
If you like the Welcome to Weirdsville stuff here then head on over to the always-fun Dark Roasted Blend for a new article on exploding lakes, busting toads, and suicide bombing ants.
A Face in the Crowd (1957) is an epic motion picture starring Andy Griffith, Patricia Neal, and Walter Matthau, and directed by Elia Kazan. The screenplay was written by Budd Schulberg, based on his own short story "Your Arkansas Traveler". The story centers on a "country" comedian, a common thug named Larry "Lonesome" Rhodes (Griffith, in a role starkly different from the amiable "Sheriff Andy Taylor" persona), who is discovered by the producer (Neal) of a small-market radio program in Piggott, Arkansas.
Lonesome Rhodes: This whole country's just like my flock of sheep!
Marcia Jeffries: Sheep?
Lonesome Rhodes: Rednecks, crackers, hillbillies, hausfraus, shut-ins, pea-pickers - everybody that's got to jump when somebody else blows the whistle. They don't know it yet, but they're all gonna be 'Fighters for Fuller'. They're mine! I own 'em! They think like I do. Only they're even more stupid than I am, so I gotta think for 'em. Marcia, you just wait and see. I'm gonna be the power behind the president - and you'll be the power behind me!
Lonesome Rhodes: A guitar beats a woman every time.
Lonesome Rhodes: Listen, I'm not through yet. You know what's gonna to happen to me?
Mel Miller: Suppose I tell you exactly what's gonna happen to you. You're gonna be back in television. Only it won't be quite the same as it was before. There'll be a reasonable cooling-off period and then somebody will say: "Why don't we try him again in a inexpensive format. People's memories aren't too long." And you know, in a way, he'll be right. Some of the people will forget, and some of them won't. Oh, you'll have a show. Maybe not the best hour or, you know, top 10. Maybe not even in the top 35. But you'll have a show. It just won't be quite the same as it was before. Then a couple of new fellas will come along. And pretty soon, a lot of your fans will be flocking around them. And then one day, somebody'll ask: "Whatever happened to, a, whatshisname? You know, the one who was so big. The number-one fella a couple of years ago. He was famous. How can we forget a name like that? Oh by the way, have you seen, a, Barry Mills? I think he's the greatest thing since Will Rogers."
[Mel turns and starts to leave. Then, he turns back towards Lonesome]
Mel Miller: Beanie!
[Beanie, who is manning the automatic appalause machine, instinctively pulls the switch, unleashing a massive abundance of cheers. The machanical jubilation continues as Mel joins Marcia in the waiting elevator, leaving Lonesome alone in the empty penthouse with his broken dreams]
A trap street is a fictitious street included on a map, often outside the area the map covers, for the purpose of "trapping" potential copyright violators of the map, who will be unable to justify the inclusion of the "trap street" on their map.
Sometimes, rather than actually depicting a street where none exists, a map will misrepresent the nature of a street in a fashion that can still be used to detect copyright violators but is less likely to interfere with navigation. For instance, a map might add nonexistent bends to a street, or depict a major street as a narrow lane, without changing its location or its connections to other streets.
Trap streets are routinely denied and rarely acknowledged by publishers. This is not always the case, however. A popular driver's atlas for the city of Athens, Greece warns inside its front cover that potential copyright violators should beware of trap streets.
In an edition of the BBC Two programme Map Man, first broadcast 17 October 2005, a spokesman for the Geographer's A-Z Street Atlas company claimed there are "about 100" trap streets included in the London edition of the street atlas. One such street, "Bartlett Place", a genuine but misnamed pedestrian walkway, was identified in the programme, and will appear in future editions under its real name, Broadway Walk.
The Business Plot (also known as the Plot Against FDR or the White House Putsch) was an alleged political conspiracy in 1933 in which several wealthy businessmen planned to overthrow the presidency of Franklin D. Roosevelt.
Details of the alleged plot came to light in early 1934, when retired Marine Corps Major General Smedley Butler testified before the McCormack-Dickstein Congressional Committee. In his testimony, Butler claimed that a group of men had approached him as part of a plot to overthrow Roosevelt in a military coup. One of the alleged plotters, Gerald MacGuire, vehemently denied any such plot. In their final report, the Congressional committee supported some of Butler's allegations, but no prosecutions or further investigations followed, and the matter was mostly forgotten.
Major General Butler claimed that the American Liberty League was the plot's primary source of funding. The House Un-American Activities Committee found no evidence of this. The main backers of the American Liberty League were the Du Pont family, as well as leaders of U.S. Steel, General Motors, Standard Oil, Chase National Bank, and Goodyear Tire and Rubber Company. The 2007 BBC radio documentary The White House Coup alleged that Prescott Bush, father and grandfather to the 41st and 43rd US Presidents respectively, was also connected with companies owned by Fritz Thyssen.
Several scenarios have been proposed in explaining why the affair did not become a cause celebre, among which are:
- The story was an embarrassment to people of influence, who felt it best to deflect attention from the matter as quickly as possible.
- Some of Roosevelt's advisors were in on the plot, and downplayed it to prevent exposure.
- As part of the BBC Radio Document program The Whitehouse coup,[3] John Buchanan suggests that Roosevelt stopped the investigation as part of a political deal: "The investigations mysteriously turned to vapor when it comes time to call them to testify. FDR's main interest was getting the New Deal passed. And so he struck a deal in which it was agreed that the plotters would walk free if Wall Street would back off of their opposition to the New Deal and let FDR do what he wanted."
Hammett is a 1982 homage to noir films and pulp fiction directed by Wim Wenders. The film is a fictionalized story about writer Dashiell Hammett, based on the novel of the same name by Joe Gores.
Hammett, trying to put his Pinkerton detective days behind him while establishing himself as a writer, and dealing with induced tuberculosis and the alcoholism that will plague him almost to the end of his days, finds himself drawn back into his old life one last time by the irresistible call of friendship and to honor a debt.
On the IMDB:
Hammett: I want two things. One, I want my story back, it's not much but its what I do. And two, I want to be left alone.
Crystal Ling: He was good.
Hammett: He was the best. In his prime.
Hammett: Have you gone simple? They're not gonna let you walk. You know what you're up against, 1, 200 million dollars, the power, the big seam.
The King in Yellow is a collection of short stories written by Robert W. Chambers and published in 1895. The stories could be categorized as early horror fiction or Victorian Gothic fiction, but the work also touches on mythology, fantasy, mystery, science fiction and romance. The first four stories in the collection involve a fictional two-act play of the same title.The fictional play The King in Yellow has two acts, and at least three characters: Cassilda, Camilla, and the King in Yellow. Chambers' story collection excerpts sections from the play to introduce the book as a whole, or individual stories. For example, "Cassilda's Song" comes from Act I, Scene 2 of the play:
- Along the shore the cloud waves break,
- The twin suns sink beneath the lake,
- The shadows lengthen
- In Carcosa.
- Strange is the night where black stars rise,
- And strange moons circle through the skies
- But stranger still is
- Lost Carcosa.
- Songs that the Hyades shall sing,
- Where flap the tatters of the King,
- Must die unheard in
- Dim Carcosa.
- Song of my soul, my voice is dead;
- Die thou, unsung, as tears unshed
- Shall dry and die in
- Lost Carcosa.
The short story "The Mask" is introduced by an excerpt from Act I, Scene 2d:
- Camilla: You, sir, should unmask.
- Stranger: Indeed?
- Cassilda: Indeed, it's time. We have all laid aside disguise but you.
- Stranger: I wear no mask.
- Camilla: (Terrified, aside to Cassilda.) No mask? No mask!
All of the excerpts come from Act I. The stories describe Act I as quite ordinary, but reading Act II drives the reader mad with the "irresistible" revealed truths. “The very banality and innocence of the first act only allowed the blow to fall afterward with more awful effect.” Even seeing of the first page of the second act is enough to draw the reader in: “If I had not caught a glimpse of the opening words in the second act I should never have finished it [...]” (“The Repairer of Reputations”).
Chambers usually gives only scattered hints of the contents of the full play, as in this extract from "The Repairer of Reputations":
He mentioned the establishment of the Dynasty in Carcosa, the lakes which connected Hastur, Aldebaran and the mystery of the Hyades. He spoke of Cassilda and Camilla, and sounded the cloudy depths of Demhe, and the Lake of Hali. "The scolloped tatters of the King in Yellow must hide Yhtill forever," he muttered, but I do not believe Vance heard him. Then by degrees he led Vance along the ramifications of the Imperial family, to Uoht and Thale, from Naotalba and Phantom of Truth, to Aldones, and then tossing aside his manuscript and notes, he began the wonderful story of the Last King.
A similar passage occurs in "The Yellow Sign", in which two protagonists have read The King in Yellow:
Night fell and the hours dragged on, but still we murmured to each other of the King and the Pallid Mask, and midnight sounded from the misty spires in the fog-wrapped city. We spoke of Hastur and of Cassilda, while outside the fog rolled against the blank window-panes as the cloud waves roll and break on the shores of Hali.
... and here's a great Wiki on the whole subject.
Suddenly the shoreline north of Sydney were transformed into the Cappuccino Coast . Foam swallowed an entire beach and half the nearby buildings, including the local lifeguards' centre, in a freak display of nature at Yamba in New South Wales .
One minute a group of teenage surfers was waiting to catch a wave, the next they were swallowed up in a giant bubble bath. The foam was so light that they could puff it out of their hands and watch it float away.
It stretched for 30 miles out into the Pacific in a phenomenon not seen at the beach for more than three decades. Scientists explain that the foam is created by impurities in the ocean, such as salts, chemicals, dead plants, decomposed fish and excretions from seaweed. All are churned up together by powerful currents that cause the water to form bubbles. These bubbles stick to each other as they are carried below the surface by the current towards the shore.. As a wave starts to form on the surface, the motion of the water causes the bubbles to swirl upwards and, massed together, they become foam.
'It's the same effect you get when you whip up a milk shake in a blender,' explains a marine expert. 'The more powerful the swirl, the more foam you create on the surf ace and the lighter it becomes.' In this case, storms off the New South Wales Coast and further north off Queensland had created a huge disturbance in the ocean, hitting a stretch of water where there was a particularly high amount of the substances which form into bubbles. As for 12-year-old beachgoer Tom Woods, who has been surfing since he was two, riding a wave was out of the question 'Me and my mates just spent the afternoon leaping about in that stuff,' he said.
'It was quite cool to touch and it was really weird. It was like clouds of air - you could hardly feel it.'