Monday, May 16, 2022

TV: THE KIDS IN THE HALL try to return

Watching KIDS IN THE HALL's new season on AMAZON, we were left with more questions than laughs. Something was off.

It's not that the returning cast isn't funny, but something is off.


We thought of Melissa McCarthy and how too many of her comedies were off. BRIDESMAIDS, THE HEAT, IDENTIFY THEFT, THUNDER FORCE, THE BOSS? Those are among the many films that work. Then there are films more like LIFE OF THE PARTY and GHOSTBUSTERS that just don't work. Is Melissa not funny in those movies?

Melissa's funny in everything. But in a film like GHOSTBUSTERS or LIFE OF THE PARTY, her character is also kind of pathetic.

Lily Tomlin probably put her finger on the problem years ago when she spoke of the characters she liked to play and noted, "I want them to be strong. I never like to be anybody who's defeated. The person I love most of all is somebody who conventionally looks out of of place and who thinks she's wonderful."

And that's so true. Melissa works best when her character believes in herself. When she's playing a weak and waffling character, it usually don't work. SPY, some would argue, features such a character but, actually, it doesn't. She does believe she can rescue Jude Law's character and that's what fuels the film.

KIDS IN THE HALL, for those who don't know, is a sketch comedy show that ran from for five seasons -- 1989 to 1995 -- and is one of the few Lorne Michaels' produced shows you can say ran for multiple seasons. Yes, there is SATURDAY NIGHT LIVE but, as was long ago demonstrated, SNL survives without Lorne. In fact, Lorne had just returned in the fall of 1985 (after leaving in the spring of 1980) and KIDS IN THE HALL was among many new properties he was attempting. THE NEW SHOW lasted one season. SUNDAY NIGHT lasted two seasons. There were others. KIDS IN THE HALL was the only one -- outside of a talk show -- that found any real success until 2006 when his 30 ROCK began airing. There would be many more failures -- UP ALL NIGHT, THE AWESOMES, MULANEY, MAYA & MARTY, SHRILL DETORITERS and AP BIO. There would also be two hits: PORTLANDIA and DOCUMENTARY NOW!

His track record as a show runner is not that impressive compared to Shonda Rhimes or David E. Kelley or Norman Lear or Ryan Murphy or Jenji Kohan or . . .

So it would be really good for him if KIDS IN THE HALL's reboot airing on AMAZON was a success.

For those of us who have loved KIDS IN THE HALL, it would also be a good thing if the show worked.

Dave Foley, Kevin McDonald, Bruce McCulloch, Mark McKinney and Scott Thompson all returned. To state the obvious, they aren't KIDS anymore. GRACE AND FRANKIE earned praise for a show that demonstrated women over 70 were interesting and lively and funny. KIDS IN THE HALL on AMAZON doesn't feel they need to prove any of those things. Maybe they should?

Might make for a better revival.

Instead, we get Dave Foley doing full frontal long after anyone could have wanted to see it.

Let's stay with Dave who is the best preserved of the group. Watching, you will be reminded yet again that only Dave had any real post-KIDS career (WILL & GRACE, THE NEW ADVENTURES OF OLD CHRISTINE, A BUG'S LIFE, HOT IN CLEVELAND, THE MIDDLE, THE ODD COUPLE and many more. Kevin McDonald did not have the same success. He did two episodes on ELLEN where he was a co-worker who kept coming on to her (this was after Ellen the actress and the character) had come out. As he squeals repeatedly in one sketch after another, you grasp why he really found no further accalim after KIDS IN THE HALL. It is irritating and his voice has not aged well. There's also something very pathetic about it -- for the character he's playing. It doesn't matter whether he's squealing because he's been cucked or because his wife is leaving him or whatever. It's just very, very annoying.

Bruce McCulloch seems lost as well. Yes, Gavin shows up once. That's really it. Where's the big Tammy sketch, for example. And when he and Scott Thompson bring back the Cathy and Kathie they played so well during the show's original run, the women are defeated. They don't pick on a temp or anything. They mourn that fax machines are being phased out. They're as weak as the fax machine.

Again, humor is best when the character in question thinks they're wonderful even if they aren't. Basil Fawlty was never as wonderful as he thought he was. Grace Adler couldn't sing and couldn't take a hint when everyone around her tried to clue her in. She just broke out in song with supreme confidence and it was funny.

When the characters are pathetic and don't believe in themselves, where's the humor coming from

We're no longer laughing with them, we're now just laughing at them.

It made the whole thing a big let down.

It's not like the five seasons of the series that ran originally. It's more like the 2010 sixth season (or mini-series) THE KIDS IN THE HALL: DEATH COMES TO TOWN which was an eight episode let down.

A lot of people gripe about BRAIN CANDY, the film THE KIDS IN THE HALL made. It is an acquired taste. It is also funny.

Too often, KIDS IN THE HALL isn't funny in the new eight episode season on AMAZON.

That is especially true of the 'guest stars.'

Apparently, they did not want to bring back the red-headed female who would always say, "It's a fact" (Jessica Shifman).

Instead, they are bringing on celebrities to pose as real people and apparently to be funny. Pete Davidson, Tracee Ellis Ross, Catherine O'Hara, Fred Armisen and even Samantha Bee are funny. Others are surprisingly not.

Hit or miss. Scattershot. An episode of THE KIDS IN THE HALL in its original run could be that. But you got that they were going for something. So an otherwise throw away line like, "We were just talking about Cher!" lasts in your memory for years. This go round? The energy is lower and it appears a lot less thought went into humor. They frame this season as AMAZON's bringing KIDS IN THE HALL BACK and that device doesn't really work. If that device had to be used, it should be used, meaning make jokes about what AMAZON thinks of how the revival is going. But that really doesn't happen and instead an underling get ordered around in a manner that might have played better in the 90s but in the 20s just seems out of date.

Scott Thompson is the all star for the revival with Dave a close second but, honestly, it often seems like two (Bruce and Kevin weren't really trying). Mark is somewhere in between the two groups.

No, we're not raving over this season. But it's better than most of what AMAZON has offered for original comedy and we'd like to see a more focused second season on AMAZON, one that appreciated the zany and the off beat and found humor in it -- as opposed to ridiculing a bunch of sad sack characters.

Let's stay with what we want for a moment. We've been so used to AMAZON that we got a surprise on YOUTUBE TV last week. We were looking for a Lily Tomlin episode of SNL on PEACOCK and it was a nightmare. You can't browse on PEACOCK. What can you do with that streamer? Not much at all. It should not be a problem to search for an actor or a director. It reminded us of the RIAA because it was so ineffective. The RIAA claims you can search their database for gold and platinum albums and 45s. And? Sometimes you can. But try searching for Cher and you'll see a huge problem.

Cher's been an artist for seven decades now -- 60s through 20s. So you'd think the RIAA would have figured out how to account for this artist always known professionally as Cher -- and only Cher.

Try to search Cher and you end up with way too many artists -- anyone who has ":cher" in their name, as part of their name, as part of an album title.

Want to narrow it down? When we complained to RIAA about it, we were told that shouldn't happen but we could narrow it down by putting in her label.

Her label?

In seven decades she's been on multiple labels including ATCO, KAPP, IMPERIAL, MCA, WARNER BROTHERS, WARNER BROS. (yes, you have to spell it that way including the period, for it to search that), CASBLANCA and more. And searching "Cher" and label "CASABLANCA" doesn't even turn up TAKE ME HOME or "Take Me Home" -- Cher's gold album and gold 45 single. You have to search that by title.

That's what it feels like when you search on PEACOCK, like an idiot took a check and pretended to do a job but didn't actually do the job and those over the hiring were too stupid to check the work before cutting the final check.

When you pull up a movie on AMAZON to see the synopsis or stream the trailer, the cast is shown below. If you click on their photo? You get a sentence or two about them. We're not interested in their bios. We should be able to click on the photo and immediately be taken to the other videos AMAZON has featuring them.

We've griped about that for years -- including here.

Last week, we were looking through TCM's upcoming films. We put the ones we like in our cloud and don't always have time to watch them 'live' on TCM. As we were going to add them to our queue,. we stopped to click on the photo of a director. And? YOUTUBE TV immediately displayed a list of all the other movies that director had done -- ones we had in our queue already, ones that were upcoming and ones that we could rent or purchase.

We've been told that what we were expecting too much from AMAZON. We didn't think so. We assumed that a website that, even now, makes most of its money from selling episodes of TV shows and films would make it easier for customers to find these potential purchases. With KIDS IN THE HALL, you can say we expected too much from the latest season (we don't think we did) but with what AMAZON provides in terms of searchables? No, we weren't expecting too much and, yes, AMAZON is offering way too little.

Monday, May 09, 2022

Media: A lot of content, very little truth

Last week, we saw so many men supporting or 'supporting' women.  It touched our little hearts . . . or it would have if we were stupid.




We caught Richard Medhurst monologue-ing on abortion rights.  He had to monologue.  Oh, he does have guests on his show -- George Galloway, Gonzalo, Pepe Escobar Lira,  Konstantin Yaroshenko . . .  He's quick to call out women, he's just not quick to bring them on his program.  Apparently, Richard suffers from fear of the vagina.


And hes not the only one.  Take Little Jackie Hinkle and his program THE DIVE.  Little Hinkle last brought on a woman when he hoped the woman was as drunk as he was and that he could get her into bed.  Since we've noted that program, we've been assured that the women turned him down and found his taking her back to his place to toss her on YOUTUBE as desperate and pathetic a pick up attempt as we did.  Poor Little Jackie Hinkle, thinking he could use his platform as a pick up line.


THE CONVO COUCH loves to call out women as well . . . and like Little Hinkle, it doesn't enjoy bringing them on air.   They can bring on Jeremy Kuzmarov.  Meanwhile, whatever his other problems, at least Jimmy Dore could bring on a woman last week (Hermela Aregawi).

Whatever his other problems?  Are we being too hard on the little boys and Fiorella again?

Or maybe the rest of you -- especially those who have e-mailed to tell us how right we were to call them out and how you would never, ever have Scott Ritter on your program -- are being especially cowardly.

The programs mentioned above brought convicted sex offender Scott Ritter on to their programs last month  Three times arrested for pedophilia, convicted and sent to prison for it, 

October 27, 2011, the following was noted:

AP notes that Scott Ritter received his prison sentence yesterday. Yes, we noted it in the snapshot but we have to note it repeatedly because so few will bother to report on the pedophile. Scott Ritter was a Bushy who turned on his master and began barking and snarling. He really didn't have a great deal to offer to the Iraq War despite having been a weapons inspector in the 90s. He published several books, most unreadable. He ranted and raved when given time and came off unhinged. When news first broke of a bust for attempting to have a sexual encounter with an underage female, Pig Ritter refused to answer questions about it on air (on CNN). Ritter was quickly kicked to the curb because pedophiles generally are. But instead of addressing that reality, Amy Goodman and a host of others insisted repeatedly that he was the victim. They put out Pig Ritter's spin that he was being punished for seaking out. That arrest, it would turn out, was his second for that crime. A detail that would get left out.

And while they were all so happy to have Scott Ritter on their programs as a guest, they weren't willing to inform their audiences of his 2009 arrest for the same crime, his trial or his sentencing yesterday. Their sudden reticence was surprising considering how they loved to have him as their guest -- Amy Goodman, Rachel Maddow (on Air America Radio), Laura Flanders, Scott Horton, etc. Seymour Hersh went around the country with him on a tour and to show support as if to say 'Scott Ritter didn't try to sexually exploit me so he's innocent.' But, of course, Pig Ritter was accused and convicted of targeting young girls, not elderly men.


At his 2011 trial, the Pennsylvania's Sexual Offenders Assessment Board's Paula Brust testified that Ritter was "at risk to offend again" and stated, ''He is not able to manage his offending in the community, despite sex offender treatment."

Despite that, Jimmy and CONVO COUCH and Richard Medhurst and Little Jackie Hinkle and many others felt the need to bring him on in April.

"Ava, C.I., you're missing the point!  They brought him on to address the issue of pedophiles"

Save that crap for someone else.  As we've noted, they brought him on their show, they called him an expert and Jimmy Dore even praised Ritter's poorly written books, but they never told their viewers that Scott Ritter was arrested three times for pedophilia, that he was sent to prison for it (in 2011) and that he was a registered sex offender.

That they didn't think was important?  Oh, they knew it was important and that's why they didn't share it.  The only thing more repulsive than the hosts were their pathetic viewers leaving comments like "I always agree with Scott Ritter!"  Really?  Even when he's trying to get a young girl to meet him for sex, even when he's exposing himself online?  Who the hell are you?  The pathetic Mrs. Scott Ritter? 

It's bad enough that the hosts did that but they did it in April.

Why April?

Well when you don't interact with women, maybe you don't grasp that April, each year, is Sexual Assault Awareness Month.


 They used that month -- Little Jackie, Fiorella, Craig Pasta, Richard Medhurst, Jimmy Dore and others -- to promote a registered sex offender.  That's how they 'celebrated.'

It was outrageous and no one believes that care about women's rights or women's right to privacy after that.

They're speaking out for abortion now?  Probably afraid they're going to knock some women up and get stuck with child support -- Fiorella and her phantom penis make her go along for the ride.

It's disgusting.

And we're going to return to another point about these shows and disgusting: They're racist in that they only book themselves.  If you just talk to the people in your neighborhood and it's predominately White, well maybe you don't leave your neighborhood for some other reason.

But when you're hosting a program on YOUTUBE and bringing on guests and you don't bring on African-Americans, you're making choices and your choices are racist and someone needs to confront you on that.

We made this point before.  We offered examples of guests that they should be bringing on including Glen Ford and Margaret Kimberley of BLACK AGENDA REPORT.   We saw one host -- and only one host -- demonstrate the ability of self-reflection and bring Margaret on as a guest (Glen Ford passed away shortly after we posted our piece).  

What audience do these supposedly left programs think they're building when they bring on a convicted sex offender?  Do they really think any sane woman's going to say, "I am so thrilled Jimmy Dore brought on a pedophile!!! I can't wait to see what his political positions are!!!"  

And grasp the message that they really sent: We are more comfortable inviting a White, registered sex offender onto our program than a Black woman or man."

That's what their actions say.  

They can have a hissy fit at us -- and they have -- all the want.  But we're merely noting how they've chosen to run their programs.  And, yes, it is racist.  

They need to take a look at themselves, a serious look.  

We're not saying that Jimmy, Craig, Fiorella or Jimmy hate or dislike African-Americans, we're stating that their practice of booking guests and who they see as potential guests is racist.  

So maybe REVOLUTIONARY BLACKOUT can stop shouting them out?

And maybe BLACK AGENDA REPORT should stop promoting Richard Medhurst?

We don't think it would be a discussion that lasted more than a minute if Glen Ford were still around.  Glen would say, "I'm told there's a problem with representation on your program.  I've worked hard to build a platform for Black voices so if we're going to do a regular feature at BLACK AGENDA REPORT with you, I need to see improvement on the guests you book and if we don't see that improvement, we're dropping you because I didn't work myself sick to promote racism."

See these same hosts that won't book Black voices are happy to use Black outlets for promotion.

And when, for example, REVOLUTIONARY BLACKOUT promotes Jimmy Dore, he gets a pass, he gets to seem cool.  And he's not, not if he's refusing to book African-American guests.

Grasp that they will book -- and did -- a White convicted sex offender on their program before they will bring Margaret or Ajamu Baraka or any other authentic voice.  Grasp that.

In the end, what this is really about is the truth.

And they're not being truthful.  If they really felt Scott Ritter belonged on their program, they would have had no problem telling their audiences that Ritter was a convicted sex offender.  The fact that they won't do that goes to the reality that no sane audience is going to accept you glorifying a sex offender.

It's dishonest.  Dishonest in the same way, that Jimmy rages at TYT for being.  

Mike chose Jimmy as Idiot of the Week and Mike's right.  This doesn't go away.  You can't wish it away, you can't make it disappear.  You can own your actions and apologize for them but that takes stronger character than most people have.  What Jimmy and the others did was dishonest.  They've got an audience that's watching to see what happens next.  This is how you lose the trust of your audience.  And certain of the hosts can be made at us all they want, it's called accountability and this is about standards.  

You either have standards or you don't.  If you do, you probably rolled your eyes Friday when SHOWTIME debuted SHERYL.  SHOWTIMES promoted the 'documentary' with absurd claims such as, "A documentary portrait of the singular storyteller who's lived it all and seen it all but never told it all -- until now. "  She hasn't lived it all and, in that special, she didn't tell it all.

That special was embarrassing.  Sheryl has been overly praised for her modest talents which include the ability to rip off Rickie Lee Jones -- an actual artist.  

Sheryl is a joke and will always be one.  We defended her in 2003, when she was being attacked for her tiny symbolism moves opposing the Iraq War.  She was a coward but we were more bothered by the relationship she was in.

So let's jump into that. 

Lance Armstrong.  A disgraced sports star.  We don't care.  We never cheered him on.  We never liked him.

So imagine how surprised we were, watching SHERYL, to feel sorry for him.

That's because Sheryl's an attention whore who will do anything for an extended minute of fame.  

She and the producers play a song over a photo of him which calls him a liar by how they use it.  They're the liars for pretending that this track from 1993 is about Lance -- whom she hadn't even met.  

Sheryl then sobs about being betrayed and boo-hoo how the first year she thought they'd get married.

Sheryl's never married a man and she's never going to.  That's reality.

Here's some more reality.  Sheryl posed and preened pretending to be against the Iraq War.  Remember that?  Who was Lance Armstrong's best friend when Sheryl was involved with Lance?

Bully Boy Bush.

Sheryl's a fake ass liar.

After she broke up with Lance, she started gal-palling  around with Larry David's ex Laurie, a woman who was (worst reading) a fake on climate change or (best reading) a hypocrite.

As they palled around and preened for the climate and especially the cameras, they made a lot of comments about Dick Cheney.  He was Vice President at the time, so you can understand that until you grasp that Bully Boy Bush headed that administration and, even after she ended it with Lance, Sheryl still wouldn't call out Bully Boy Bush.  In fact, she praised him in October of 2017.  Fake ass.

Her career's been over for some time.  Her 2013 album only sold 65,000 copies, her 2017 album only sold 20,000 copies and her 2019 album only sold 49,000 copies.  And her 2021 live album?  Didn't even make it into the BILLBOARD TOP 200 best selling albums for one week.  It never made it onto the chart. In other words, they have to present -- have to -- her appearing early in the day at a rock festival in 2018 as the highlight of her career today.

The whole thing was as fake and as unneeded as Christine Pelosi last week.  News of Samuel Alito's draft opinion for the Court that would overturn ROE V WADE has Christine surfacing to blame others.  We guess it is too much to expect her to bite the hand that feeds her.  After all, we're talking about a 55-year-old woman who never held a job her mommy didn't get her.  Christine and Nancy have both mistaken matriarchy for feminism.  

Nancy Pelosi, echoing Hillary Clinton in the '00s, has edged away from support for reproductive freedom and privacy rights for some time.  Her 2017 public statements about how the party might be emphasizing abortion too much ("it shouldn't be a litmus test") was not the first time she'd expressed that sentiment and she is currently backing an anti-abortion candidate named Henry Cuellar.

Smart people would be holding the Democratic Party accountable.  We're not surrounded by smart people.  NOW issued a ridiculous statement which included:

The Supreme Court’s decision will jeopardize women’s lives—particularly the lives of young, Black, Latinas, Indigenous, and economically insecure women who are most at risk.  Now, it’s up to us to vote for women’s lives.   

We must get the Women’s Health Protection Act, which establishes a federal statutory right to access to abortion care, passed in Congress, and that means electing a Manchin-proof majority in the Senate and keeping control of the House.  What’s more, we must break turnout predictions in the fall elections and flip control of state legislatures that are held by narrow margins.   

We know that there’s a feminist majority of voters who can change the course of history in the next election.  This is our mission.  This is our time.   We need your collective voice and collective power so that we can defend Roe.  We will not fail.

How pathetic..  The Democratic Party needs pressure right now.  Instead, NOW is insisting that we vote Democrat regardless.  We can't imagine Betty Friedan being this pathetic.  NOW could be calling for people to take to the streets, to donate for services to cover women's travel to other states for abortions should the Court strike down Roe, etc.  Instead, all NOW can envision is churning out the vote for the Democratic Party -- it's time to take away their exempt status.  They are not independent, they are an arm of the Democratic Party.  Contrast NOW's nonsense with what Anne Rumberger offers in her column at JACOBIN.

We are in this position precisely because we have failed to make demands on Democrats.

Jeffrey St. Clair points out at COUNTERPUNCH:

+ Of course, Biden got there before Alito did, voting in 1981 to support a constitutional amendment that would allow states to overturn Roe v. Wade.  Soon after the Roe ruling, Biden announced his opinion that the court had “gone too far” and that women shouldn’t have the “sole right to say what should happen to her body.”

+ The right to an abortion wasn’t “granted” by the Supreme Court, it was won through decades of organizing. Similarly, it wasn’t taken away by a “court” but by a decades long counter-revolution, often violent, cruel and vicious, that included clinic bombings, the assassinations of abortion providers, the harassment of women seeking abortions. The liberals never really fought back, even as over the past 20 years, clinics have steadily disappeared across the South and rural Midwest, leaving some states with only one or two clinics, meaning for all practical purposes only wealthy women had a “right” to an abortion, which is not a right at all.

+ Abortion as a constitutional right for all ended in 1976 with the passage of the Hyde Amendment banning federal funding of abortions–a measure supported by many Democrats, including Biden. It meant only three years after Roe, instead of being a right, abortion had already become a mere privilege of those who could afford one. The erosion has been steady ever since. Now the price of abortions will be even higher and for many will include a plane ticket to the 15 states where abortions will remain legal until a national ban is passed, which is now likely than ever. After which, women will have to fly to places where abortion was once banned, like Ireland and Mexico, to legally get one…

+ The US already has the highest maternal mortality rate in the industrial world. Black women are especially vulnerable. Their risk of dying as a result of childbirth is three times higher than the already deplorable average in the US. This decision will drive that shameful statistic even higher…

+ There were 861 pregnancy-related deaths in the US in 2020, roughly 24 per 100,000 births. According to a statistical analysis in the Financial Times, in the past six years, there’s been an average of 4 abortion-related deaths, for a rate of 0.41 per 100,000 legal abortions. Abortion is roughly 60 times safer than pregnancy and birth.

+ Kathleen Belew: “One historian of abortion argues that abortion stays at pretty much the same rate per capita over time whether it’s legal or banned. What changes when you make it illegal is how many people die from it.”

+ But listen to what the second-ranking Democrat in the House, James Clyburn, had to say to the San Antonio Report, in defense of his support for the fanatically anti-abortion Rep. Henry Cuellar: “Does this issue carry more weight than voting [rights]? I don’t think so. I think restoring the Voting Rights Act is a much weightier issue than this.”

+ This moment has been coming for decades. For much of that time, the Dems have held complete control of Congress. At any time, they could have codified Roe. But they didn’t want to in large measure because the threat of Roe being overturned was a huge fundraising machine for them and one of the few reasons to vote for otherwise awful candidates. Now the inevitable has happened and the last rationale for supporting this pathetic bunch of neoliberal losers has vanished and with it a hard-won constitutional right that they used as a political gimmick. Shame on them.

+ After the Democrats lose the Senate and the House in the fall and Biden gets flattened by a ticket of Ron DeSantis and Marjorie Taylor Greene in 2024, the Republicans will pass a national ban on abortion, even if they have to jettison the filibuster to get it through the Senate. It’s called playing for keeps.

+ No one Nancy Pelosi knows is poor enough to ever suffer because of this ruling and she knows her party will be able to raise tens of millions because of it, even though they’ll never do anything to overturn it…

A privacy law should have been passed by the US Congress long ago.  If Democrats are now prepared to do so now, when they control both houses of Congress and the White House, when will they be?  It's time for that party to put up or shut up.  And it's time for larger issues about precedent to be addressed repeatedly by the press so that all of We The People can grasp what's at stake.  Kathy Spillar (MS. MAGAZINE) notes, "In 1992, when the Supreme Court reaffirmed Roe in Casey, it said it could not 'overrule [precedent] under fire.' Overturning Roe now would, whatever the Court intends or says, be perceived as rewarding anti-abortion extremists' violent acts and would undermine the rule of law. In Casey, the Court refused to overrule a landmark precedent under threat of violence. It should not do so now, a generation later, when even more anti-abortion violence has become an undeniable part of our nation’s history."

This is about abortion.  This is about privacy.  This is about truth.


Monday, May 02, 2022

Truest statement of the week

In arguing in favor of censorship, Alter engages in a heavy  use of historical revisionism, claiming that ";free speech' in the 21st century means something very different than it did in the 18th, when the Founders enshrined it in the Constitution. The right to say what you want without being imprisoned is not the same as the right to broadcast disinformation to millions of people on a corporate platform. This nuance seems to be lost on some techno-wizards who see any restriction as the enemy of innovation.”

It is also lost on me.

Censorship has always been based on the notion that the underlying speech was false or harmful. Calling it “disinformation” does not materially change the motivation or the impact. What Alter calls a “Tech Bro obsession” was the obsession of the Framers.

Alter is confusing free speech values with the rationale for the First Amendment. For years, anti-free-speech figures have dismissed free speech objections to social media censorship by stressing that the First Amendment applies only to the government, not private companies. The distinction was always a dishonest effort to evade the implications of speech controls, whether implemented by the government or corporations.

The First Amendment was never the exclusive definition of free speech. Free speech is viewed by many of us as a human right; the First Amendment only deals with one source for limiting it. Free speech can be undermined by private corporations as well as government agencies. This threat is even greater when politicians openly use corporations to achieve indirectly what they cannot achieve directly.



-- Jonathan Turley, "Time Columnist Denounces Free Speech as a White Man's 'Obsession'" (JONATHANTURLEY.ORG).




Truest statement of the week II

Now Obama has to live with his handiwork in Ukraine. He and Joe Biden began the crisis when they partnered with right wing forces there in 2014 and overthrew the elected president. They are struggling to prop up the Ukrainians with billions of dollars while also trying to keep the American people from asking why they don’t have child tax credits, minimum wage increases, or student loan debt relief.

Obama’s answer is to cut off debate. It took him a long time to say he wants big tech to censor their social media platforms. Instead he trotted out the usual tropes of authoritarian strongmen, China, Russia, and Trump, as threats to democracy. Of course, the lack of democracy in this country has nothing to do with any one individual or foreign government but they are useful targets and everyone is fair game. Lest anyone forget, Trump’s Twitter account was removed while he was still in the white house.

The only way out for discredited liberalism is to shut down anyone who might utter inconvenient truths. They have been doing just that for quite some time, and while their targets are ostensibly right wingers such as Trump supporters who claim he didn’t lose, it is radical Black and other leftists who bear the brunt of the attack. RT and Sputnik are branded “Russia state affiliated,” and they have been disappeared from many platforms. Programs such as By Any Means Necessary, which present a Black left point of view, are disappeared along with them.


-- Margaret Kimberley, "Obama Wants Censorship" (BLACK AGENDA REPORT).



A note to our readers

Hey -- 


Are you shocked?  We are too.

Let's thank all who participated this edition which includes Dallas and the following:

The Third Estate Sunday Review's Jim, Dona, Ty, Jess and Ava,
Rebecca of Sex and Politics and Screeds and Attitude,
Betty of Thomas Friedman Is a Great Man,
C.I. of The Common Ills and The Third Estate Sunday Review,
Kat of Kat's Korner (of The Common Ills),
Mike of Mikey Likes It!,
Elaine of Like Maria Said Paz),
Cedric of Cedric's Big Mix,
Ruth of Ruth's Report,
Wally of The Daily Jot,
Trina of Trina's Kitchen, Marcia of SICKOFITRDLZ,
Stan of Oh Boy It Never Ends,
Isaiah of The World Today Just Nuts,
and Ann of Ann's Mega Dub.

And what did we come up with?





-- Jim, Dona, Ty, Jess, Ava and C.I.



TV: GRACE AND FRANKIE winds down while THE OFFER never should have started

It's not easy being NETFLIX these days.  Subscribers are leaving and big money deals have not paid off.  A lot of money has been wasted.



Let's look at the high profile deals.  Kenya Barris walked out on his $100 million deal with NETFLIX to move over to VIACOM when NETFLIX complained about his programs not delivering a large enough audience.  He responded that he did not want to make in-your-face programming.  BLACK-ISH, his most famous show, was delivering, on a good week, four million viewers with a new episode. In syndication (which includes on two basic cable networks), the show has not made much of an impact.  It was a mistake for NETFLIX to pour that much money into a deal when the biggest success the creator had ever delivered did not justify the money.  Shonda Rhimes, when Kenya's deal was announced, was quick to insist that her own deal with NETFLIX was even better in terms of money.  She really hasn't delivered either. BRIDGERTON has yet to deliver the following GREY'S ANATOMY Has -- in fact, BRIDGERTON's numbers aren't even as good as NETFLIX's numbers for GREY'S ANATOMY streaming of repeats.  She's delivered nothing like SCANDAL or HOW TO GET AWAY WITH MURDER.  All she's offered was BRIDGERTON and explained that she's never very smart without ABC guiding her.  How else to explain that, when she's supposed to be building a long running show, she loses Rege-Jean Page after only one season -- the main reason the show had any buzz at all.  Now it's just another middling, pathetic period drama.  Not exactly what NETFLIX wanted her to create.  


The huge money deal that has come the closest to paying off for NETFLIX?  Ryan Murphy's deal since at least he's delivered product, right?  HOLLYWOOD, RATCHED and HALSTON didn't set the streaming world on fire but HALSTON did get Emmy attention which might have made up for the underwhelming response to the series if NETFLIX was just trying to garner nominations.  RATCHED underwhelmed as well but also got some Emmy nominations (RATCHED got over a million views per NETFLIX however that number is primarily based upon when a person is on the main page of the site and a video starts playing to promote a show -- the number NETFLIX provided the press is not a number of how many people watched an episode).  HOLLYWOOD did alright and received ten Emmy nominations.  THE POLITICIANS delivered a number of viewers in its first season but tanked in season two while receiving 8 Emmy nominations. None of the shows commands the attention of any Ryan Murphy show airing on FOX or FX.

Channing Dungey should be included on huge deals.  Her spectacular failure was predicted here when she signed the deal -- we also noted that the press had inflated her position at NETFLIX pretending she was the only vice president in charge of new programming.  She was brought in after destroying ABC's biggest and most profitable hit (ROSEANNE).  That was your first clue that you didn't want anything to do with her.  An executive is not supposed to kill the network's number one program.  Instead, he or she is supposed to smooth over problems and keep the hit in production.  Her lies to NETFLIX included that she could "manage" (her term) Shonda Rhimes and that she had a great relationship with Kenya Barris.  She did not have a great relationship with Kenya who never felt she gave his BLACK-ISH the support it needed.  Her ability to 'handle' Shonda was inflated and Channing failed to earn the big salary she was getting as she was no help developing new shows and as she actually harmed some deals in the pipeline.  (Name the actress she tried to get fired from a NETFLIX property to carry favor with Shonda.  She didn't succeed and the producers complained loudly about Channing's interference.)  Channing was fired from NETFLIX and the same press friends tried to again spin that as a success like they did when she'd earlier been fired from ABC.

Barack Obama's all about the greed.  That's why he and Michelle walked away from SPOTIFY last week when the streamer refused to hand over money that the Obamas didn't and couldn't earn.  So he'll stay with his outrageous NETFLIX deal as long as they pay him.  But they should stop paying him.  He's not delivering and his heavily promoted narration series is a failure.  They are currently attempting to promote it as a hit with children -- it's not.  Nor was it made for children.  It never hit number one on NETFLIX's own self-reported daily top ten and, a week after it's release, it had vanished from the top ten.  If they had any brains, they'd cancel the contract.

grace and frankie

What they've done instead is cancel GRACE AND FRANKIE, the Jane Fonda and Lily Tomlin sitcom.  It's been at number one or number two since the last episodes from season seven dropped.  The Marta Kauffman and Howard J. Morris program has delivered eyes and its garnered eleven Emmy nominations.  The program also was one that other media followed and Jane and Lily were on multiple programs promoting the show (including CBS THIS MORNING, GOOD MORNING AMERICA, THE LATE LATE SHOW and ELLEN just last week).  

Unlike the big money deal shows, GRACE AND FRANKIE was popular beyond new episodes.  The show has a devoted streaming base at NETFLIX that continues to watch previous seasons.  It is the kind of success a streamer should be building upon.  Instead, they are ending the program and have announced that three seasons is enough of any show going forward.  That will mean less than 50 episodes of these shows as they try to build up a reason for people to subscribe.

Do they grasp that?

People, over the last decade, have gone to NETFLIX to stream full seasons, multi-seasons, of programs such as GREY'S ANATOMY, FAMILY GUY, CHARMED, AMERICAN DAD, NIKITA . . .  Those shows delivered for NETFLIX.  All are gone except GREY'S ANATOMY.  And NETFLIX is no longer the only streamer in town.  So this notion that they can attract people who want to binge with a three season show is laughable.  

GRACE AND FRANKIE wrapped up with 12 episodes (for a 16 episode, 7th season).  And?

It really needed an eighth season.  

The show was funnier in season seven than it's ever been.  Much funnier.  We're talking Lily in THE LATE SHOW funny.  Jennifer Nightingale, Frankie's fake persona, was one hilarious moment after another.  Around the time Frankie announced, "I'm finally living up to my bumper sticker," Lily hit a zany high that she never came down from.  

grace and frankie

Jane was also in fine form and her showing up jangling the keys Lily forgot when Lily's about to solo on a crime run recalled Jane doing the same with the late George Segal in their comedy classic FUN WITH DICK AND JANE.  

Two pros delivering, that's the final season.  And a meet up in the final episode with their 9 TO 5 co-star Dolly Parton.  A testament to the friendship and to the ability to continue to change and grow, GRACE AND FRANKIE had a lot to impart while delivering all those laughs. 

And the zany highs kept the whole thing from being maudlin because this was the final season and we all knew we working towards an ending.  Frankie's psychic predicted Frankie would be dead in three months.  Frankie tried to figure out how and seized upon someone she knew murdering her -- she kept Grace on the vision board even when Grace objected.  There were solid moments for all the characters and June Diane Raphael, Ethan Embry,  Baron Vaughn, Brooklyn Decker, Peter Cambor, Marsha Mason, Millicent Martin, Martin Sheen, Tim Bagley and Sachin Batt all ran with every moment they were provided.  

Notice a name missing?  Yep.  Sam Waterston. He's been a problem from the start.  Dropping back to our 2015 review:

More than anything else, the show needed a studio audience.

If it had one, Sam Waterston wouldn't be mincing.

The immediate reaction from the studio audience would have forced Waterston to reconfigure his character.

Did no one have the guts to tell the actor to stop it?

Did no one have the guts to tell him that he was portraying an offensive stereotype?

He's all popped-eyes, raised eyebrows and high pitched voice.

That's how he plays his gay character (Lily Tomlin's ex-husband).

It's insulting.

Martin Sheen, by contrast, doesn't feel he needs to reconfigure his voice or pop his eyes.

Watching Waterston mince it up, you're not only offended, you're also asking yourself, "Wait?  No one knew he was gay?"

Because that is the premise, that Grace and Frankie have no idea their husbands are gay or having been having a 20 year affair.

Sol started out an insulting stereotype and that's how he concluded.  Sam Waterston was one long offense, season after season.  That he was gay was supposed to be a surprise that he hid.  Not only are we not seeing that but we're also wondering how he was a high-powered lawyer in court with that voice?

Sol was an embarrassment to the very end.  Over the years, we've learned to ignore him.  And, as Waterston and Martin had their last scene together, we regretted it.  The two were at a hotel, stepped into an elevator and, as they were about to kiss, the doors closed.  Did they ever kiss?

That's the only reason we regretted ignoring the offensive Sol all these episodes, we don't remember them ever kissing romantically, but did they?  

The show's gotten a lot of credit for its portrayals of women in thee their third act still being romantic and sexual beings.  But what did they go for elderly gay men?  Anything?

"What's tragic," insists Juno Temple as Bettye in THE OFFER about Janis Joplin's death, "is over a cancelled menage a trois with two other women."

That's what's being offered on PARAMOUNT+ -- a straight woman making homophobic comments. So, yeah, it does matter whether or not GRACE AND FRANKIE used their seven seasons to advance the portrayals of gay men.  

And it does matter what is getting a green light.

THE OFFER got one and, as any reviewer can tell you, it didn't warrant one.  It's referred to as unneeded, navel gazing at the making of PARAMOUNT's film THE GODFATHER.  

And that is true but it's committing a bigger crime and what The Water Cooler Set ignores, we don't.

Sal Mineo.  


If there's a reason to tell the story about the making of THE GODFATHER all these years later, it's to correct the past.  A two-time Academy Award nominee who happened to be Sicilian was denied a role in the film.  Did people not think Sal could act?

Sal's acting was not in question.  Francis Ford Coppola was prepared to cast Sal until one actor had a hissy fit.  PARAMOUNT was high on James Caan and wanted him for Michael but would settle for him as Sonny.  What Caan would not do was work with a bi-sexual actor.  He would quit, he insisted if they cast the "f*g" in the film.

He got away with that.  Sal's career, his life, might have been so much different but for Caan and for PARAMOUNT rewarding Caan's homophobia.

Forty years later, they're making a mini-series about the making of THE GODFATHER and they can't even center around what everyone now knows was discriminatory and illegal hiring practices.  James Caan has always been a disgusting person.  He's 82 now.  He's not going to live much longer.  Before he dies, it would be great if the world knew what he did and held him accountable.  It would be great if, unlike in the early 70s when he'd tell this story while laughing, he was forced to address what he did. 

That's the only reason PARAMOUNT+ should have made the series.  Instead, they've mad a dull and plodding mini-series about men that doesn't question sexism, racism or homophobia.  Exactly why are we looking back decades to retell story no one needed if we're not going to right a few wrongs?  And exactly why are streamers creating new content if the content doesn't reflect the world today?

Book Bargain (Dona)

Berry Gordy at the piano playing a song he's working on, Janie Bradford chiming in, "Your love gives me such a thrill but it don't pay my bills gimmie' some money, baby,"  Barrett Strong rushing in and starts singing. And a classic song is born.

 "Money (That's What I Want)."  The story behind that classic is only one of the many exciting moments captured by Berry Gordy in his memoir TO BE LOVED.  

What Berry loved most was music.  It's what he believed in.  And he believed in himself.  Which is how he could, and did, walk away from writing for Jackie Wilson when Wilson's manager was ripping them off 

That's how he was able to build MOTOWN from scratch, the label that defined so many of our musical memories.  We learn how he and Smokey Robinson bonded sitting on the floor in his living room after Smokey and the Miracles ended a performance due to violence in a bar.

And, of course, we learn about how a girl group's singing one day and one member stands out:

She was on the skinny side with great big eyes and a lot of self-confidence.

Just as they were finishing the song I stopped.

"Would you sing that again?" I asked, motioning to the lead singer, with my hand.

"Okay," she smiled in a bashful way.  

Yep, she's Diana Ross.  You can't talk MOTOWN and not talk the queen of the label Diana Ross.  She broke one racial barrier after another starting with the Supremes and continuing on through her solo career: night club bookings, Vegas booking, radio airplay, Academy Award nomination for Best Actress . . . 

And as fascinating as that it, I should point out that the early section of the book, where he's discussing his father and growing up, the house his father thought was a great deal that was falling apart and that they would end up losing, the small home they'd move into, his parents, his sisters and him, his father's acting on the fact that people always need food, all of it was vividly captured and as interesting as stories about the Four Tops, Stevie Wonder, Ashford & Simpson, the Marvelettes, the Temptations, Mary Wells, Kim Weston and Smokey.

Diana meant more to me than she could ever imagine.  It is absolutely true that at one time I was obsessed with her.  In the heyday of the Supremes.  I saw the butterfly emerge from the cocoon and I was dazzled.  She was magic and she was mine.  Diana was willing to let me make her a star and I knew she had the talent, drive and stamina to go the distance.  It was, in retrospect, a perfect arrangement and as long as we were a team we were invincible.  We treated setbacks the same way we treated success.  They were both opportunities.  

I loved her because she gave everything to our mission.  She had a willingness to discipline herself, to work like a maniac to get it right.  All of a sudden I wasn't the only perfectionist.  I had a wonderful counterpart and she wanted what I wanted and so we set off to get it . . . and we did.

And along with all of that getting we got each other.  The good, the bad and finally, the big good-bye.

We did fall for each other in a way that is more complicated than most relationships.  How did it happen?  People are always asking me that.

Because they did build the label together.  Diana closed out the sixties with her 12th lead vocal on a number one, "Someday We'll Be Together."  Those twelve were part of twenty-five top forty pop hits.  The success was huge for any label but it's what she made of the opportunities.  Many MOTOWN acts went on THE ED SULLIVAN SHOW.  Diana made her group a staple of the show -- she had a spark and a life that came across onscreen and captured viewers which is why she'd go on to guest as a musical act on other shows, then to guest star on TARZAN and then to co-host a special with Lucille Ball and Dinah Shore (LIKE HEP!) and so much more.


Berry realized he was falling for her.  He wondered what would happen to them?  She was becoming popular and well known.  Should he help her become famous and a legend and would he lose his chance with her if he did?  It all led to "Try It Baby" which ended up a  top 15 pop hit and a number six R&B hit.  They would begin their non-business relationship in Paris in April of 1965.

In terms of business, the relationship would lead them both to highs.  Berry Gordy, the boxer, would become the head of one of the biggest music labels in the country.  It would be one giant step for them both, one after another.  "You're Nobody Till Somebody Loves You."  A standard Berry knew was important, a song that left the audience bored.  Diana didn't like it and wanted to drop it.  Berry knew it was a key and told her she had to.  She gave it her all and it's the song that broke MOTOWN onto primetime TV beyond the hits shows like AMERICAN BANDSTAND and HULLABALU onto variety shows -- with the prime time programs lining up for Diana to sing a standard on their show, any standard.


She was now at the threshold of becoming the superstar we had always dreamed she could be.  And, as she began her solo career, Berry observes:


For the past five years, she and I had been intensely involved both professionally and romantically.  They were interchangeable.  One fed off the other.  We had success after success together.  I don't think there was a question in either of our minds that we would always be together.  I felt certain that our dream was within reach.  And I wanted to go for it all the way.  So did she.  But as in any long-term relationship the question of marriage had come up.  Could our romantic relationship continue without it or would marriage destroy our dream, everything we'd worked for?  We both knew that the conflict between our personal relationship as lovers and the roles we played professionally was taking its toll.

I was her mentor, her manager, her boss.  She was my protege, my artist, my star.  We both recognized that my role had become too defined, too demanding and too unyielding to exist in a loving marriage.  And in order to take the dream all the way my role would have to become even more intense.  Emotionally, we were on a collision course.  We ended our personal relationship sadly and by mutual agreement so we could focus completely on the professional role. 


He built a mountain of a music label, tore down barriers and became a film director.  It's a ride and it's one that provides a lot of joy.  It's currently $11.99 as a KINDLE book and that's a bargain.  Bad news?  When I bought it Saturday, it was on sale for $2.99.  Remember to check KINDLE books daily on AMAZON because something's always on sale.



#Iraq : #DustStorm engulfs the country, #Baghdad & #Najaf airports suspend flights






Wesley Everest and US Labor

May Day.  It is International Workers' Day.  In honor of that day, let's note this from WIKIPEDIA:


Nathan Wesley Everest (December 29, 1890, in Newberg, Oregon — November 11, 1919, in Centralia, Washington) was an American member of the Industrial Workers of the World (IWW) and a World War I era veteran. He was lynched during the Centralia Massacre after killing Dale Hubbard in what the union called self-defense, though the American Legion called it murder.[1]


Spartacus Education notes:

Wesley Everest was a rank and file member of the Industrial Workers of the World (IWW) who served the the US Army during the First World War.

After the war Everest worked as a lumberjack in Centralia, Washington. The lumber trust became concerned that the activities of the IWW would lead to a strike. It was decided to use the American Legion to force members of the IWW to leave the area.

On 11th November, 1919, the American Legion paraded through the street carrying rubber hoses and gas pipes. They then attacked the IWW Hall. Everest, who was inside, shouted: "I fought for democracy in France and I'm going to fight for it here. The first man that comes in this hall, why, he's joining to get it." Shots were fired by both side and during the fight four men were killed.

Everest was one of the men arrested. That night a mob broke into the jail and as he was dragged out of his cell, Everest shouted: "Tell the boys I died for my class." Wesley Everest was taken to Chehalis River, where he was lynched.




On November 5th, 1916, The Everett Massacre took place. We shall not try to describe this terrible tragedy of the class struggle. We refer every body to the account of it, issued in a book of 302 pages by the I. W. W. This book, “The I. W. W. Massacre,” is written by Walker C. Smith and sold by the I. W. W. Should be read by every red- blooded worker. Five were killed and scores wounded.

The Everett Massacre was one of the foulest deeds ever committed by the dirty hirelings of the capitalist class. It can be compared only to the indescribable horrors of Armistice day in Centralia, Wash., on November 11, 1919. The gruesome death of our Fellow Worker Wesley Everest on that day is enough to stagger the world. We cannot go into details. Read the book “The Centralia Conspiracy,” by Ralph Chaplin. It describes in word and illustration those terrible days.

Fellow Worker Bert Bland, who with a number of others is now serving a sentence equal to life imprisonment in Montesano as a result of the Centralia conspiracy, writes a touching tribute to the memory of the martyr Wesley Everest, which is published herewith.

Wesley Everest’s last greeting was: “Tell all the boys I did my best.” Joe Hill’s last message was: “Don’t mourn. Organize!” Frank Little’s last message is known only to his murderers, but we have no doubt it was like Joe Hill’s.














Two rockets target a base hosting US-led coalition troops in Iraq’s western province of al-Anbar




BOL NEWS reports, "Two rockets aimed at a facility in western Iraq hosting US-led coalition soldiers crashed near the complex on Saturday, causing no injuries or damage, according to security sources."  RUDAW adds, "The facility, home to Iraqi army troops as well, has been subjected to at least three rocket and drone attacks since the start of the year."










Grace and Frankie | A Farewell to 7 Seasons with Jane Fonda and Lily Tomlin | Netflix

 Jane Fonda, and Lily Tomlin and showrunners Marta Kauffman, and Howard Morris take us on a fun trip down memory lane of the 7 incredible seasons of Grace and Frankie. For 7 years, two unlikely friends made us laugh, made us cry, and made us question what it means to act your age. The final episodes of Grace and Frankie premiere April 29th, only on Netflix: SUBSCRIBE:






HUMILIATING: Spotify DROPS Obama's Podcast | Breaking Points with Krystal and Saagar







Green Party says U.S. complicit in Yemen humanitarian crisis; arms sales to Saudis must end

 From the Green Party:

WASHINGTON – Green Party leaders called on President Biden to take advantage of the April 2nd cease-fire among warring parties in Yemen, to follow through on his promise to end support for all offensive operations, to end weapons sales to Saudi Arabia and to help end the blockade of Saudi warships off the coast of Yemen to allow humanitarian aid to enter the country. The war between the Saudi-led coalition and Iranian-backed Houthi rebels in Yemen has led to one of the worst humanitarian crises in recent history.

Green Party of the United States

For Immediate Release:
April 25, 2022

Michael O'Neil, Communications Manager,, 202-804-2758
Diana C. Brown, Co-Chair, Media Committee,, 202-804-2758
Philena Farley, Co-Chair, Media Committee,, 202-804-2758

The U.S. has provided logistical and intelligence support and sold weapons to the coalition of Gulf states led by Saudi Arabia since 2015. As a result of the conflict and blockade, hundreds of thousands of people have died, including from indirect causes such as lack of food, health services and infrastructure. More than 17 million Yemenis are currently food insecure, over 2 million children are now acutely malnourished, and the number of people experiencing famine is expected to increase five-fold by the end of the year.

In February 2021, U.S. President Joe Biden announced an end to U.S. support for Saudi-led offensive operations in Yemen, a break from previous U.S. policy. Nevertheless, the United States has continued to sell weapons to countries in the region and has refrained from pushing Saudi Arabia to end its blockade on the coast of Yemen.

"President Biden must seize the opportunity offered by the cease-fire and make good on his promise," said Ahmed Eltouny, Green Party National Co-Chair. The war in Ukraine has resulted in heightened awareness of military activity throughout the world, renewing concern about the United States' role in facilitating the war in Yemen. Ending arms sales to the Saudis would be a major step in putting an end to the ability of warring parties to continue the war. Now is the time to stop the arms sales, stop the blockade, and support the warring parties' efforts to seek a diplomatic and fair resolution to end the war.


War in Yemen.
Council on Foreign Relations, Global Conflict Tracker, April 19, 2022

Yemen facing 'outright catastrophe' over rising hunger, warn UN humanitarians
United Nations, UN NEws, March 14, 2022

Yemen's Warring Parties Begin First Cease-Fire in 6 Years 
Hubbard, Ben. New York Times, April 2, 2022

US Assistance to Saudi-Led Coalition Risks Complicity in War Crimes
Nasser, Afrah. Human Rights Watch, April 7, 2022

Greens demand Congress cut off military aid to Saudis, withdraw support for Yemen war
April 24, 2019

Platform, I. Democracy, D. Foreign Policy - Peace and Disarmament, a.
(repeal of AUMF)

US ending aid to Saudi-led forces in Yemen, but questions persist
Stepansky, Joseph. Al Jazeera, February 7, 2021

Netflix Plunges In The Market As Subscribers Leave, What Is Happening To Netflix











This edition's playlist

  Pretenders - Pretenders are pleased to announce brand new...

1) The Pretenders' HATE FOR SALE.



2) Ashford & Simpson's STREET OPERA.



3) Chase Rice's THE ALBUM



4) Pretenders' PACKED.


5) Dolly Parton's RUN, ROSE, RUN.

6) Diana Ross' THANK YOU.


6)  The Mamas and the Papas' THE PAPAS & THE MAMAS.


7)  Adele's 30.



8) Diana Ross' ANTHOLOGY (1983 version)






10) Peggy Lee's 2 SHOWS NIGHTLY.






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