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Glenn Beck: Keith Olbermann says Glenn Beck owes it all to Lonesome Rhodes, Dave Foley

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I think Andy Griffith is a terrific, underrated actor. And any time someone calls attention to Mr. Griffith, I say hooray.

I also admire the Kids in the Hall and applaud whenever someone calls attention to that brilliant troupe.

Keith Olbermann last night paid tribute to both Griffith and Dave Foley of the Kids in the Hall by bashing Glenn Beck.

Olberman noted that Fox News left out “Lonseome Rhodes Beck” in newspaper ads saluting the channel’s run atop the cable news ratings. Lonesome Rhodes is Griffith’s character in the 1957 classic “A Face in the Crowd,” a startling performance light years from Andy of Mayberry.

And Olbermann replayed a 1994 sketch of Foley as a TV commentator.

“If somebody were to create like a demo tape for an invention called a Glenn Beck, that’s what it would look like,” Olbermann said.

Foley replied: “I like to comfort myself by thinking that Glenn Beck has never seen it because I would hate to think that he was actually a ‘Kids in the Hall’ fan. I don’t want to contribute to his happiness in any way.”

Here’s the Foley sketch:

Sneak Peek: The Urbanatomy Shanghai World Expo Guide 2010

When the Shanghai World Expo officially opens on Saturday, visitors will have to negotiate the largest fairground ever constructed, spanning 1305 acres on both sides of the Huangpu River. Such an expedition requires not just a map, but a guide – and the Urbanatomy team has stepped in to provide one. Hitting shelves at Carrefour and City Shop stores in Shanghai this week, the Urbanatomy Shanghai World Expo Guide 2010 includes maps of the Expo site, in addition to discussions of World’s Fair history and background on Shanghai. Below, two excerpts from the guide’s introduction, written by Nick Land.

Expo 2010 Shanghai

Spectacle has been granted a special place in Chinese culture since the distant dawn of its recorded history. While contemporary architects and designers pursue the essence of ‘Chinese style’ into the nooks and crannies of specific construction techniques, its most significant and influential trait is a commitment to the production of psychological effect on a massive scale. China’s great philosopher of war Sun Tzu exemplifies this continuous line of spectacular tradition, when he argues that the aim of the general is less to kill than to create an overwhelming impression on the enemy. The same thread passes through the invention of fireworks and the layout of the Forbidden City (constructed as a succession of theatrical gateways) to the glittering East Asian cityscapes of today, built almost as stage props for epic dramas of development, and painting vast panoramas in artificial light. This tradition of all-enveloping theater and aesthetic staging, vividly exhibited at the 2008 Beijing Olympics and the 60th anniversary of the New China in 2009, is naturally predisposed to affinity with the World Expo, an event whose very name calls for a spectacle of planetary dimensions.

As theater created on an immense scale, the Expo is aimed at an audience. Its structures are for the most part temporary, designed to make a powerful impression, to communicate, and to persist in memory, enduring not through solidity of construction, but through the effects they produce. At every level of physical organization the Expo is pre-adapted to fluidity, anticipating as many as half a million people flowing through the Shanghai Expo Park on certain days, with tens of thousands streaming through particular pavilions. Although something like a miniature city, the Expo site and its pavilions are not designed for inhabitants and their possessions, or for workers and their tools, but for visitors and their experiences. Everything is performance: transient, dramatic and informative.

Throughout Chinese history, the art of politics has always been intimately interwoven with the techniques of spectacular demonstration. This mainstream tradition is naturally focused upon Beijing, the nation’s political center, whose monumental Imperial architecture consistently betrays a theatrical design, constructed with reference to the awestruck perspective of a lowly observer, rather than for the comfort of a privileged occupant. That Beijing maintains a rare mastery in the field of grand spectacle – exhibited in the international and national pageants of 2008 and 2009 – should surprise no one.

Yet Shanghai has claims to a spectacular lineage of its own. The city’s location at the mouth of the Yangzi, where it communicates between the vast Chinese interior and the open horizons of maritime commerce, makes it the natural shop window of an emerging industrial giant. History and geography intersect in Shanghai to produce a national display case, where the obscure immensities of China’s past, present and future are artfully presented to foreign eyes, and no less to eyes that merely feign foreignness, in order to revel in the exotic pleasures of cosmopolitan detachment.

Shanghai is incandescent, because it manifests huge and hidden things. Economic forces and world trends of incalculable consequence are condensed, illuminated and reflected among its towers. China’s film industry was born in the city, fashion flourishes luxuriantly in its streets and showrooms, the advertising industry crosses new frontiers upon the surfaces of its cityscape, and every imaginable variety of conspicuous consumption saturates its retail and entertainment spaces, converting economic potential into vivid sensation.

It has been Shanghai’s irresistible fate to become a city on show, delighting in attention, and leaving no observer disappointed. Even had the World Expo been deliberately tailored for Shanghai, it could not more perfectly fit the city’s tastes and unique genius. From a certain tempting perspective, the World Expo is Shanghai amplified, distilled, and celebrated, in a festival of cosmopolitan exhibitionism. Since the late 19th century, Shanghai has absorbed its status as a world city into the core of its identity. Like other world cities (New York provides the most obvious comparison), Shanghai’s global significance has nourished a self-absorption that would be insufferable, were it not that the city harbors the entire world within itself, its limitless self-regard entirely ameliorated by an equally unlimited openness. For Shanghai, hosting the world is a mission so natural it almost seems an original destiny.

Better still, World Expo 2010 turns Shanghai’s self-regard into a solemn obligation. The 2010 Expo theme, Better City, Better Life, firmly places urban existence center stage for the first time in the history of the event. Never before have the international wonders on exhibition fused so seamlessly with the surrounding megalopolis, making the Expo host into the principal exhibit.

* * *

Stimulation

China’s economic rise over the three decades of Reform and Opening represents by far the most significant event in recent world history, and the staging of the 2008 Olympic Games in Beijing marked a threshold in the international, public acknowledgement of this fact. While the symbolic importance of the Olympics, as the world’s greatest sporting gala, is difficult to overestimate, Shanghai’s 2010 World Expo responds to the world’s China fascination even more directly and comprehensively. In the first place, the Expo’s economic, technological, and cultural agenda is obviously aligned with the major issues and discussion topics that naturally accompany a profound shift in the order of the world. In addition, the universally recognized status of Shanghai as a cosmopolitan gateway city, in combination with the long duration of the event and the peculiarly intense, sustained character of international participation, sets the stage for a deep and broad engagement, rather than a brief – if thrilling – encounter.

China’s rise is a primarily economic phenomenon. Divergent growth rates, which have steadily tilted the world’s center of economic gravity towards emerging economies in general, and developing East Asia in particular, have been accentuated by the international financial crisis. In 2010, emerging economies were forecast to grow four times as fast as rich countries (with China growing more than seven times as fast). China achieved growth of over 9% in 2009, when most rich economies were shrinking. In 2010, China’s GDP expansion is expected to reach 11%.

China’s strong and robust economic growth attracts rising inward investment, which is in turn accompanied by general interest, spreading from overseas economic elites to the wider public, and from relatively narrow economic considerations to a broader cultural, social and political fascination. Levels of foreign media, academic and tourist interest in China have never been higher, and Mandarin learning in schools throughout the world is rising at an exponential rate. World Expo 2010, hosted in mainland China’s most open and accessible city, smoothly accommodates this flood tide of attention.

For Shanghai, a city exceptionally exposed to world economic conditions and trade disruption, the timing of the Expo has been highly opportune. Momentarily relieved from the fears of overheating that have been a near-constant companion of the turbo-charged Shanghai economy, it found itself ideally positioned to absorb the massive jolt of stimulation provided by Expo preparation, from new and accelerated infrastructure projects, event operations, and tourism. Rather than slumping into despond as export- and expat-oriented businesses struggled, Shanghai resounded to the racket of jack-hammers as it became an enormous building site. Municipal investments in Expo-related road and tracked transport construction and maintenance alone were budgeted at US$14 billion, with a further US$4.2 billion devoted to construction and operation of the Expo site. Total Expo tourist revenues are likely to exceed US$20 billion. Due to the overcast economic climate of the times, an event that might have been stressfully over-exciting under normal conditions was transformed into something unambiguously therapeutic.

The world’s troubled economic times have also underscored the conceptual relevance of the Expo to Shanghai, by emphasizing the importance of industrial restructuring. As rising prosperity, environmental standards, and competition have undermined the viability of basic assembly-line industries in the city and its neighborhood, the local economy has progressively migrated into the specialized, high-margin, advanced services and manufacturing sectors that better suit its global interconnectedness, affluent and highly-educated workforce, soaring real estate values and environmental goals. The darkening clouds over the international trade arena lent new urgency to this transition, whilst further reinforcing the identification between Shanghai and the Expo, based upon a shared embrace of continual industrial revolution and its contemporary expression in the information-rich, technologically-sophisticated, and environmentally-sensitive economic activities that define the near future.

For a world enthralled by the Chinese development miracle, the geographical location, timing, theme, and topics of the 2010 Expo are further dramatized by the sheer scale of the event. Ever since the first European merchant sought to add an inch to the shirt-tails of a hundred million elusive ‘Chinese consumers’, the mesmerizing China-factor has been associated with raw enormity. Reckoned by civilizational longevity, geographical area, or (above all) population, China’s vastness has served as a multiplier in every calculation about the country, contributing the mass that combines with developmental velocity to produce momentum (and historical impact). Among the swelling semi-popular literature explaining the rise of China to Western readers, no work is complete without a stream of graphs, figures and statistics designed to communicate the scarcely-graspable – and perhaps simply incomprehensible – scale of the process.

To be overawed by exorbitant magnitudes is an experience Western romantic aesthetes of the mid-19th century described as ‘sublime’. During the era of its colossal hegemony, perceptions of American power were not lacking in this quality – a morally-neutral sense of overwhelming size, scope and energy that extends from megadeath and moonlandings to movies and McDonalds (continuing into trade and budget deficits). Yet no country on earth evokes the experience of sublimity as consistently as China, and nowhere else has it been so deliberately crafted as an artistic competence. World Expo 2010 manifests it with appropriate extravagance.

Staged in the world’s most sublime city, the 2010 World Expo exhausts superlatives. Set in the most populous city in the world’s most populous country, it is the most expensive Expo in history, covering the largest area, attracting the most participants, and drawing the largest number of visitors. The number of participating countries and organizations (over 250 in total), exceeds the previous record by over 50%. Anticipated visitor numbers, estimated very conservatively at 70 million, modestly exceed the previous record of 65 million (set in Osaka, 1970), but more realistic expectations are again roughly 50% higher – to quote Shanghai Mayor Han Zheng (January 22, 2010): “It seems that our 70 million visitors projection is rather conservative … The real figure may go far beyond that projection, as 20 million tickets have already been sold and the fair is still about three months away.” Foreign commentators have been less cautious, confidently predicting 100 million visitors (as US Foreign Secretary Hillary Clinton has done). In 2010, Expo records are not only being broken, they are being shattered.

In 2010 the Expo is undergoing a renaissance, and in being reborn it is recovering the exuberance of its classical age, when advance through excess was the mainstream of Expo tradition. If such perfect complicity between radical innovation and profound conservatism appears contradictory, it is only superficially so, since it characterizes every renaissance, whether that of 15th century Europe or late-20th century China. It is the natural state of an event dedicated to perpetual industrial revolution, and therefore of the Expo as a vitally evolving institution, as well as of Shanghai, a dynamic metropolis whose most precious heritage is modernity, and whose very nostalgia – dressed in Art Deco dreams – is already futuristic. In returning to tomorrow, Shanghai and the World Expo are jointly rediscovering their roots.

Luis Delgadillo Salsa Lessons

Salsa Classes in Dallas, TX and Irving for our Community in Texas

Duration : 0:2:13

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‘American Idol’: Don’t cry for Siobhan Magnus, ‘Idol’ fans

What does Siobhan Magnus say...
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Reflections on the Qinghai Earthquake

Nicole Barnes, a graduate student in the Department of History at UC Irvine, is currently conducting research in Chongqing. Here, she shares her thoughts on the Chinese media’s treatment of the Qinghai earthquake; see “I want to grow up to be a volunteer,” a guest post by Katrina Hamlin at Alec Ash’s blog, Six, for more reflections on the earthquake and youth involvement in relief efforts.

By Nicole Barnes

As the Qinghai earthquake turns into yesterday’s news overseas and begins to sink into the sea of usual economic stories here in China, I would like to reflect upon the position of 10-year-old volunteer Tsering Dan Zhou in earthquake media.

News coverage of the earthquake here in China is impressive in many ways. The programs convey the information that everyone desires, but are also clearly designed to incite sympathy and get people to dig into their wallets for donations to the Chinese Red Cross and other relief agencies. They also pointedly emphasize “social harmony” (shehui hexie ????, Hu Jintao’s favorite slogan that is a much-repeated mantra throughout the country) between the Tibetan Chinese majority of Yushu county (which, as Robert Barnett pointed out here, is a Tibetan region) and the local Han Chinese. They frequently feature 10-year-old Tsering Dan Zhou, who volunteered as translator for many of his fellow Tibetan-speaking patients who could not otherwise communicate with the Chinese-speaking doctors.

Tsering Dan Zhou and an aid worker

His heroism has been celebrated on many a news program, and he also mounted the stage in a special ceremony to give a tearful and very moving speech of gratitude to all the Chinese people who had come to Yushu to help the earthquake victims. Another Central Chinese Television news program featured a reporter entering one of the canvas tents supplied as temporary housing to four different families, asking the occupants their ethnicity (both Han and Tibetan) and whether or not they shared food and fun with their fellow tent-mates. Their positive responses prompted him to emphasize the “good relations” between the locals.

Doubtless such situations exist, and it is a good thing to point them out. However, this story of ethnic harmony is the only story that is being told. As Bruce Humes pointed out here, comments about anti-Han tensions have been taken out of news commentary.

Such television coverage proffers an unmistakable message of Han charity and good spirit, which is duly appreciated by the “good child” Tibetan who is moved to tears of gratitude. The imagery of the child is significant. As one of my neighbors here in Chongqing said to me, the government looks upon the minorities as children who need both to be well cared for, and also to learn to appreciate the parents’ hard work and sacrifices made on their behalf. In this context, Tsering Dan Zhou is both a heroic young volunteer who deserves to be recognized, and a fortuitous (for the Party) poster child of the Yushu earthquake who is being manipulated by the media. You can see a Chinese-language news feature of him on Sohu’s website.

Yet there is another truth to this situation. Despite some criticism of China’s relief response, thousands of volunteers have gone from sea level to over 11,000 feet to dig people out of the rubble. Many of them had to seek medical assistance when altitude sickness got the best of them, and went back to work after only a short rest. Certainly when compared with the Bush Administration’s tepid response to my own country’s largest natural disaster of recent times, Hurricane Katrina, China’s relief response was extremely rapid, given the remote location of the earthquake zone from most of the country’s population centers. Canvas tents, emergency food supplies, medical supplies, trained rescue workers, and health professionals have been sent from practically every province. Volunteers have gathered donations from citizens on the streets and in shopping plazas all around the country. It takes a massive amount of resource to muster such a relief program, which is much more readily available in a huge nation of 1.3 billion people than it would be if, say, Qinghai province were its own nation. So despite media manipulations, there is still room for gratitude toward the Chinese people, and even for reflection on the advantages of membership in a nation with such a long history of emergency relief and charity (which you can also read about on China Beat,in posts collected at point #8 on this page). As in all situations, there is no single truth about the Yushu earthquake.

Previous pieces by Nicole Barnes for China Beat include a review of Jiang Rong’s Wolf Totem and an interview with Antonia Finnane.

Are there any places for salsa lessons in Temecula, Murrieta, Hemet area for adults?

I would love to learn to salsa; however I have no idea where to look. I need somewhere that a partner is not requires since my husband does not wish to go. I’m not sure if they have age groups, but I’m 29 if they do. Any help would be appreciated
Sorry- I am in California forgot to mention that previously.

idk, sorry, if i knew i would tell u!!! =)

‘Nightline’ interviews Marco Rubio on Thursday

Gov. Charlie Crist will announce his plan to leave the Republican Party tomorrow and run as an Independent in the U.S. Senate race, according to reports.

The reason he’s leaving, poll-leading Republican opponent Marco Rubio, will receive a national showcase on Thursday’s “Nightline.”

“Nightline” co-anchor Terry Moran will interview Rubio in Coral Gables tomorrow. ABC News said that Moran also will ask the Cuban-American candidate “about Arizona’s proposed immigration law, the economic stimulus, the Tea Party movement, and what his candidacy says about the current Republican Party.”

“Nightline” airs at 11:35 weeknights on WFTV-Channel 9.

Making a Difference

By Paul R. Katz

Each of us can make a difference. It may not be easy, but it can be done; all you need is love, patience, and dedication.

One person who has made a difference is Hsiao Hsien-Ming ???, who works for the Council for Cultural Affairs of the Executive Yuan (??????????). Like so many of us, he watched in horror as the news came in about the village of Siaolin ?? being wiped off the face of the earth. Moreover, as a father of three small children (Chemg is 12, Zoe is 9, and Zhi is 6), he felt the deepest sorrow for the numerous young lives that had been lost. Much has been done to help Siaolin stand up, and previous posts on this blog have described how the government and various NGO’s have contributed to various reconstruction projects (see earlier reports here, here, here, and here). Compassionate and caring individuals have done their share as well; Hsiao is one example.

It began shortly before Children’s Day (???; celebrated on April 4 in Taiwan), when Hsiao’s thoughts turned to an image of the Siaolin Elementary School principlal standing in prayer on behalf of those school children who had perished. Profoundly moved, Hsiao decided to visit Siaolin and help its youngest survivors give voice to their thoughts in words, images, and especially music.

Hsiao arrived in Siaolin on the morning of April 4. accompanied by a colleague from the Council for Cultural Affairs, two students from Tainan National University of the Arts, village leaders, school teachers, parents, and representatives of the Association for the Reconstruction of Siaolin’s Plains Aborigine Culture (??????????????), including Professor Chien Wen-min ??? and Hung Shu-fen ???. They all headed to the neighboring village of Wulipu ???, where many of Siaolin’s surviving families now reside. There they met some of Siaolin’s school children and their parents, and explained to them how they hoped to make this a special day for the kids who were there, as well as those who no longer had a chance to take part.

Once everything was all set, Hsiao took out his clarinet and started to play for the kids, with some singing along and others accompanying on their own musical instruments. Together, they played a number of Taiwanese and Western classics, including “Twinkle, Twinkle, Little Star” (???), “Jasmine” (???), “Spring Breeze” (???), and “The Moon Represents My Heart” (???????). The children also spent time making paper hearts and drawing pretty pictures on them as gifts for their deceased classmates. Sounds of joy filled the room.

Yet there was also sorrow, as could be seen in some of the messages the children wrote to their departed friends:

“How could you leave us without saying goodbye?”

“I hope you can go to school in Heaven, and that you are doing well up there.”

“I miss you, I miss you so much. Do you miss me? I hope you are happy in Heaven, and that we will see each other again. Do you remember your nickname?”

“Here’s hoping they build us a new school soon. Wishing you joy up in Heaven.”

When the children had finished making their gifts, Hsiao and the other adults loaded the paper hearts as well as flowers they had prepared into a truck, and drove to the disaster site. There they laid the flowers on the ground in the shape of a giant heart, and placed the little hearts inside.

Hsiao then played the clarinet again, performing the same songs on behalf of the children who had perished, all the while thinking that if his own children had been the victims he would have wished for someone to do something similar on their behalf. For it is parents’ love for their children that can help them bear such an immeasurable loss, and continue down the path of life.

When the last notes had faded away, Hsiao and his companions prepared to leave, placing small stones on the paper hearts so that they would not easily blow away. As they drove off, Hsiao spotted a young couple and their small child walking past the monument to love on their way to some unknown destination. They stopped, gazed at the flowers and hearts, and then moved on, perhaps now with a more pleasant memory of a site that holds so much sorrow. May they never walk alone.

Yes, one person can make a difference. And now we know what it takes . . .

Note: All photographs taken by Hung Shu-fen ???.

‘Dancing With the Stars’: Who was sent packing?

“Dancing With the Stars” sent another celebrity out of the contest tonight.

It wasn’t as big news as Kate Gosselin’s departure last week.

SPOILER ALERT:

The three celebrities waiting to learn their fate were figure skater Evan Lysacek, host-actress Niecy Nash and “Bachelor” hunk Jake Pavelka.

Evan learned he was safe. Judge Len Goodman said he would miss Niecy’s bubbly personality and Jake’s enthusiasm, and warned the surviving dancer to refine his or her technique.

Who was out? Pavelka, who placed in the bottom of the swing-dance marathon Monday night and wound up at the bottom of the judges’ scoring board.

“This is, I think, the best season of ‘Dancing With the Stars’ I’d ever seen. I was so honored to be here,” Pavelka said. “I enjoyed every second of this.”

His fiancee, Vienna Girardi of Sanford, looked awfully disappointed. He chose her on “The Bachelor.”

“I saw you say to Vienna, ‘It’s OK,’ ” host Tom Bergeron told Pavelka.  ”But it still hurts, obviously.”

He broke up as he thanked dance partner Chelsie Hightower. “Thank you for being so great to my beautiful fiancee Vienna,” he added. “Thank you, everybody, for watching and keeping me in.”

Still in the contest are Nash, Lysacek, Pamela Anderson, Nicole Scherzinger, Erin Andrews and Chad Ochocinco. “Dancing” is Disney-owned ABC’s most popular series, the performance show was the most-watched program last week.

‘Dancing With the Stars’: Could swing dance help Pamela Anderson and hurt Jake Pavelka?

Pamela Anderson went brunette on tonight’s “Dancing With the Stars.” The new look was a big surprise on a night when the judges handed out a lot of 7 scores. (Anderson is shown at the recent TV Land Awards in this Getty Images photo by Alberto Rodriguez.)

Here’s how the night unfolded on ABC’s most popular series:

“Bachelor” hunk Jake Pavelka said his goal was to get closer to the front-runners with this week’s samba. He moved a lot and grimaced a lot, too, which was mighty distracting. Judge Len Goodman saw more confidence and polish. But judge Bruno Tonioli said Jake didn’t wiggle correctly. Carrie Ann Inaba praised his potential but said he needed to connect to the music. Points: 21 points, 7 apiece.

In practice, Olympic figure-skating champ Evan Lysacek had trouble moving his hips for the samba and suffered a mild concussion. He had no trouble moving his hips on the dance floor, and he had striking chemistry with partner Anna Trebunskaya.

Yet the judges were not impressed. Tonioli called his technique beautiful but wrong for this dance. Inaba agreed. Goodman said it was too balletic, and dubbed it Evan’s worst dance so far. Host Tom Bergeron, speaking for the audience, said he enjoyed the dance. Points: 21 points, meaning his worst is still as good as Jake’s best.

Niecy Nash barreled her way into a humorous Argentine tango with daffy gusto. The dance was funny and contained good footwork. Inaba liked that Nash was actually dancing and said she was in the zone. Goodman liked the mix of comedy and dance. Tonioli praised Nash’s footwork. Points: 21, or 7 apiece.

At this point, Bergeron joked that the night was brought to viewers by the paddle 7, because the judges had used that one so often.

Erin Andrews kept pulling off partner Maksim Chmerkovskiy’s clothing in a very sensual samba. Goodman didn’t like the technique, but Tonioli praised her ability. “You nailed it,” Inaba said. Points: 25 points, with 9 apiece from Inaba and Tonioli.

Chad Ochocinco said he liked the Argentine tango, and he gave a committed performance full of sharp technique. Strong and powerful, Tonioli said. Inaba said the football star nailed it. Points: 24, or 8 apiece.

Nicole Scherzinger complained that the samba was a difficult dance and overanalyzed her moves. But the taped segment was misleading: She had no difficulty on the dance floor. She shook it better than anyone this season. She and dancer partner Derek Hough were outstanding.  

Inaba could find nothing to fault except Nicole’s distracting expressions. Goodman dismissed the choreography. “You are one singular sensation,” Tonioli raved. Points:  26 points, with Tonioli handing out a 10, Inaba a 9 and Goodman a 7.

Pam Anderson was last, and she was determined to wow everyone with her Argentine tango. She looked as if she had walked out of an Italian movie. And she looked wonderful on the lifts, but the dance was herky-jerky, not smooth. Goodman liked the lifts and sensuality. ”You just play it so well,” Tonioli raved. Sexy, but lacking in technique in the legs, Inaba said. Points: 22 points, with 8 from Tonioli.

The show concluded with a swing-dance marathon in which lifts were allowed. The goal was to be the last dancer standing. Nicole won, with Erin second and  Pamela third.

Jake was the first dancer out in this round, which may mean he’s the most vulnerable because he was at the bottom of the judges’ board. The results will be announced in a show that starts at 8 p.m. Tuesday on WFTV-Channel 9.