Showing posts with label Art and Literature. Show all posts
Showing posts with label Art and Literature. Show all posts

Monday, March 7, 2016

Der Amerikanischer Politik

Schaum-Saugen Schweinhunde *

Mr Fish, keepin' it Real.

The Gory Death Of A Panicked Animal Is Terrifying To See (Mr Fish)

SEE the thrashing of the WOUNDED BEAST as it CRASHES ACROSS THE POLITICAL LANDSCAPE !! It is THE TEA PARTEI against THE GOOD OL BOYS OF THE GOP in a DEATHMATCH for control of the GRAVY TRAIN and SWINE TROUGH ACCESS !!  BECAUSE FREEDOM !!

 Girls, Girls, Girls [Say Obama Was Just A Realist] (Mr Fish)

HILLARY THE INEVITABLE will ensure that everything APPEARS TO CONTINUE AS IT ALWAYS HAS and that NOTHING WILL CHANGE in the future except for THE BETTER. The fact that a layer of society WILL STILL BECOME RICHER THAN BEFORE can be ignored as INAPPROPRIATE.  BECAUSE FREEDOM !!

(* Scum-Sucking Pig-Dogs)
_______________________________


In A Just Universe We Are All Safe And Loved

But We Are Here


Yesterday a friend and I went to look at an assisted living community for her 86-year-old father. The facility's marketing person was friendly and low-keyed. The place itself was comfortable and clean; the average age of a resident was 83, and the men and women I saw seemed generally content and would easily engage with you if you stopped to talk with them. To live there in a small, one-bedroom apartment, would cost roughly $5,000 per month even without the range of assistance.

Later, my friend and I took a drive to another facility; it was a place her father could afford, but wouldn't feel comfortable in. She wanted to make a point about exclusivity. 

The place we went to was a 'community' run by a private corporation, like a suburb of single-story homes built within the past twenty years, all newer versions of the kind of GI-tract-style home built in 1948 which I had grown up in. It was on the top of a set of hills, surrounded by manicured lawns and trees, a cross between a park and a country club. 

We went into the community's main building, and walked through their dining area -- a broad room with tables and booths, actual silverware, fresh linen and bright napkins, good carpeting and dark, aged wood paneling; the place looked like the interior of a yacht club. The people in that room also seemed content, but in a different way -- they seemed dressed more formally for Sunday brunch than the people in the other facility; or, perhaps it was just me.

On the way out of the building, we stopped to look at an album with information about the residents -- "...after graduating from Stanford, he lived in London..." "was an officer in the U.S..." "...met his wife while working for the World Bank..." "...undergraduate degree at Yale...".  Most of the John Cheever short fiction I've ever read came to mind for a moment.

When we drove away, my friend said, "If you're accepted to live here, the entry fee is that you give the corporation who runs it about a million dollars. It's a loan -- they get to use that money for whatever they want. When you die, your heirs get the full sum back, but with no accrued interest.  And while you are living here, you pay about $10,000 a month for one of these homes. More, if you need assisted living," she said. "He could, but my father doesn't want to live in this kind of place."

"This is what the one-per-centers get at the end of their lives," she added. "And most of us won't even be able to afford the (first) place we looked at today."

I looked back at the place as we drove away -- at how clean, how quiet, orderly; how rich it seemed. It's one thing to intellectually consider how much better the Owners have it than the mass of the world's population. It's something else altogether to see it. 

I went away thinking about wealth, about inequity; about what Senator Sanders has been saying from The Stump, and the business-as-usual babble from Hillary The Inevitable ! I thought about things going on in the world outside Our Great Country, and about human suffering and history. 
___________________________

That led me to my usual blog-reading this morning, and I came across something that resonated.

One way or another, on a daily basis all of us struggle against the inane malestrom of useless human thought: con-artist commercialism, incoherence and illogic masquerading as clarity, and Exclusive and All-New ! that smothers human consciousness like a wet tarp. It does nothing to illuminate the landscape for other travelers or feed the soul.  And the Intertubes, a vast place, simply amplifies the prevalence of all of it (I'd include this blog in that list -- this is just a nighttime bus stop somewhere in the big middle of somewhere, or nowhere).

But -- one excellent thing about the Intertubes is, like other forms of communication, you may occasionally break out of the crazy Bardo-world of Amazon and Beyonce, CNN and Endless Living Through Twitting, and find yourself in a place where the sun is warm and the fields are green and open, the ocean is wide and blue, and people tell you the truth in complete sentences.

This bit of clear thinking (and you should read all of it), courtesy the Soul Of America, where there are cats.  I had to pass it along: Please consider.
If we had a society where everyone lived well whether they had a job or not, then we could make pure utilitarian arguments about employment. But when employment is required for people to be able to live decently, or even live at all, such arguments lead to treating huge masses of people as disposable, and consigning them to awful lives.

Again, this might be ok if we lived in a scarcity society, but we don’t. We produce enough food to feed everyone, we have the ability to house everyone, and so on... “Everyone should have a decent life, and that shouldn’t be contingent on whether they can make money for a billionaire.”

The economy and corporations exist to serve people, not the other way around. When they do not do so, the problem lies with them...

The core of any decent system of ethics, and thus of any political and economic order, is Kant’s maxim that people are ends, not means. When you forget that, you inevitably descend into monstrosity.

  --  Ian Welch, "Pure Utilitarianism and Capitalism"; Blog, March 5, 2016

MEHR, MIT ANGST AUS MITTELSTANDE: Rereading this post, I'm reminded how lucky we are to be able to focus on these kinds of issues, in a Western culture with cutting-edge technology. Which is another way of saying it reeks of middle-class stuff.  Guilty.
___________________________

Monday, February 29, 2016

Random Barking: Last Salute

Empire

"Gibraltar"; Artist: Charles Pears, 1930, For The Empire Marketing Board

I spotted this image on the Tom Clark blog, via The Soul Of America, and was immediately captivated.

It has everything -- balanced design elements (the Golden Mean at work), balanced and complimentary colors; images of The Family, the Power Of Worldwide Empire (Sing, "Rule, Britannia", right now. You know who you are), and being on holiday -- which suggests both financial and job security; a pleasant interlude in a sunny and pleasant life.

Sadly, when this poster was created, England had been virtually bankrupted after the excesses of the Great War (World War One to you), and was busily being kicked to the curb by the Depression ("Thanks awfully, America!  I say; we certainly didn't see that coming! Bit of a surprise!"). The Empire was fading and in the great unwinding of national self-determination that followed WW2, all the 'Pink Bits' on the map would have to be replaced by different colors.

Here in Aremica, our own Empire is slowly fading, except in the minds of persons like Herr Trumpi. The Kochbrudern don't care; they're rich. The rest of us don't care because we're too busy texting. When we're purchased by Commie Red China on eBay, no one will notice until Google is shut down for 'maintenance'.
__________________________________

Monday, January 11, 2016

Plastic Soul

David Bowie (1947-2016)

(Photo: Leonhard Foeger / Reuters)

Ground Control to Major Tom. Take your protein pills and put your helmet on ... For here am I sitting in my tin can. Far above the world. Planet Earth is blue. And there's nothing I can do. 

Now he knows what we do not.  So turn and face the strange.
______________________________________

Tuesday, December 15, 2015

Hasten January

X-Files


SCULLY: I swear to god, Mulder; if I heard "Silent Night" one more time I was going to start taking hostages. What are we doing here?
MULDER: Stakeout.
SCULLY: On Christmas Eve?
MULDER: It's an important date.
SCULLY: No kidding.
--  Agents Dana Scully and Fox Mulder (Gillian Anderson, David Duchovny),                   The X-Files, Season 6, Episode 6, "How The Ghosts Stole Christmas"
Don't misunderstand: News Corporation and Fox (network, cable, or film) are creatures of Little Rupert and Fat Roger's right-wing megalomania and overweening greed, and as such are tools -- rotten, rotten, rotten to the core.

That said, it made sense to me that Fox would showcase a program which presented a fairly paranoid world where governments manipulated the population to conceal a secret relationship with extraterrestrials, who were bent on doing god knew what.

 TTIOT: Presented With X-Files' Classic Opening Music By Mark Snow

The series debuted in 1992 and had already been on the air for 4 years when I finally gave in and watched it for the first time (the delay because I just don't support the Wizened Aussie's products on principle). I was immediately drawn in, and Had A Sad when it left the air in 2002.

After a ten-year story arc, we never really discovered what the government and the aliens were doing, and why -- but in the end, that was strangely all right. Much of the pleasure in a good novel, film or drama is in being kept wanting more than having as a story is told -- Chris Carter, the series' originator, and a team of talented writers had kept The Truth just out of reach through over 200 episodes. 

Now,  X-Files will be returning for a six-episode Coda, of sorts, in January 2016 (Fox wanted to bring the show back for the raitings it might receive, and the confiscatory ad rates it could charge. It was a business decision, period).

You can see a list of the new episodes and their air dates here.  Some of the usual suspects -- including Mitch Pellegi (FBI Assistant Director Walter Skinner), Dean Haglund, Bruce Harwood and Tom Braidwood (Langly, Frohicke and Byers, collectively the "Lone Gunman"), and William B. Davis, The Cigarette-Smoking Man (aka C.G.B. Spender, the supposed father of Fox Mulder, and assassin of both JFK and Martin Luther King, Jr.), will appear.  Filming was done in and around Vancouver, B.C. -- the original production home of the series before it moved to Los Angeles, and one reason so many Canadian actors appeared in it (good thing too, eh).


Flukeman, From Season 2 (One of my personal favorites), Played
By Darin Morgan, Later A Writer And Producer On The Series

They booked six episodes, rather than a full 20-show season -- reportedly so that Fox could work around David Duchovny and Gillian Anderson's schedules. Per Wikipedia, Duchovny "said he had no interest in doing a full season because: 'We're all old, we don't have the energy for a full season.' " 

However, Duchovny later said in an interview that he, Anderson and other former cast members were open to a return of X-Files; it just wasn't clear that a full-season run as in the old series would be possible. The first episode of the six is titled "My Struggle" (and we all know what that is in German, nicht wahr?), and ends with "My Struggle Part II".

I have no idea where Carter is going with this, but after hearing "Little Drummer Boy" for the septobazillionth time just a while ago, Gillian Anderson's line from one of the XF's  specific Exmass episodes came back to me, clear as a bell -- along with the CSM's famous Bah-Humbug takeoff on the 'Forrest Gump' park-bench scene:

 William B. Davis Breaks It Down For Us
CIGARETTE-SMOKING MAN: Life... is like a box of chocolates. A cheap, thoughtless, perfunctory gift that nobody ever asks for. Unreturnable, because all you get back is another box of chocolates. So you're stuck with this undefinable, whipped-mint crap that you mindlessly wolf down because there's nothing else left to eat. Sure, once in a while, there's a peanut butter cup, or an English toffee -- but they're gone too fast and the taste is... fleeting. So you end up with nothing but broken bits, filled with hardened jelly and teeth-shattering nuts; if you're desperate enough to eat those, all you've got left is an empty box... filled with useless, brown paper wrappers. 
As I am anxious for this season to pass into the history books, seeing the Old Crew together again is something to look forward to.  Happy Holidays.
_________________________________________

Wednesday, December 9, 2015

Still Missed

Twenty-Five Years

Something About Him Was Always A Kick-Out-The-Jambs Liverpudlian Rebel
Speak, Memory: One of the two arrests we made that day hadn't gone well. After putting the car in the basement garage at the Federal Building, I'd walked up the underground ramp to the street, intending to buy my second pack of Marlboros of the day from the liquor store up the next block. Stepping inside, I looked down at a stack of the evening edition of a paper which isn't even around any longer, lying on the counter below the cash register with a banner headline in 48-point type: JOHN LENNON SLAIN.  Fuck; I thought, and then said it out loud.  

_______________________________________

Tuesday, December 8, 2015

Miracle Of The Season

Go Ahead. Take A Break From Your Busy Holiday.


The 1993 film, Matinee ! was (one Dog's opinion; there have to be miscreant throwback troglodyte maniacs individuals out there who believe it's a cinematic gem) a failed coming-of-age movie set in Key West, Florida -- only an SRBM's throw away from the island of Cuba -- and during the Cuban Missile Crisis in October of 1962, no less.

One of its subplots was the arrival in town of a hucksterish film producer,  Lawrence Woolsey (John Goodman), who was out in The Sticks doing some audience research of a B-grade sci-fi movie before its full release. The real story line of the film was about the experience of two 10 to 12-year-old boys in Key West whose fathers were Navy aviators on end-of-the-world alert, and their Mom.

The only thing notable about Matinee was the B-grade movie being shown in Key west's local walk-in theatre, entitled MANT !, a typical man-exposed-to-radiation, mutates-into-giant-Ant story, the kind that would later become classic fodder for MST3K.  Snippets of this, uh, 'effort' were shown as a film-within-the-film as "Maintee" progressed; at least two of the actors performing in it, William Schallert and Kevin McCarthy, had appeared in actual sci-fi films in the 50's and 60's (McCarthy in the original 'Invasion of the Body Snatchers', among others; Schallert worked on scores of television series, most notably in The Patty Duke Show), which increases the Camp factor for Dogs of a certain age.

While Goodman had received top billing in this, uh, 'effort', his actual on-screen time didn't amount to much. It was noted that, when the last take of his character's last scene was completed, Goodman was supposed to have looked around at the rest of the cast and crew, said, "So long, suckers!", then walked to his convertible parked just off-set and drove off without another word or backward glance.

It's a miracle that someone took the time in 2013 to stitch these clips together into a coherent reconstruction. Isn't it?  Of course it is.

Because this is the season for miracles. Or, something. Isn't it?
________________________________________

James Tate


(Because the comments section at BLCKDGRD is closed, and I can't get my suggestion in. And, it seems fitting -- the season, and bloody obscene tragedies, and politicians, and Oval Office speechifying, and everything. That the world as we see it now must seem full of opportunities, to a certain type of individual.)

Behind The Green Door

Thaddeus had said he wanted to get together, but,
then, when we met in town, he didn’t seem to have anything
on his mind. “I’d like to get myself one of those remote-
controlled airplanes, and chase pigeons in the park,” he
said. “That will show them who’s boss,” I said. “Of course,
some people might think I’m a little old for that,” he said.
“For terrorizing innocent birds? You’re never too old for
that, Thad,” I said. We sipped at our beers. It was still
before noon, and Mary’s was almost empty, except for an elderly
couple at the bar drinking martinis. “They’re pretty expensive,”
Thad said. “Martinis?” I said. “No, stupid, remote-controlled
airplanes,” he said. “Think of it as an investment in your
lost childhood,” I said. He thought that over for a while.
The couple at the bar toasted one another, and laughed. The
bartender brought us another round. It was a Saturday, and
I had many errands and chores on my list. “You know all about
my ‘lost childhood,’ so I don’t need to remind you,” he said.
“I can recite what you got and what you didn’t get for all
your birthdays,” I said. “Then, why do you put up with me?”
he said. “I need to suffer, Thaddeus. It makes me a better
person. So, you see, indulging you is completely selfish
on my part. It doesn’t make any sense, but that’s how the
world is, and that’s why some great good may come out of
making those birds suffer. I don’t know what it is, but something
tells me it’s so,” I said. The woman at the bar was tickling
the man’s ribs, and he was about to fall off his stool. “Then,
you think there really is a plan?” Thad said. “Absolutely,
right down to the last drop of beer spilled on this floor
every night, to the ant you killed walking out your door,
and the plane crash in the Andes,” I said. Thaddeus seemed
stunned, while I was just saying anything that came into my
head. I took it as my job to give him something to think
about. The couple at the bar ordered another round. Then,
Thaddeus said, “If that’s true, then I’ve never really done
anything wrong. I had no choice, I’m off the hook.” I looked
at my watch. We were right on schedule for that conclusion.
“And soon the earth will open up, and a ten-thousand-year-old
giant squid will strangle us all,” I said. “I’m hungry,” Thaddeus
said, “do you want to get some lunch? There’s a new place
across the street.” “That’s not new. They just painted the
door a different color. The owner, Herb, had a midlife crisis
or something,” I said. “Well, then, it’s sort of new, I mean,
you don’t know what you’re going to get after something like
that,” he said. “I see your point. I suppose it could get
kind of ugly. Or maybe not. It could be better than ever.
Still, I have these errands,” I said. “You’re afraid to lose
even an hour, George, afraid what you might find in its place,
something truly unknown, without a name, no visible shape.
There’s nothing wrong with that, George. You know I’ve always
admired you, so go on your way, get your dishwashing detergent
or whatever it is. I’m going to find out what’s behind that green
door,” Thaddeus said. “No doubt there will be an ambrosia burger,”
I said, “and you’ll order one.” “I will have no choice,” he
said. When we stepped outside, the sunlight blinded me. “Good-bye,
Thaddeus,” I said, “wherever you are.” A dog barked, and, then,
a siren sped by. I couldn’t see my own hand in front of my
face.

-- From "Ghost Soldiers" (2008)
_______________________________

Tuesday, October 6, 2015

Henning Mankell, 1948 - 2015

Case Notes

Henning Mankell (Photo: Munro McLeod For The UK Guardian)

At the end of Faceless Killers, Henning Mankell's first crime novel, his main character, police Detective-Inspector Kurt Wallander, sits in the dark talking with his mentor, retired Inspector Rydberg, who is dying of cancer. A murder investigation is over, the killers are apprehended, and Wallander talks with Rydberg about the case.
     "We made lots of mistakes," Wallander said thoughtfully. "I made lots of mistakes."
     "You're a good policeman," Rydberg said emphatically. "Maybe I never told you that. But I think you're a damned fine policeman."
     "I made too many mistakes," Wallander replied.
     "You kept at it," said Rydberg. "You never gave up... that's the important thing."
     The conversation gradually petered out. I'm sitting here with a dying man, Wallander thought in despair... The incantation flashed through his mind: a time to live, and a time to die.
     "How are you?" He asked cautiously.  Rydberg's face was unreadable in the darkness.
Henning Mankell died yesterday at age 67, roughly eighteen months after being diagnosed with cancer. He was a playwright and director who married the daughter of film director Ingmar Bergman, and served for several years as Director of Sweden's national theater. He was most prolific as an author of fiction -- including thirteen stand-alone novels and eight novels for children.

But Mankell will be remembered in Europe and America primarily as author of twelve more novels, "Krimis", featuring Swedish police Detective-Inspector Kurt Wallander -- as vibrant, individual and human a detective as Simeon's Inspector Maigret, Agatha Christie's Hercule Poirot, or Raymond Chandler's Phillip Marlowe.
____________________________________________

Detective fiction as a genre had been popular in Europe since the end of the First World War, but  publishers considered them entertaining diversions with formulaic, predictable characters and plots. Agatha Christie, E. Phillips Oppenheim, Georges Simeon, Erich Kästner, 'S.S. Van Dine', Dashiell Hammett and Raymond Chandler all sold well enough, but detective stories were not taken seriously by publishing houses in Europe or America.

Neutral Sweden was untouched by WW2. Trading with Allies and Axis, it remained secure and became rich. After the war, a wealthy Swedish society could afford to provide all basic needs for its citizens -- a social safety net that was the envy of the world. But by the late 1960's, the open State was experiencing everything from rock music and antisocial teenage behavior, to drugs, organized crime; corporate corruption; and, as increasing numbers of refugees poured in from around the world, a right-wing backlash from some who wanted to end Sweden's its traditional open-door asylum policy.

The quiet, isolated northern country which had escaped the ravages of a world war found itself unsure of its future, and the problems imported from a larger world. At roughly the same time in the 1960's, a Swedish couple, Maj Söwall and Per Wahlöö, wanted to write novels exploring those issues -- and used the format of the crime novel as their vehicle.

Söwall and Wahlöö's stage was Sweden's capital, Stockholm, with a cast of police detectives led by a senior investigator named Martin Beck. Their framework was what we now refer to as the "police procedural": we follow the detectives as they piece together evidence, using the same methods, systems and protocols as real Swedish police.   

And, the two authors were among the first to present their policemen as all-too human -- they were cynical and idealistic by turns, and driven by a sense of duty. They had drinking problems, money problems; marital problems (one moves in with a barely above legal age girl). They argued with bureaucracy, complained about their pay, and fought with each other in petty rivalries around office politics. They had political positions (for or against America's war in Vietnam), and might occasionally smoke pot.

The novels immediately became popular in Sweden, then across Europe. Söwall and Wahlöö's Martin Beck and his squad were immediately accepted by Constant Reader, the person in the street, as valid, three-dimensional characters.  These Swedish cops reflected the world that the readers lived in. Publishers saw money to be made and began trying to find the "next  Söwall and Wahlöö".

Within a few years, a new niche publishing industry developed:  Krimis, from the German, Kriminalroman (crime novel).  It's no exaggeration that Steig Larson, Jo Nesbo, Hakan Nesser, Ian Rankin, and a large number of other Krimi authors would not have been as successful without Söwall and Wahlöö's work -- and that includes Henning Mankell.
____________________________________________________


By the time Mankell began writing his crime series, the Krimi industry had been developing for over twenty years; as a market, it was arguably over-saturated. What made Mankell's work stand out and succeed is, simply, his talent as a writer. He tells (as best we know through the translations of his works) a good story; the voice of his narrator is reliable.

His characters are believable; the pacing and the action in his plots follow the typical rising-action-to-resolution framework, but none of the details about his characters or events in the story lines disturbs our suspension of disbelief. And most important -- the character of Kurt Wallander is immediately familiar.

Divorced, diabetic, self-doubting, Wallander worries -- about his daughter, who can't seem to find her place in the world; about his father, a curmudgeonly artist who only paints one basic theme (with or without the Grouse) and who begins suffering from Alzheimer's. He tries to figure out how he might find the money for a dream of a small house, and a dog. We've met him, and whether you're male or female it's not hard to imagine being him. At a minimum, we find ourselves emphasizing with him, and caring about what happens to him.

He listens to opera, keeps buying one Peugeot after another, and worries about his connections to the world, about dealing with his superiors and peers -- but when Wallander is presented with a case, his self-doubts recede and he is focused, driven, and decisive. We like our heroes to resemble us, and we want them to be better, to rise to challenges as we always hope that we could; Mankell gave his readers a character which did both.

And, like Söwall and Wahlöö, the crimes in Mankell's novels spring from changes in Swedish society, brought on by events in a larger world. Faceless Killers, the first in the Wallander series, is about a brutal double murder seemingly involving non-European refugees. Firewall explores terrorism through digital technology; themes in The Fifth Woman and The White Lioness touch on modern Africa; "The Man Who Laughed" involves corporate piracy and a self-assured Oligarch figure above the law. Before The Frost is a look at religious extremism, an echo of Jonestown and the People's Temple.

Wallander became a worldwide phenomenon; two Swedish television series based on the character in the early 2000's were followed by the BBC version in English, starring Kenneth Branagh. Mankell had been involved with the Swedish production company, Yellow Bird, in developing scripts for stories not connected to his novels. There's more to that story; I've written about it here.
____________________________________________________

Mankell, like Oliver Sacks earlier this year, had written publicly about his battle with cancer, and had just sent a brief article to the UK Guardian before he passed away:
Eventually, of course, the day comes when we all have to go. Then we need to remember the words of the author Per Olov Enquist: “One day we shall die. But all the other days we shall be alive.”
____________________________________________________

Monday, September 28, 2015

Leonard Cohen At Eighty-One

Halleluja
(Sorry; I Do Not Know The Credit For This. It's A Great Photo)
 Actually, he was 81 on September 21st.  I'm late, lighting this match lit in the wind, saying remember, remember; while he's still here.

I knew him as a poet before hearing him sing, then realized I'd already been listening to his music and didn't know it. Years on at college and I knew the lines of every song, on his albums -- but his poetry is what originally slipped into my pocket and stayed; it was that comfortable and familiar. And almost forty years on, he's still working; he still gives back.

One line that keeps returning for me, with humor and rue , as the years move on and grow shorter: The future seems unnecessarily black and strong / as if it had received my casual mistakes / through a carbon sheet.

Remember; remember. And, Halleluja; anyway.
________________________________________________

Monday, July 6, 2015

You Know It's Gonna Get Stranger

Fifty Years Down That Road
Transcendence, and The Experience Of Aging, Go Hand In Hand
(One Dog's Observation)
_____________________________

In the attics of my life
Full of cloudy dreams; unreal
Full of tastes no tongue can know
And lights no eye can see
When there was no ear to hear
You sang to me

I have spent my life
Seeking all that's still unsung
Bent my ear to hear the tune
And closed my eyes to see
When there were no strings to play
You played to me

In the book of love's own dreams
Where all the print is blood
Where all the pages are my days
And all my lights grow old
When I had no wings to fly
You flew to me
You flew to me

In the secret space of dreams
Where I dreaming lay amazed
When the secrets all are told
And the petals all unfold
When there was no dream of mine
You dreamed of me
 
******************************
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on that sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
__________________________________________

Just a box of rain,
Wind and water,
Believe it if you need it,
If you don't just pass it on

Sun and shower,
Wind and rain,
In and out the window
Like a moth before a flame

It's just a box of rain
I don't know who put it there
Believe it if you need it
Or leave it if you dare

But it's just a box of rain
Or a ribbon for your hair
Such a long long time to be gone
And a short time to be there
_____________________________________________

And After All This Time

Still, I feel like a stranger; feel like a stranger.  Well you know -- it's gonna get stranger.  So let's get on with the show.
__________________________________________

Thursday, June 25, 2015

Tightrope Walker

James Horner  (1953 - 2015)



The best movies, and Hollywood films in particular, are more memorable for the soundtracks which underscore (no pun intended) and add emotional color to the action. In the heyday of the studio era, film music was big, bold and dramatic -- Erich Wolfgang Korngold, Bernard Hermann and Max Steiner, even Leonard Bernstein, are good examples -- and that music made obvious the story unfolding on the screen: Shock! Suspense! Action! Danger! Love! 

When film began to change as an art form after WWII, the supporting music became more nuanced, less obviously another supporting star in the cast. Some film composers carried on the traditions of the old-studio, bold-as-brass soundtracks; Vangelis (Blade Runner; "The Bounty") and John Williams ("Star Wars", A.I.; Saving Private Ryan and too many others to mention) are good examples.

Others began as big-studio composers, but developed another language for their work later in life -- Maurice Jarre started with Lawrence Of Arabia and "Dr. Zhivago", but also provided work like the soundtracks for "Witness", Jacob's Ladder and Dead Poet's Society.  Jerry Goldsmith could deliver  "In Harm's Way", The Blue Max, and Patton, but also A Patch Of Blue, "The Island", Chinatown and Papillion.

Other artists were less obvious in their composing styles from the beginning, and (at least, for me) more effective in adding the added dimension of emotional color to a film without being intrusive -- three I would mention are Michael Covertino (Children Of A Lesser God; Bed Of Roses), Thomas Newman (The Shawshank Redemption), and James Horner.

Horner died over the weekend in a small plane accident in Southern California. He was capable of providing a bigger-than-life soundtrack (several "Star Trek" films, or Cameron's Titanic are the best examples), but also created specific scores that I enjoy as music, as evocations of particular emotions; as an analog in sound for what is sometimes difficult to define in words. He once described satisfying the demands of a specific medium, a director or producer, and maintaining artistic integrity at the same time was “like being a tightrope walker with one foot in the air at all times.”

Now he knows what we do not. Horner provided his own artistry in that extra dimension which music provides to film, and gave something to our collective culture. We won't move into the future and hear more of what he might have created; I'll miss that.
_______________________________________________

Thursday, June 11, 2015

More Than Met The Eye

Christopher Lee (1922 - 2015)

Leaving Dracula Behind: Lee As Scaramanga, Bond's Nemisis In Man With The Golden Gun

It's easy to make assumptions about anyone, even if you've seen them often -- around the office; on the street; even on a film screen or the Teevee -- based on what you think you know of them.

My favorite personal encounters with that were two people, living in my home town -- one, an Austrian immigrant who had come to America in the 1920's; after his death, it turned out he had been a young man, standing curbside, in Sarajevo on June 28, 1914, watching as the Archduke Franz Ferdinand and his wife were shot by Gavrilo Princip.   The other was a friend's father -- a slight and unassuming man, gentle in his take on the world, who had been captured on the Philippine island of Corregidor in 1942 and was a survivor of the Bataan Death March. You never completely know what's behind the person you see.

Christopher Frank Carandini Lee passed away on Monday night, aged 93.  He was an Englishman out of a mold long broken, now: Born not long after the Great War to a Continental marriage -- his father a Colonel in the King's Royal Rifle Corps; his Italian mother the Comtesse di Sarzano, from a family ennobled under Holy Roman Emperor Frederick Barbarossa but decaying over the centuries into more genteel circumstances.

There were many British families like theirs, before and after WW1 (read about Robert Graves' own in Goodbye To All That), solidly English but with Old Bloodline connections to the Continent -- however, with not so much by way of money. Never quite broke, yet never quite rich, but always conscious of who they are and where they came from.

His parents divorced when Lee was four; he and a sister were educated in Switzerland and private schools in England. His mother then married a banker, Harcourt George St-Croix Rose, the uncle of Ian Fleming.

In the arcane labyrinth of English "public" (read: exclusive) schools, Lee missed an opportunity to attend Eton and instead prepped at Wellington College, where with a small exception he did no acting-- which wouldn't become his career until after World War Two.

Lee turned age 17 just before the summer of 1939. His mother had just separated from her second husband, and Christopher suddenly needed a job. Unable to find one, he and his sister were sent to France -- and here, his mother's family connections opened doors to a particular layer of the world's culture: While in Europe, he watched the last public execution by guillotine in France; and among the exiled members of former royal families met Prince Felix Yussupov, who murdered Rasputin in 1917.

Portrait Photo Of Lee, Circa 1939

When war looked inevitable, Lee came back to England --  Germany invaded Poland on September 1; Great Britain declared war on Germany four days later.  Instead of heading back to school, Lee volunteered to fight with the Finnish army during its invasion by the Soviet Union, but was kept far from any fighting and after a few weeks was sent back to London. France had been invaded and surrendered to Germany; England had managed to save its men but not its guns at Dunkirk, and the Blitz was about to begin.

Lee found a job as a clerk because, under Britain's selective service scheme at the time, he had to wait to be 'called up' --  in which case he would have no choice over which branch of service he'd be placed in.  Unless he volunteered, which he did, and chose to go into the RAF. He did not qualify for pilot training, but was assigned to intelligence duties and posted to a squadron in the spring of 1941.

Long Range Desert Patrol Group In The Field, 1941

On the public record, Lee was posted to several different RAF squadrons as an intelligence officer, a role he held more or less for four years through the North African and Italian campaigns -- except for Burma and New Guinea, the only theaters of the war where Britain was active before D-Day. Lee also had four bouts of Malaria during the war (which I can guarantee you is serious).  And though he never discussed it, later in life Lee admitted that he had been a part of two organizations in the British army -- SOE, Special Operations Executive, and the Long Range Desert Patrol group.

While the LRDP did perform some commando-style raids deep inside German- or Italian-held North Africa to force their enemies to spend time and resources hunting them down, during 1941 - 42 they were principally long-range reconnaissance units,  small groups operating far behind the lines. Their job was to be stealthy, to observe enemy troop movements and positions, and report.

The SOE were the real commandos -- they blew things up, carried out assassinations and assisted local resistance organizations, and their job was to give the nazis hell. After 1942, SOE also sent agents into countries like Yugoslavia, people who (as Lee did) spoke multiple languages and could dress and act like a local.

The SOE agents ran exfiltration lines, moving downed Allied air crews, political refugees and other intelligence agents out of Europe from night pickups on the Dalmatian coast. It was dangerous work; the German security services in Yugoslavia -- or anywhere else -- were efficient and brutal.

 British 'Irregular' Detachment; Italy, 1944

It was rumored that this had been Lee's role for a time; he never denied it, or any other rumor about his wartime service -- including that he had been recruited to be a spy by his step-cousin and MI-6 officer, Ian Fleming, who would become the creator of James Bond. Once asked by a fan if he had been an undercover agent during the war, Lee smiled and asked quietly, "Can you keep a secret?" Of course, the fan said. "So can I," Lee replied.

When the role of 007 was being cast for the first Bond film, Dr. No, in 1962, Fleming wanted the role of 007 played by his step-cousin, Christopher -- because, Fleming said, Lee had "done this kind of work", and would play the role more believably [Note: The BBC, in it's obituary notice, has reported Fleming wanted Lee to play the role of Dr. No, which went to actor Joseph Wiseman]

Flight Leftenant Lee In Vatican City, 1944, After The Liberation Of Rome
 
When the first Lord Of The Rings trilogy was being filmed in New Zealand, director Peter Jackson was filming the scene on the Tower, where Saruman stabs Wormtongue in the back; Jackson was directing Brad Dourif to shout or scream when Lee stabbed him; Lee demurred -- when someone is stabbed from behind, he said, reflex makes the victim draw in their breath.  Jackson pushed back, asking, How do you know that? "Because I know what it sounds like," he said -- and that was all.

It's possible Lee was 'playing the mystery' a little; he was an actor, after all; but I tend to think there was some truth to all the rumors -- and while he may have allowed that to play out in the imaginations of others, Lee came of age in an England where such things as discretion, and duty, and knowing how to hold one's tongue meant something, Official Secrets Act or no.

(Lee was, incidentally, the only member of the LOTR cast or crew who had actually met J.R.R. Tolkien, as a still-young man after WWII in an Oxford pub.  It was a brief, chance meeting; Lee enjoyed and admired Tolkien's work and was awe-struck at meeting the man, and so when introduced only managed to say, "Ah, hello, how are you?")

Sir Christopher Lee, 2012

For his career in film, there is plenty on the Intertubes for you to see. I enjoyed his performances; I'll miss his general gravitas and sense of sagacity or menace he could bring to a role. And beyond the general reserve of the English, I always got the sense there was much more about Lee beneath the surface (for example -- the man had two heavy metal albums out there. Ruminate on that for a moment).  He was rumored to have one of the largest private collections of manuscripts and printed material on the occult on the planet -- something he played down, but again, never denied.

In any event, now he knows what we do not. Go well.
______________________________________________________________

Friday, February 27, 2015

Second Star From The Right

And Straight On 'Till Morning
Leonard Nimoy  1931 - 2015


Not all that many people affect a wider world; the number that have a positive influence are even smaller.

El Rog (that's pronounced "Raj") The Magnificent at my Place Of Witless Labor™ spoke over the Great Wall Of Cubicle a while ago and advised Leonard Nimoy has died. The visual image which immediately popped into my mind was the character he made immortal, Spock, as he'd appeared in the first JJ Abrams reboot of the Star Trek franchise, and so my first thought was Spock, dead? No; that's not possible. It took a few seconds to remember Nimoy in any other way, and then the news seemed not only possible but not unexpected. Now He Knows What We Do Not.

As Lynda Barry tells it, television was role model, teacher, and refuge for several generations. It was all those for me, and due to an odd twist of pre-frontal cortex which allows me to recall the complete dialogue of specific films nearly intact, I would remember the faces of character actors who appeared in films and different television series (which would lead to posts like this, and this, and this one).

I watched Star Trek when it was new in 1966, and a new concept for television -- a science fiction episodic television program (the audience could 'get involved' with the lives of its characters, and their relationship with each other, to create a backstory to support the arc of the series).  It's true that 'The Twilight Zone' had appeared in 1959, and One Step Beyond not long after; then "Outer Limits" in 1964, but each of their episodes were separate presentations, a series of short stories.

Star Trek was the first of its kind, and it made all the other series that followed, Star Trek-related or not, possible -- ST Next Generation; ST Deep Space Nine; ST Voyager; Starship Enterprise; Babylon 5; Stargate; Battlestar Galactica (original, and the remake); Space 1999; even the Saturday morning Thunderbirds! marionette series.

It also made possible a long string of other sci-fi and fantasy-related programs that we take for granted, today, from X-Files and Roswell to the SciFi Channel. 


The crew of the NCC 1701 were a family, and Leonard Nimoy's rendition of the science officer and XO was spot on, right from the beginning; I can't imagine another actor in 1966 who could have brought more to the role (Try and imagine it. Go ahead). The series was a popular success, but even with a large write-in campaign from fans, NBC cancelled it; episodes in the spring of 1968 were the last.

In the1970's Nimoy joined the cast of Mission: Impossible, replacing Martin Landau (who ended up as the star of -- yes; 'Space 1999', with his MI co-star and then-wife, Barbara Bain).  When Star Trek's creator, Gene Roddenberry, finally received financial backing to produce "Star Trek: The Motion Picture", Nimoy returned to his Spock role. But, the movie had a poor showing when it was released in 1979 and for a time it wasn't clear whether there would be any sequels. Nimoy began looking for other ways to reinvent his career -- as a writer, an artist, as a stage actor.

Four years later, with a different director and script, The Wrath Of Khan (with another decent character actor, Ricardo Montalban) appeared, and was a success -- even when the unexpected happened; Spock sacrifices himself to save his ship, its crew, and the officers on it that were his family.
  
 "I was, and always shall be, your friend." If you saw the film when it was released,
tell me you didn't feel just a little misty when he spoke that line. 

There would be another four star Trek films with the original cast  -- two of them written, and directed, by Nimoy. In 1987, he directed Three Men and A Baby for Disney Studios -- a big hit, financially. Nimoy continued directing other productions until 1995.

Over the last twenty years, Nimoy had been candid that as a person, it hadn't all been a bed of roses; he had suffered with an alcohol addiction since the late 1960's, but had conquered it. Even as he grew older he continued to do what he did best, to act -- his appearance as the reclusive Dr. Bell on the series, Fringe, and reprising Spock in the 2012 Star Trek reboot, were his last hurrahs as an actor.

Nimoy and Zachary Quinto at the opening of Abram's Star Trek (2012)

Through the original series and the motion pictures, Spock's character was about resolving inner conflict, the Path Of Logic versus human instincts. But Nimoy's character, which he did a good deal to shape, was also about loyalty, compassion, and Right Action.

For generations of people who grew up watching Nimoy as Spock, the character showed a bridge between our illogical selves and Something Larger, in a positive way.  The planet Vulcan may not exist, but that there might be a choice between instinctive or unconscious behavior, and some level of clarity achieved through discipline, does. No matter how that is internalized, it's a powerful message.

And, it's not a stretch to say that Nimoy's role as (arguably) Star Trek's most popular character helped to popularize science fiction on television. This was different from the B-Film sci-fi that was churned out in the 50's and 60's  -- it made science fiction acceptable as a dramatic form, The Human Dilemma in the vast reaches of space. Without Trek on television and in film, there might have been a very different and less nuanced 'Star Wars' (all six of them), or Blade Runner, Alien, or "Interstellar".

So, another Mensch leaves us -- I hope, for another continuing adventure.
Kirk:  I think its about time we got underway ourselves. 
Uhura:  Captain, I have orders from Starfleet Command. We're to put back to Spacedock immediately ... to be decommissioned. 
Spock:  If I were human, I believe my response would be, "go to Hell" -- if I were human.
Uhura:  What are your orders, sir?.
Kirk:  Second star on the right -- and straight on 'till morning.
________________________________________________________________

Thursday, January 8, 2015

Nous Sommes Tous Charlie

They Came For The Cartoonists
 Candles Before French Embassy In Vienna (AAP Photo)

I am both sad and angry at the news from Paris: Two murderous imbecilic whoresons individuals killed over a dozen people, and wounded others, using automatic weapons in what French authorities described as a "military-style attack" on the Paris editorial offices of Charlie Hebdo, a satirical newspaper.

The attack occured as the paper was holding its weekly editorial meeting , as the entire staff was gathered in one place. Among the dead were Stéphane Charbonnier, the newspaper's editorial director and one of France's best-known editorial cartoonists (aka 'Charb'); other artists Jean Cabut (known as 'Cabu') and Bernard Verlhac ('Tignous'); and Georges Wolinski, one of Charlie's original founders. The deranged sociopathic bottomfeeding fuckwads masked gunmen also murdered the paper's receptionist and other staff members, and two French policemen. 

A number of residents in the same building as the Charlie Hebdo offices apparently heard gunshots and immediately escaped up to their roof ; several took cellphone videos of the gunmen, including images as they machine-gunned a French policeman (who had responded to a call about the initial attack) as he lay wounded on a sidewalk, begging not to be killed [Ironically, the man was not only a Flic, but also a Muslim himself -- a Tweet sent from France said, "I Am Ahmed The Cop, and I died defending the right of free speech"]. One of the pathetic excuses for sentient life murderers could be heard, even on a cellphone video taken from a distance away, shouting that they had "avenged the prophet". 

The French believe that the freedom of expression -- to speak, write, or draw anything, even if it offends -- is a basic human right. There is a very old tradition for this style of editorializing and illustration, in France and across Europe, and on all sides of the political spectrum -- and the French see no difference between an offensive cartoon satirizing President Hollande in 2014, and Emil Zola publishing J'Accuse! in 1898 during the height of the Dreyfus Affair.

Zola's Famous Editorial, 1898

Charlie Hebdo was a publication with a small press run, financially always on the edge (this, too, part of a tradition of self-expression on the margins). But, it was internationally known for its no-holds-barred, nothing-sacred commentary and cartoons regarding the politics and cultural collisions in Europe and the larger world. They went for the jugular, and acerbic views included various currents of the Islamic world, and after republishing Danish cartoons of the Prophet Muhammad in 2006 and poking fun at Islamists generally, Charlie's offices in a quiet Paris suburb were firebombed.

In 2012, the paper published a number of its own cartoons of the prophet, forcing the French government to close embassies and other offices abroad in the face of threatened retaliation from unnamed Islamist groups. Within the last year, as Charlie mocked the brutality and savagery of ISIS's assault on the Middle East, threats against the paper escalated and several members of its editorial board began using bodyguards. Within the past few weeks, French intelligence had received information that some form of terrorist action was coming, but had no details.
___________________________________________________________

The French are correct: The ability to freely speak, write, or draw one's opinion -- to create and to express that opinion even if it offends -- is a basic human right. The things persons who committed murder in Paris yesterday, and the murderous ideology they serve, are an obscenity on the face of the Earth. They deserve to be exposed, ridiculed, reviled, and ultimately brought to justice.

The forces of ignorance, intolerance, degradation and hatred not only use fighter-bombers, drop cluster munitions or use drones. Their leaders don't only speak in parliaments or congresses, wear expensive suits, manage corporations from boardrooms, or are part of families with great hereditary wealth. Darkness and real evil are not limited to that sort of trash.

They are no better than the people, or ideologies, they claim to oppose. They can create nothing; all they can do is destroy, and kill -- and it was demonstrated in the streets of Paris yesterday.  It's demonstrated around the world on a daily basis. And the only comfort we can take from any of it is: What goes around comes around, and there's a certain kind of person who acts as if that particular truth doesn't exist.

In a not-so-great 2013 film, Monuments Men, there's one good scene: Frank Stokes, an art curator-turned-army officer during WW2 (played by George Clooney), questions a captured SS officer about the whereabouts of art which the nazis had stolen from every corner of Europe they could get their hands on. Other works, paintings and sculpture which 'offended' them, were simply burned in the streets, like books. Or like people.

The SS officer smugly declines to help; Clooney smiles a little, then delivers a not-so-bad line (which I'll have to paraphrase from memory, but I think the point is clear):
... I'm going home soon. I've got a nice apartment in New York on the Upper West Side. There's a deli down the street, called Sid's. Every morning when I go to work at the Met, I walk to Sid's, get a cup of coffee and a bagel, and I read the New York Times .
One day, about a year or so from now, on some nice morning in springtime -- you know, when everything just starts to warm up? I'll be sitting there, reading the paper -- and I'll come across this tiny article. It won't be on the front page, but way in the back... and I'll read that you've been hanged for crimes against humanity.
Then I'll finish my coffee, and go to work.  Sid will use the paper to wrap some fish in. And I'll never think about you again for the rest of my life.
What goes around comes around. Some tend to forget that.
___________________________________________________________


Thursday, October 9, 2014

Patrick Modiano, 2014 Nobel Laureate In Literature

 La persistance de ce qui reste dans nos âmes

Patrick Modiano, a publicity-shy French author whose roughly thirty novels (per Reuters)  explore "memory, oblivion, identity and guilt that often take place during the German occupation of World War Two" has been awarded the 2014 Nobel Prize for Literature.

Sweden's Academy declared Modiano "a Marcel Proust of our time... for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation. ... he returns to generally the same topics again and again, simply because these topics cannot be exhausted".

Again per Reuters, Modiano said in a 2011 interview in France Today, "After each novel, I have the impression that I have cleared it all away. But I know I'll come back over and over again to tiny details, little things that are part of what I am.... In the end, we are all determined by the place and the time in which we were born."

It's difficult to experience the full impact of an author without reading them in their own language; if you think about it outside the context of "preparing a property (as publishers refer to literature) for sale", who is doing the translation and how well they understand in their bones both languages and both cultures becomes incredibly important.

As a Dog who reads, and does read Another Language (not French), I always wonder how many works of incredible ingenuity and imagination are out in the world -- and which I don't know about, because I don't read Urdu, or Turkish, or Japanese.

Fortunately for me, some of Modiano's works have been translated into English.  I can recommend Honeymoon; 'Suspended Sentences'; or Out Of The Dark, which not only involve questions of memory and human connections set in occupied France, but also use the Detective novel as a method of exploring them -- a bit like Marcel Proust and Graham Greene getting together for a drink and a chat.

Another author's works -- American, and a Francophile -- remind me a bit of Modiano because they deal with similar questions, and the Europe they're set in is close to war and occupation or already sliding into it. Given that, I've wondered occasionally whether he had read Modiano and if it influenced his work in any way.

You can find them through The Behemoth The Selling Pit The Soul Destroying Home Of The Demon that very big website where you can buy things, or -- my preference -- go to that very nice independent bookstore in your area and (if you can't find it on the shelf) order them.
______________________________________________________

Wednesday, July 2, 2014

Downton Abbey Season Five?


Downtown Abby Alien Nation

Too Polite To Point Out That The "Little Gentleman", Uh, Isn't
(Click On All Images To Enlarge. Easy And Fun!)
Downton Abbey has been the latest popular British television series to provide America with yet more proof that our own network teevee productions are Offal awful by comparison.

If what passes for culture on U.S. television were compared with an infomercial, the infomercial might win; it's a real possibility.  But Downton (shown here on Public Broadcasting as it is on BBC in the UK) is compelling on many levels: the obvious soap opera; the human drama of the Upstairs family, Downstairs employees; and the individual characters, living through (so far) 1912 - 1924, a rapidly changing world.


Many television dramas  have a decent crew, lighting and set designers, costumers; even passable writers -- but if the program's cast doesn't have that je ne sais quoi, it may not last more than a couple of seasons. Clearly not so with Downton -- what makes the show is not only an excellent crew, but the strength of its casting.

Season Five: What's Cookin'
But could Downton build on that in its fifth season? Say, an utterly unexpected casting choice that could kick its viewer share into the stratosphere? Let's get crazy 'n creative -- put Paul The Alien in there !

If they'd done that as far back as Season One, I'll bet things would have gotten interesting...







_____________________________________________

Thursday, February 13, 2014

Speak, America -- Speak! Good Boy.

Mongo Is Listening


_______________________________________________________________________