Stephen King: tax me, for fuck's sake!  May 02 2012

Stephen King is rich, wants to pay more federal taxes, and is pretty pissed off about it.

Mitt Romney has said, in effect, "I'm rich and I don't apologize for it." Nobody wants you to, Mitt. What some of us want -- those who aren't blinded by a lot of bullshit persiflage thrown up to mask the idea that rich folks want to keep their damn money -- is for you to acknowledge that you couldn't have made it in America without America. That you were fortunate enough to be born in a country where upward mobility is possible (a subject upon which Barack Obama can speak with the authority of experience), but where the channels making such upward mobility possible are being increasingly clogged. That it's not fair to ask the middle class to assume a disproportionate amount of the tax burden. Not fair? It's un-fucking-American is what it is. I don't want you to apologize for being rich; I want you to acknowledge that in America, we all should have to pay our fair share. That our civics classes never taught us that being American means that -- sorry, kiddies-you're on your own. That those who have received much must be obligated to pay -- not to give, not to "cut a check and shut up," in Governor Christie's words, but to pay -- in the same proportion. That's called stepping up and not whining about it. That's called patriotism, a word the Tea Partiers love to throw around as long as it doesn't cost their beloved rich folks any money.

The Umbrella Man  Nov 22 2011

On the 48th anniversary of the assassination of JFK, Errol Morris talks to Tink Thompson about "The Umbrella Man", a gentleman who was pictured in the Zapruder film standing with an open umbrella near where Kennedy was shot on a sunny day. The result is a nifty six-minute film.

For years, I've wanted to make a movie about the John F. Kennedy assassination. Not because I thought I could prove that it was a conspiracy, or that I could prove it was a lone gunman, but because I believe that by looking at the assassination, we can learn a lot about the nature of investigation and evidence. Why, after 48 years, are people still quarreling and quibbling about this case? What is it about this case that has led not to a solution, but to the endless proliferation of possible solutions?

The Updike piece from the New Yorker is available here (subscribers only, but the abstract is informative):

For example, "the umbrella man": though the day was clear and blowy, he can be detected, in photographs, standing on the curb just about where the assassination would in a few seconds occur, holding a black umbrella above him; seconds later he is again photographed, walking away, gazing tranquilly at the scramble of horrified spectators. His umbrella is now furled. Who was he? Where is he now?

The film pairs nicely with Morris' recent interview of Stephen King about the latter's new novel based on the Kennedy assassination.