Archive for May, 2010

Diana Butler Bass: Sex and the City 2: Where’s the Interreligous Sensitivity?

This week, my daughter's sixth-grade class visited a mosque. In advance, the teacher prepared instructions about how to dress and behave. At home, we talked about respecting others' faith (even when we find things difficult to understand), expectations of religious modesty, and differing roles for men and women in Christianity and Islam. On trip day, my Episcopal girl went to school in long pants and a long-sleeved shirt with a floral headscarf tucked in her backpack.

And, with an unusual day off, I went to see the new movie Sex and the City 2. I confess: as a woman of a "certain age," I'm pretty much the target audience for the old HBO show and its movie spin-offs.

Sex and the City 2 does not take place in New York; rather, Carrie, Samantha, Miranda, and Charlotte find themselves on an adventure in Abu Dhabi at the behest of a publicity-seeking hotelier who wants to show off the "new Middle East" to them. Set at a glamorous, western-style resort, the Sex ladies think they have discovered an exotic paradise that mixes high fashion with ancient culture and meticulous hospitality. But they quickly find themselves in a number of cross-cultural mishaps, the most damaging (spoiler alert!) being Samantha's inability to fit into the sexual mores of even the "new" Middle East.

All of this sounds as if it might make a good movie -- the sort of comedic road picture send-up of the mid-20th century in a post-feminist form -- and I was prepared to laugh. But I didn't. At least not very much. It just wasn't very funny to see four smart American women parading western consumerism and sexualized identity in blatantly insensitive and anti-religious ways in a traditional world. I knew that they wouldn't be robed in burqas (and I wouldn't want them to be), but I didn't quite expect the Sex and the City women to lead a religious-style revival meeting for America in the United Arab Emirates while gyrating to "I Am Woman, Hear Me Roar."

Throughout the picture, Christianity, Judaism, and Islam are all trivialized. Christianity is, as it has been in the whole series, mostly invisible and seen only through the lens of materialist culture; Judaism receives strange treatment during a gay wedding scene and through Charlotte's conversion; and, well, there are no words to describe the mean-spirited stereotypes heaped upon Islam. I wasn't sure what was more offensive -- having American ideals of freedom depicted by freewheeling sex on the beach or having Muslims pictured as rich sheikhs, women-hating fundamentalists, and repressed female sexual power. What was this, the 1940s? Not even a vague attempt at post-9/11 Abrahamic interreligious understanding?

The filmmakers were quick to point out the inconsistencies -- or rather hypocrisies -- of Islam while saying nary a negative word about western cultural colonialism or corporate consumerism. Non-western cultures were joyfully trashed and western materialism was equally joyfully celebrated. As one of Carrie's t-shirts proclaimed proudly in the middle of a traditional souk, "J'Adore Dior."

In the end, Carrie and the girls flee the new Middle East back to the safe embrace of old New York. They return from their journey untouched, relieved to have escaped with their Birkin bags intact. You know, I like Dior, too. But the Sex girls, like their loyal fans, are now forty- and fifty-something women. And this whole film was vaguely insulting to the journey of womanhood that the film (I think) intended to celebrate. Mature women need to laugh; we like escapism, and we can sigh over beautiful clothes. But our journeys have taught us a thing or two -- for example, that it is good to be sensitive, open, and curious about the world, beliefs, and politics; that respect and modesty are not bad words and that sometimes you really need your sixth grade teacher to send along a set of instructions for the trip; and that going outside your comfort zone can be a good thing only if you choose to learn from the journey.

In the next movie, I wish Carrie and the girls would discover that growing up isn't a curse. Just once I'd like to see the sadly self-centered ladies of Sex and the City wearing t-shirts saying "J'Adore My Neighbor as Myself."

This blog originally appeared on Diana Butler Bass's Beliefnet blog.

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Jackie K. Cooper: Prince of Persia Wisely Puts the Accent on the Physical

Prince of Persia: The Sands of Time is a movie based on a video game. This has been done in the past to hit or miss success. This time it is a hit because the movie wisely focuses on the action and lets the plot lines fall where they may. Don't try to make any sense out of the story and you will have a fine old time.

The movie starts with the back story of Prince Dastan. He was an orphan roaming the streets of a Persian city when he caught the eye of King Sharaman (Ronald Pickup). The king was impressed with the boy's athletic skills as well as his protective heart. He decides on the spot to adopt him and he does.

The film then jumps to twenty or so years later when Prince Dastan (Jake Gyllenhaal) has equal title with his two brothers Tus and Garsiv (Richard Coyle ad Toby Kebbell). The three of them, along with their Uncle Nizam (Ben Kingsley), decide they should invade a holy city because it is suspected the city is stocking up on weapons of mass destruction. The princess who rules the city is named Tamina (Gemma Arterton) and she has a secret about a magical dagger.

The magical dagger, which can turn back time, figures prominently in the rest of the movie's story. Dastan and Tamina try to protect it from the bad guys and that leads to lots of action events in very exotic and intriguing places. There are sandstorms, ostrich races, attacks by snakes, etc. You won't be bored with what is happening, you just won't be sure why it is happening.

Gyllenhaal is in great shape to play Dastan but you wonder why he is affecting a British accent. Do all Persians speak like the British? He does a nice job of it, but you just have to wonder why. Even with an accent Gyllenhaal is not your most appealing hero. He has all the physical attributes but those puppy dog eyes of his make you want to just pat him on the head and play fetch.

Arterton on the other hand is the perfect feisty princess. She makes the movie fun and gives Gyllenhaal whatever chemistry he manages to have on screen. She is also very, very pretty.

Alfred Molina provides comic relief as a petty criminal who complains about the burden of taxes on the small people. Kingsley adds tension as a man who may be really good or really bad.

The film is rated PG-13 for violence but it is more of the action type and is never graphic.

Even though it is rated PG-13 this is a movie 8 to 12 year old boys will love. Fathers can have a good time taking to their sons to see it and enjoy it themselves. You can leave mom at home unless she is a big Gyllenhaal fan.

Even though it has a Bobby in the shower in "Dallas" kind of ending, the movie is still worth seeing just for the physical fun of it all.

I scored Prince of Persia: The Sands of Time a gritty 6 out of 10.

www.jackiekcooper.com


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Caddyshack: The Best Quotes (VIDEO)

Ahoy, polloi! How 'bout a Fresca?

With each year that passes since Caddyshack first hit theaters (the 30th anniversary of its release is this July 25th), its legend as perhaps the most quotable movie of all time only grows larger. If movies had deaths, Caddyshack would receive total consciousness on its deathbed. (So it's got that going for it, which is nice.)

Last week we presented to you 'Caddyshack': How It Was Originally Intended, in which we brought to the fore the story of caddy Danny Noonan. Noonan, aside from being the greatest 1-word psych-out in the history of athletic competition (Nnnnnoonan!), served the critical role of the glue, the thread, the soul that somehow held this manic comic masterpiece together. Today, in the spirit of journalistic fairness and balance (after all, this isn't Russia. Is this Russia? This isn't Russia.), we bring you the other side of the Caddyshack story: Bill Murray, Chevy Chase, Rodney Dangerfield, Ted Knight, and all the moments that lift Caddyshack from mere movie mortality into the all-time quotable comedy pantheon. Stop thinking, let things happen, and be... the ball.

WATCH:

Video produced by HuffPost's Ben Craw

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Yoani Sanchez: Even Rice and Beans Are Disappearing From Our Plates

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Several years ago I met a young woman about to travel outside the country for the first time. She had so many doubts about what she would find on the other side that she asked those who had already "crossed the pond" about even the smallest details. She wanted to know if she should take a coat or short sleeved clothes for the summer in Europe and if, with her slight knowledge of English, she would be able to be understood. She inquired about names, places and even flavors, as one of her principle fears centered around whether she would like the food over there. She feared, basically, that she would not find on her plate the rice and beans she was used to eating every day.

When she confessed this to me I wanted to laugh, but then I realized the awkward situation that a break in her dietary routine represented for her. Since childhood she'd been accustomed to that Creole combination and the thought of finding herself in front of a plate of vegetables seemed like a sacrilege. She was worried about having to eat just broccoli or spinach, as she had seen in some movies, and about going for more than a month without black beans and rice, which we call "Moors and Christians." Her distrust reached the point to where she boarded the plane with her luggage loaded up with several pounds of her inseparable legumes and daily grain. She never returned from that trip because she settled in Northern Italy, apparently finding herself enchanted with the flavor of the place.

The impoverishment of our culinary culture, due to the chronic crisis in which we live, has gotten to the point where our palates experience barely a dozen flavors. The "proteins" that show up on Cuban plates are those contained in a hot dog, a slice of turkey hash, or a piece of beef liver. These products have the most affordable prices at the convertible peso stores and are imported, for the most part, from the country to the north so often mentioned in political slogans. Even pork has become unattainable and, in my neighborhood, when eggs are for sale there's a joy as if it were the advent of the Three Wise Men themselves. The repetitive mix of rice and beans is also disappearing due to agricultural disaster, drought, and the dysfunctional nationalization of our fields. Now we have to fork over double and even triple the cash to enjoy that congri -- black beans and rice -- for which my friend was about to abort her trip to Europe.

Yoani's blog, Generation Y, can be read here in English translation.

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Mavi Marmara VIDEO: Report Shows Gaza Flotilla After Israeli Raid

Al Jazeera reporter Jamal Elshayyal was on board the aid ship 'Mavi Marmara,' which was trying to break an aid blockade that Israel has imposed on Gaza when it was stormed by Israeli soldiers.

From Al Jazeera's blurb on the video:

Commandos lowered themselves from helicopters and onto the Mavi Marmara - the lead ship in a flotilla of six vessels which are carrying humanitarian aid for the Palestinian territory.


Elshayyal on board the Mavi Marmara sent this report before communications were cut.

WATCH, or read more details about the incident here:


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Director Guillermo del Toro QUITS ‘Hobbit’ Film Over Delays

WELLINGTON, New Zealand — Hollywood director Guillermo del Toro said Monday that production delays have forced him to quit the planned film version of J.R.R. Tolkien's "The Hobbit," a two-part prequel to New Zealand filmmaker Peter Jackson's blockbuster trilogy "Lord of the Rings."

"In light of ongoing delays in the setting of a start date for filming The Hobbit, I am faced with the hardest decision of my life," del Toro told a "Lord of the Rings" fan website.

"After nearly two years of living, breathing and designing a world as rich as Tolkien's Middle Earth, I must, with great regret, take leave from helming these wonderful pictures," he said, noting the film still hadn't been given the green light by MGM, the struggling Hollywood studio.

Matt Dravitzki, a spokesman for "Hobbit" producer and "Lord Of The Rings" director Jackson, said del Toro would not be speaking to reporters Monday.

The announcement by del Toro reflected Jackson and del Toro's "full sentiments at this time," he said.

Del Toro would continue to co-write the screenplays with Jackson and his wife, Fran Walsh, and Philippa Boyens.

Jackson reached a deal in late 2007 to make two films of "The Hobbit." He is serving as joint executive producer with Walsh.

Last week, del Toro, who directed "Pan's Labyrinth," "Blade II" and the two "Hellboy" movies, told journalists the "Hobbit" films, which have been plagued by delays, still hadn't been given the go ahead.

"There cannot be any start dates until the MGM situation gets resolved," del Toro said. "They do hold a considerable portion of the rights."

Reports emerged late last year that MGM was teetering on bankruptcy and del Toro said those issues had caught the "Hobbit" films in a "tangled negotiation."

"We have designed all the creatures. We've designed the sets and the wardrobe. We have done animatics and planned battles sequences ... We are very, very prepared for when it is finally triggered," he said.

Jackson told "We feel very sad to see Guillermo leave The Hobbit, but he has kept us fully in the loop and we understand how the protracted development time on these two films, due to reasons beyond anyone's control, has compromised his commitment to other long term projects. http://www.TheOneRing.net:

"The bottom line is that Guillermo just didn't feel he could commit six years to living in New Zealand, exclusively making these films, when his original commitment was for three years. Guillermo is one of the most remarkable creative spirits I've ever encountered and it has been a complete joy working with him."

He would discuss options for a new director with MGM this week, Jackson told the website.

"We do not anticipate any delay or disruption to ongoing preproduction work," he said.

Last month, Jackson dismissed rumors that the "Hobbit" movies have been delayed by production problems, insisting the project was still in its early stages.

He told Moviefone.com, "Well, it's not really been delayed, because we've never announced the date. I mean it's sort of interesting because the studio has never greenlit The Hobbit, so therefore The Hobbit has never been officially announced as a 'go' project, nor have we ever announced a date."

___

Online:

http://www.TheOneRing.net

(This version corrects film title to "Blade II" in 8th paragraph.)


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Dana Thomas: A Renaissance Man from Kansas

The first time I met Dennis Hopper was in the mid-1990s when I was seated next to him at a formal dinner at the Cannes Film Festival. He was there with his bride, Victoria Duffy, she looking ravishing in a pink taffeta Richard Tyler gown, he in a natty tuxedo. He was in Cannes for a special screening of "Easy Rider," which had debuted at Cannes three decades earlier and he recalled how cool and relaxed the festival was back then; the film's star Jack Nicolson carried the reels to the screening himself, under his arms. Hopper was surprisingly cordial--a surprise given all the stories I had read about him of his drug years and his scarily convincing roles as madmen in "Blue Velvet" and "Speed." But it was one of those official events where you make polite conversation and move on. So we did, and we did.

It was in the garden of his friend Giovanni Volpi's home in Venice in the summer of 1999 that I got the chance to enter Hopper's world, and what I quickly discovered is that it was far more cultured and creative than anyone could have imagine. Hopper was in Venice for a lousy movie, "The Venice Project," that he did as a favor to a friend, and we spent the afternoon on Giudecca talking about art and photography, his two true loves. Hopper not only collected great contemporary art--he had one of the finest private collections around--he was a gifted artist and photographer himself who as a child had studied at the Kansas City Art Institute. All of his early works, as well as his first art collection, including an original Andy Warhol "Campbell Soup Can" which Hopper bought for $75, were destroyed in by the Bel Air fire in 1961. Broken-hearted, he put down his brushes for some time. His wife at the time, Brooke Hayward, gave him a camera and he started taking pictures of their movie star friends and quirky urban scenes around Los Angeles, many of which he published in 2001 in a charming and intimate photography book titled, "1712 North Crescent Heights," the address where he and Hayward lived.

More importantly, Hopper turned his creativity during that period toward making movies, in particular the one that became his legacy, "Easy Rider." Many film historians suggest that "Easy Rider" launched the Golden Era of 1970s cinema, when movies became more artistic than commercial, and certainly more soulful. Looking back, and knowing Hopper's art, I see what they mean: the French liked to think of Hopper as a cinema auteur. But I believe he was actually a cinema artiste.

I saw Hopper nearly every time he came to Paris in the last ten years. We attended an Yves Saint Laurent fashion show together, when he was photographing the collections for Vogue. We met up one afternoon in an apartment where in was staying in Marais and talked art--in particular, his favorite gallery owner in Paris, Thaddeus Ropac--and politics. Though a longtime Republican, he thought Obama would be good for the nation. He liked the French president, Nicolas Sarkozy, too. Then again, he had lunched with the Sarkozys at the Elysée Palace the day before.

During another visit, over drinks at the Hôtel Bristol, he showed me the photographs he had taken around Paris that day. I remember one in particular, a striking portrait of his friend the French artist Sophie Calle standing in from of a yellow wall. It was very graphic and at the same time, very human--a delicate balance that was Hopper's signature in everything he did. How he found a yellow wall in Paris, I shall never know.

In "Los Angeles 1955-1985: The Birth of an Art Capital," an exhibit at the Centre Pompidou in 2006, there was series of photographs Hopper took in the 1960s of an ice house that he and several artists constructed in the late 1960s. He described it as sort of a guerilla art event: they found an empty lot, brought in huge blocks of ice and built the place. Then Hopper photographed it over several days as it melted in the southern California sun. He laughed remembering the experience, the trouble they caused, the fun of it all. Knowing Hopper's profoundly dark period that would follow in the 1970s, that scene and that laugh seemed all the more poignant.

In October, 2008, the Cinémathèque Française in Paris mounted "Dennis Hopper & le Nouvel Hollywood," an exhibition of everything Hopper: his personal art collection, which included several portraits of him by well-known contemporary artists (I loved the Julian Schnabel one made of broken plates); pictures he had painted; photographs of him on sets and in life; photographs he had taken, such as those of Martin Luther King, Jr. during the march from Selma to Montgomery, Alabama, and his most well-known, "Double Exposure," of two Standard gas station signs on a corner in West Hollywood, which he snapped through his car windshield in 1961; of movies he had appeared in; and clips of films he had directed. When you saw it, Hopper made sense: he was a Renaissance man from Kansas.

That evening, Hopper received the French Legion of Honor. Among the clutch of friends on hand were Giovanni Volpi, Sophie Calle, the photographer Willy Rizzo and the directors David Lynch and Wim Wenders, who had pulled from him some of his best performances. His wife, Victoria, was there, looking ravishing as always and making sure he was happy. How could he not be? He was surrounded by all that he loved, all that he was, and he was being recognized for it. "I feel like I am home," he told me, beaming. He was.


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Battalion Among Hardest Hit In Afghan War

FORWARD OPERATING BASE FRONTENAC, Afghanistan — It was Aug. 10, 2009 in the Arghandab River Valley, a hot and dusty day full of unknowns.

An American battalion was swapping in with a Canadian garrison. As the Stryker troop carrier rumbled toward the riverside orchards, a Canadian soldier warned 1st Lt. Vic Cortese, 24, of East Quogue, New York: "We don't go in there."

The American troops clambered out of the Stryker's cramped confines into the raw sunlight. The soldiers spread out, started walking.

Less than 20 minutes later, snap, snap, snap in the air. A Taliban ambush. Cortese's first firefight, and he went numb. "For a split second, I was like: 'Oh man!'" he recalled. Then training took command. He pushed against the earth, lifted his M-4 rifle and pulled the trigger.

---

Twenty-two men in the U.S. Army's 1st Battalion, 17th Infantry Regiment of 800 died in a yearlong Afghan tour ending this summer. Most were killed last year in the Arghandab, a gateway to the southern city of Kandahar. About 70 were injured, all but two in bomb blasts.

The death toll was one of the highest in the Afghan war, and the tough fight in the Arghandab drew the attention of America's leaders. President Obama was photographed saluting the coffin of one of the soldiers on arrival in the United States. U.S. Defense Secretary Robert Gates told soldiers at their base in March that their efforts had helped push back the Taliban.

However, the battalion failed to dislodge insurgent cells entirely. A similar outcome is emerging in the southern town of Marjah after a bigger operation led by U.S. Marines in February. An even larger campaign is unfolding in Kandahar, the Taliban's spiritual capital.

The battalion's story is an extreme example of the challenges American soldiers face in Afghanistan.

The battalion is part of the 5th Stryker Brigade, 2nd Infantry Division, which originally trained for urban combat in Iraq. But the mission changed in the final months of training, and the brigade's 130 Arabic students took a crash course in Pashto, the language of Afghanistan's largest ethnic community.

The battalion's Stryker vehicles, prized for their speed and mobility, were making their debut in the Afghan war. But they could not operate in rough terrain where soldiers had to get around on foot.

The timing was bad; August is the height of Afghanistan's fighting season.

Perhaps most treacherous of all, the battalion had very little intelligence. The soldiers didn't know it, but they faced an entrenched enemy willing to stand and fight for a sliver of territory vital to the Taliban's goal of seizing Kandahar. They needed more manpower.

Before dawn on Aug. 7, the battalion rolled out of Kandahar to Forward Operating Base Frontenac, just northwest of the Arghandab. The soldiers in the hatches got sunburns. The thermometer read 130 degrees Fahrenheit.

A "perfect storm" awaited, said Lt. Col. Jonathan Neumann, the battalion commander, from the tiny town of Baker in Montana.

"You can't get from one side of the river to the other easily. You can't do anything on vehicles," Neumann said. "We didn't know it was going to be saturated with enemy. Nobody was tracking that it was a Taliban sanctuary."

---

Spc. Troy O. Tom was the first. A 21-year-old Navajo from Shiprock, New Mexico, he smiled serenely through tough camp training and told friends he turned down scholarships to serve his country. On Aug. 18, an explosive on a footbridge killed him.

Within five minutes, Pfc. Jonathan C. Yanney, 20, of Litchfield, Minn., died the same way. Soldiers say he stopped, stooped to adjust his heavy backpack, and took his last step.

Fear of more attacks delayed the search for the bodies. The next day, a bomb struck a convoy. The shock wave thumped 1st Lt. Kyle Hovatter of Tallahassee, Fla. in the face – "like a ton of bricks," he said. Soldiers spotted a dozen muzzle flashes in the undergrowth. Sixteen Strykers unloaded 50-caliber machine gunfire and other ordnance. Helicopters flew low, unleashing at least 100 rockets.

The barrage subsided, and the Americans found Tom and Yanney.

A pattern was emerging.

The Taliban had no chance in a firefight, but disrupted American movement with mines and improvised explosive devices, or IEDs, usually fuel-soaked fertilizer packed in cooking oil jugs and wired to a power source that ignites the mix.

The IEDs got bigger as insurgents learned to pierce the Stryker hulls. At first, the Americans walked into bombs around trails and at gaps in walls. They adapted, varying movements and spotting ribbons in trees and other Taliban markers for IEDs.

Hovatter, 27, replaced a wounded platoon leader, and tried not to think of his wife on patrol so he could stay alert. He played out worst-case scenarios: What if the guy in front steps on a mine? What will I do?

"You're the American army, you're the U.S. infantry," Hovatter said. "You don't expect to come across something that's going to make you step back and say: 'How can I change?'"

---

In photographs, Capt. John L. Hallett III of Concord, California, resembles a diffident schoolboy, his ears poking out awkwardly.

Once he visited Afghan police and balked at his hosts' yogurt drink in a communal bowl. They gave him a glass. Too polite to decline, he held it for the entire meeting and dumped its contents in the bowl when nobody was looking.

On Aug. 25, an IED in a culvert flipped a Stryker, killing 30-year-old Hallett and three others. Six days later, more deaths. A medic tried to resuscitate a soldier who lost limbs, then announced it was over.

1st Sgt. Charles Burrow ordered the medic to continue until the helicopter arrived for the "angel flight" that would carry the dead man away. He didn't want to give up.

After the evacuation, a void settled inside Burrow. It was as though there was nothing left to do. He turned to the Protestant chaplain, Capt. Gary Lewis, who arrived to counsel the soldiers.

"Chaplain, be quick. I'm sending these guys right back out. I don't want them dwelling on it right now," Lewis remembers Burrow saying.

Again and again, the battalion tried to close out grief. Focus on the task. Look ahead, not back. Each time a soldier died, the base flag flew at half-staff, but only for a few hours. Death became normal, a jarring routine. It meant loss; it meant everyone else was still alive.

"We aren't civilians. It's not like some dude that you work with. We live together, eat together. You get pretty close and emotionally attached," said Burrow, 36, of Harker Heights, Texas. Of the attacks, he said: "It shakes your confidence. All of these came like, 'bang, bang, bang.'... Anytime there's an event like that, you re-examine: 'Why am I here?'"

In one firefight, soldiers pumped bullets into an insurgent who sprinted into the open to drag away a wounded comrade. Watching him die gave therapeutic release.

---

One September night, two dozen suspected insurgents appeared with bags around an American post, then pushed into the orchards before dawn. Coalition rules of engagement barred the Americans from opening fire unless there was obvious hostile intent.

The paltry role of Afghan forces was also frustrating. Chaplain Lewis, a 37-year-old father of four from San Diego, California, once boarded a Stryker with two Americans who survived an IED strike. In back were two Afghan soldiers, one of whom had shot himself in the foot. A commander told Lewis: "Keep an eye on those two. Make sure their weapons remain on safe."

It was hard to separate civilians from insurgents. On village patrols, the Americans probably shook hands with unarmed fighters. The battalion struggled for traction in civil outreach. One platoon delivered a generator on a pallet outside a medical clinic; gunmen shot holes in it overnight.

Gradually, soldiers learned the territory, and Taliban tactics. They pushed into target areas before pre-dawn prayers at the mosque, and once roared up a dry riverbed in Strykers to win surprise. They knew an ambush was looming in a village where the children had vanished.

With time, villagers returned, and talked. By November, soldiers had found caches of weapons and bomb-making material.

One patrol felt a turning point when an old man motioned afar with his cane.

"Taliban," the man said.

---

There are versions of what Staff Sgt. Michael Brown, 27, said when a mine severed his right foot on Oct. 15. It's part of Alpha Company lore. It was either "Man, this is really going to affect my jump shot" or "This is going to affect my golf swing" or "That was my accelerator foot."

Always upbeat, Brown stayed in character. A medic tied a tourniquet. "Doc, is that tight enough?" inquired Brown of Staten Island, New York. The pain floated away with the morphine.

Life could end anytime. In the early days, soldiers exhaled in relief every time a boot sank harmlessly into the earth.

"Every step is, 'When? When? When? When is it going to happen? When is it going to happen? When is it going to happen?" said Alpha's 1st Sgt. Gene Hicks, 39, of Tacoma, Wash., a former Marine who will retire and become a deputy sheriff in Boise, Idaho.

And then, he said, it would be: "Boom! It just happened."

U.S. commanders were fighting an estimated 200 or more Taliban who always removed their dead.

Pomegranates perched on trees like Christmas ornaments, cool and sweet. But the foliage trapped a sauna-like heat. It was hard to see. Troops walked in a constant crouch. They hopped mud walls or broke holes in them. On the night Brown was hurt, the entire Alpha Company – about 150 men – crawled single-file through a hole the size of a bedroom window.

Rifles aloft, soldiers waded across irrigation trenches. The terrain reminded some of scenes from Vietnam War movies. It was a maze.

"Everything but the Minotaur," said 26-year-old Capt. Michael Kovalsky of Fords, New Jersey. He took command of Alpha Company after Hallett's death.

One platoon adopted a dog, named Staff. Sgt. Bear. One night, Bear barked at the darkness. A daytime search unearthed an IED.

When Christmas came, the dining hall displayed "How the Grinch Stole Christmas" by Dr. Seuss. On the cover, someone crossed out "Grinch" and wrote "Taliban."

The men grew close. They could identify others in the dark by their gaits. When Brown was blown up, his comrades instantly recognized his voice from the screams.

---

Oct. 27: The boom was muffled, possibly because the IED hit square underneath the Stryker.

But the radio call was clear and final. Eight KIA, killed in action. Seven Charlie Company soldiers and an Afghan interpreter. The blast had driven the armor plate under the Stryker through the roof, peeling it off like a can opener.

A firefight erupted. Afterward, troops found a man's corpse and drag marks, probably an attempt by insurgents to remove the body. A young boy sobbed nearby. He told an interpreter that the man was his uncle and brought him along as a human shield.

"He thought you wouldn't shoot us," the boy said.

At the smoking Stryker, soldiers collected body parts. They ran out of body bags. On base, they collected things – letters, clothes, photos, computers – from the rooms of the dead for delivery to their families.

---

Grousing is common in any army, but a deeper resentment brewed in the 1-17. In November, brigade chief Col. Harry Tunnell replaced Capt. Joel Kassulke of Charlie Company, which had suffered the most deaths – 12 men – of the four companies.

The soldiers fumed. They thought the captain was made a scapegoat.

In December, the battalion took a new mission to secure area highways. Fighting had ebbed, and a unit from the 82nd Airborne Division took over most of the Arghandab. Some 1-17 soldiers were emotional – they thought they were winning, and felt defeat at leaving.

A month later, an Army Times newspaper article included assertions by Charlie Company junior leaders that they had not trained adequately for the Afghan mission, and that the battalion had not focused enough on civilian concerns.

Neumann said civil development was hardly the first option in a heavy combat zone, but acknowledged he could have done more to convey command thinking down the chain. As for Kassulke's transfer, he said, the brigade command believed the man and the company were close to a "breaking point" and needed change.

"That was a bitter pill for that company to swallow," Neumann said. The Army Times article, he said, "tore at the fiber of this unit and I was proud that we shook that off too."

---

With the deployment nearly over, Sgt. Richard Thibeault of Bravo Company remembered Aug. 10, 2009, when he and Cortese first tasted combat. A bullet struck Thibeault's ceramic chest plate but did not penetrate. He went somewhere else: a dream, a bubble, a cocoon.

"It knocked me back a couple of steps and I hit the ground," he said. "It was like hearing everything through a can, being way off. It was like being five miles away and hearing gunfire. Everything was real faint, but I was right there in the middle of it."

Thibeault crawled, and a soldier grabbed him by the collar.

"I got up there behind the wall..and said, 'Hey man, I got shot,'" Thibeault recalled. "He looked and he said, 'No, you didn't.' I was like, 'Yeah, I was.' He was, 'No, you didn't. Start firing.'"

The soldier shoved his hand under Thibeault's vest and yanked it out. No blood.

Thibeault, 22, of Cornelia, Georgia, had bowel movement trouble for a month and has a phobia about orchards. On leave, he got a tattoo of a crosshairs with a wisp of smoke where the bullet would have entered.

At Frontenac today, photographs of the dead line the corridor in the headquarters. A concrete memorial bears their names.

Cortese struggles to wrap his mind around things. In the beginning, he wanted to know if he would hold up in a firefight. Now he knows, and he was promoted. But will home be the same? Will he miss Afghanistan?

"I feel like when we're back, I'm going to want to be over here and I don't know why," Cortese said. "It will be hard to watch the news and not be here."

More on Afghanistan


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Karen Dalton-Beninato: In Lieu of Tonight’s Treme Review, a Quality Oil Spill Rant

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More than 1,000 protesters gathered across from Jackson Square in New Orleans today (10,000 in Fox News numbers), and since tonight is a Treme break this YouTube rant by activist Ian Hoch seems like something John Goodman's Creighton Burnette would say in a quality rant. My favorite moment? "I don't even know if I LIKE fishing!" 5 minutes in. Several chants of "Ian for governor" can be heard at the end, and in Louisiana politics stranger things have happened.

The Stop the BP Oil Flood rally featured speakers Phyllis Montana-LeBlanc and Dr. John, both who have been featured in Treme, and Spike Lee, Maggie Gyllenhaal and Tim Robbins were in attendance. Speakers included George Barisch of the United Commercial Fishermans Association; Evan Wolf, a Louisiana National Guardsman involved in the cleanup; Dean Blanchard of Dean Blanchard Seafood; Lower Mississippi Riverkeeper Paul Orr; Cliff Johnson of the Southeast Louisiana Shrimp Alliance, Prof. John P. Clark and Rex Dingler of NoLa Rising. Matter of Trust discussed hair booms which hopefully will be approved sooner rather than later, and Hazardous Waste Operations and Emergency Response Trainer Roger Ivins offered free training to anyone interested in coastal cleanup. As background music in the video, you can hear the Nachez calliope playing on the Mississippi River behind the rally.

Details on the event are available at http://www.murderedgulf.wordpress.com and our NewOrleans.com photo gallery HERE.

More on Gulf Oil Spill


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David Thielen: The World’s Greatest Music Contest – and you just missed it

If you're in America that is. If you're in Europe you've seen it as the main story for the last week. I'm talking of the Eurovision Song Contest which was Tuesday, Thursday, & Saturday of this past week. And this year was extraordinary. For those that haven't seen Eurovision, here's what you missed - an amazing set of songs, incredibly talented performers, and the largest flashmob every (I think).


How large an event is this? 125 million people watched it making it the most watched show in Europe. How important is this? Azerbaijan has reportedly spent a million dollars both providing the singer Safura direct help like Beyonce's choreographer as well as marketing her performance. With a win would come not just a ton of free publicity for Azerbaijan but they would get to host next year.


Eurovision is sort-of a American Idol combined with the Olympics. Each of the 39 participating countries sends one group to the contest. First off, they can send anyone. That means the groups range from teenagers (Lena from Germany, who won, just graduated from High School) just getting started to experienced professionals (Niamh Kavanagh from Ireland who won the contest in '93). The only limits are that the song must be new and under 3 minutes.


The voting system is so complex it makes the U.S. Presidential primary seem simple by comparison (explained below). But each country has an identical number of votes so Cyprus counts as much as Germany. 34 countries go through a semi-final that reduces them to 20 while 5 countries go straight to the final. Each country decides how to pick their entry. Most have contests within their countries, but some use other systems. They most unusual this year was Cyprus which hired individuals, most from England, to create a group for their entry.


Ok, so why do 125 million people tune in to this. Well first off, no one knows what kind of song will win. Last year the winner was a classical trained violinist from Norway sounding a bit like Charley Daniels - and he won with the highest total votes ever. This year again a number of the expected top finishers ended up in the middle. So you watch the entire contest with no idea who will win.


Second, the level of talent is amazing. Countries are sending their best. Well, occasionally a country sends a group so bad you wonder - what were they thinking. And one person's "great" is another person's tacky stage show or overwrought rendition.


Third, it's a decent variety of music. Yes there's a lot of pop of various types, but also hard rock, ballads, folk and some that defy categorization. I have no idea how to define the song from Serbia - but it is really fun to listen to. The variety makes it a lot more entertaining, and makes it much harder to say one group is "better" than another. There were 4 performers I wanted to win - because they were all the best for the type of song they sung.


More below, but first what I think were the top four songs.


1. Romania - Paula Seling & Ovi - Playing With Fire


This is not so much a song with a stage show as it is two people flirting with each other via a song. Different, fun, and very well done.




2. Belarus - 3+2 - Butterflies


This is a beautiful song that lifts you up, and then up more, and then more. There were a number of songs that were uplifting but I thought this was the best one by far. And beautiful voices.




3. Belgium - Tom Dice - Me and My Guitar


Every other artist has accompaniment, maybe just background instruments or chorus, but something. But Tom stands up there with his guitar - and sings. And it's beautiful and moving.




4. Portugal - Filipa Azevedo - Hadias assim


There were a number of superb female vocalists. I liked Filipa the best, but they were all superb.




Voting


So on to the voting. Each country computes half their votes from calling in - and each person can vote up to 20 times. The other half comes from a professional jury of music professionals in that country. And none of them can vote for their own country. The votes are totaled up, and then the country with the most votes receives 12 votes, the next 10, and then 8, 7, 6, 5, 4, 3, 2, & 1. The voting is incredibly political - just take a look at where most of Russia's votes came from (ex-soviet states, that have large Russian populations). Part of that is people favoring a neighbor they know all things being equal, but part is also people finding the vote number in the country next door and calling that to vote for their own country.


34 of the countries are split into two groups of 17. Each group had a semi-final vote (one Tuesday, one Thursday) that reduced each to the top 10 in each group. This followed the above voting system - but the vote totals are not released. So you know who finished in the top 10, but not in what order or by how much (to keep all in suspense for the final). Then on Saturday those 20 are joined with 5 additional countries (England, France, Germany, & Spain always and Norway because they won last year).


1st Place - Germany - Lena - Satellite



Results































































































































































Place
Country Performer Song Points

1

Germany

Lena

Satellite

246

2

Turkey

maNga

We Could Be The Same

170

3

Romania

Paula Seling & Ovi

Playing With Fire

162

4

Denmark

Chanée & N'evergreen

In A Moment Like This

149

5

Azerbaijan

Safura

Drip Drop

145

6

Belgium

Tom Dice

Me And My Guitar

143

7

Armenia

Eva Rivas

Apricot Stone

141

8

Greece

Giorgos Alkaios & Friends

OPA

140

9

Georgia

Sofia Nizharadze

Shine

136

10

Ukraine

Alyosha

Sweet People

108

11

Russia

Peter Nalitch & Friends

Lost And Forgotten

90

12

France

Jessy Matador

Allez Olla Olé

82

13

Serbia

Milan Stankovic

Ovo Je Balkan

72

14

Israel

Harel Skaat

Milim

71

15

Spain

Daniel Diges

Algo Pequeñito (Something Tiny)

68

16

Albania

Juliana Pasha

It's All About You

62

17

Bosnia & Herzegovina

Vukašin Brajic

Thunder And Lightning

51

18

Portugal

Filipa Azevedo

Há Dias Assim

43

19

Iceland

Hera Björk

Je Ne Sais Quoi

41

20

Norway

Didrik Solli-Tangen

My Heart Is Yours

35

21

Cyprus

Jon Lilygreen & The Islanders

Life Looks Better In Spring

27

22

Moldova

Sunstroke Project & Olia Tira

Run Away

27

23

Ireland

Niamh Kavanagh

It's For You

25

24

Belarus

3+2

Butterflies

18

25

United Kingdom

Josh

That Sounds Good To Me

10

Oh, and can anyone tell me why something that has all of Europe glued to their TV, that clearly would appeal to a large cross-section of the audience in America - is not shown on TV here?
Originally posted at Windward Wrocks - Eurovision


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