To many, John Doe and his L.A. band X represented music and fans that were scary and unknowable. To others, punk was poetry set to a visceral sound that connected way beyond words. Before we talk to one of the most influential poets of the punk movement, we offer some context from Kierkegaard: “What is a poet? An unhappy man who hides deep anguish in his heart, but whose lips are so formed that when the sigh and cry pass through them, it sounds like lovely music. And people flock around the poet and say: ‘Sing again soon….the cry would only frighten us, but the music, that is blissful.” To blissful, add electrifying, defining, and the inspiration for a generation of kids, bands, artists, punks and future poets, all bound and determined to do things their own way.
To many, John Doe and his L.A. band X represented music and fans that were scary and unknowable. To others, punk was poetry set to a visceral sound that connected way beyond words. Before we talk to one of the most influential poets of the punk movement, we offer some context from Kierkegaard: “What is a poet? An unhappy man who hides deep anguish in his heart, but whose lips are so formed that when the sigh and cry pass through them, it sounds like lovely music. And people flock around the poet and say: ‘Sing again soon….the cry would only frighten us, but the music, that is blissful.” To blissful, add electrifying, defining, and the inspiration for a generation of kids, bands, artists, punks and future poets, all bound and determined to do things their own way.
To many, John Doe and his L.A. band X represented music and fans that were scary and unknowable. To others, punk was poetry set to a visceral sound that connected way beyond words. Before we talk to one of the most influential poets of the punk movement, we offer some context from Kierkegaard: “What is a poet? An unhappy man who hides deep anguish in his heart, but whose lips are so formed that when the sigh and cry pass through them, it sounds like lovely music. And people flock around the poet and say: ‘Sing again soon….the cry would only frighten us, but the music, that is blissful.” To blissful, add electrifying, defining, and the inspiration for a generation of kids, bands, artists, punks and future poets, all bound and determined to do things their own way.
If you have debilitating stage fright and dyslexia, good luck becoming an actor or a writer. Octavia Spencer had both, and became both, and luck was not involved. What was: A strong work ethic (thanks, mom), a love of mysteries (thanks, Ms. Bradford), and unshakeable faith in her own talent. She looked at what people told her she was, and saw something different. It took awhile for others to see it. The Help helped (thanks, Academy) – and in some ways, didn’t – same with Hidden Figures. Now she’s after roles that have nothing to do with her race, like next month’s The Shape of Water. She’s penned a book that turns “different” kids into superheroes who become strong by attempting what scares them. She should know. Early in her career, Spencer was told not to go to Hollywood, because “Hollywood is for the beautiful people.” If so, she’s right where she belongs.
If you have debilitating stage fright and dyslexia, good luck becoming an actor or a writer. Octavia Spencer had both, and became both, and luck was not involved. What was: A strong work ethic (thanks, mom), a love of mysteries (thanks, Ms. Bradford), and unshakeable faith in her own talent. She looked at what people told her she was, and saw something different. It took awhile for others to see it. The Help helped (thanks, Academy) – and in some ways, didn’t – same with Hidden Figures. Now she’s after roles that have nothing to do with her race, like next month’s The Shape of Water. She’s penned a book that turns “different” kids into superheroes who become strong by attempting what scares them. She should know. Early in her career, Spencer was told not to go to Hollywood, because “Hollywood is for the beautiful people.” If so, she’s right where she belongs.
If you have debilitating stage fright and dyslexia, good luck becoming an actor or a writer. Octavia Spencer had both, and became both, and luck was not involved. What was: A strong work ethic (thanks, mom), a love of mysteries (thanks, Ms. Bradford), and unshakeable faith in her own talent. She looked at what people told her she was, and saw something different. It took awhile for others to see it. The Help helped (thanks, Academy) – and in some ways, didn’t – same with Hidden Figures. Now she’s after roles that have nothing to do with her race, like next month’s The Shape of Water. She’s penned a book that turns “different” kids into superheroes who become strong by attempting what scares them. She should know. Early in her career, Spencer was told not to go to Hollywood, because “Hollywood is for the beautiful people.” If so, she’s right where she belongs.
Sam Rockwell will tell you it’s not good enough to be good in a movie, and it’s not good enough to be good in a good movie. You’ve got to be good in a good movie that people see. After years of being good in good movies that enjoyed most of their success in the afterlife, he’s hit the jackpot with this month’s buzz-generating Three Billboards Outside Ebbing, Missouri. As a cop who goes “from Barney Fife to Travis Bickle” before we know what’s hit us. Rockwell reminds us that “professional actor” is not an oxymoron – just a rarity. Given how often his performances teeter between loose and completely unhinged, the studious, technical approach behind them is surprising. Rockwell’s reverence for his craft and a generation of actors and films we may never see again signals a depth that still demands – and will doubtless reward – further exploration.
Sam Rockwell will tell you it’s not good enough to be good in a movie, and it’s not good enough to be good in a good movie. You’ve got to be good in a good movie that people see. After years of being good in good movies that enjoyed most of their success in the afterlife, he’s hit the jackpot with this month’s buzz-generating Three Billboards Outside Ebbing, Missouri. As a cop who goes “from Barney Fife to Travis Bickle” before we know what’s hit us. Rockwell reminds us that “professional actor” is not an oxymoron – just a rarity. Given how often his performances teeter between loose and completely unhinged, the studious, technical approach behind them is surprising. Rockwell’s reverence for his craft and a generation of actors and films we may never see again signals a depth that still demands – and will doubtless reward – further exploration.
