Monday, March 12, 2007

Requiem for a Ti-Faux

I posted earlier about how my Ti-Faux exploded leaving me exposed and rudderless. The gory details about what its untimely demise has wrought:
  • Haven't seen the last three episodes of Veronica Mars (and yet remain remarkably ignorant of the identity of Dean O'Dell's killer!)
  • Missed my first Lost in two years last Wednesday.
  • Am now three (I think) episodes of Heroes behind, and am almost a month into the "Psychic cop, radioactive guy, and bluetooth girl invade HRG and Claire's home" cliffhanger.
  • Still haven't seen that Gilmore Girls Lane's shower ep that the machine died during.
  • Was going to give The Black Donnellys a try. Not anymore.
  • Have only seen bits and pieces of American Idol, not being able to record and speed through.
  • Missed the last new Office and a few 30 Rocks, Scrubs, and ERs.
  • Missed STEPHEN SONDHEIM - Tosy and Cosh oracle and figure of worship - on THE SIMPSONS - Tosy and Cosh "best television program ever. Yes, Charlie Brown, AUGHHH! indeed.
Now, I realize that a great many of these episodes are available either on iTunes or for free on the various networks sites, but:
  • The networks only offer streams, and for some reason watching TV on my laptop at home never seems to happen. for one thing, I watch most of this stuff with the wife, and it's not the most comfortable viewing situation to share a laptop screen.
  • The iTunes stuff won't for some reason download right on my laptop, and watching a TV show on the monitor in my basement is just not enjoyable. Also, at $1.99 a pop, that habit could get expensive and right quick.
I know, I know - woe is me. But it is amusing to realize just how dependent we had become on the new TV-watching paradigm of time shifting. And sooner, rather than later, we must get it back!

Until Whenever
Random Top Ten

Random Top Ten!!

Top Ten Bob Dylan Songs

10. "Bye and Bye" - A slow, sly shuffle of a song featuring some great organ fills and some very corny jokes ("I'm sitting on my watch/So I can be on time.")

9. "Moonlight" - A delicate, old-fashioned courting ballad. ("Won't you/Meet me/Out in the moonlight alone?")

8. "Don't Think Twice, It's All Right" - There's a demo version on the No Direction Home soundtrack, a version Dylan cut for the record company to help sell the song to artists, that's just gorgeous in its simplicity.

7. "Not Dark Yet" - An aching look at the end of life.

6. "Just Like a Woman" - One of Dylan's most-covered gems. I'm fond of his 1975 live version, faster and more rocking than the traditional acoustic version.

5. "Visions of Johanna" - Another song that's withstood many interpretations, many by Dylan himself.

4. "Tangled Up in Blue"
3. "A Simple Twist of Fate"
It was the one-two punch of these stellar acoustic songs on Blood on the Tracks that really made me fall in love with Dylan in the first place.

2. "Like a Rolling Stone" - The tipping point, and perhaps the most important song in rock and roll history.

1. "Sugar Baby" - This Love and Theft closing track is completely haunting in its stately, slow funereal cadences and in the way Dylan invests the lyrics with such weariness and resignation. A master class in singing.

Until Whenever

Wednesday, March 07, 2007

Take THAT, Cockroaches!!

I love that the US government sees fit to name 25 recordings worthy of taking extraordinary measures to protect for posteriy each year, and then does it. 225 recordings have been carefully arhived and would presumably survive a nuclear holocaust. That's just cool.

This year's additions:

2006 National Recording Registry (in chronological order)

"Uncle Josh and the Insurance Agent," Cal Stewart (1904)
"Il mio tesoro," John McCormack, orchestra conducted by Walter Rogers (1916)
National Defense Test, September 12, 1924 (1924)
"Black Bottom Stomp," Jelly Roll Morton’s Red Hot Peppers (1926)
"Wildwood Flower," The Carter Family (1928)
"Pony Blues," Charley Patton (1929)
"You’re the Top," Cole Porter (1934)
"The Osage Bank Robbery," episode of "The Lone Ranger" (December 17, 1937)
Address to Congress, December 8, 1941, Franklin D. Roosevelt (1941)
Native Brazilian Music, recorded under the supervision of Leopold Stokowski (1942)
"Peace in the Valley," Red Foley and the Sunshine Boys (1951)
Chopin Polonaise, op. 40, no. 1 ("Polonaise militaire"), Artur Rubinstein (1952)
"Blue Suede Shoes," Carl Perkins (1955)
Interviews with William ‘Billy’ Bell, recorded by Edward D. Ives (1956), representing the Edward D. Ives Collection held at the Maine Folklife Center, University of Maine, Orono, Maine and the Archives of Traditional Music at Indiana University, Bloomington, Indiana
"Howl," Allen Ginsberg (1959)
"The Button-Down Mind of Bob Newhart," Bob Newhart (1960)
"Be My Baby," The Ronettes (1963)
"We Shall Overcome," Pete Seeger (1963) recording of Pete Seeger's June 8, 1963, Carnegie Hall concert
"(I Can’t Get No) Satisfaction," Rolling Stones. (1965)
"A Change is Gonna Come," Sam Cooke (1965)
"Velvet Underground and Nico," Velvet Underground (1967)
"The Eighty-Six Years of Eubie Blake," Eubie Blake (1969)
"The Wailers Burnin’," The Wailers (1973)
"Live in Japan," Sarah Vaughan (1973)
"Graceland," Paul Simon (1986)

Until Whenever
Harold Bloom is an Ass

I know this isn't news, but the depths of the man's arrogance and snobbery are distilled quite nicely in this week's Newsweek. In a new weekly feature in which a prominent author lists five great books, Bloom, in three quick moves, makes his pomposity and the weight of his ego clear to all:

1) Asked to make more "unusual choices" Bloom refuses, and lists as his first "mot important book" the complete works of Shakespeare. See, he's far too important to play by silly Newsweek's rules.

2) He, when asked about a book he cared most about sharing with his kids gave worthy respect to Lewis Carroll's Alice books, before saying "They will last forever, and the Harry Potter books are going to wind up in the rubbish bin. The first six volumes have sold, I am told, 350 million copies. I know of no larger indictment of the world's descent into subliteracy." First, I have no doubt that history will prove him utterly wrong. I suspect strongly that the Potter books will be read and cherished for many, many decades to come. Second, the contention that Rowling's novels are "subliterate" is cheap, elitist, and, most grossly unfair, flat-out wrong. Having read the Carroll and Potter books, I'd make the claim that Rowling, while falling short of some of their achievements (the sense of absurdism, the poetry) she easily eclipses them in other ways (the subtle shading of character, the ingenious plotting). Ass.

3) Asked to cite an important book he hasn't read, Bloom answers (seriously - go look yourself), cannot think of a major work I have not ingested." Well la-dee-da, Mr. Fancy Pants. Seriously, can you imagine a more arrogant way to answer that question? I can't.

Until Whenever

Tuesday, March 06, 2007

Inspiration

When I first got into U2 in the late 80s, I certainly never imagined the kind of figure Bono would become. Listen to this speech and see if you react the same way I did. With a sense that this man - this still-young man, lest us forget - is going to do a lot of good in the world in the, not years, but decades to come. That this man, when I am in my eighties and telling stories to my grandchildren, will be the historical figure they will be most eager to hear stories about. That he will be in the history books, and in the 21st century magazine recaps. That he will be influential.

Until Whenever
Movie Meme!!

Courtesy of Tom the Dog, via Roger Green:

1. Name a movie that you have seen more than 10 times.
The original Star Wars films. In all honesty, there may not be any other movies I've seen more than ten times. Maybe The Shawshank Redemption.

2. Name a movie that you've seen multiple times in the theater.
I rarely see movies more than once in the theater, but I did see the original Star Wars and Return of the Jedi twice each. And I saw Star Wars: Episode I: The Phantom Menace three times.

3. Name an actor that would make you more inclined to see a movie.
Morgan Freeman. Always good.

4. Name an actor that would make you less likely to see a movie.
Um . . . Paris Hilton? No, she's not an actress. Rob Schneider.

5. Name a movie that you can and do quote from.
The Princess Bride. "Life is pain. Anyone who says different is selling something."

6. Name a movie musical that you know all of the lyrics to all of the songs.
Beauty and the Beast. "Rather like my thighs!"

7. Name a movie that you have been known to sing along with.
Beauty and the Beast. "No denying she's a funny girl this Belle!"

8. Name a movie that you would recommend everyone see.
The Princess Bride. Seriously, do you know anyone who has seen it that doesn't like it?

9. Name a movie that you own.
I own lots of expected titles, but a favorite less-known film is the underrated screen adaption of Terrence McNally's play Love! Valour! Compassion! about a group of friends, all gay men, who meet at a summer home over three weekends (Memorial Day, Fourth of July, and Labor Day) one summer. A lovely, moving, touching film that happily features almost all of the original Broadway actors.

10. Name an actor that launched his/her entertainment career in another medium but who has surprised you with his/her acting chops.
Most recently, Jenifer Hudson in Dreamgirls. Did not see that coming.

11. Have you ever seen a movie in a drive-in?
Alas, no.

12. Ever made out in a movie?
Ah youth!

13. Name a movie that you keep meaning to see but just haven’t yet gotten around to it.
So, so, so, so, so, so, so many. Two will suffice. Old? On the Waterfront. New? Pan's Labyrinth.

14. Ever walked out of a movie?
Nope. Tempted, but no.

15. Name a movie that made you cry in the theater.
Monsters Inc. "Kitty."

6. Popcorn?
Usually.

17. How often do you go to the movies (as opposed to renting them or watching them at home)?
Nowadays, three or so times a year. Sad.

18. What’s the last movie you saw in the theater?
Dreamgirls.

19. What’s your favorite/preferred genre of movie?
Big genre pictures with lots of special effects. In the theater at least.

20. What’s the first movie you remember seeing in the theater?
One of those Bugs Bunny compilations, with some new connective stuff surrounding classic cartoons. I must have been very little.

21. What movie do you wish you had never seen?
Can't remember the title - that Kim Basinger live action/animation thing where she's a cartoon sexpot. Horrid.

22. What is the weirdest movie you enjoyed?
Mom and Dad Save the World, starring Jon Lovitz as the evil leader of an enemy planet and Terri Garr and Jeffrey Jones as the titular Earth-saving Mom and Dad. Lovitz is genius.

23. What is the scariest movie you've seen?
As a kid, the film that freaked me out the most was The Toy, with Richard Pryor and Jackie Gleason. Not sure why, but I had nightmares for a while.

24. What is the funniest movie you've seen?
Airplane!. Most laughs-per-minute.

Until Whenever
Things That Make Tosy and Cosh Want to SMASH!!

My Ti-Faux, after all of 16 months of wobbly, crash-prone, oft-infuriating service, has died completely. Won't turn on, just flashes red intermittently. Can't open the DVD drawer to get at the DVD (first disc of the first season of Fraggle Rock) sitting in it. Can't get at the hard drive to access tens of hours of TV, almost all unwatched. Can't get at the twins' favorite episodes of Sesame Street or Barney. And all tech support could offer was a $150 replacement since, of course, it's no longer under warranty. $150 for a model that clearly is not worth the shipping costs to get it to me, never mind $50. Technology is great and all, but it makes me want to tear my hair out far too often.


Until Whenever

Monday, March 05, 2007

Celebrity Bloggers

Lots of blogs and magazines have posted lists of those rare "celebrity" blogs that are actual real blogs and not never-updated, bland PR sites masquerading as blogs. I don't read any of them, but recently came across the website and blog of Broadway composer Jason Robert Brown. I'm a fan of Brown's work, or at least his work on CD (I've yet to actually see a production of any Brown play), and was delighted to see that his blog (and site) are the real deal. He's clearly posting himself, and while he plugs like any good artist hawking his wares, he's also unguarded, open, and pretty frank about his music, his shows, and the state of musical theater in general. Do check it out.

Until Whenever
On Paper!

As I think I've mentioned before, I dabble in fiction writing and have been published by a few on-line literary journals in the past. The now-defunct site E2K published a poem of mine entitled "Thirteen Pianos" back in 2002 and the site New Works Review published my Star Wars-themed story "A New Hope" several years back. (I posted that story here). And now the literary journal Canadian literary chapbook Tickled by Thunder has published my short story "TKO." The story was actually published last winter, but I just last week got my contributor's copies. It's funny; this is hardly the big time (I'm not sure what Tickled by Thunder's circulation is, but I'm guessing low hundreds, if that), and yet seeing for the first time a story of mine in print - even if it's photocopied, stapled print - is quite the thrill.

If you go the the website, you'll see that they don't publish stories on-line, so for the curious, here is my first "published-on-paper" story, "TKO."


TKO

Samuel lay on the slightly springy floor of the ring, blood running into his right eye through an open cut directly above the eyebrow. Through the currently swelling left eye, the one not being overrun with blood, he could dimly make out the ref’s hands dramatically demarcating the final ten seconds of his long and uneventful career.

He still remembered the first time he had gone to a gym with his father. In his twenty some odd years as a professional boxer, he’d talked with a lot of other fighters about their first memories of the sport, bullshit sessions in dank and moist bars buried in the pits of cities too numerous too remember. Most of them said that their first memories were of the sound. That incessant thwap-thwap of the bags around the gym being hit. But for Samuel, it was the smell. Even now, thirty three years later, every time he walked into a gym that particular mélange of sweat, dull and basic, like weak ammonia, mixed with just a pinch, a barely-there memory, of the coppery sharp penny smell of blood, brought him back to that first day with his father.

*

“Stick with me, Sammy, just stay right here, you hear?” Sammy didn’t need to be told; he knew enough, even at five, to be intimidated by the half-naked, glistening men that ringed the room like notches on a numberless clock. Primarily, it was the harsh and painful-sounding grunts they made as they punched bags, each other and the air itself; the room sounded dangerous, sounded like something Sammy instinctively knew he wanted no part of. Walking across the crowded floor to the ring, Sammy couldn’t help but imagine, hard as he tried not to, what it would feel like to be hit by one of those punches, what it would feel like if it were his face at the other end of the glove instead of the bag. With the shuddery delight familiar to all five-year olds attempting to torture themselves, Sammy tried to figure out exactly what such a punch would feel like. Would it sting, like the time last month his mother had slapped him for trying to grab a pot of boiling water off of the burner? He had been surprised then by the stinging quality of getting hit; it was almost as if he had been to the doctor and gotten a shot, only in his cheek instead of arm or ass. Or would it be more like the time he had fallen and hit his head on the stairs? A dull and aching pain that throbbed instead of burned?

As these ponderings passed through his young consciousness, Sammy passed relatively close to one of the boxers hitting the bag. To most other boxers, never mind five-year olds, this one would have been huge; from Tommy’s vantage point, weighing in at 3’9 and at barely fifty pounds, he was gigantic. Perhaps the numbers were inaccurately inflated by the sheer difference in scale, but Sammy guessed that he must have been about 6’8 and at least 275 pounds. At least. The route he and his father were taking toward the ring brought him close enough to this large boxer to make out details, and while he couldn’t tell you anything else about the boxers present that day, how many there were or what they were doing, even with his consciousness graying there on the mat, seven seconds at the ref’s count away from retirement, Sammy could still see every detail of Rudolph that day in the gym.

His hair was shaggy and unkempt, a dirty blonde that seemed truly a dirty blonde, twisted into dreadlock-like strands by the sweat of his workout. The stringy ropes hanging down his neck were streaked different colors not by a lifeguard’s bottle of peroxide, but by sweat. Sammy would have looked over his face without incident, not noting the brown eyes, large vertical forehead or incongruously long and dainty eyelashes at all, were it not for the man’s nose. It had been broken, two or three times at least, but Sammy didn’t know that. All he knew was that it looked like someone had taken it off and put it back on wrong, as if a game of “got ‘yer nose,” that kid’s game he sometimes played with his little sister, had gone horribly awry.

In any case, nose or no nose, it was really the punching that had so captured Sammy’s attention. The man holding the large, duct-tape-patched bag for the giant was a small, older man; many years later Sammy would be sitting in a dark movie theater, slowly snaking his hand down his girlfriend’s blouse, when he would be spooked by the uncanny resemblance between Burgess Meredith’s character in Rocky and the old man with the giant that day. What had so grabbed his attention was that the small old man was being lifted clean off the ground, almost two feet into the air, with each punch of the bag. The giant’s arms were monstrous, and as he pounded the bag Sammy could only imagine what a punch like that would feel like. Perhaps his head would explode. Sammy grinned slightly at the thought, at the idea of his head just cracking apart and splashing the ring, his father suddenly covered with Sammy-brain and Sammy-blood.

"Wait here, Sammy. Just sit and don’t move. I’ll be right back.”

Lost in his thoughts, Sammy hadn’t noticed his father talking to the man by the ring. He watched as his father hurried off towards the back of the gym, lime-green gym bag in hand. Doing as he was told, Sammy sat down in one of the old aluminum chairs next to the ring, choosing one that, not coincidentally, gave him a clear view of the giant working out. Sammy found himself entranced by the way the sweat flung off of the giant’s back and shoulders as he moved; in the way it was effected by his repetitive movements it was almost dance-like. Sammy found himself trying to predict when the next splash would come, when enough sweat would have trickled between the fighter’s shoulder blades to be thrown off in a sprinkler-like spurt. It was while Sammy was deep within this particular pondering that his father returned. He was dressed in nothing but a pair of red boxing shorts with a white stripe down the sides and a pair of gleaming white sneakers; that is, unless you counted the black headgear he wore as clothing, which Sammy did not.

“You ready to watch your old man kick some ass?” The question startled Sammy - the trip to the gym had not been explained. His father had merely said, as Sammy sat watching Spider-Man do whatever a spider can on the TV, “we’re going to the gym, let’s go,” and, of course, Sammy had went. It hadn’t occurred to him that his father would be fighting.

“I thought you were old enough to see a little sparring up close kiddo, you know, see the old man in action. Thought you might enjoy it.”

Silently, Sammy nodded. He didn’t know quite what to think about his father fighting. It could be exciting; on the other hand, and this last was not quite a conscious thought, Sammy realized that if his father were to lose this “sparring match” he might not be the most pleasant companion for the rest of the afternoon. After all, if he got angry enough to shout and curse at the TV when a fight he was watching wasn’t going the way he wanted it to, what might he do if he was the losing fighter?

“Rudolph – you’re up.” The giant that Sammy had been so studiously observing stopped his frenetic bag workout and stepped into the ring.

“You’re fighting him!” They were the first words Sammy had spoken since entering the gym.

“Yea, you don’t think I can take him?” Sammy’s father was grinning and Sammy just shook his head.

“No, Dad, I know you can take him.” It was the first time Sammy could remember deliberately lying to his father.

They were well into the third round of the match and his father was getting pummeled (Sammy had no idea how many rounds there would be; he just hoped that there weren’t that many left). Even with the protective headgear, his face was cut up and raw in a number of places. He was breathing heavily, with sweat coating his entire body, not in the healthy sheen Sammy had noticed on the other boxers, but in an oddly greasy looking layer of sludge. Rudolph hardly looked as if he had been fighting for three rounds; his breathing wasn’t anywhere near as labored and strained-sounding as Sammy’s fathers. Sammy just sat and watched, cringing with each blow that landed. His father was by no means a small man, but even he looked miniature next to the giant. Most of the blows that Rudolph landed staggered Sammy’s father enough so that he took a few steps back; Sammy could only think of the old man being lifted into the air.
And, then, without warning, Rudolph managed to land a solid, square blow. Not quite an uppercut, it nonetheless lifted Sammy’s father into the air and sent him crashing onto the ring floor.

Sammy screamed. In the noisy gym, with all the shouting, grunting and hitting that was going on, not to mention the loud outburst that had erupted at the blow from the small crowd that had gathered to watch the sparring match, no one heard him. And it was a short scream, as soon as it had started Sammy stopped it, knowing that his father would not approve of such a reaction. Sammy cautiously looked down to the mat to see how his father was, afraid of seeing blood, or worse. Instead he saw his father leap to his feet and charge at the giant.

He had a look on his face that Sammy was thankfully not too well acquainted with - he was furious. Sammy looked on in awe as his father reached the giant in two long strides and started hitting. Taken by surprise, the larger man let a few of the early blows land clean, big haymakers squarely hitting his head and face, and in the end those few were enough to do him in. Had he been able to fend off one or two of those early blows, no matter how furious Sammy’s father had been, he wouldn’t have been able to do much damage. But, with those two or three landing clean and hard, Rudolph, slightly dazed, wasn’t able to screen out all of the rest of them, and with each furious, hard hit, he got a little more dazed. Within a minute of the knockdown, a minute in which Sammy’s father let up for not even one second, Rudolph was down, to the astounded cheers of the gathered fight fans.

Leaping off of his chair and smiling broadly, Sammy cheered along with them. He had never seen a display like that, especially from his father, and he found it indescribably thrilling. Without even realizing it, he had clenched his little five-year old hands into tiny fists, and he shook them as he jumped up and down. It was quite an introduction to the sport of boxing, and many times throughout his career, Sammy would reflect on what an insidious gift that one day was. After all, without such a thrilling and emotional introduction to the sport, would he have kept with it for all of those years, would he even have tried it out in the first place? Who knew? All Sammy knew was that, in the end, he had.

*

Sammy lay bleeding on the mat, waiting for the ref to finish the interminable count, and realized that there would be no heroic late charge from him. He had spent the last twenty years trying to relive that one feat of his father’s, and had gotten beaten harder, and knocked out more times, because of it than he cared to, or even could, remember. So it was with a certain amount of peace and resignation that Sammy closed his eyes.

“Ten!!”


Until Whenever

Thursday, March 01, 2007

Feeling Stupid
"Sunday," from Stephen Sondheim's Sunday in the Park with George is easily one of my favorite songs. On certain days, I'd go as far as to call it my favorite musical theater song. i like it that much. So, I've listened to it what? 100 times? 500? 1,000? many, many times, let's leave it at that. And yet - and yet! - it wasn't until today that I noticed something central to the song's brilliance. Why? Because I am dumb.

The musical is about the painter Georges Seurat, who is remembered for creating the painting style known as pointillism, which is the practice of painting by daubing thousands and thousands of little tiny dots of paint onto a canvas to create a whole. Rather than mixing colors on the palette, say red and yellow to make orange, Seurat would combine red dots and yellow dots on the canvas,never actually mixing the paints themselves. But at a distance, the eye itself combines the red and yellow, creating the orange in a shimmering kind of hazy effect that's quite beautiful. His most famous painting, and the focus of the musical, is "A Sunday Afternoon on the Island of La Jatte," and 80s movie buffs likely remember its prominent presence in the Chicago Museum of Art montage in Ferris Bueller's Day Off, where the camera shows us the effect by cutting closer and closer into one detail of the painting.

"Sunday" is the climax of the first Act, with the final painting (which Seurat has been painting throughout the Act) finally assembled before our eyes, and the entire company singing as they form a live tableaux of the painting under George's guidance. There's a moment partway through the song when the chorus crescendos to a big, beautiful chord on the word "park." And immediately after we hear George sing, solo, "made of flecks of light and dark." And I never, ever noticed the haunting parallel between the solo voice and the choral voice and the "flecks of light" - the dots of paint. I also never really consciously registered the deliberate parallel between the way many colors combine to form a single image and the complex, multiple-note, dissonant chords Sondheim employs throughout. (This one is especially embarrassing, given that I've spent many hours struggling to clunk my way through the piano-vocal arrangement of this song, contorting my hands to play some of those big, clustered chords).

What this says about my observational powers and critical facilities, I'd rather not dwell on. But what it says about Sondheim's powers is well worth noting.

Until Whenever

Tuesday, February 27, 2007

The Language of Oscar

Favorite Oscar-related use of language: A pre-Oscar fluff piece on Ellen Degeneres' hosting gig strung a series of her firsts together (first female comic asked by Johnny Carson to sit down, first sitcom star to come out) with this lovely bit of shading: "first openly gay woman to host the Oscars." Gotta love that insinuating "openly."

Least-favorite Oscar-related use of language: The announcer, referring to some female presenter, called her dress (paraphrasing from memory) "literally eye candy." No, her dress was not constructed from candy eyeballs.

Until Whenever

Monday, February 26, 2007

Brief Thoughts on Eddie Murphy

I haven't seen Little Miss Sunshine yet (nor, for that matter, Little Children, Blood Diamonds, or The Departed), so I'm certainly not going to say that Eddie Murphy should have won last night. But I did want to comment on some criticism of Murphy that I read somewhere (don't remember where) around why he shouldn't win.

1 - He was somewhat dismissive in some interviews of the nomination; he didn't seem to want it enough.

Well, that's just crap. I don't care if he attacked the Oscars in print; I don't care if he said he didn't want it outright. The award should go to the most worthy performance, and that is it. (Yes, I realize that in the real world this rarely happens, but still.)

2 - He admitted that the much praised moment in the film when he finds out that his socially conscious comeback album won't be produced and starts to get ready to shoot up, and at the cries of dismay from his mistress shoots her a steely, defeated look, wasn't calculated. He said something about someone on set marvelling at the moment and the look (as many critics did) and him (Murphy) not knowing what they were talking about. He hadn't realized that he had given a "look." Accordingly, he doesn't deserve the award.

This one is even dumber. The goal of many an actor is to lose themselves in a character to the point that they don't have to consciously think about reacting; they instead just react as the character. So that Murphy didn't sculpt that "look" in the mirror is not evidence of his laziness or lack of skill, but just evidence that he takes a instinctual approach to acting. All we as an audience need be concerned with is if it works.

As an aside, I've heard a similar criticism levied against actresses who use "aids" to cry in a scene. Onions, whatever. The charge is that an actress who can't really cry is a bad actress. Nonsense. Acting is about convincing an audience of a character's emotions and reality. That's it. And no matter how he or she is doing it, if they are doing it, and well, then they are doing good work.

Until Whenever

Friday, February 23, 2007

Not Madison. Or Mayer. Or The Grouch.

I think Tom started this one. Prepare to be disappointed in me. Oscar-winning films I have seen are italicized. Those I have a real desire to see are bolded.

1928 - Wings
1928 - Sunrise
1929 - The Broadway Melody
1930 - All Quiet on the Western Front
1931 - Cimarron
1932 - Grand Hotel
1933 - Cavalcade
1934 - It Happened One Night
1935 - Mutiny on the Bounty
1936 - The Great Ziegfeld
1937 - The Life of Emile Zola
1938 - You Can't Take It With You - I did play Grandpa in a college production, so I am curious to see the film version.
1939 - Gone With the Wind - Not sure why, but I just can't muster up any enthusiasm for finally seeing it.
1940 - Rebecca
1941 - How Green Was My Valley
1942 - Mrs. Miniver
1943 - Casablanca - Our first hit. Totally lived up to the substantial hype when I finally saw this.
1944 - Going My Way
1945 - The Lost Weekend
1946 - The Best Years of Our Lives
1947 - Gentleman's Agreement
1948 - Hamlet - I've seen Mel Gibson's and Kenneth Branagh's versions, so I really should see this one.
1949 - All the King's Men
1950 - All About Eve
1951 - An American in Paris: #2! Great music.
1952 - The Greatest Show on Earth
1953 - From Here to Eternity
1954 - On the Waterfront - In my Blockbuster queue.
1955 - Marty
1956 - Around the World in 80 Days
1957 - The Bridge on the River Kwai: Want to be really embarrassed for me? I've never seen Alec Guinness in anything besides Star Wars.
1958 - Gigi
1959 - Ben-Hur - William Goldman calls it the best film ever, so I kind of have to give it a shot.
1960 - The Apartment - I like Jack Lemmon a lot, so . . .
1961 - West Side Story - #3! Brilliant. A nicely stylized approach to the material as well.
1962 - Lawrence of Arabia - Read too many good things to ignore.
1963 - Tom Jones
1964 - My Fair Lady - #4! Some call it the greatest musical ever. I don't go that far, but it's up there. And this is a pretty spot-on adaptation.
1965 - The Sound of Music - #5! OK, not a huge fan.
1966 - A Man For All Seasons
1967 - In the Heat of the Night
1968 - Oliver!
1969 - Midnight Cowboy - The first X-rated film to win is really a must-see, no?
1970 - Patton
1971 - The French Connection
1972 - The Godfather: #6 Everything it's been said to be and more.
1973 - The Sting - A good con is great fun,so I really do need to see this.
1974 - The Godfather Part II #7- Here's where I stand on the great "which is better" debate - they equally good, if in slightly different ways.
1975 - One Flew Over the Cuckoo's Nest - #8 I absolutely love that they mixed in actual mentally ill patients with actors.
1976 - Rocky - #9 It's so easy to forget - Rocky loses. A much better film than it's often given credit for.
1977 - Annie Hall - I saw Match Point a week ago; my first Woody Allen film!
1978 - The Deer Hunter
1979 - Kramer vs. Kramer
1980 - Ordinary People
1981 - Chariots of Fire #10- Saw in the theater as a kid and remember loving it; haven't seen it since and remember pretty much nothing about details.
1982 - Gandhi
1983 - Terms of Endearment
1984 - Amadeus - Also sitting in the queue.
1985 - Out of Africa
1986 - Platoon
1987 - The Last Emperor
1988 - Rain Man - #11 Haven't seen this in ages.
1989 - Driving Miss Daisy - #12 Who's better than Morgan Freeman?
1990 - Dances With Wolves - #13 Still holds up well.I've never understood the anger at this film. My guess is that if it had been directed by someone else--but was the exact same film--it wouldn't be nearly as dismissed as it is today.
1991 - The Silence of the Lambs - #14. Jody Foster and Anthony Hopkins should really do
another film together.
1992 - Unforgiven - #15. Saw in the theater and haven't seen this. I would really like to revisit it.
1993 - Schindler's List - #16. Remarkable.
1994 - Forrest Gump - #17. I've said this before, but if this film flopped at the box office, critics would still be raving about how good it was and how dumb the public is.
1995 - Braveheart - #18. Those big battle scenes have been much imitated, but not yet equaled. 1996 - The English Patient
1997 - Titanic - #19. Everyone forgets how much the critics loved this when it came out. It was only when it made absolutely unfathomable amounts of money that they started hedging their bets.
1998 - Shakespeare in Love - #20. Another I haven't seen since the theater.
1999 - American Beauty - #21. Didn't quite get the fuss.
2000 - Gladiator - #22. Fun, but no Braveheart.
2001 - A Beautiful Mind - #23. A gorgeous score, and a brilliant performance. The "imaginary people" stuff was maybe just a bit too on the nose though.
2002 - Chicago - #24. A brilliant treatment of the material, with some thrilling performances.
2003 - The Lord of the Rings - #25. One I'll be watching again and again for a long time. Can't wait to share this series with the kids.
2004 - Million Dollar Baby - #26. Clint Eastwood and Morgan Freeman together? Heaven.
2005 - Crash - #27. Have to admit to not getting some of the backlash I've read. I thought it was a great throwback to the kind of melodramatic, coincidence-filled, tightly plotted tale Dickens loved, with a modern sheen on top.

Until Whenever

Thursday, February 22, 2007

Random Top Ten

Random Top Ten!

Top Ten Meals

Defined for these purposes as the "top ten dinner meals I most look to order at restaurants or eat with the family." No sandwiches, no snacks, no desserts, no fast food, but real meals.

10 - Pasta with Mushrooms
A restaurant by me does a wonderful job with this simple dish. An abundance of different mushroom types is the key.

9 - Eggplant Parmigiana
Love Mom's and Wife's homemade versions the best. Which is better? Like I'd ever say!

8 - Gnocchi with Red Clam Sauce
A regular Italian haunt when I lived in Morris county had a mix and match pasta and sauce option, which is where I first sampled this odd combo. Alas a good gnocchi is dismayingly hard to come by.

7 - Chicken Marsala
The wife makes a sublime rendition with baby bellas.

6 - Steak
Not that picky about the cut, really. Just a good steak.

5 - Crawfish Etoufee
The Jose Tejas' version is sublime. Sweet, sweet crayfish.

4. Fish Specials
A cheat, I know. But I'm always eager to try a good fish dish and like pretty much all kinds and all types of preparations. My favorite part of hearing the specials read.

3. Rack of Lamb
There's an old steakhouse in New York that, or so I've heard tell, serves a gargantuan and sublime "mutton (really lamb) chop that I'm dying to try.

2. Blackened Swordfish
A really fresh, not-long-out-of-the-sea swordfish steak hot off the iron and sizzling.

1. Braised Lamb Shank
A favorite local restaurant often has this on their menu, and it's my favorite meal. The lamb meat verily drips off the bone, and the accompanying ragu is only there as a coating. Meaty goodness.

Until Whenever

Tuesday, February 20, 2007

Tosy and Cosh: The Soundtrack

A fun meme via Lefty. The putative soundtrack to my life described below was generated off a random iPod shuffle.

Opening credits: "The Birds" Benjamin Britten, A Ceremony of Carols
Angelic choir. Nice.

Waking up: "Drowning Man" - U2
A defeated, resigned, beginning to my day as I awake and ready for work. Accurate!

First day of school: "Helpless" - Neil Young
I apparently go to school in North Ontario.

Falling in love: "Interlude I" - Benjamin Britten, Peter Grimes
Tense and spooky music. A foreboding and ominous turn of events - will this love story not be a happy one?

First song: "Got a Devilish Grin" - Clint Mansell, Requiem for a Dream
My first song is a very tongue-in-cheek samba line.

Breaking up: "Hold Fast to Dreams" Dave Brubeck
Another oddly appropriate one; a bittersweet art song about not losing hope.

Prom: "Spirit on the Water" - Bob Dylan
I go to the prom in the 1930s, with Bob Dylan as bandleader. Sweet!

Life: "Merrily We Roll Along" - Stephen Sondheim
"Yesterday is done/See the pretty countryside/Everybody merrily, merrily rolling along." Perfect.

Mental Breakdown: "Superhuman" - Velvet Revolver
I breakdown to bad hard rock.

Driving: "An Cat Dubh" - U2
A moody drive in the dark, probably a foggy night.

Flashback: "The Monorail Song" - The Cast of The Simpsons
I flashback to the time I swindled a town of yellow rubes out of a ton of money.

Getting back together: "'Twas on a Holy Thursday" - William Bolcom
A cheery, joyous occasion!

Wedding: "How Can I Lose You?" - Adam Guettel
My love life is seemingly ominous always, as my bride leaves me on the altar.

Birth of Child: "Chega de Saudabe" - Antonio Carlos Jobim
My child is born to gentle bossa nova.

Final Battle: "4th of July" - U2
And a dull, meandering battle it is.

Death Scene: "Oxford Town" - Bob Dylan
I die to the strains of Dylan and his guitar, as I head off to an afterlife I seem to have dubbed "Oxford Town."

Funeral song: "Two Fairy Tales" - Stephen Sondheim
At my funeral my life is remembered in song and in fairy tale allegory.

End Credits: "Saul Has Slain His Thousands" - Alan Menken/Tim Rice
A triumphant tune plays out over the credits . . .

Until Whenever

Monday, February 19, 2007

Checking in with the Girls

(Gilmore Girls spoilers lie ahead)

So we're a good halfway through (little more, I think, actually) the first Sherman-Palladino-less season of Gilmore Girls and from what I've read, the critics and pop-culture bloggers of the land are less than thrilled. The bloom is off the rose, and I haven't read nary a critic or blogger express much of a desire for the show to get another season. And while I concede some of their points, I have to admit to being impressed with what new producer Daniel Rosenthal and his crew have done with the hand they've been dealt this season.

After all, the decision to have Lorelai leave longtime-flame-more-recent-beau Luke and hop into her daughter's father's bed was the previous regime's, not his. And the impulse surely must have been there to write away that development, much reviled by GG fans, as quickly as possible. But no, they took their time and dealt with it fairly organically, to the point that it was only finally resolved with the dissolution of that relationship last week. But what really compelled me to post was one recent moment in particular.

The catalyst for the breakup of Chris and Lorelai is a character reference Lorelai writes for Luke to help him get partial custody of his daughter. Chris finds the letter and pretty much loses it. Nothing fancy going on so far. But what I really loved is how they made it clear without ever hitting us over the head with it that the real reason Chris gets so angry, is that the letter, without meaning to, points up what a poor father he was to Rory. As the letter points out, Luke was always there for the two Gilmore girls. And, even with all of the stuff that's happened, he always will be there. And Chris wasn't. And in the episode immediately following, he once again isn't. We never hear Lorelai tell him that his absence still hurts after all these years; we never hear Chris get defensive about his absence. But it sits there, in our view but un-highlighted, as the real reason for his anger, as the real reason for Lorelai's inability, much as she might wish to, to truly trust him (which is why she can't, in the end, love him, trust being so critical to love). It's a subtle bit of writing that I haven't seen credited anywhere, and that I want to, in my very small way, acknowledge.

Yes, Gilmore Girls has had its moments of flailing this year (and last). But it still does a lot of things exceptionally well.

Until Whenever
Stupid Real-Life

Sorry about the absence. Real-life gets in the way sometimes, and that's all there is to it.

Just saw this bit of news (via Pop Candy) and was tantalized greatly. Read the link for more details but the takeaways are:

Lord of the Rings film composer Howard Shore, whose Ring score will surely stand as one of the 21st Century's most lasting contributions to the genre, has written an opera.

The opera is based on David Cronenberg's The Fly.

Cronenberg himself will direct.

Placido Domingo will conduct.

David Henry Hwang, who wrote the brilliant M. Butterfly wrote the libretto.

Seriously - how cool is that?

Until Whenever

Friday, February 09, 2007

Epics

Via Pop Candy, I see this list of favorite ten minute-plus songs. Of course, I couldn't resist listing mine (in length order).

1. "Underture" - The Who - Tommy (10:05)
One of my favorite Tommy tracks, and quite possibly my favorite instrumental rock track ever. What's remarkable is how, with no lyrics to fall back on and a fairly simple, repetitive hook, they still manage to spin a compelling, cohesive musical statement together.

2. "Sinnerman" - Nina Simone - The Essential Nina Simone (10:19)
A remarkable piece of folky, funky, traditional spiritual sounding music. Used to great effect in the climax of The Thomas Crown Affair.

3. "Natural Beauty" - Neil Young - Harvest Moon (10:23)
Slow, languid, and just a little touch of melancholy. A leisurely, patient stroll through what is at heart a simple song.

2. "Sad-Eyed Lady of the Lowlands" - Bob Dylan - Highway 61 Revisited (11:19)
Dylan loves his long songs and this is one of the best. I love how it unfolds.

1. "Highlands" - Bob Dylan- Time Out of Mind (16:31)
The longest "song" in my collection. Pretty much a complete short story told through multiple casual verses. Brilliant.

Until Whenever
Something in My Eye

EW's PopWatch blog has a neat post and comments thread running now about TV moments that made you cry. I could list many, but I'll settle for one no one in the thread mentioned . A late-in-the-run All in the Family, when Michael and Gloria move to California. The end of the ep has Gloria and Edith in tears saying their goodbyes, and when Gloria runs to the cab crying Edith can't bear to watch and runs back inside. Leaving Archie and Mike on the porch. A clearly choked-up Mike, if memory serves without looking directly at Archie, says something to the effect of "I know you always thought I hated you Arch. But I want you to know. I love you." He then gives Archie a fierce hug as Archie looks straight ahead, clearly moved and trying not to show it, saying nothing. Mike runs of the porch to the cab and Archie tries, mostly successfully but not completely, to hold back tears. Beautifully played and executed.

Until Whenever

Wednesday, February 07, 2007

At Long Last

Lost returns tonight, and I am eager and giddy with anticipation. While reports from critics and bloggers may indicate that many have lost their passion for the show, I haven't at all. The fall's six-episode arc may have left many cold, but I liked it just fine. My suspicion is that much of the problem lay not with the story itself, but with (irony of ironies) how they had to rush through the "Jack, Sawyer, and Kate are kidnapped" story in six straight eps, as opposed to taking maybe 10 or 11 to get to the same point, as I suspect they would have in a normally structured season. The necessity of such a structure made the pushing of many characters almost completely off-screen unavoidable, and I think it's left a bad taste in many mouths. But after what I assume will be a more or less conclusion to that arc tonight, I imagine we can expect to get back to the core cast pretty quickly. So, no, I'm not apathetic, or less interested than I was in September. Not at all.

One related aside: I've read from dozens of people how stupid it is, how straining the bounds of suspended disbelief it is, that Jack, with Ben on the operating table in the fall finale, doesn't ask for a boat, or a phone, but merely for Kate and Sawyer to be released. But he's got a very limited window of opportunity here. After all, if he does let Ben die he loses any power he has. There's simply no time for a boat, and it's not as if he can assume that they have a portable phone they can just bring him. So he asks for something the time frame won't effect. Made sense to me.

Until Whenever