Category Archives: Media

Caroline Glaser and Rachel Bilson: Separated at Birth?

I’ve been watching “The Voice” off and on since it started this season. I haven’t cared to get into it too deeply; I have a belief that America’s love affair with reality shows has lessened the number of quality scripted TV dramas, and so I despise them. However, I’d flipped the TV on last evening as I was doing something else and heard this wonderfully quirky singer named Caroline Glaser. When I looked at the TV I had to blink a couple of times. This extremely talented young lady bears an incredible resemblance to a woman I’ve had a huge crush on for several years. See for yourself:

Caroline Glaser

Caroline Glaser, singer/songwriter.

Rachel Bilson

Rachel Bilson, actress.

Caroline could easily be mistaken for Rachel Bilson’s sister. Both are extremely easy to look at, though Caroline brings a little guilt to the table as she’s just 18. But still…wow.

Add the fact that my best friend’s stepdaughter bears a striking resemblance to Rachel as well, and there’s a Battlestar Galactica moment in the making. “I like Number 11 a lot. Is she available in blonde?”


Addendum 10-24-2013: The title of this post has bugged me ever since I published it. It’s impossible for them to be separated at birth–Caroline was barely eighteen and Rachel was, I believe, about 30 at the time of this posting. A more accurate title might have been “Sisters?” or “Are They Related?” Oh well. The toothpaste’s long out of the tube. I still think they’re both talented, beautiful women–and would be happy to spend time with either one.


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An Inexpensive Upgrade To Your Stereo System

…and you’ll get a lot of bang for your buck.

The front of a record store.

It isn’t really the Last Record Store, but it’s probably close.

As a latchkey kid in the sixties the radio was my constant companion. It was the only source of entertainment that offered nearly infinite variety. When I grew older and got a paperboy gig I saved my money and bought my first good stereo system. I purchased my first CD player, a Magnavox’s FD-1000SL top-loader, about 1984 and I’ve been collecting CDs ever since. For years audio buffs like myself had put up with the snapping and popping of vinyl records as well as tape hiss from cassettes. The new format was quiet—no clicks, no hiss (except from the master tapes themselves). With the introduction of the “portable” CD player as well as in-dash mobile players you could take that wonderful sound quality anywhere. Audiophiles had a problem with the format, however. They complained that the sound was too “cold,” “lifeless,” and “sterile.” Further, prolonged listening made some people’s ears tired, a phenomenon called ‘listener fatigue.’ Audio nerds raved about the warm sound quality of vinyl and clung desperately to their collections even as turntables became ancient relics and vinyl records ceased production. It turns out they were on to something.

As time went on and recording engineers learned more about the CD format they realized that they had to master the material differently than if they were prepping it for a vinyl release. Mastering is the final phase in music production where an engineer makes subtle tweaks to the sound—adding a little compression or equalization, for instance—before the music is submitted for physical production and release. Vinyl records didn’t have the dynamic range of digital so some frequencies needed emphasis while others were cut, and equalization was applied in order to play nicely with the mechanical medium. If you know what good audio is supposed to sound like and you dig out CDs released in the eighties you’ll find the overall sound to be somewhat irritating. Over the first ten years or so the sonic quality of new CD releases gradually improved, but millions of those first poorly-mastered CDs were pumped out.  Sadly, many older titles on store shelves are still made from the original poorly-made masters.

There is a saving grace for audiophiles like myself who like older music offerings, known in the industry as catalog titles. As stocks of these older titles ran out, music companies realized that these items were gold. They’d recovered the original production costs years ago and incurred minimal expense in making more. Nearly every cent was profit! They also realized that the older master tapes were deteriorating and their golden eggs needed transferred to a newer high-resolution medium for safekeeping. For years now the music companies have been quietly remastering their older catalog titles and re-releasing them to an audience eager to buy the older tunes they’ve heard on the radio for years.

The “Disappearing” CD

But as sales have slowed, the music biz has been predicting the end of the CD. In the February 29, 2012 Rolling Stone an article titled “Is the CD Era Finally Over?” quoted an exec as saying new CDs would probably stop being introduced in two years, although stores like WalMart could keep them alive for as long as five years. WalMart is re-expanding their music department after shrinking it a few years ago. They’re getting a flood of reduced-price CDs to sell for $5 each, and they’ve found that people who come in to browse them are staying longer and buying more. After reading the article I visited my local Wally World and fished in their “bin-of-death” to see what turned up.

I was pleasantly shocked to find a number of classic titles I already owned in remastered versions. Some of them had bonus tracks and the sound quality of these newly remastered classics were far superior to the older copies I owned. I could even tell a difference on the factory stock CD player in my truck. As I shopped in other stores like Meijer, Kmart, and Best Buy I realized that they were also getting these $5 classics to sell. Additionally some of the stores have multiple price tiers of these older titles, usually at $7 and $9. I’ve been in sonic heaven and have bought many upgrades as well as a number of titles from artists I’d passed by over the years. I couldn’t bring myself to spend over $12 each for them back then, but at $5 each they’re a bargain. Thanks to careful shopping I’ve added titles by Rush, John Mellencamp, the Dixie Chicks, Steely Dan, Aretha Franklin, Sam Cooke, Jackson Browne and Joni Mitchell. I’ve also seen more recent titles from newer artists like Coldplay and The Fray. In the past five months I’ve spent more on music than I’ve spent in the past five years, and I love it.

I realize this doesn’t make sense to everyone. “Why buy discs and clutter up your house when you can download anything you want from the Internet?” There are two reasons. First, I want the highest available sound quality for my music. Most digital formats aren’t lossless, meaning they throw away data in order to make smaller file sizes. (This translates into the ability to have 2000 songs on your portable player rather than 500.) If I want to rip lower quality copies to play on my phone I can do it myself and, if something happens to the copy, I can rip a brand new one. Second, I want the additional features of having the album art and booklets with my music. Album art was once considered a high (but popular) art form that has all but disappeared in the digital age. To me there’s nothing more enjoyable than playing my favorite music while looking over the album notes or following along with the lyrics.

Some Shopping Tips

If you’d like to try your hand at upgrading your sound system my way, here are five things I’ve learned through my shopping jaunts which may help you in your music purchasing:

Examine the packaging carefully.  How can you tell if a title’s been remastered? Some things are obvious, like a sticker that says “Digitally Remastered from the Original Tapes” or something similar.

— Some remasters have clear spines, viewable in the area immediately to the left of the CD booklet, and printing in that clear area may say something like “The Definitive Remasters” or “Original Masters.”

— Titles on Warner labels will say “Flashback” for older un-remastered titles but read as “Flashback Remasters” on the reworked titles.

— The back of the package may say something like “Digitally remastered at Northern Recorders, Los Angeles by Peter Piper.”

— If you see a logo that reads “HDCD” it’s a definite remaster.

— A section listing bonus tracks is also a good indicator.

I picked up a copy of Linda Ronstadt’s “Simple Dreams” that had an older black spine and no mention of remastering on the package, and took the chance because of the newer Asylum logo on the back.  A copy of Jackson Browne’s “Running on Empty” on the same label that I’d bought had the black spine also, but carried a ‘remastered’ sticker on its front so I thought my chances were good. Unfortunately my gamble didn’t pay off as I found out from the muddy-sounding first track.

One retailer’s $5 CD is another retailer’s $9 CD. Remember, many retailers that have the $5 CDs have three strata of discount CDs with price levels at $7 and $9 also. The CDs that are priced at the higher levels will eventually trickle down to the lower levels while some are already at lower price points elsewhere. Rush’s “A Farewell to Kings” was $7 at WalMart but only $5 at Best Buy.

Don’t limit your shopping to the bargain section.  At WalMart you can find the bargain CDs in the bins of death and in a specially priced section with the CDs. However, if you look in the regular-priced CD section you can often find the bargain CDs mixed in with the regular-priced selections.

Don’t see it locally? Look online.  My hunts led me back to some artists like Harry Nilsson and the Carpenters whose works aren’t turning up in the bins. I’ve found some of the titles I want from Amazon and Deep Discount DVD, at the lower price points, but eBay and are also fruitful hunting ground.

Are you lucky enough to still have music stores nearby?  Whether they’re new-only or carry used titles too, these shops can be a bargain hunter’s dream. I scored a number of titles from Chicago at FYE in the mall, as they carry used CDs for $4.99 and up. They’ve been inspected and are guaranteed to play. We also have some used-media stores in the area (Half Price Books, 2nd and Charles, Game Swap and BuyBacks) that provide occasional surprises but you need to know what you’re looking for.

Congratulations, you did it! What now…?

So you’ve decided to perform this sonic upgrade—but what will you do with your older, non-remastered CDs?  You could visit the local media ‘recycling’ store like Half Price Books and sell them for pennies on the dollar. You could make them into an art project (remember the wild things people used to do with the AOL install CDs they were constantly sending out?). You could try dumping them in a garage sale or at Goodwill, but I have a recommendation.  Find some young people who enjoy music, perhaps your own kids. Give them a CD or two and tell them that many of today’s recording artists were inspired by the music you’re giving them.  Sure, the sound quality isn’t up to your standards but to today’s youth, who are used to lossy compression and low bitrates, your old CDs will sound like a revelation. Perhaps you’ll give an aspiring musician of tomorrow a better influence than Jay-Z, Chris Brown, or Katy Perry. And if you give those CDs to your kids, maybe you’ll be able to stomach the music coming from their computers. That’ll make for domestic bliss that’s worth all the money in the world.

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The Most Depressing Song Ever…?

I finally found it today.  When I was young I heard a song that haunted me for years, but I couldn’t remember the lyrics. All I could recall was that the song dealt with an airplane crash. The victim who narrates the song talks about the blood flowing from his body, the immense pain he’s in, and intimates that his girlfriend is dead.  The song was banned from radio play, as I recalled, because there were rashes of suicides from depressed people whenever the song came on.

Even with the wonderful information-gathering capability of the Internet the name of this song eluded me. I asked a number of radio people if they recalled the song or could name it, but always got a blank stare or a negative response to my email queries.  I thought I remembered that the song came out in the mid-to-late 1960’s but, as it turned out, I was off by a few years.

While researching another recording artist today I found a Wikipedia article called “List of 1970s one-hit wonders in the United States.” There under the year 1971 was a song called “D.O.A.” by Bloodrock. Something clicked, and after reading the entry on Bloodrock I thought I had the right song but was still unsure.

The album: "Bloodrock 2"

Don't listen. You'll regret it. Really.

I went to YouTube and there it was…all 8 minutes and 30 seconds of it, in all its depressing glory. You can find it here.  A warning before you click the link: you will probably be depressed after listening to it.  Really, really depressed. Don’t say I didn’t warn you.

Why was this worthy of a blog post? I’d asked so many people about this and, since no one seemed to remember it, I began to think I was losing it. I’ve finally found the answer, and I’m so happy. At least, I was happy until I listened to the damn thing again.

So is this the most depressing song ever, or do you have another candidate? Feel free to post a comment and pass along your recommendation(s).

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“We Play Anything…” Really?

I don’t know about you, but lately I’ve had it with hype.  Marketing strategies, ads everywhere you look, long commercial breaks on TV and radio, and all kinds of web tracking that allows companies to litter your web travels with their useless messages. Everybody’s trying to put their hands in our pockets, and everyone’s got an angle.

Dayton radio has sucked hard for years.  Variety was sorely lacking; we have several country stations, an ‘album rock’ station that has been running the same format (with almost the same songs) since the seventies, an easy listening/contemporary station, several talk radio stations, and a few stations that play newer alt and hard rock. Oh, and the urban (read: rap) stations. It seemed that most of the stations were owned by Clear Channel, and they had severely limited playlists.   It’s for this reason that I can’t stand to listen to Cheap Trick, the Eagles, or Pat Benetar anymore.  It’s absolutely incredible that these bands and artists lasted as long as they did but only had one hit song apiece (at least according to Clear Channel.)

In November 2007 a local radio station changed it’s format and mantra to “We play anything.” Fly 92.9 started off great and played a lot of the radio mainstays, but many times a day would pull a song out of rock and roll heaven that hadn’t seen a turntable in years. You could count on being pleasantly surprised more often than not, and they breathed life into Dayton radio. At least on one end of the broadcast band.

Over the past couple of years, however, they’ve started slacking off. They don’t pull the moldy oldies out of the vaults like they used to. And more often that not they’ll play a song you’ve heard way too many times and say something like, “Betcha didn’t think we’d play this one today.”  Uh-huh. I really didn’t–after all, you already played it several times this past week, most recently yesterday afternoon…

So I’ve been getting more tweaked off when I hear their “We play anything” slogan. Will they really play anything?  What two pieces of music would be so unlikely for them to play and so stylistically different that airing them would validate their insipid marketing scheme? An idea occurred to me, so I visited their web page and submitted the following feedback (the wording’s not exact as I foolishly didn’t keep a copy for myself):  “I like your station but I am tired of your false advertising. You can’t truly say “We play anything” until you’ve played “Shaving Cream” by Benny Bell followed by Tchaikovsky’s “1812 Overture” during your peak daily listening hours. Oh, and if you did ever do that, I’d appreciate an email “heads up” to be sure I’ll be listening.”

Several hours later I received an email reply from program director Brad Waldo.  It read, and I’m quoting here, “I appreciate where you are coming from. We do not equate the ability to, and behavior of, “playing anything”, to the necessity of playing everything.  Thanks for listening. And if I do decide to do that segue, I will definitely send you an email to clue you in!”

Weasel-word marketing strikes again. Yes, we can play anything but we don’t see a need to play everything. But if you don’t play at least some oddball, totally incongruous pieces once in a while, can you truthfully state that you play anything? I haven’t heard “Shaving Cream” on local radio since the early eighties, and the only station that would’ve played the “1812 Overture” changed to country back in 1989. (For the sake of argument here I’m not counting the public radio stations. Their programming is so eclectic that it’s hard to tell what they’re playing when they’re playing it.)

In the meanwhile I’ve been listening to a new station. One of the longtime local country stations changed formats in March to become “Click 101-5,” a new ‘adult contemporary’ station. Their mix of songs is pleasing (for now)…we’ll see how long they remain fresh and relevant.

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Swearing Off Network TV

(or Why Did I Leave My Computer In The First Place?)

My life before 2006 was much simpler and happier.  I spent a lot of time on my computer (web surfing, writing, other “real work”-type of activities) and seldom watched TV.  When I did watch it was usually never “network TV,” except for Smallville. (I love me some Kristin Kreuk.)  In the morning I’d tune in CNN’s Headline News during breakfast.  Most evenings I’d watch NBC’s Nightly News during dinner (since Chicken Noodle News stopped doing news in the evenings years ago), then switch to see what was on Sci-Fi channel or let music videos from VH-1 Classic play in the background while I worked on my PC.  There was little anxiety or strife in my TV habits and I was happy.

 Then in the summer of 2006 I saw ads for two new NBC shows.  The first one that grabbed my attention was Heroes.  Those previews of Claire jumping off a tower for a camcorder’s benefit and picking herself up afterward made me think “I have to watch that!”  The second show was Studio 60 on the Sunset Strip.  Its premise piqued my interest: a behind-the-scenes look at the lives of people putting on a weekly comedy show strikingly similar to Saturday Night Live.  Matt Perry looked like he’d be great, and the show had Amanda Peet as well (I love me some Amanda Peet).  Besides, I’ve worked in the technical side of TV and loved it, so I thought I’d enjoy a behind-the-scenes drama about the subject.  I watched the first episodes of each and was hooked.  I was then engaged in three network TV series plus Smallville and Battlestar Galactica.  I started gauging my evening’s activities by what was on TV.  All was bliss.

 Then the ax fell and NBC cancelled Studio 60.  The writing had been great, the dialog witty, and the characters engaging.  At the time NBC said the show was “having trouble finding its audience,” which meant it wasn’t getting enough eyeballs to give it a second season despite critical acclaim.  They said the same thing about Friday Night Lights, but apparently felt it deserved a second chance since it was about one of America’s pastimes (and had hot young actresses playing cheerleaders).  A behind-the-scenes sitcom about a “fictional” NBC that debuted the same year called 30 Rock was spared as well, though its ratings were higher.  I was greatly saddened by this turn of events.  As an aside, I just spent some time trying to find a quote from Studio 60 and stumbled across this page.  Reading the quotes there actually hurt, as it reminded me acutely how damn good the writing was on this show.  Stupid NBC.

 The following fall NBC announced a new show called Journeyman about a time-travelling reporter.  The promos looked great although the advance reviews were mixed.  Many people said it was a Quantum Leap rip-off without having seen one episode.  I watched the first episode and was hooked—it had a novel storyline, the writing was great, and it had Moon Bloodgood (I love me some Moon Bloodgood…are you sensing a pattern here?).  It was another show that was “having problems finding its audience,” but the general opinion was that NBC would at least give the show the rest of its first year to settle in. 

 Then along came the Writers Guild of America’s strike of 2007-2008.  Shows were shelved for several months while Hollywood fought with the greedy, godless writers who dared to deprive audiences of their entertainment fix.  The networks force-fed their audiences a diet of reality shows and other non-scripted programming during the strike in an attempt to hold them over.  An agreement was finally reached and most shows came back to finish out their seasons.  Journeyman was cancelled at that point, though fortunately the show’s creator foresaw that it might not return and gave the fans somewhat of a wrap-up in the last episode. (If you were a Journeyman fan and were left with questions about what was happening and what could have been, check out the interview with show creator Kevin Falls at Ain’t It Cool News.) The Powers That Be at Heroes decided to take the rest of the season off and start up again the following September.  This would prove to be, in my mind at least, a mistake that broke the show’s momentum and gave their viewers a chance to forget about it for months.

 By this time the only thing holding me to NBC was Heroes. After the show returned its plotlines became a bit boring but I still tuned in.  Then last fall ABC started promoting a new ‘high concept’ show called FlashForward. The promos looked great and, after watching an incredible first episode, I was hooked again.  (I.L.M.S. Sonya Walger and Peyton List.)  After investing months watching both remaining must-sees on my schedule, the month of May brought what has now become familiar news from both NBC and ABC: Heroes and FlashForward were being cancelled.

 Now both networks are joyfully hopping around like children, waving their arms and singing, “We’ve got some fantastic new shows coming this fall!  You’re going to l-o-o-o-v-e them! Just watch!”  However, I’ve already turned off my TV.  NBC has proven they can’t program their way out of a ramen noodle container (if you doubt that, look at the Jay Leno / Conan O’Brien debacle earlier this year).  As for ABC?  I’m sure they have many other good shows on their schedule but NBC has already poisoned the network TV well for me.  I’m through with investing time and emotional capital into shows with plotlines and characters that die premature deaths.  I used to chuckle when my mom would complain, “They cancelled my show!  Again!” I wasn’t that involved with TV back then because I had other pursuits.  Now I know firsthand what she was talking about and can empathize.

 I can’t hold NBC completely to blame here.  I’m going to place a big steamy pile on the Writers Guild of America’s doorstep.  Several years back their leadership decided to force an issue with Hollywood.  While studio bigwigs were trying to define what the new media landscape would look like, the Guild decided their writers needed their cut of any possible action.  I felt for them since I’m a writer and hoped that they’d represent me some day.  I even sent several boxes of pencils to the studios as part of a protest movement during the strike to help the WGA get their point across.  After the strike ended many in Tinseltown questioned what was actually gained.  The studios still couldn’t identify what new media would be (and they still don’t know two years later!). Additionally they decided to play hardball with the writers by restructuring the way they did business.  There used to be development positions at the studios in which writers were kept on-staff and paid to create pilot episodes of new series.  Those positions pretty much disappeared  post-strike, and the studios further decided to cut costs by adding more “unscripted dramas” (read: reality shows) to their lineups.  The result–writers were left holding an empty bag of make-believe gold while they stood in unemployment lines.  The real losers at the end of the supply chain, you and I, are left looking at the Boob Tube and wondering what the hell happened to good TV.  There’s a good article on the strike here.

 I can hear some of you saying, “Ah, but I don’t watch network TV.  I watch (cable/satellite) and their shows have always been better.”  The pool of striking writers also served those markets as well, and I’d have to ask how many of your favorites have been dropped lately in those venues.  FX sliced Damages and Nip/Tuck, TNT axed both Raising the Bar and Saving Grace, HBO de-tuned Flight of the Conchords, ABC Family killed 10 Things I Hate About You, Ruby & the Rockets, and Lincoln Heights…should I go on?  Then there’s the execs who think that viewers are so dumb and easily distracted that they offer “short seasons” of shows on a regular basis—one of SciFi (sorry, ‘SyFy’) Channel’s top-performing shows, Eureka, has been produced in bite-sized chunks for several years now. I can see their quandary, though–they have so much quality programming they have to air (wrestling and sucky made-for-TV movies come to mind) and there’s only so many hours in a day…

 Can anyone reading this remember when a regular TV season was 26 episodes, and networks re-ran the show’s episodes during the off-season so you could catch up if you missed one?

 Hollywood takes a lot of justified criticism for its lack of original thinking (“Let’s remake Charlie’s Angels again!”), so why can’t they make a sitcom about that? Would anyone watch Network Programmers Behaving Badly?  Oh, my mistake…we already are.

Lately I’ve been seeing promos during NBC’s news about a new fall show called “The Event,” which is apparently a ‘conspiracy’ thriller.  There are handheld camera shots of some things going on with groups of people, with rapid cuts, then something happens and they panic.  One of the shots include a large airplane headed straight for the camera. Then you see the words: “What is the Event.”  These promos do not give any information about the show itself, just a general feeling that something very bad is about to happen.  All I have to say is: Don’t worry.  Whatever “The Event” is, there’s a good chance NBC will cancel the show before it can cause any problems.

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S-word Escapes NBC Censors on ‘Today’ Show

I had the TV on this morning while dressing for work.  It was around 7:40 a.m. EST, and Matt Lauer was interviewing Hans Lange, an experienced base-jumper who crashed into the side of a cliff and ended up in a tree.  The video was interesting, but I’d turned my attention away from the screen while Matt carried on with the interview.  Then I heard something…I thought…what was that?  I picked up the TiVo remote and zipped back a half-minute to listen again.  Here’s what the folks on the East Coast heard (and was, as I was told later, edited from the Central and West Coast feeds):

Hans (discussing what happened immediately after landing in the tree):  I was okay.  I didn’t get hurt anywhere except one point and I realized in fact that moment when it happened and it was no doubt that my leg was broken, but it was also no doubt that I was okay elsewhere, you know? So it was like, I took off my equipment, I tried to get all the zippers out, and then I took off my camera, and like, okay, why don’t I make an interview with myself there?  I was angry with myself, you know? It was like, Arrrgh!  Ho-ly shit!

(Silence for several beats. A chuckle from Hans, along with a little chuckle from Matt, and a few nervous giggles from audience/stagehands.)

Matt:That’s Norweigan for, “Whoops, that was…”

(Many more laughs at this point as the tension is broken.)

Matt: So, you…you turned the camera… (more laughs.)

Hans: I am angry, you know?  With myself…

Matt:  Yeah, I think that’s the point.  So you say you turned the camera on yourself…

I put the TiVo on ‘record’ and dashed off for the day.  Live TV, I was told years go, is like toothpaste–once it’s out of the tube you can’t get it back in.  Today that saying has no validity.

On January 19, 2003 Bono famouslydropped the f-bomb during the Golden Globe awards telecast, saying “fucking brilliant” during his speech.  The Parents Television Council and “certain individuals” complained that the network and their affiliates violated broadcast decency rules. After an investigation the FCC exonerated ABC, saying in that in the context the word was used, it “does not describe or depict sexual and excretory  activities  and  organs.   The  word “fucking” may be crude and  offensive, but, in the context presented here, did not  describe sexual or excretory organs or  activities.    Rather,  the  performer  used   the  word “fucking”  as an  adjective or  expletive to  emphasize an exclamation.”  Their ruling (file number EB-03-IH-0110) makes interesting reading, especially in light of the fact that the organization has appointed itself the “broadcast guardian” of our country’s moral values during the last eight years of the Bush administration. 

My point is that this shouldn’t have happened in the first place.  Technology exists that would allow a program provider to delay their audio/video feeds for a short period of time.  This gives the sound guy a chance to bleep out the offending word before it can tarnish the ears of a discriminating public.  These have been de rigeur for use in live broadcast events for years now.  So what happened?  Did they switch it off?  Was the audio guy asleep?  Or was it a purposeful slip designed to pique viewer interest at a time when NBC can’t seem to get viewers to care about it’s existence?

Personally, I don’t care about the slip.  People are people.  Our choice of language helps others to form opinions about us (true or not), and when someone is relaxed and genuine you get a more accurate picture of who they are.  I consider myself an “Evangelical Christian,” but I hold no pretense that the world has to bend itself around to honor my views.  I’m sure the Evangelicals will raise some fuss about this, as well as the Parents Council on Sanitization of Our Public Airwaves, but I hope the FCC doesn’t listen.  It should (rightly) apply itself to more weighty matters, such as how they’re going to address their screw-ups in the ongoing digital TV transition.

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