Thursday, June 25, 2009

Ed, This Bud's for You!

Ed McMahon: March 6, 1923 – June 23, 2009

Yes! You are correct sir.

Ed McMahon, best known as Johnny Carson's chuckling sidekick sycophant, Budweiser beer pitchman, Publisher's Clearing House sweepstakes spokesman, and latter-day host of Star Search and Bloopers & Practical Jokes, died this week at age 86. With his passing, I'm gonna pay my respects by opening a can of Bud and toasting Big Ed.

"Budweiser's the best reason to drink beer!"

If you feel like reflecting on Ed's contributions to the pop cultural landcape, try these essential artifacts of the McMahon Canon:

The Incident (1967)

Ed is pretty good as a overbearing salaryman who bullies his wife but is helpless when his little girl is threatened in this stark melodrama about two thrill-seeking thugs (Martin Sheen and Tony Musante in their big screen debuts) who terrorize late-night passengers on a New York City train.

Here's Tony Musante trying to play house with Ed's daughter before soldier boy Beau Bridges intervenes:

Daughter of Horror (1957)

Ed provided the heavy-handed Ghost Host-y voiceover in this recut version of Dementia, a Beatnik Noir oddity originally released as a silent film in 1955.

Here's the original trailer:

If the midget newsboy looks familiar, it's because it's Angelo Rossitto, star of Todd Browning's Freaks (1932), in which he leads the "We accept you, one of us, gooba gabba" chant that later became associated with the Gabba-Gabba Hey punk rockers, The Ramones.

And, of course Ed's classic vocal stylings album - with liner notes by Johnny Carson!

Me, I'm Ed McMahon (Cameo-Parkway Records, 1960s)

I always liked that Ed, whose wife Pam was 33 years his junior, sang "Oh Thank Heaven for Little Girls" on this LP. Hey-yo, you dawg!

What Do You Want To Be When You Grow Up?
(RCA Camden Records, 1967)

Of course, the other great McMahon vinyl outing was his kiddie career guidance recording What Do You Want To Be When You Grow Up? Curiously, Sycophantic TV Sidekick is not listed as a career possibility, though "Aquanaut" (what the hell is that?) is. Once again the liner notes were provided by Johnny Carson, who wrote "I should have guessed that Ed McMahon had a special feeling for childhood. It was the only time in his life all he had to do to lose weight was take a bath." Hey-yo redux!

Ed also kept up with the times, trying his hand at rapping in this pitch for

What's Always True on TV

We hold these truths to be self-evident

I originally saw Mike Steiner's list of trusty television trueisms in HITCH Magazine and immediately cut it out and placed it atop my idiot box, right next to my St. Clare "Patron Saint of Television" statue. Since I can't find it anywhere else on the Internet, I decided to post it here. As I reread it today, I realized that the more things change, the more they stay the same - on TV!

I particularly like:
  • Rule #6 - "Teenagers who have sex are destined to die in grotesque ways," which is a basic tenet of all American horror films,

  • Rule #21 - "Street vendors' carts are magnetically attracted to high-speed car chases," which happens in every urban cop show in history, and

  • Rule #28 - "Somewhere in everybody's house or yard is a hidden gateway to hell or some other extra-dimensional space or parallel universe." I'm still looking for that space, because I think that's where the mice are getting in!



Rick Prelinger's Blog

Rick Prelinger

Rick Prelinger is the man - the moving image archivist's archivist. Once again Scott Huffines has turned me onto an outstanding blog, Prelinger's Blackoystercatcher. Prelinger is also on Twitter (

Here's Prelinger's great post about the predominance of the "narrative arc" in contemporary documentary filmmaking: Taking history back from the "storytellers"

Sunday, June 21, 2009

Strokes of Genius

Federer, Nadal, and the Greatest Match of All Time

As the tennis world awaits the 2009 edition of "The Championships at Wimbledon," the Tennis Channel has been replaying - in its 4-hour and 48-minute entirety - last year's five-set final between Raphael Nadal and Roger Federer that has been called "The Greatest Match of All Time." (The Silver Medal in this category may well go to last year's five-set Australian Open semifinal between Nadal and his buddy Fernando Verdasco.) Though I know the stroke-by-stroke result by heart, I found myself compelled to watch this match over and over again - it never got boring to me. I was so inspired by this match that ended Federer's streak of 40 consecutive wins at Wimbledon and 65 consecutive wins on grass courts, I even purchased L. Jon Wertheim's book about it, Strokes of Genius: Federer, Nadal, and the Greatest Match Ever Played (2009), which I just finished reading last night (after once again watching parts of the 2008 final on the Tennis Channel!). It's not the greatest tennis book ever written - for my money that plaudit goes to John Feinstein's (shamefully/inexplicably out-of-print) Hard Courts (1991) and David Foster Wallace's brilliant tennis essays (especially "Federer As Religious Experience") - but it's pretty damned good and a fairly brisk read at 211 pages.

Reading about and rewatching Nadal's 6-4, 6-4, 6-7, 6-7, 9-7 triumph in the 2008 Gentlemen's Final at the All England Club also reminded me, and no doubt tennis fans everywhere, of what an anti-climax this year's Wimbledon almost surely will be. Rafael Nadal's withdrawal from the championships due to tendinitis in his well-worn knees means he won't be able to defend his grass court crown - only the second time that's happened in the last 35 years at Wimbeldon. Perhaps he's resting up to see if, in a year in which Federer finally won the French Open - the one major that's eluded him (or rather, been denied him by Nadal) - he can win the U.S. Open and equal his rival in achieving, like Agassi, the "Career Grand Slam" of all four majors: Australian Open, French Open, Wimbledon and U.S. Open.

Federer called Nadal's exit from this year's Wimbledon "very disappointing for the tournament, and also for myself. It's unfortunate. I'm sad for him, because it must have been a very difficult decision to make. I'd love to play him. He's my main rival. We've had some wonderful matches over the years, and especially the one here last year was the one that obviously stands out."

Federer said he knew something was up when, after Nadal congratulated him for winning the French Open, Federer asked him how he knees were. "He was, like, 'It's OK.' So I kind of knew it wasn't great, because he's very honest to me. So I knew something could be coming up."

Nadal: A Spain the Neck for Federer

Nadal is Roger's pounding headache that won't go away

Nadal and Federer represent the greateast rivalry in sports. Only Ivan Lendl and John McEnroe have met in more finals (20), with the pair having so far played 16 finals, with Nadal winning 11 titles and leading their overall matchup 13-7. So for Rafa to withdrawal he surely must be hurting. Likewise, I think Roger needs to battle his nemesis for these majors to have real meaning to him in his heart of hearts. These guys bring out the best in each other, like McEnroe vs. Borg or Ali vs. Frazier. Sure, Roger finally won the French Open, but he didn't beat Nadal to do it - he got help from the upstart Swede Robin Soderling. Thus, he didn't really avenge his 2008 straight-set thrashing at the hands of the mighty Majorcan - Federer's worst loss since he became No. 1 six years ago. And, for those keeping track, Roger's still "0-for" in his three most recent finals against Nadal (losing the 2008 finals at Roland Garros and Wimbledon and the 2009 Australian Open final in Melbourne - the one that drove him to tears). You see, Nadal is in Federer's head, whether Roger admits it or not. And, like Macbeth seeing Banquo's ghost, it must surely torment him. How else to explain blowing a 4-1 lead and losing 5 straight games in the second set of last year's Wimbledon finals?

Federer-Nadal: Making eye contact

Wertheim, to his credit, gets this aspect of the two champions' rivalry exactly right in Strokes of Genius, observing:
Vic Braden, the prominent tennis coach and psychologist, had recently attended a seminar given by Dr. Gerard Medioni, a University of Southern California computer science professor. Medioni spoke about the intelligence experts who use facial expressions to finger terrorists. Braden decided to apply similar techniques to tennis. After watching DVDs of Federer’s matches frame by frame, Braden noticed something unusual. Against all other opponents, Federer played with his eyes wide open, focused straight ahead, and his mouth turned upward. But when he faced Nadal—and only Nadal—he tended to frown and look downward. And it wasn’t just when he was losing. Braden saw that Federer assumed this facial expression even in warm-ups, before the match had started. Never mind the well-lubricated sports cliché that Nadal was “in Federer’s head.” He was in his face, too.
Heavy Mettle

But I have to take issue with one assertion in Strokes of Genius that I think Wertheim got dead wrong: that Roger someone lacks the warrior's love of battle. "The back alley is not Federer's choice milieu," Wertheim opines. "He'd rather soar than rumble." It's a softball variation on the same assertion that Mats Willander made years ago when he said something to the effect that Federer lacked Nadal's "balls." In Wertheim's words:
This is in no way a knock on Federer, but most athletes of his stature - Woods, Jordan, Tom Brady, Roger Clemens, Sampras, the Williams sisters - manage to supplement their physical gifts with the highest levels of competitive resolve. They are "killers" and "assassins" and "snipers" when they play...He wins not because of any "samurai mindset" or "killer mentality." He wins because of his genius.


Everyone assumes Roger wins by virtue of his genius, artistry or genetically-gifted skill. Hey, you don't win 14 majors on every surface, 10 consecutive Grand Slam finals (2005 Wimbledon - 2007 U.S. Open), reach 20 consecutive semifinals, 19 total Grand Slam finals, and be World No. 1 for 5 years without having the grit to match your talent. Of course, Werthiam didn't have the benefit of traveling to the future to see Federer come from two sets down against veteran Tommy Haas to reach the semi-finals of the 2009 French Open. I think Wertheim was a little too heavily influenced in his "fight-or-flight" analysis of the Federer mindset in the aftermath of last year's French Open final, when Nadal's complete dominance of Federer over three sets was assumed to be an indication of Roger throwing in the towel.

Federer: True Grit

I think he got it wrong, assuming somehow that just because few players outside of Nadal could press him (up until his "off" year of seeming "mere mortality" in 2008), he was somehow not up for a scrap. It's not his fault that most of his matches during the halcycon days of his 2003-2008 reign as World No. 1 looked so effortless. Listen, Rafa and Roger are the preeminent warriors of the game. As the Roddicks, Monfils, Gasquets, Djokovics, and Davydenkos retire from matches or drop out of tournaments, Roger Federer has never retired from a match in his career - ever - and Rafa has never retired from a Grand Slam match (though he did retire in the quarterfinal of the Paris Masters Series in 2008 against Davydenko, from the Cincinnati Masters Series 2nd round against Juan Monaco, and the quarterfinal of the Stella Artois Queens Club tournament against Leyton Hewitt in 2006). Basically, two men enter, two men leave. You have to drag them off the court and onto a stretcher for them to quit. That's balls for you, 'nuff said. Federer showed he had grit when he came back from two sets down at Wimbledon 2008 to force a dramatic fifth set and this year when he beat the unbelievable pressure of expectations at Roland Garros when everyone basically said, with Nadal out of the way, the title is yours. Easier said than done! Federer (like Nadal with his battered knees) has more than paid the cost to be the boss, and just because he doesn't have the obvious battle scars of long-term injuries or outbursts of emotion/temper should not be misconstrued to be a sign of reticence to fight for tennis glories. It's not a matter of mind over mettle - it's just another sign of his quality and pedigree.

Wednesday, June 17, 2009

Album Covers Referencing Big Star's "Radio City"

Is it just me, or are Tommy Keene and Vampire Weekend paying homage to Big Star's second album Radio City? Or are Vampire Weekend referencing Tommy Keene's 1998 album Isolation Party? Or are Vampire Weekend referencing Tommy Keene referencing Big Star? Or is it mere serendipity, like a godless universe in which everything that happens is random and meaningless? Or do these bands just like ceiling shots of lights? The mind boggles. Mine at least.

Radio City, 1974

Isolation Party, 1998

Vampire Weekend, 2008

By the way, the Radio City album cover was taken from a photo by William Eggleston, who's had his work shown at the Whitney Museum ("Democratic Camera and Photograph and Video 1961-2008") and is widely credited with securing recognition for color photography as a legitimate artistic medium to display in art galleries. So remember Big Star fans, that record you hold in your hands is not just a great album, it's a legitimate piece of gallery art as well. And controversial art to boot (for the sexually-explicit poster silhouettes appearing in the lower right-hand corner of the image.) Oh, Eggleston photos also provided album covers for Alex Chilton's Like Flies on Sherbet, Primal Scream's Give Out But Don't Give Up, and albums by Jimmy Eat World, Silver Jews, Chuck Prophet, and Joanna Newsom.

And, for the record: Trevor O'Shana shot the Isolation Party cover while Annie Reeds shot the chandelier cover for Vampire Weekend's self-titled debut album (allegedly taken somewhere on the Columbia University campus).

Saturday, June 13, 2009

C'mon Get Herpes!

C'mon Get Happy: Fear and Loathing on the Partridge Family Bus

A recent conversation with a friend about David Cassidy made me rummage through my clutter to dig out my copy of his sex- and dirt-filled 1994 autobiography C'mon Get Happy: Fear and Loathing on the Partridge Family Bus which, unbelievably, is out of print. I had to fact-check to make sure Keith Partridge did in fact commit TV incest by sleeping with his Partridge Family sis Laurie (Susan Dey) - he did, though it was after the show's run ended. I also came across my lone review for Baltimore's long-lamented Shockwave magazine, whose star writer was the legendary local rock and roll legend Todd Stachowski. I miss Shockwave, especially its "Letters from Assholes" column! Anyway, below is all the dirt you need to know about the former teen idol. Click on the scans below to enlarge.

"C'mon Get Herpes," Shockwave, page 1

"C'mon Get Herpes," Shockwave, page 2

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Thursday, June 04, 2009

Experimental Film Gets Punk'd

The color of infinity inside an empty glass
I'm squinting my eye and turning off
and on and on and off the light

It's for this experimental film
Which nobody knows about and which
I'm still figuring out what's going to go
In my experimental film

- "Experimental Film" by They Might Be Giants

Some - what am I saying...most - experimental films take themselves way too seriously. Which is why I love filmmakers who occasionally take the stuffing out of experimental film's pretensions. Coleman Miller's Uso Justo is one such film.

Uso Justo
I was lucky to see this short in 2005 at Skizz Cyzyk's MicroCineFest film festival, where it won Best EXperimental Film and Audience awards. It also won the "Ken Burns Best of the Fest" Award at the 2005 Ann Arbor Film Festival. Uso Justo is a hilarious restructuring of an obscure 1959 Mexican film, created in the same recontextual spirit as Woody Allen's What's Up, Tiger Lily? and the restructured narratives of experimental filmmaker Craig Baldwin (Tribulation 99, Spectres of the Spectrum, Mock-up On Mu).

You used to be able to see the whole film at the digital mag Wholphin's website, but no longer. This is an Internet Archives/Open Source Movie clip from Coleman Miller's film "Uso Justo":

Even as You and I

Even as You and I: Hy Hirsch as the Idiot Savant

Of course, an earlier spoof of the experimental excesses of avant-garde cinema was Roger Barlow, Harry Hay and Leroy Robbin's hilarious 1937 short Even - As You and I, which you can find on the Kino Video DVD collection Avant-Garde - Experimental Cinema of the 1920s and 1930s.

You can also see this film on YouTube, as shown below:

Even as You And I - Part 1

Even as You and I - Part 2

(Roger Barlow, Harry Hay & LeRoy Robbins, USA , 1937, b&w, 12 minutes)

This brilliant spoof of surrealist films highlights the fine line between making “amateur” home movies and serious “high art.”

In it, three men come across an ad for an amateur filmmaking contest and, after failing to come up with a standard Hollywood scenario (their script gets as far as “boy meets girl”!), they see an article on Surrealism in Time Magazine and take to the “hot” genre like melting watches to a Salvador Dali landscape painting. In fact, the film’s narrative was based on a real-life amateur film contest sponsored by Liberty magazine and MGM’s Pete SmithSpecialty Films” unit that the film’s three directors entered (two of the directors, Roger Barlow and Harry Hay, portray themselves in the film). As Nicolas Rombes comments on his Professor DVD blog:

Many of the images in the film are shocking and surprising in a surrealist way, and yet because we know this is a comedy--and because the film is linked to "amateur" practices--they are easy to dismiss. I think the fact that this short movie uses the amateur context to make a mock avant-garde film is sort of telling: even though amateur film and avant-garde seem at opposite ends of the spectrum (one highly self-conscious, difficult, and artistic, one almost purely mimetic and supposedly artless) they are in fact closely linked.

The Enoch Pratt Free Library owns another great spoof of experimental films its 16mm film collection, Carson Davidson's award-winning Help! My Snowman's Burning Down (1964, 9 minutes, 16mm).

Help! My Snowman’s Burning Down
In this Oscar-nominated satire on avant-garde surrealistic films (1965, Best Short Subject, Live Action Subjects), a beatnik in a homburg hat sits in a bathtub on a New York pier, typing on toilet paper and later fishing by casting his ring-baited line down the bath drain. When a female hand emerges from the drain, he paints one fingernail and it disappears. When he opens a medicine cabinet, he finds another guy shaving on the other side. Eventually his bathtub sets sail in the harbour, only to encounter a toy sub in the film’s climax. Check this item in Pratt's catalog. Don't have a 16mm projector? Not to worry, somebody uploaded this film to YouTube:

Help! My Snowman's Burning Down

A YouTube commentator claims that HBO used to air Davidson's short between movies "back in the old days when they played short films between top-of-the-hour showtimes." That sounds pretty cool; wish I had HBO!

I dunno much about Carson Davidson. Some sources say he was a cinematographer on a cult film called The Flesh Eaters (1964) that was directed by Jack Curtis. Other sources say "Carson Davidson" was a pseudonym of Jack Curtis (!)(?). Whatever, his films are pretty interesting and worth checking out.

The Pratt Library also owns another Oscar-nominated short (1956, Best Short Subject) by Carson Davidson, 3rd Ave. El (1955). And yes, it's also on YouTube.

Related Links:
Coleman's Blog: the seemless universe

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Tuesday, June 02, 2009

Andy Roddick is a Dick

And other 2009 French Open observations...

Don't worry Andy: Lacoste still loves you

I just finished watching Frenchman Gael Monfils defeat the last "American in Paris," world no. 6 Andy Roddick in straight sets at Roland Garros 6-4, 6-2, 6-3. And I realized that not only is Roddick a loser, and a sore loser at that, but a major dick.

Shock to the System
But first, the shock of the century in terms of tennis: Rafael Nadal lost at the French Open - and not to Roger Federer! No, the King of Clay lost on his favorite surface to a relative unknown in World No. 25, Swede Robin Soderling (how fitting that a fellow Swede protected Bjorn Borg's record of four consecutive Roland Garros crowns from being surpassed by the young Spaniard!). How did he do it? Soderling had a game plan and he executed it perfectly. First, he served big (an essential against Nadal); second, he flattened his forehand and took the ball early so that his volleys and Nadal's serves came back at Nadal fast and harder than Chinese arithmetic - some of those Soderling forehands sounded like skull-crunching Mike Tyson punches to the head (and this was on clay, not hard courts!). This helped keep Rafa pinned behind the baseline and tactically kept him on the defensive. I mean, what's the last time you saw Nadal, who tracks down everything (with authority), flail helplessly at his opponent's shots? Add to that Soderling's natural physical gifts of being tall - which enables him, whenever he doesn't take Nadal's shots early, to adjust and handle Nadal's high-bouncing topspin shots on the baseline - and having a two-handed backhand, which is almost a requirement against Nadal's heavy groundstrokes. Much as I love the one-handed backhand (especially Federer's), it often lacks the ooomph needed to put Nadal on the defensive.

The loss really had to needle Nadal, because he really dislikes Soderling. The world may not know much about Soderling, but Nadal sure does. Remember the ill feelings between the two in the third round of the 2007 Wimbledon tournament? Nadal beat the Swede in five sets in a delayed match that took five days to complete - 6-4, 6-4, 6-7 (7), 4-6, 7-5 - by which time they had seen more than enough of each other to last a lifetime. According to San Francisco Chronicle reporter Bruce Jenkins, Nadal told the Spanish press afterwards: "He's very strange. I say hello to him seven times to his face, he never answers. He hits a lucky shot, he does not wave (the protocol gesture of apology). I thought it was me, but I asked around the locker room and almost nobody has anything nice to say about him. If I fall down, he says nothing. He touches his ass, grabs his pants, makes fun of me - very unprofessional." (To see what ticked off Rafa in that match, check out this video clip of Soderling imitating Nadal.) So, OK, Nadal is out; but so, apparently, is a little class at the French Open. But there's still a pretty classy guy hanging around there...

Federer: Class not yet dismissed

Attention Deficit? Beast of Burden?
With Rafa out of the way, Roger Federer has the most realistic chance of his career to win the French Open title that has eluded him ever since Nadal came to own la terre battue. But Federer isn't the same Jolly Roger of years past; he's mortal now, losing to or being tested by players other than those named Djokovic, Nadal, Murray or his old Argentine nemesis David Nalbandian - people like Radek Stepanek, Giles Simon and Guillermo Canas. It's almost a distraction and a burden for him now. How else to explain dropping two sets against a skillful, but erratic, 31-year-old Tommy Haas? Still, Federer being Federer, with a Will To Triumph and a mental toughness matched only by Rafa Nadal, Roger came back from a 30-40, 3-4 third set deficit to reel off nine straight games and a 5-set win over a mentally deflated Haas and advance to a quarter-final match against the player he beat in last year's semi-final, French favorite Gael Monfils...

...who defeated last American hopeful Andy Roddick in straight sets in the fading light of Suzanne Lenglen Court at Roland Garros.

Monfils: Long 'n' lean retrieving machine

Paris: City of Lights...and Lightweights
I watched this match, and while, yes, the light was fading and Andy complained about it, it's funny how his supposed inability to "see" the ball didn't affect his opponent's ability to see the ball. Apparently, it was only dark on Roddick's side of the court. Hmmmm, it didn't seem to alter the quality of play at last year's Wimbledon final - you know, the Federer-Nadal final that's been called the match of the century. What I'm leading up to, of course, is the point of view I've had for years about the brash Texan with the big serve: he's a dick. Fellow Texan George W. Bush was called a Cowboy Diplomat, and I see Roddick's game as nothing but Cowboy Tennis. Big rocket serve, big crushing forehand, nothing else. All shock and awe. He's never added to that arsenal. Though he's been through a slew of coaches who've worked on improving his backhand (the one-handed slice backhand just doesn't work for him) and on encouraging him to come to net (he only seems to do it when he's down and panicking - and he still looks pretty awkward there), it's never happened. Because he's a stubborn Texan, like George W. If he can't win with power and bullying his opponent around the court, he's just not interested. He gets flustered, hot, and bothered.

And that's what he came up against in French super-athlete Gael Monfils. World no. 10 Monfils isn't much of a tactician, and I think he lacks mental toughness outside of his comfort zone (which is Roland Garros), but the guy can outrun just about anyone on the tour not named Rafael Nadal. He gets to everything. In fact, he used to wear himself out by trying to retrieve EVERYTHING his opponents threw at him. But he's noticeably muscled up his stringbean physique of late and grown mentally tougher as well. He nullified Roddick's serve (Monfils actually out-aced Roddick, if you can believe that!), and basically forced Roddick to hit more than one or two shots on his service games. That means volleying, and Roddick doesn't like long volleys because they require him to think and not just wail away at the ball and try to blow his opponents off the court. Monfils being a grinder, that forced Roddick into a lot of unforced errors and lost service games. Plus, well, Monfils has a beautiful touch at the net; some of those angled drop shots recall McEnroe back in his heyday, artistic strokes worthy of a Left Bank painter.

Oh, almost forgot: Monfils also out-bullied the Mighty Mopin' Power Ranger, hitting 45 winners to Roddick’s 18 and 17 aces to the Rocket Man's 4.

But what really got to me watching this match was listening to how rude and nasty Roddick was. After losing the second set, he yelled at a ball boy, "Yellow drink. I want a yellow drink. GET ME A YELLOW DRINK, GOT THAT!!!" Nice sportsmanship there, superstar. Then he yelled at the French umpire, "Don't tell ME that it's light enough out. I'm the one OUT THERE PLAYING. So don't you TELL ME ANYTHING."

What a total dickhead. When Monfils grinned after watching Roddick once again berate the chair umpire, Roddick shouted at him "You're not that good to get that cocky!" (Ummm, yes he is, Andy - and you're sure not gonna wipe that smile off his face!) And I'm sure Mr. Bluster didn't like Monfils working the decidely biased home crowd. But doesn't Roddick do exactly the same thing back in his house, the U.S. Open. And Andy, as your fellow American redneck Kid Rock would say, "You think I'm cocky, and I say 'What?'/It ain't cocky motherfucker if you back it up." Unfortunately, Roddick's mouth is just like his on-court game: all bullying power with no subtlety. He's got one U.S. Open title and nothing else since to back it up. Besides, if he won this match, he'd have had to face Federer, who's 18-2 lifetime against the brash baseliner. So go gently into the night Andy - and shut up or back it up. If not with results, then with class, like Roger.

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Monday, June 01, 2009

Eminem's Head Up Bruno's Ass

Butt-Munching at the MTV Movie Awards

I don't care if this turns out to have been staged. A picture is worth a thousand words and the sight of Sasa Baron Cohen's ass planted smack dab in front of noted homophobe Eminem's butt-ugly mug is priceless! Eminem looks testy over the proximity of Bruno's tea-baggin' testes!

MTV Music Awards Teabagging Video:

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