“Black jobs”

“Folks, I know what a ‘Black job’ is: it’s the vice president of the United States. I know what a ‘Black job’ is: the first Black president in American history, Barack Obama”: Joe Biden, on fire this afternoon, addressing the NAACP convention in Las Vegas.

[Context, if you need it: Donald Trump’s claims that undocumented immigrants are taking “Black jobs” and “Hispanic jobs.”]

Mystery actor

[A television screen within a movie. Click for a larger view.]

Though I knew this fellow was in the movie, I didn’t recognize him at first. Do you?

Leave your guesses in the comments. I‘ll drop a hint if one is needed.

*

No need: the mystery is now revealed in the comments.

More mystery actors (Collect them all)
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Librarians and teachers (Project 2025)

Here’s a passage from the foreword to Project 2025 Policy Agenda:

Pornography should be outlawed. The people who produce and distribute it should be imprisoned. Educators and public librarians who purvey it should be classed as registered sex offenders.

No definition of pornography accompanies these declarations. The foreword says that pornography manifests itself in “the omnipresent propagation of transgender ideology.” The definition must be very broad indeed.

Related posts
Relative frequency of words in Project 2025 : Project 2025 on marriage and parental roles : Names in school : “Leftist broadcasters” : Trump and Project 2025

Twelve movies

[One to four stars. Four sentences each. No spoilers. Sources: Criterion Channel, Fandango, TCM, YouTube.]

The Harder They Come (dir. Perry Henzell, 1972). When the grandmother of a Jamaican country boy (jimmy Cliff) dies, he comes to Kingston in search of a job. And a dream comes true: he gets to record a song of his own, “The Harder They Come.” Reggae plays in or underneath scene after scene, but the movie is in the end about capitalism and its discontents: economic exploitation in the music business and the ganja trade, and the paucity of opportunity that might prompt someone to seek fame as an outlaw. With handheld camerawork, many non-actors, and strong echoes of American movies — Little Caesar, High Sierra, Gun Crazy, and Bonnie and Clyde among them. ★★★★ (CC)

*

Grand National Night, aka Wicked Wife (dir. Bob McNaught, 1953). British horse racing is part of it, but the movie focuses on domestic turmoil: horse-centric husband Gerald (Nigel Patrick) and his horse-hating, philandering wife Babs (Moira Lister). When the partners clash and Babs is accidentally killed (trust me, that’s not a spoiler), suspicion falls on Gerald, who insists that his wife wasn’t home that night. This movie begins well, but its human interest drains away quickly. A trick at the end turns the story into something like a lesser episode of Murder, She Wrote. ★★ (YT)

*

Uranium Boom (dir. William Castle, 1956). In Colorado, prospectors Brad and Grady (Dennis Morgan and William Tallman) fight, make up, forge a friendship, and part ways when Brad marries Grady’s girlfriend Jean (Patricia Medina). Grady plots revenge, but everyone lives happily ever after. Unnecessarily snappy patter — “The old do-re-mi, that’s what I want, and plenty of it” —enlivens this rather dopey movie. My favorite line: “Bad day at Yellow Rock.” ★★ (YT)

*

The Midnight Story (dir. Joseph Pevney, 1957). A priest is murdered in a San Francisco alley, and Joe Martini (Tony Curtis), a rookie traffic cop and the priest’s best friend, resigns from the force to solve the crime. To do so, he ingratiates himself with the man he’s identified as a suspect, Sylvio Malatesta (Gilbert Roland), working for him and living in an extra bedroom in his house. And thus Joe falls in love with Sylvio’s sister Anna (Marisa Pavan). All three leads are excellent: Roland is especially strong, giving little indication of whether he is or isn’t the killer. The ending is quite a surprise. ★★★★ (YT)

*

The Choppers (dir. Leigh Jason, 1961). Inane junk that’s not quite bad enough to be good. We’re meant to understand that a gang of teenaged boys can siphon the gas out of a car, put back just enough gas to make the car run out on a deserted road, strip the car when the driver walks to a gas station, and sequester what they’ve stripped in the back of a poultry truck while one teen watches from a distance and warns of danger via walkie-talkie. My favorite line, apropos of nothing else in the movie: “She never puts anything on a sandwich to make it swallow easy — no butter, no nothin’.” These young hoods would pair well with the girl gang of The Violent Years. ★★ (YT)

*

Bodyguard (dir. Richard Fleischer, 1948). Lawrence Tierney was already known for off-screen brawling, so it’s no wonder that the movie begins with his character, suspended police detective Mike Carter, slugging his lieutenant and shouting “I can explain!” as his fellow cops restrain him. The story is thin: the suspended Carter serves as a bodyguard for the endangered head of a meatpacking company, and mayhem ensues. Much of the backstory speeds by in a few lines of dialogue, and the movie seems to have suffered significant cutting, reducing its coherence and removing what was likely a gruesome ending in a meatpacking plant. Priscilla Lane is on hand as Mike’s resourceful girlfriend Doris Brewster, though how she puts up with her feral beau is an open question. ★★ (TCM)

*

Goodfellas (dir. Martin Scorcese, 1990). I’m not a great fan of Mafia movies, but the dark comedy of this one suits me. Robert DeNiro, Ray Liotta, Joe Pesci, Lorraine Bracco, and Paul Sorvino star in the story of a Brooklyn youth, Henry Hill (Liotta), who becomes a somebody in the world of crime before ending up a nobody — but an alive nobody. What led me to watch this movie for the first time in many years: a clip of Joe Pesci as Tommy DeVito, telling a story in a way that I suspect spoke strongly to Donald Trump, who has named Goodfellas among his favorite movies. The picture of gangsterhood this movie presents, of outer-borough men who do whatever they want, take whatever they want, and brook no opposition would no doubt speak strongly to the disgraced ex-president. ★★★★ (F)

*

Jennifer (dir. Joel Newton, 1953). Undeservedly obscure, I think. Lonely Agnes Langsley (Ida Lupino) signs on a caretaker to a deserted estate whose last caretaker, Jennifer, seems to have disappeared, leaving behind a diary and other personal effects. What happened to Jennifer, and what might the estate’s owner (Howard Duff) or a schlubby grocery clerk (Robert Nichols) have to do with it? A modest, spooky production with strong Rebecca vibes and brilliant cinematography by James Wong Howe — just look at that shadow creeping snakelike up the steps. ★★★★ (YT)


*

Trial (dir. Mark Robson, 1955). Glenn Ford plays David Blake, a law professor who is told to beef up his credentials with some courtroom experience; thus he ends up defending Angel Chavez (Rafael Campos, Morales in The Blackboard Jungle), a Mexican-American teenager accused of causing the death of a white girl who fled and died of a heart attack after she and he necked. Racism and legal corruption are at the heart of the story, with Blake’s new employer (Arthur Kennedy) looking to exploit the case by turning Chavez into a found-guilty martyr to be exploited by an American Communist organization. I wonder whether Ralph Ellison’s Invisible Man (1952) influenced Don Mankiewicz’s novel Trial (1955) and this screenplay: the picture of an organization exploiting and abandoning is unmistakably similar. With Dorothy McGuire as a sharp secretary and Juano Hernandez as a judge who takes no guff from anyone. ★★★★ (TCM)

*

Gambit (dir. Ronald Neame, 1966). An amusing game of cat and mouse and cat and mouse and cat and mouse. Michael Caine is an aspiring criminal who hatches a plot to steal an ancient bust of a Chinese empress with the help of a showgirl (Shirley MacLaine) who bears a remarkable resemblance to the dead wife of the bust’s owner (Herbert Lom). The pleasure in this movie comes from seeing the many differences between the perfect criminal scheme, as Caine’s character envisions it, and its execution. Tricks abounding, all in an Orientalist “East.” ★★★ (TCM)

*

Convicted (dir. Henry Levin, 1950). “A man’s dead — somebody’s gotta pay for it”: that would be Joe Hufford (Glenn Ford), who killed a politician’s son in a bar fight and gets sent up for manslaughter. Joe’s life becomes more interesting when the DA who prosecuted him (Broderick Crawford) becomes the new, remarkably benevolent warden, and the DA’s adult daughter (Dorothy Malone) comes along to live on the prison premises (what?). The prison parts of the picture are solid, with Millard Mitchell as an inmate with nothing to lose. But long before the story is over, it spirals into romantic ridiculousness. ★★ (YT)

*

The Locket (dir. John Brahm, 1946). Childhood deprivation and humiliation help shape the adult Nancy (Laraine Day), a beautiful woman with a deeply disordered personality. She’s a destroyer of lives, one after another, in a story that takes shapes as a flashback within a flashback within a flashback. Robert Mitchum shines as a painter and Cassandra (unheeded prophet). Extraordinary noir cinematography by Nicholas Musuraca. ★★★★ (TCM)

Related reading
All OCA “twelve movies” posts (Pinboard)

“One set of eyes” (Project 2025)

Here’s another excerpt from the Project 2025 Policy Agenda, this one from the foreword:

We want you! The 2025 Presidential Transition Project is the conservative ‌movement’s unified effort to be ready for the next conservative‌ Administration to govern at 12:00 noon, January 20, 2025. Welcome to the mission. By opening this book, you are now a part of it. Indeed, one set of eyes reading these passages will be those of the 47th President of the United States, and we hope every other reader will join in making the incoming Administration a success.

Despite Donald Trump’s know-nothing disavowals, there’s ample evidence of his campaign’s deep ties to Project 2025. (His name appears on 194 of the policy agenda’s pages.) My point in posting this passage is that the project’s creators are themselves explicit about those ties, in the first paragraph of the first page following the acknowledgments.

Why “these passages” and not “this document”? Perhaps because these people know that Trump would never read the whole thing.

P.S.: You don’t want me.

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Relative frequency of words in Project 2025 : Project 2025 on marriage and parental roles : Names in school : “Leftist broadcasters”

Timothy Snyder on political violence

“What to make of the assassination attempt?” Timothy Snyder, author of On Tyranny, has some ideas.

On old Delancey Street

[With apologies to Richard Rodgers and Lorenz Hart.]

[6-8 Delancey Street, Manhattan, c. 1939–1941. From the NYC Municipal Archives Collections. Click for a much larger view.]

It’s very fancy on old Delancey Street, you know. The fixtures charm us so, as tables sit below, in the snow.

I won’t let a discrepancy in numbering between the store fronts and the tax records spoil my fun. These storefronts are in fact 191 and 193 Bowery. But let’s imagine them on Delancey Street, nos. 6 and 8.

Related reading
More photographs from the NYC Municipal Archives (Pinboard)

News

A $15 contribution to ActBlue will no doubt prompt cries that the attempt on Donald Trump’s life can be blamed on “the radical Left.” I don’t know what those who will blame “the Left” will say about the would-be assassin’s Republican voter registration. My suspicion is that the real issues will prove to be mental illness and access to weapons.

I like what Fresca’s friend Marz had to say: “I don’t want us to live like this. I want to be part of the calm in the craziness.”

Today’s Saturday Stumper

Today’s Newsday  Saturday Stumper is by Stan Newman, the puzzle’s editor, composing as “Anna Stiga.” Like “Lester Ruff,” that’s a pseudonym that signals an easier Stumper. Easy indeed: writing this post will probably take longer than solving.

Some clue-and-answer pairs of note:

7-D, fifteen letters, “Appliance store offering.” Like most of the puzzle, pretty straightforward.

8-A, six letters, “Literally, ‘already seen.’” My starting point.

13-D, six letters, “Free of obstruction.” Trickier than it looks.

14-A, eight letters, “It’s Amsterdam north of 59th St.” My mental map isn’t good enough to know it cold.

23-A, seven letters, “Take a turn for the verse.” Groan.

28-A, nine letters, “Fancy word for ‘#.’” It pays to know your typographical symbols.

33-A, fifteen letters, “‘Thanks for telling me.’” In the American idiom.

42-A, nine letters, “Circular bakeware.” BUNDTPANS?

61-A, eight letters, “They’re baked on 42-Across.” Making 42-A a little tricky, or a bit debatable.

My favorite in this puzzle: 44-D, six letters, “Pole vaults have them.”

No spoilers; the answers are in the comments.

[The post took a minute longer than the puzzle.]

“Leftist broadcasters” (Project 2025)

Here’s another excerpt from the Project 2025 Policy Agenda, from Chapter Eight, concerning media agencies. The document calls for ending taxpayer fundng for the Corporation for Public Broadcasting. And what then?

Stripping public funding would, of course, mean that NPR, PBS, Pacifica Radio, and the other leftist broadcasters would be shorn of the presumption that they act in the public interest and receive the privileges that often accompany so acting. They should no longer, for example, be qualified as noncommercial education stations (NCE stations), which they clearly no longer are. NPR, Pacifica, and the other radio ventures have zero claim on an educational function (the original purpose for which they were created by President Johnson), and the percentage of on-air programming that PBS devotes to educational endeavors such as “Sesame Street” (programs that are themselves biased to the Left) is small.

Being an NCE comes with benefits. The Federal Communications Commission, for example, reserves the 20 stations at the lower end of the radio frequency (between 88 and 108 MHz on the FM band) for NCEs. The FCC says that “only noncommercial educational radio stations are licensed in the 88–92 MHz ‘reserved’ band,” while both commercial and noncommercial educational stations may operate in the “non-reserved” band. This confers advantages, as lower-frequency stations can be heard farther away and are easier to find as they lie on the left end of the radio dial (figuratively as well as ideologically).

The FCC also exempts NCE stations from licensing fees. It says that “Noncommercial educational (NCE) FM station licensees and full service NCE television broadcast station licensees are exempt from paying regulatory fees, provided that these stations operate solely on an NCE basis.” NPR and PBS stations are in reality no longer noncommercial, as they run ads in everything but name for their sponsors. They are also noneducational. The next President should instruct the FCC to exclude the stations affiliated with PBS and NPR from the NCE denomination and the privileges that come with it.

Ads, yes. (And why? To bring in revenue as federal support diminishes.) But noneducational? All Things Considered? American Masters? Finding Your Roots? Fresh Air? And even if you’ve already restricted “educational” to programming for the very young, it’s extraordinarily dishonest to assert that the percentage of programming is small: PBS runs several hours of kids’ shows every day, and there’s a separate channel, PBS Kids, all kids, all the time.

And what about this claim that Sesame Street (italics, please) is biased to “the Left”? Because it shows urbanites in all their human variety?

Fred Rogers, we need you. That link goes to his 1969 testimony before a Senate subcommittee considering a large cut to Corporation for Public Broadcasting funding. Mister Rogers, by the way, was a registered Republican.

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