber plays an attractive young woman seemingly out of his reach
Shawn Patrick O'Donnell plays the coffee counter clerk


Eben describes himself this way, "I am an actor and recently also a filmmaker, living in Hollywood. I grew up in Maryland, love football especially the redskins and for college, USC Tojans and the Maryland Terps. I enjoy movies of all kinds and good times w/ friends."

A reading of Eben's film and tv credits reveals a talent searching for his most fulfilling means of expression, first as an actor then as writer, director, editor and producer. In making "Karma Cafe", he succeeded in bringing quality to all the elements of good cinematic story telling, when measured by traditional standards, but added his own light touch to make it all fresh again.

The story is well structured, the humor well developed, the heart feelings genuine, the film craft clean and crisp. Some well meaning reviewers have called it charming or inspirational. Sorry, I didn't find the film charming or inspirational, anymore than I found it sentimental and maudling, no, to call it charming or inspirational is to miss the mark on the good natured sincerity of this work. Even the word "sincere" can be misread sometimes as an earnest failure, but I mean it in the beautiful sense of its origin in Roman law that only a perfect, unblemished work of a silversmith could be inscribed "Sincerus" (meaning unwaxed from sine meaning without and cera meaning wax). "Karma Cafe" is entitled to be enscribed "Sincerus".

Eben has recently partnered with another talented actor Joseph McKelheer to form Quality Time Productions. They not only produce their own works, but can provide production services as well, check it out.

Unless you're lucky enough to see it at a film festival, "Karma Cafe" can be purchased ($14.99) through paypal now on the website http://www.karmacafethemovie.com (dvd includes special features: commentary and movie slideshow). You can also see a web movie version of it, but it's best when you can see full resolution and surrounded by other people. One way or the other, this one you must see!

Other Reviews:
"Talk to Me" (movie)
"Eavesdropper" (play)
Alexandros Kapelis (piano recital)
"A Mighty Heart" (movie)

June 05, 2007

Review of "Talk to Me"

Other Reviews:
"Karma Cafe" (movie)
"A Mighty Heart" (movie)
"Eavesdropper" (play)
Alexandros Kapelis (piano recital)




Actress turned director Kasi Lemmons has blossomed into a fine filmmaker with her creation of the new Don Cheadle movie "Talk to Me" based on the true story of Petey Greene, a black ex-con turned Washington D.C. radio personality during the 1960's, a period of turmoil over the Viet Nam war and the civil rights movement. Greene's "tell it like it is" style woke a sleepy R&B radio station into a major voice for the disenfranchised black majority living in our nation's capital at a time when it seemed the country was falling apart.

Kasi has turned Michael Genet and Rick Famuyiwa's excellent screenplay into a well crafted film, proving once again that new directors and new writers are a fountainhead of creativity that breath fresh air into our favorite form of art and entertainment. There is a good balance between character exposition, historical setting, and plot structure. The film does not pander to black or white stereotypes. If you're looking for a militant's view of history, it's not there, nor should it be, it's about a man and his friendship with another, manager Dewey Hughes, and how that friendship empowered them both. Unlike other recent films of this genre, the whites are also just people struggling with the issue of racism, many of whom were also devastated by Martin Luther King's murder.

Don Cheadle as Petey is first rate, something we've come to expect since "Hotel Rawanda" and "Crash".




Chiwetel Ejiofor as Dewey turns in his best yet in a decade of good performances.


Martin Sheene as the radio station owner shines in a supporting role with complexity and depth combining the establishment, compassion and progressiveness.


Tarajii P. Henson as Greene's love-of-his-life performs a consistently entertaining vision of the woman who stood by him and fought for him throughout his journey from his prison life to his finding his ultimate freedom. This is one character who was a little short changed in depth by the writer and director. The impersonations of Johnny Carson and James Brown are clever and believable.

The cinematography by Stephane Fontaine and editing by Terilyn Shropshire are first rate. The period music is appropriate and when used as commentary is not over done. All in all the movie was a well spent evening and I'd recommend it to anyone not offended by strong language. The only weakness I felt in the film was, as so often true in recent times, was the climax and ending failed to move emotionally or offer a turn that leaves one thinking about it. Other than that, I say, "See it for sure."

Other Reviews:
"Karma Cafe" (movie)
"Eavesdropper" (play)
"A Mighty Heart" (movie)
Alexandros Kapelis (piano recital)

June 02, 2007

The Passion of the Creator

The drive to create is the primary function of a healthy ego. I'm not referring to the pathological ego that distorts personalities, but the creative force that is so important that it is the name given to the god of the Judeo-Christian-Muslim beliefs as the creator of all existence. Our personal egos can drive us to write, paint, sculpt, build houses, form organizations, run for office, seek job promotion, build a family, invent, and above all make movies. This creative drive we call passion.

Investors, rightly so, want to know that the film makers are passionate about the project, that they are competent to make it, and have a clear plan of returning a profit to the investors. Again and again we hear homage paid to the role of passion as the primary and essential ingredient in an indie film project to get it noticed, funded and produced. Then a very odd thing happens when the discussion turns to what the investors are looking for before they fund a project. That discussion inevitably turns to handing the job of director to someone other than the film's creator.

Here's the problem. Far more often than not, indie's are the brain child of writer/directors, the film makers who only write their screenplays as the first step in making their film. There is no one in the entire world more passionate about getting the movie made, made well, and successful than the writer/director, indeed, it it is the creation and drive of that person who has gotten every one interested in the first place. Can it make common sense to tout the absolute importance of passion but then pluck out the one person who's passion is the primal cause? Let's rip the heart out of the project and see if we can make a film with what's left. No wonder the sad state of indie film making!

An example of ripping the heart out of a production: I used to love to read Marvel Comics series "Dr. Strange" , and was thrilled that it was going to be turned into a TV movie. I could not have been more disappointed. By chance, I met one of the artists who contributed to those comic books, and he described his role as "consultant" to the film project. One by one, every feature of Dr. Strange that made him interesting was taken out by the director Philip DeGuere who had been assigned to the production by Universal and CBS. The result was disastrous to say the least.

Of course competency is vital. But, the competency of the director should not be tied to a string a mediocre movies of moderate success. The writer/director has already proven creative competency or the producers wouldn't be interested in making the movie in the first place. No director performs in isolation. Regardless of experience, any director needs to be surrounded by producers, production personnel, cast and crew who each bring their talent and experience to the project, and see to it that the director's vision, as first committed to paper, gets realized to its best.

Historically, the "first time director" who actually got a film out there in the theaters has nearly always turned a profit on it, especially the writer/director, which is something you can prove to yourself with a little investigation on line withIMDB or Boxoffice Mojo. I spoke once with Danny Boyle, the director of "28 Days Later", "Trainspotting" and so on, and he contended that a director's first film is often his best and it goes down hill from there.

Maybe the quality and commercial success of indie films would explode, if we started recognizing that a film project brought into being by the passion of a writer/director should be made ONLY by the its creator with all the support necessary for that creator to succeed. Put your money with the fountain head from whom the passion springs.

May 01, 2007

Eyewitness to Film History in the Making


When I first arrived in Hollywood from the Midwest, I had several experiences that are lifetime memories, such as Katherine Hepburn tossing me a wave from her convertible next to what is now the American Film Institute , or Cyril Delevanti reciting his poem from John Huston's "Knight of the Iguana", and seeing firsthand the launch of George Lucas's professional career.

The film departments of UCLA and Southern California University had an annual film competition for students from both schools at a time when they and New York University were about the only schools in the country offering a degree in cinema.

In 1967, I attended the showing at UCLA's Royce Hall, and George Lucas's THX 1138 was a standout work among many very good ones. Not only was it the audience's favorite, but the judges awarded it best picture. Lucas was called to the podium to accept his award. He seemed nervous and shy at the microphone, but then startled as he was interrupted at the microphone, apparently a surprise to all on stage, by a lawyer from Warner Brothers who announced that Warners was offering whoever won the competition the opportunity to turn it into a feature.

That was of course George. It seemed an eternity while he stood speechless, mouth open. Warners already had the young Francis Ford Coppola under contract, so they assigned him as producer to George. I then saw the resulting feature "THX 1138" in 1971 at a theater in Hollywood. It was not great commercial success, but the success of the George Lucas career is legendary.

April 15, 2007

The Three R's

In an attempt at irony, I have often said "growing up" is the day the child realizes that no one else ever did.












The world is full of adults still driven by their childish motives and emotions. We have long expressed a child's formal learning needs as the three R's, reading, 'riting, and 'rithmetic which includes a little joke about the need to add spelling to the 'riting part. The three R's of adulthood should be rights, responsibilities and repercussions. Too often, we think the right's are confirmed automatically when we reach legal age, and grudgingly accept a vague notion of responsibility, and then suppress any further thoughts about repercussions. So much of our social order would be improved, if we were to analyze situations giving equal attention to all three. In some areas, we already fully integrate this idea, such as our traffic laws, in which the right to drive is firmly tied to our obeying traffic laws, and failure to do so has repercussions if we get caught or worse cause injury.

For example: some parents claim the right to keep their children out of sex education, or diversity sensitivity programs. All they need to do is sign a form, and their kids are kept from being exposed to this sort of knowledge and social awareness, end of story. Is that nuts or what?




















I can understand that these parents think they are protecting their children from influences that conflict with their religious beliefs, but who bears responsibility if one of their kids gets a venereal disease, or pregnant, or acts cruelly or violently towards a minority class mate? The claim of that right, has repercussions on their children, and maybe on other people's children, but what are the repercussions for the parent? Shouldn't the legal form signed by a parent include the parent's acceptance of full responsibility for any trouble their child gets into as a result, and shouldn't that carry with it civil and criminal consequences for the parent? As it is, the parent wants the right, but leaves the kid to suffer the consequences, when in fact they are guilty of child neglect, abuse and even endangerment.

Example: some talk show hosts claim "free speech" as a right when they are being broadcast in the employ of a broadcast license owner, which they think empowers them to say whatever they want without responsibility or repercussions for statements that would probably bring them a bloody nose or worse on the street. If I had to justify something I said by saying that it's no different from what hip-hop or rap artists say, then it's clear I've really messed up. How is that different from justifying my speech because I heard a character in a movie say it? Ludicrous! The Fox network has built an audience base by pandering to a malevolent streak that claims all sorts of rights to say or advocate extremist views, without any sense that the public forum has a responsibility to truth, fairness and circumspect analysis. They take a policy of bias and extreme partisanship and constantly blare out the words "fair and balanced." Tragically too many accept the hype as true. They take the phrase "suicide bomber" and change it to "homicide bomber" to advance a political idea that the perpetrator is a coward. I bet nobody at Fox has the guts to do the same if we were under occupation by a foreign power. A suicide bomber's intent is homicide and that phrase includes that concept. As a result of this nonsense at Fox, we are led to believe that the bomber did not die in the act, which means a cowardly act, but this is an out and out lie and distortion. We once had a fairness doctrine which protected free speech on licensed broadcast by insisting equal time be presented to opposing political views. Thank you Reaganites for this 1984ish change in our affairs of state. I know you want a one party system run by an elite oligarchy but there are lots of others of us who are not going to let us go there.

Example: a woman brings false charges of rape against three Duke LaCrosse players Reade Seligmann, Dave Evans and Collin Finnerty, and she is championed by Mike Nifong, a sociopathic prosecutor who can't stop grinning over the nightmare he brought upon these three innocent men. Now that all charges have been dismissed by the state's attorney general Roy Cooper, and he has taken the heroic step of declaring their innocence in a public press conference, we are left to ask who is responsible for the extreme harm to the lives of these men, families and friends.Women's rights groups, and African American rights groups exercised their right of free speech to mount major public demonstrations against the three. Where in all this did anyone take a moment to determine their responsibilities, and contemplate the repercussions should they happen to be wrong? These guys did everything right because they reacted to the charges in a responsible way, the prosecutor did everything wrong because he reacted irresponsibility, and the accuser is apparently simply looney and thus not responsible for anything. Nifong is the one who should have recognized crazed accusations and protected them from her. It is the height of lame back stepping to point out that they participated in a party where booze flowed and strippers were hired, and that one of them had a brush with the law over a different kind of assault. None of that justifies what happened to these guys, except in the eyes of the most hypocritical religious right.




Example: parents have used charges of child molestation in custody battles, and if the accused is the father, it can be very hard to refute this in court. The right to have your day in court, is supposed to carry the responsibility to speak truthfully and aid the discovery of justice, but the repercussion of penalty repercussion of a criminal perjury charge hardly seems sufficient to right the harm done to the wrongly accused. We all want to protect the children,
but we also must act responsibly to the accused, so the innocent do not have irreparable harm done to their reputation and peace of mind.

Proposed: if someone knowingly accuses another person falsely, that accuser should suffer the same penalty that would have befallen the accused.