Bobby Grossman, “Lester Bangs and Mary Harron at an East Village party, 1977”
Lynn Parramore: What does this trend reveal about the changing nature of work in America, and the direction in which many of us are headed?
Jessica Bruder: The social contract is falling apart. With the death of pensions and the increase of short-term, temporary jobs bearing no benefits, we’re moving toward a winner-take-all economy with no safety net to help people weather hard times.
“Permanent temps: What your life as an ‘elderly migrant’ worker will be like when you can’t retire”
I am very modestly hopeful my parents will be okay post-retirement (which will happen in the next 5 yrs), solely because my mother has been a member of a union since she was 25. Me (& seemingly everyone I know in my generation?), not so much. Happy Labor Day.
John Updike’s residual payment for a 2000 episode of The Simpsons. “Updike voiced an animated version of himself in a scene set at the Springfield Festival of Books. “I did notice that Amy Tan and Stephen King got many more lines in the episode than I did,” he later said.”
What was it about Dick’s work that caught your attention?
Partly it was that he and I had similar interests in certain things, such as Taoism and the I Ching—after all we were both Berkeley kids of exactly the same generation. And then, his sci-fi novels were about ordinary, unexceptional, confused people, when so much sci-fi consisted of Campbellian or militaristic heroes and faceless multitudes. Mr. Tagomi, in The Man in the High Castle, was a revelation to me of what you could do with sci-fi if you really took it seriously as a novelist. Did you know we were in the same high school?
You and Philip K. Dick? Really?
Berkeley High, thirty-five hundred kids. Big, huge school. Nobody knew Phil Dick. I have not found one person from Berkeley High who knew him. He was the invisible classmate.
That could almost be taken from one of his novels. So you didn’t know him at all?
No! We got into correspondence as adults. But I never met him physically.
|—||Ursula Le Guin, Paris Review interview.|
The Web Planet, season 2, 1965
I don’t understand why this TARDIS crew is not considered the iconic one of the Hartnell era. I really don’t.
Vicki and Babs for the win
“When I began to think about this film, I often stayed awake at night, thinking and taking notes. Soon this story, with its thousands of possibilities, fascinated me, and I attempted to understand where its thousands of implications would take me. But at a certain point, I told myself: let’s start making the film—that is to say, let’s try, for better or worse, to tell the story and, then….Today I still find myself at this stage, even if I am nearly finished filming Blow-Up. To be frank, I am still not completely sure of what I am doing, because I am still in the ‘secret’ of the film.”
Michelangelo Antonioni, The Architecture of Vision
I don’t really feel like the classic series had enough variety to break it down, so it’s really rate the five basic designs. So.
1. Matt Smith’s first.
2. Classic series
nah, it’s 1. Hartnell
2 to whatever: everything else
beyond whatever: McGann