Boxing in St. Louis will never die--not as long as Kenny Loehr has a kid in the ring.
South Florida's lawless exotic rental car industry keeps rolling.
In Texas, restitution for victims is nothing but a state-sanctioned sham.
If you thought Seattle couldn't fetishize coffee any more, you haven't been to a "cupping" yet.
"I did not yell at or even have a conversation with the projectionist other than getting the details of how my print was handled," wrote Glover. "My entire conversation after the show on Sunday was with Matthew M. Yenkala about the technical aspects and procedure that led to damaging reel five of my film."
Glover went on to explain, in detail, his basis for concluding the film was damaged by the projectionist, and his theory about why the promoters are unfairly criticizing him. (You can read Glover's e-mails and the promoter's e-mails on the Feathered Bastard blog.)
Glover also asserted he was nothing but professional during his sojourn in Sand Land, and that getting paid in cash up-front was part of his e-mailed requirements to the promoters before the event. (Apparently, there was no formal contract.) Yenkala provided The Bird with a copy of Glover's technical "rider" for the appearance, which didn't include a demand upfront for the loot. When e-mailed this rider by The Bird, Glover responded with his own version, which included a demand for payment in cash.
Yenkala responded that Glover's version wasn't what he received from the actor, and Carrico forwarded a copy of an e-mail from Glover to the promoters containing the version of the rider sans the cash request. All the promoters say Glover's insistence on a cash payment was new to them on the first night of his Chandler presentation.
This isn't the first time Glover's pitched a fit over the showing of his art-house masterpiece. In 2005, the Tucson Weekly detailed how Glover "flipped his lid" at Tucson's Loft Theater "after he learned that his directorial debut, What Is It?, was going to be shown in the smaller upstairs theater rather than in the cavernous main auditorium for the last two days of its week-long engagement."
And Glover's known (and in some quarters beloved) for his eccentric behavior, like the infamous 1987 incident in which he kicked his platform shoes perilously close to David Letterman's head during an appearance on Late Night, exclaiming, "I'm strong . . . I can kick."
Glover's also had his beefs with Hollywood big shots like Steven Spielberg, who executive-produced Back to the Future, wherein Glover played milquetoast dad George McFly, father of Michael J. Fox's character, Marty McFly.
According to the Internet Movie DataBase (IMDb.com), when Glover turned down the offer to reprise the role in Back to the Future, Part II, the producers, who again included Spielberg, "brought the character back to life by splicing together archived footage and new scenes (using an actor in prosthetic makeup)." Glover successfully sued Spielberg over the issue. IMDb.com notes, "The case prompted the Screen Actors Guild to devise new regulations about the use of actors' images."
Glover maintained the grudge, it seems. In a compendium of outré articles edited by Adam Parfrey, titled Apocalypse Culture II, Glover has one that poses several outlandish questions concerning his cinematic bête noire, including, "Could anal rape of Steven Spielberg be simply the manifestation of a cultural mandate?" And, "Would the culture benefit from Steven Spielberg's murder, or would it be lessened by making him a martyr?"
Yet Robert Zemeckis, director of the Back to the Future films, was willing to work with Glover again in Beowulf, which Zemeckis also directed. But some who've dealt with him here in Arizona feel differently.
"If he's all about the indie spirit and stuff, like he says, I really think he should be a little more generous toward the venues where he shows his film," offered Beesley-Brown. "Especially for putting up with him."
TARGET GUADALUPE
That Bob Dylan line "the pettiness that plays so rough" is what comes to this beaker's mind regarding attacks on Guadalupe Mayor Rebecca Jimenez following her defiance of Sheriff Joe Arpaio on April 3 during the anti-immigrant sweep detailed in the New Times cover story "Brown Out" (May 29).
Hispanic-hatin' nativists are out to dig up anything they can on the 36-year-old ASU student and mother of four who receives a $300-a-month stipend for her mayoral work, on which she estimates she spends anywhere from 30 to 50 hours a week. (Regular Guadalupe council members receive $200 a month.)
Wing-nutty Linda Bentley, reporter for the far-right Sonoran News in lily-white Cave Creek, recently penned a hit piece against the mayor, wherein Bentley dug up old citations for loose dogs the Jimenez had and, therefore, characterized the small-town official as having "a criminal record that spans about a decade."
(Bentley neglected to follow up on a tip that a really bad hangnail Jimenez had two years ago caused her to snap at the mailman.)
According to Bentley's twisted logic, the dog incidents make Jimenez as evil as Ma Barker and Hannibal Lecter combined. Obviously, Bentley pulled most of her info from online sources. Even the photo she used of Jimenez was clipped from another publication without the photographer's knowledge.
Bentley also accused of Mayor Jimenez of being convicted of disorderly conduct. A call by this quacker to Marilyn Trujillo, court administrator for the Guadalupe Municipal Court, uncovered the fact that Jimenez was actually the victim in that case. Nice work, Bent-ley.