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There was something anticlimactic to the news that the AP Stylebook will no longer be objecting to the use of “hopefully” as a floating sentence adverb, as in, “Hopefully, the Giants will win the division.” It was like seeing an obituary for someone you assumed must have died around the time that Hootenanny went off the air.

But these usage fixations have a tenacious hold. William Safire once described the “hopefully” rule as the litmus test that separated the language snobs from the language slobs. And the rule still has plenty of fans, to judge from the 700 comments on The Washington Post‘s storyabout the AP’s decision.

That floating “hopefully” had been around for more than 30 years in respectable venues when a clutch of usage critics, including Theodore Bernstein and E.B. White, came down on it hard in the 1960s. Writers who had been using it up to then said their mea culpas and pledged to forswear it. Its detractors were operatic in their vilifications. The poet Phyllis McGinley called it an abomination and said its adherents should be lynched; and the historian T. Harry Williams went so far as to pronounce it “the most horrible usage of our times” — a singular distinction in the age that gave us expressions like “final solution” and “ethnic cleansing,” not to mention “I’m Ken and I’ll be your waitperson for tonight.”

You wouldn’t want to take the critics’ hysteria at face value. A usage can be really, really irritating, but that’s as far as it goes. You hear people saying that a misused “hopefully” or “literally” makes them want to put their shoe through the television screen, but nobody ever actually does that — what it really makes them want to do is tell you how they wanted to put a shoe through the television screen. It’s all for display, like rhesus monkeys baring their teeth and pounding the ground with their palms.

Of course, even if you find the tone of these complaints histrionic, you can often sympathize with their substance. I feel a crepuscular wistfulness when I hear people confusing “enormity” with “enormousness,” or “disinterested” with “uninterested.” It doesn’t herald the decline of the West, but it does signal another little unraveling of the threads of literary memory.

But the fixation with “hopefully” is different from those others. For one thing, the word itself is so utterly inconsequential — is that the best you’ve got? And then there’s no rational justification for condemning it. Some critics object that it’s a free-floating modifier (a Flying Dutchman adverb, James Kirkpatrick called it) that isn’t attached to the verb of the sentence but rather describes the speaker’s attitude. But floating modifiers are mother’s milk to English grammar — nobody objects to using “sadly,” “mercifully,” “thankfully” or “frankly” in exactly the same way.

Or people complain that “hopefully” doesn’t specifically indicate who’s doing the hoping. But neither does “It is to be hoped that,” which is the phrase that critics like Wilson Follett offer as a “natural” substitute. That’s what usage fetishism can drive you to — you cross out an adverb and replace it with a six-word impersonal passive construction, and you tell yourself you’ve improved your writing.

But the real problem with these objections is their tone-deafness. People get so worked up about the word that they can’t hear what it’s really saying. The fact is that “I hope that” doesn’t mean the same thing that “hopefully” does. The first just expresses a desire; the second makes a hopeful prediction. I’m comfortable saying, “I hope I survive to 105″ — it isn’t likely, but hey, you never know. But it would be pushing my luck to say, “Hopefully, I’ll survive to 105,” since that suggests it might actually be in the cards.

So why did critics decide to turn this useful little adverb into the era’s biggest bugaboo? Well, you could argue that the very unreasonableness of the objections to “hopefully” helps make the rule an efficient badge of belonging. No one could simply guess the rule. Somebody who came to “hopefully” armed only with a keen ear for English grammar and style would have no way of knowing that anybody had a problem with it. You can only know about it if you’re the sort of person who reads usage guides or who has tea with others who do. It’s not enough just to be literate; you have to have pretensions to being one of the literati.

That helps to explain the curious persistence of the fetish. Since 1969, the American Heritage Dictionary has been sending surveys about usage questions to a panel of well-known writers and editors. (I worked with them on this for a number of years in my capacity as chair of the panel.) Over time, the panelists generally become less sticklerish about traditional bugaboos like using “aggravated” for “irritated,” or “nauseous” for “nauseated.” The only exception is that floating “hopefully.” In 1969, only about half the panelists agreed with it; by 1999 it was unacceptable to 80 percent of them.

The prejudice against “hopefully” will no doubt survive, zombie-style, among the scribbling classes for quite some time. But it’s the last of its breed. People will always have their crotchets, those scraps of grammatical lore they learned at the end of Sister Petra’s ruler. But there’s no one around now who could anoint a brand-new litmus test for grammatical purity. Safire was the last guru who was invested with that kind of authority. But he actually came round to accepting the floating “hopefully” early on. So should all the rest of us. There will be grousing from the defiant one-percenters. But hopefully, my dear, we won’t give a damn.

By Geoff Nunberg, the linguist contributor on NPR’s Fresh Air, is the author of the book The Years of Talking Dangerously. - May 30, 2012

Listen: The Word ‘Hopefully’ Is Here To Stay, Hopefully

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‘I am more interested in the people who work with me than in the film itself or cinema.’ – John Cassavetes

Made in 1965, Cinéastes de notre temps – John Cassavetes is a profile of the great director and actor as he edits his second feature Faces in Hollywood, before taking it to Paris. Cassavetes openly discusses his views on film-making and cinema, and why he takes certain roles to pay for his movie making.

Watch: Cinéastes de notre temps – John Cassavetes

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May 25, 2012:

ROBERT SIEGEL, HOST:

This is ALL THINGS CONSIDERED from NPR News. I’m Robert Siegel. Let us now praise a TV program from the early 1960s.

(SOUNDBITE OF MUSIC)

SIEGEL: “Route 66″ went on the air more than 50 years ago on CBS, and it did something few dramatic shows have ever done: it filmed entirely on the road, crisscrossing the United States, each week a new location, new characters, new situations. Well, this week the complete series has been released in a DVD box set. I watched a lot of these old shows, and there were a few key ingredients that held “Route 66″ together. First, a great theme by Nelson Riddle.

(SOUNDBITE OF MUSIC)

SIEGEL: Second, great scripts by Stirling Silliphant; third, a cool car – a Corvette – and finally, actors Martin Milner and, in this clip, George Maharis.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

GEORGE MAHARIS: (as Buz Murdock) Me and my buddy, we’re conducting a private treasure hunt. We keep moving – place to place, town to town, Wyoming, Montana, Pennsylvania, Texas, the whole checkerboard. You see, we’re looking, trying to find us that star. But when we do, we’re going to grab a piece of it, stick it in the ground. Then we put up a sign: Home.

SIEGEL: George Maharis, who played Buz Murdock. Welcome to the program.

MAHARIS: Thank you.

SIEGEL: You actually went all over the country and it was shot on location.

MAHARIS: That’s right.

SIEGEL: Very ambitious cinematography. I mean, the…

MAHARIS: Very.

SIEGEL: …it’s unlike nearly all other television that I could recall. But how quickly were these being produced?

MAHARIS: Well, they originally slated them for seven days but none of them got done in seven days. It usually took between nine and ten days a lot of the time. And, of course, that put us behind schedule, so we worked seven days a week to stay ahead.

SIEGEL: Now, I want you to describe you and Martin Milner, your costar. His character’s Corvette. I want you to describe the other premise, which requires a slight suspension of disbelief here – the two of you are riding around all over the United States one short-term part-time job to another part-time job.

MAHARIS: I was working for Marty’s dad, and Marty’s dad died and left him nothing except the Corvette. And I have a conversation with Marty saying let’s get in the Corvette and see where we belong. So, basically what we were doing was searching for the right place to stop and spend the rest of your life. Because beginning, when we first started the series, it was not called “Route 66.” It was called “The Searchers.” And, of course, that name was already given to somebody else, so they changed it to “Route 66.”

SIEGEL: Now, we should say here that even in the first episode, given the title “Route 66,” one thing was clear.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

MARTIN MILNER: (as Tod Stiles) How do we get off of U.S. 66, Buz?

MAHARIS: (as Buz) There’s a town here. Maybe we can get through that way.

SIEGEL: You didn’t follow the old Route 66, which went, according to the great song lyric, goes from Chicago to L.A.

MAHARIS: That’s true. Guilty.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

MILNER: (as Tod) Look for a side road up ahead now anywhere.

MAHARIS: (as Buz) What river is that on? Pascagoula?

SIEGEL: The joy of watching these old episodes of “Route 66″ is not only seeing who the guest stars are but seeing who the actors who weren’t big enough stars yet to even be credited as guest stars. You worked with everyone.

MAHARIS: Yep, that’s true.

SIEGEL: Robert Duval appeared in a couple of them.

MAHARIS: Martin Sheen.

SIEGEL: Martin Sheen.

MAHARIS: Jimmy Caan, James Caan.

SIEGEL: And at the beginning of one episode you see a young man in a suit – I might add a man with dark brown hair – running after a woman through the woods. It’s Robert Redford.

MAHARIS: Correct. Inga Stephens, Suzanne Pleshette, Tuesday Weld – all of these people were unknown at that point.

SIEGEL: You also wrangled with a crazed young Leslie Nielsen.

MAHARIS: Correct. Where he thinks the end of the world is coming.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

LESLIE NIELSEN: (as Doc Duncan) Doctor Chris, but do you really believe it?

MAHARIS: (as Buz) I’m here, aren’t I? I mean, if you really think there’s something to all this, why don’t you warn people?

NIELSEN: Because I’m told that in these times, there are certain things that are better left unsaid.

SIEGEL: Leslie Nielsen was still very serious.

MAHARIS: Yeah. Not only that, but he was wrong.

SIEGEL: You also had on the program an ornery Lee Marvin.

MAHARIS: Right.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

LEE MARVIN: (as Glenn Ryan) Why don’t the two of you clear out of here? I was out late last night, up early this morning.

MAHARIS: (as Buz) Why don’t we try something first? Why don’t we put you in there?

SIEGEL: You remember that?

MAHARIS: Oh yeah, I remember. I went and pushed him off the fence.

(SOUNDBITE OF MUSIC)

MAHARIS: That’s right. Lee Marvin did two shows.

SIEGEL: You remember all these plots?

MAHARIS: Oh sure. They were good shows. I enjoyed them.

SIEGEL: Your character, Buz Murdock, he’s supposed to be street-smart. And you’re a tough guy. You’re a fighter.

MAHARIS: Right.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

MILNER: (as Tod) How’s your lip?

MAHARIS: (as Buz) I’ve been hit harder by dames.

That’s the pilot. That was Everett Sloan. He hits me in the mouth and Marty asks me, how’s my lip. I said I’ve been hit harder by dames.

SIEGEL: That was three seconds. I could play anything from three years, three and a half years of this program, and you could call them right out what that was.

MAHARIS: Yeah.

SIEGEL: Let’s see. We’ll challenge you.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

MAHARIS: (as Buz) Look, you want any help from me, you’re going to have to crawl to me, X1.

That’s with Robert Duval. It’s called “Birdcage on My Foot.” He’s a drug addict.

(SOUNDBITE OF TV SHOW, “ROUTE 66″)

MAHARIS: (as Tod) You can’t do it, packy(ph).

MARTIN SHEEN: (as Arnie) Can’t do what job, man?

MAHARIS: I hear it’s a five-hand hit for tonight.

That’s the one with Martin Sheen and James Caan.

SIEGEL: But you do remember all of your lines from…

MAHARIS: Yeah. Well, pretty much.

SIEGEL: That’s not bad. This was a time, 1960, 1961, ’62, when the motor trip across the country, the drive around America, was a big deal. People were doing this at that time.

MAHARIS: Yeah. I can’t tell you how many people wrote to me and told me that that’s what they want to do after seeing the show and, you know, they wanted to buy a car and toot around.

SIEGEL: When you and Martin Milner would look at the shooting schedule for a season, would you say, oh wow, great, at least by week five we make it to Philadelphia.

MAHARIS: We never saw the schedule. It was week to week.

SIEGEL: You didn’t know where you were going?

MAHARIS: No. We didn’t know where we were going, and at many times we didn’t know what the script was until two days before shooting.

SIEGEL: But I assume that for a run of a couple of months you would stay in one part of the country. I mean…

MAHARIS: Well, we would try to do three or four shows in the area but that didn’t mean we had three or four scripts. And I remember we were in Cleveland doing the one with Nehemiah Persoff about the Russian hill. And we were standing on the bridge and we had no pages. We didn’t know where to go yet. Luckily, they had to raise and lower the bridge. And in the meantime, the plane landed in Cleveland and a car took the script and brought it to us because we didn’t know what clothes we were supposed to be in.

SIEGEL: It’s a good thing you guys could pack all those clothes in the trunk of that corvette.

MAHARIS: Yeah. It was terrific. I enjoyed it. It really demanded that you make it work.

SIEGEL: Well, George Maharis, it’s just been great fun talking with you and hearing all about the making of this terrific old TV show, “Route 66.”

MAHARIS: Yeah, I’m a terrific old guy.

SIEGEL: You are, you are, if I may say so, too.

MAHARIS: Thanks a lot.

SIEGEL: Actor George Maharis. He’s 83. He and Martin Milner starred in “Route 66,” a TV drama from the early ’60s. The complete series comes out on DVD this week.

Copyright © 2012 National Public Radio

Listen:  ‘Route 66′: A Country-Crisscrossing Series Comes To Home Video

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Spiral Jetty, 1970

This film, made by the artist, Robert Smithson, with the assistance of
Virgina Dwan, Dwan Gallery & Douglas Christmas, Director, Ace Gallery, (the
aforementioned Dwan & Christmas also assisted Smithson financially with the
making of the Spiral Jetty), is a poetic and process minded film depicting a
“portrait” of his renouned earth work — The Spiral Jetty, as it juts into
the shallows off the shore of Utah’s Great Salt Lake. A voice-over by Smithson
reveals the evolution of the Spiral Jetty. Sequences filmed in a natural
history museum are integrated into the film featuring prehistoric relics that
illustrate themes central to Smithson’s work. A one minute section is filmed
by Nancy Holt for inclusion in the film as Smithson wanted Holt to shoot the
“earth’s history”. This idea came from a quote Smithson found …”the
earth’s history seems at times like a story recorded in a book each page of
which is torn into small pieces. Many of the pages and some of the pieces 
of each page are missing”. Smithson and Holt drove to the Great Notch Quarry 
in New Jersey, where he found a facing about 20 feet high. He climbed to the 
top and threw handfuls of ripped pages from books and magazines over the 
edge of the facing as Holt filmed it. 

Smithson stated:

“Back in New York, the urban desert, I contacted Bob Fiore and Barbara Jarvis 
and asked them to help me put my movie together. The movie began as a set of 
disconnections, a bramble of stabilized fragments taken from things obscure 
and fluid, ingredients trapped in a succession of frames, a stream of 
viscosities both still and moving. And the movie editor, bending over such a 
chaos of “takes” resembles a paleontoligist sorting out glimpses of a world 
not yet together, a land that has yet to come to completion, a span of time 
unfinished, a spaceless limbo on some spiral reels. Film strips hung from the 
cutter’s rack, bits and pieces of Utah, out-takes overexposed and 
underexposed, masses of impenetrable material. The sun, the spiral, the salt 
buried in lengths of footage. Everything about movies and moviemaking is 
archaic and crude. One is transported by this Archeozoic medium into the 
earliest known geological eras. The movieola becomes a “time machine” that 
transforms trucks into dinasaurs. 

The film recapitulates the scale of the Spiral Jetty. Disparate elements 
assume a coherence. Unlikely places and things were stuck between sections of 
film that show a stretch of dirt road rushing to and from the actual site in 
Utah. A road that goes forward and backward between things and places that 
are elsewhere. You might even say that the road is nowhere in particular. The 
disjunction operating between reality and film drives one into a sense of 
cosmic rupture. 

As I looked at the site, it reverberated out to the horizons only to suggest 
an immobile cyclone while flickering light made the entire landscape appear a 
quake. A dormant earthquake spread into the fluttering stillness, into a 
spinning sensation without movement. This site was a rotary that enclosed 
itself in an immense roundness. From that gyrating space emerged the 
possibility of the Spiral Jetty. No ideas, no concepts, no systems, no 
structures, no abstractions could hold themselves together in the actuality 
of that evidence. My dialectics of site and nonsite whirled into an 
indeterminate state, where solid and liquid lost themselves in each other. 
It was as if the lake became the edge of the sun, a boiling curve, an 
explosion rising into a fiery prominence. Matter collapsing into the lake 
mirrored in the shape of a spiral. No sense wondering about classifications 
and categories, there were none.” 

Quotes from Smithson’s “The Spiral Jetty, 1970, published in Robert Smithson: 
The Collected Writings, edited by Nancy Holt, New York University Press, pp. 
109-113

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In 1976, Goldstein commenced with a new body of work, the records. These were colored vinyl records of sound recordings sourced from commercial archives that conjured intense visuals with titles such as “Burning Forest” or “Wrestling Cats.” These audio works served as a further abstraction to his films and were also designed as “images” to be installed on a wall without the possibility to play them. Goldstein conceived his records as both sound carriers and visual objects, saying “the records, they’re sounds as image, so I saw them as pictures.” Altogether, Goldstein produced eight record works, each of which differed with regard to design, size, and playing time.

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Listen: Jack Goldstein Records

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