Clark vs Maravich

Look folks, I’m sure Caitlyn Clark is a magnificent player, so let’s not spoil it all with bullshit about her achievements.  For about a week, I have been hearing and seeing reporters– most disquietingly from Christine Brennan on PBS News (who has become rather slavish of all things women sports lately, especially the USWFT)– raving about Clark’s “unbelievable”, “astounding”, “unprecedented” career achievements, as if she is the equal or better to the best male players.

Pete Maravich averaged 44.2 points a game per season.  He scored 3,667 points in 83 games.  There were no 3-pointers in his era, so all of his points were earned through field-goals and at the free-throw line.

Clark averages 32.1 points per game.  Her “record” total was achieved in 130 career games.

Are we clear now?  No, Caitlyn Clark is not the greatest basketball player ever.  Peter Maravich, arguably, still is.  I say “arguably” because there may be other male players who come close.

The idea that Caitlyn Clark is now the all time best college basketball player of any gender is sheer nonsense.

Socialism for the Rich

In the contest for dumbest government programs, state funding of Hollywood productions must rank near the top, along with sports stadiums.

‘After a state economist determined that “the film incentives represent lost revenue” and that their economic benefits were “negligible,” Michigan, which cut funding for the police and schools while facing a severe budget deficit, eventually decided to end its incentives.’

Now Michigan wants to restart the program. Because Georgia and Indiana do it and we must compete in this race to the bottom! Both parties do it while selling the myth that these productions generate local jobs and increased tax revenue. Clint Eastwood, hard core self-reliant pull-your-bootstraps up Republican, is more than happy to take advantage of this welfare program for actors and directors.

‘A recent report prepared for state auditors in Georgia estimated that the tax revenue returned on each dollar spent on incentives was 19 cents. A similar report from New York determined the return was between 15 cents and 31 cents.’

Socialism for the rich.

It is very disappointing, to say the least, that taxpayers who are outraged by this or that or everything completely miss the biggest spending scandals happening right in front of them.

On Dylan’s First Album

One of the most astute comments I ever did see on early Dylan:

“These debut songs are essayed with differing degrees of conviction,” writes music critic Tim Riley in 1999, “[but] even when his reach exceeds his grasp, he never sounds like he knows he’s in over his head, or gushily patronizing … Like Elvis Presley, what Dylan can sing, he quickly masters; what he can’t, he twists to his own devices. And as with the Presley Sun sessions, the voice that leaps from Dylan’s first album is its most striking feature, a determined, iconoclastic baying that chews up influences, and spits out the odd mixed signal without half trying.”

From “Inside the World of Rock” posted to Facebook, 2024-03-20.

My second quote of the day, from the NYTimes, on South Dakota Governor Kristi Noemi, who appears to be grooming herself for a shot at Trump’s VP:

This approach to political image-making has its roots in the pantomimed femininity of Phyllis Schlafly and Sarah Palin, where the promise of a powerful woman was defanged by her participation in the pageantry of traditional gender cosplay.

NY Times



My response to a Facebook post praising actor Tim Robbins, especially for his super, mega, amazing role in “The Shawshank Redemption”, a highly over-rated film that substitutes the outward trappings of “significance” for real depth.  (Watch “Cool Hand Luke” for a film that really is what “Shawshank” thinks it is.)

Here it is:

It’s called “method acting” and I cringe every time I encounter it in a film. Makes me love British actors and others who speak in normal tone. The delusion is that by mumbling you latch into some kind of elusive authenticity or, better yet, convince everyone that you’re like Brando. (Brando could get away with method because he really was a very good actor at times.)

Devotees of method will even mumble, absurdly, when speaking into large crowds or from distance. It’s like you believe that if you use the same plates and silverware as a gourmet restaurant your food will be just as good.

My comments on Reddit about the magnificent opulence of John Williams movie soundtracks:

I know I’m a minority (sigh) but I don’t think there is a single piece of music by Williams that moves me. Most of it reminds me of brass bands in parades. Most of it is pretty similar– individual pieces never stand out to me. In movies, Williams provides big crescendos to tell you to be impressed by the director, and the quantity of movement in the scene (armies, machines). Does he have a single melody you could say is “haunting”? Music in movies that did move me: Yann Tierson (“Amelie”); Ennio Morricone “The Good, the Bad and the Ugly”. Maurice Jarre (“Doctor Zhivago”), Nino Rota (“The Godfather”). The theme from “To Kill a Mockingbird” by Elmer Bernstein is quite beautiful and lifts the movie. The music from “The Third Man” is not my favorite but it is at least very distinctive.