Eartha Kitt, who purred and pounced her way across Broadway stages, recording studios and movie and television screens in a show-business career that lasted more than six decades, died on Thursday. She was 81 and lived in Connecticut.
Harold Pinter, the British playwright whose gifts for finding the ominous in the everyday and the noise within silence made him the most influential and imitated dramatist of his generation, died on Wednesday. He was 78 and lived in London.
"Needing someone is like needing a parachute. If he isn't there the first time you need him, chances are you won't be needing him again." - Scott Adams
AVC: So, more pop psychology for you: Why do people want to watch wrestling and violence, but not deal with a film that has to do with death?
DA: Well, it’s weird, because there is a theme in this that’s very similar to a theme in The Fountain. [Rourke’s character] comes to terms with who he is and has a similar kind of plunge at the end as [in] The Fountain. I think ultimately, wrestling is just an extension of gladiatorial fighting, except more civil in the sense that people aren’t being killed. It’s acting out the whole good-vs.-evil dynamic, but beyond that, there’s the whole masochism element of the wrestling. Why people are into watching people face down death and pain, is, I think… Shoot, I don’t know, there’s probably a billion other reasons, but I think a part of it is by witnessing other people going through it, you can empathize with it, and it makes you feel alive, because feeling pain is one of the things that kind of makes us feel alive. That’s your pull quote right there, “Feeling pain is what makes us feel alive!” [Laughs.]
When I was driving downtown for the Toni Morrison event last month, I passed Bob Baker's Marionette Theater, a building I had never noticed before under an overpass along Glendale Boulevard. It reminded me how often LA can surprise like that, popping up a Marionette Theater where you least expect it. As often happens, suddenly Bob Baker's Marionette Theater was everywhere. The LA Times featured an article on the financial problems Baker is facing about a week later.
The Bob Baker Marionette Theater is a place that is both magical and earth-bound. Operating from the corner of 1st Street and Glendale Boulevard just west of downtown Los Angeles for 49 years, it is a vestige of childhoods lived, where vegetables dance to old vaudeville tunes and musical instruments dance and jump across a black box theater festooned with crystal chandeliers...But it's also been struggling for years, trying to eke out an existence on $15-a-head admission, amid the fickle nature of children's passions. Last week, reports began circulating that the theater was in trouble. A manager sent out an e-mail saying that Baker had been the victim of "an elaborate mortgage fraud operation bent on stealing his theater and home" and asked fans of the theater help pay nearly $30,000 in past due mortgage payments on the two buildings. If the funds weren't raised, the manager said, the buildings would be sold "and Bob and his thousands of puppets will be homeless."
About a week after that, the New York Times followed suit, suggesting a bailout for the puppet show.
There are many ways to measure California’s tanking economy: an 8.2 percent unemployment rate; a multibillion-dollar state budget gap; threatened endowments of the city’s museums, causing some cultural institutions to nearly default on mortgages; and the continued weakening of the Hollywood studio system. But the meltdown of the marionettes may say it all.
In this Nutcracker season of sugarplum dreams, maybe Santa will find some cash in his sack for the Marionette Theater.
Since then, wave after wave of excitement and innovation—punk, post-punk, indie, hip-hop, house, techno, grunge—has surged back and forth between America and Britain. Generations of Canadian hipsters have gazed enviously at those two countries, and groaned in embarrassment as their compatriots instead embraced progressive rock and its geeky offshoots. Asked to name a globally successful and recognisably Canadian band, until recently most non-Canadians might have cited Rush, the stupendously overblown pomp-rockers. Bryan Adams, Celine Dion, Alanis Morissette, Shania Twain, Avril Lavigne and Nickelback have conducted their blockbusting careers as undercover Americans.
But just as it did for British pop in the early 1960s, all that outward scrutiny, that eager consumption by ambitious, dissatisfied youngsters of the fresh and thrilling from abroad rather than the second-rate and derivative at home, is paying dividends. There is no particular Canadian sound. Even as media ubiquity shrinks our world, the sheer geographical vastness of Canada makes such a thing improbable. What we are seeing—and hearing—is a new-found confidence. Canadian acts at last have the wherewithal to make music without a sense of obligation or apology; and without the ingrained assumption that a Canadian artist must either pander to the United States or settle for being at best a local hero. Pound for pound, no other country’s music scene is punching harder.
Via Condalmo, this Billie Holiday video was recorded five months before her death at age 44. I never realized how much visuals would add to the pure horror of this song.
Left unchecked, comedy snobbery can squeeze the joy out of the enterprise. You end up thinking of comedy as Hemingway thought of narrative: structured like an iceberg, with all the greater satisfactions fathoms under water, while the surface pleasure of the joke is somehow the least of it. In my father, this tendency was especially pronounced. He objected to joke merchants. He was wary of the revue-style bonhomie of the popular TV double act Morecambe and Wise, and disapproved of the cheery bawdiness of their rivals, the Two Ronnies. He was allergic to racial and sexual humor, to a far greater degree than any of the actual black people or women in his immediate family. Harvey’s idea of a good time was the BBC sitcom “Steptoe and Son,” the grim tale of two mutually antagonistic “rag-and-bone men” who pass their days in a Beckettian pile of rubbish, tearing psychological strips off each other. Each episode ends with the son (a philosopher manqué, who considers himself trapped in the filthy family business) submitting to a funk of existential despair. The sadder and more desolate the comedy, the better Harvey liked it.
The names George W. Bush and Osama bin Laden don't appear once in Jonathan Franzen's novel "The Corrections." And yet the book, which was published on Sept. 1, 2001, anticipates almost eerily the major concerns of the next seven years. Franzen conjures up a nation kept awake at night by nameless dread. The second sentence of the book: "You could feel it: something terrible was going to happen." Something did, of course—but anyone who revisits "The Corrections" now will be reminded how many of the preoccupations we've labeled as "post-9/11," or "Bush era," in fact predate both. In his story of the Lamberts, a Midwestern family with three adult children who resist their mother's hysterical insistence that they make it home for one last Christmas, Franzen lays out many of the themes that would come to dominate the millennium's first decade: global warming, economic recession, HMOs, psychopharmaceuticals, viral marketing, Eastern European instability, even the organic-food movement. (Just one trivial, but spot-on, example: Denise, the daughter, who is a chef, investigates "the Smith Street culinary scene in Brooklyn." Fast-forward seven years, to July 9, 2008, and you'll find an article in The New York Times about "the culinary flowering of Brooklyn," centered on Smith Street.)
In her trademark raven bangs, spike heels and killer curves, Ms. Page was the most famous pinup girl of the post-World War II era, a centerfold on a million locker doors and garage walls. She was also a major influence in the fashion industry and a target of Senator Estes Kefauver’s anti-pornography investigators.
But in 1957, at the height of her fame, she disappeared, and for three decades her private life — two failed marriages, a fight against poverty and mental illness, resurrection as a born-again Christian, years of seclusion in Southern California — was a mystery to all but a few close friends.
A cult figure, Page was most famous for the estimated 20,000 4-by-5-inch black-and-white glossy photographs taken by amateur shutterbugs from 1949 to 1957. The photos showed her in high heels and bikinis or negligees, bondage apparel -- or nothing at all.
Decades later, those images inspired biographies, comic books, fan clubs, websites, commercial products -- Bettie Page playing cards, dress-up magnet sets, action figures, Zippo lighters, shot glasses -- and, in 2005, a film about her life and times, "The Notorious Bettie Page." Read more from The LA Times...
[Susan Sontag] took Patti Smith as seriously as Henry James, which you do not. Do you fear that in cutting yourself off from contemporary culture you handicap yourself in any way?
I would say, rather, that contemporary culture has cut itself off from the wellspring of culture in general, and in particular from literature, and in particular from history. It’s contemporary culture that has, by and large, done this. I say “by and large” because you can’t make generalizations of this kind; I can recite names of deeply literary young writers who are not cut off. I was boggled by one review of The Din in the Head, for instance, which faulted me for failing to write about hip-hop and various other types of popular music. But if you’re writing about literary figures you’re clearly not writing about music, whether it’s Mozart or any other kind of music. I find it a flabbergasting charge. The charge should be on the other foot: why aren’t writers on hip-hop writing about Lionel Trilling? (laughs)
I’m not asking you to write a hip-hop song. But I have not seen anything in your work that attempts to engage directly with the culture of your time.
I can hardly agree with that. If I go to the supermarket I’m engaging with the culture of my time. If I have a conversation, including this very one with you as interlocutor, I’m engaging with my time. When I spend hours at the computer absorbing news and opinion I’m engaging with the culture of my time. I think what you are saying is that I have a kind of history-consciousness. True, and it seems to me that you’re not engaging directly with the culture of your time if you are deaf and blind or even merely indifferent to that culture’s deep heritage. Not long ago I published in the New Republic a review of an abandoned novel by Lionel Trilling, newly unearthed in the Columbia University archives. And I discovered that nowadays people don’t even know Trilling’s name, not to mention this culture-shaping critic’s work. The same with Edmund Wilson, Alfred Kazin, Irving Howe. O lost, and by the wind grieved, ghost…
As you may know, my favorite weekly ritual is listening to Chris Morris's morning radio program Watusi Rodeo and posting the Sunday Short Stack. When I tuned in to Indie 103.1 this morning, I found out the hard way that the station canceled the show four days ago with no notice. The show's defunct URLs don't even explain what happened. From Chris Morris's MySpace blog:
It grieves me to inform my faithful "Watusi Rodeo" listeners that Indie 103.1 has cancelled my show, effective immediately. My third anniversary broadcast, which would have aired this coming Sunday, Dec. 7, will not take place. A sneak attack, and it isn't even Pearl Harbor Day yet!When Max Tolkoff, the program director at Indie, called me yesterday morning to inform me that my show was being dropped, he told me it was in the interest of making the sound of the station more "consistent." So far, the Rodeo -- the only roots/Americana show on L.A. commercial radio -- is the only victim of this drive for consistency. Max magnanimously offered me a midnight slot during the week FOR ZERO COMPENSATION; this offer was declined, since I did college radio for free 40 years ago, and I don't want to revisit my penniless youth as I near retirement age.
Morris says Scion (maker of the escapegrace hotrod) has offered him a spot on their online station. Indie's loss, Scion's gain.
"To care only for well-being seems to me positively ill-bred. Whether it's good or bad, it is sometimes very pleasant, too, to smash things." - Fyodor Dostoyevsky
RIP Forrest J. Ackerman, although I hope my friend is correct: you will rise from the dead as a zombie or have some mad scientist put your brain in another body, so we'll be seeing you soon.
1. Put your iTunes (or any other media player you may have) on shuffle. 2. For each question, press the next button to get your answer. 3. YOU MUST WRITE THAT SONG NAME DOWN NO MATTER HOW SILLY IT SOUNDS!
Go! (Via @titoperez)
IF SOMEONE SAYS “IS THIS OKAY” YOU SAY? Lived in Bars (Cat Power)
WHAT WOULD BEST DESCRIBE YOUR PERSONALITY? I'll Begin Again (Dropkick Murphys)
WHAT DO YOU LIKE IN A GUY/GIRL? Radiate Nothing (Money Mark)
WHAT IS YOUR LIFE’S PURPOSE? True (The Frames)
WHAT IS YOUR MOTTO? The Con (Tegan & Sara)
WHAT DO YOUR FRIENDS THINK OF YOU? Polly Come Home (Plant & Krauss)
WHAT DO YOU THINK ABOUT VERY OFTEN? Tables and Chairs (Andrew Bird)
WHAT DO YOU THINK OF YOUR BEST FRIEND? Mary (Langhorne Slim)
WHAT DO YOU THINK OF THE PERSON YOU LIKE? Naked If I Want To (Cat Power)
WHAT IS YOUR LIFE STORY? I Wish I Knew How It Would Feel to Be Free (Nina Simone)
WHAT DO YOU WANT TO BE WHEN YOU GROW UP? A Little Better (M Ward)
WHAT DO YOU THINK WHEN YOU SEE THE PERSON YOU LIKE? Thirteen (Big Star)
WHAT DO YOUR PARENTS THINK OF YOU? Kiss of Fire (Geraldine Fibbers)
WHAT WILL YOU DANCE TO AT YOUR WEDDING? Tell Me on a Sunday (Mountain Goats)
WHAT WILL THEY PLAY AT YOUR FUNERAL? Blink (Scott Walker)
WHAT IS YOUR HOBBY/INTEREST? Effect & Cause (White Stripes)
WHAT IS YOUR BIGGEST SECRET? Wayfaring Stranger (Neko Case)
WHAT DO YOU THINK OF YOUR FRIENDS? You Think You're Hot Stuff (Jean Knight)
WHAT’S THE WORST THING THAT COULD HAPPEN? Weary Blues (Madeline Peyroux)
HOW WILL YOU DIE? Crying (Roy Orbison)
WHAT IS THE ONE THING YOU REGRET? Friend Is a Four Letter Word (Cake)
WHAT MAKES YOU LAUGH? Breakfast in Hell (Slaid Cleaves)
WHAT MAKES YOU CRY? The Bleeding Heart Show (New Pornographers)
WILL YOU EVER GET MARRIED? Get Down on Your Knees (The Sunshine)
WHAT SCARES YOU THE MOST? Hanging on Too Long (Duffy)
DOES ANYONE LIKE YOU? Sick, Sick, Sick (Freakwater)
IF YOU COULD GO BACK IN TIME, WHAT WOULD YOU CHANGE? You Were Right (Built to Spill)
WHAT HURTS RIGHT NOW? Moonage Daydream (David Bowie via Of Montreal)
As I told a story to my friend Greg Q, for the umpteenth time I had to stop and try to figure out how to describe someone with whom I have a primarily web-based relationship. We decided it was time for there to be proper names for those folks, so here is what we came up with:
Someone you would identify as a friend: WeBFF
I was so sad when Buffy moved away, but between Facebook, Twitter, Gmail Chat, and Goodreads, now I feel like we're WeBFFs.
Someone you would identify as a friendly acquaintance: Interpal
Can you believe my interpal was in a flame war with Billy Joel?*
Someone you would identify as an enemy: Netesis
I always knew I didn't like her, but when she tagged me in that ugly photo, she officially became my netesis.
"Man is a marvelous curiosity. When he is at his very very best he is a sort of low grade nickel-plated angel; at his worst he is unspeakable, unimaginable; and first and last and all the time he is a sarcasm." - Mark Twain
In my Thanksgiving cleaning spree, I've given a lot of thought to my overflowing bookshelves. Laura Miller collects others' thoughts on the subject (their bookshelves, not mine).
Meh will now be in the Collins English Dictionary.
Christmas is a sad season. The phrase came to Charlie an instant after the alarm clock had waked him, and named for him an amorphous depression that had troubled him all the previous evening. The sky outside his window was black. He sat up in bed and pulled the light chain that hung in front of his nose. Christmas is a very sad day of the year, he thought. Of all the millions of people in New York, I am practically the only one who has to get up in the cold black of 6 a.m. on Christmas Day in the morning; I am practically the only one...
Slate's Audio Book Club reads The Great Gatsby. (Infinite Jest is up next.) On a related note, my favorite new misanthropic Fitzgerald quote: "It is in the thirties that we want friends. In the forties we know they won't save us any more than love did."
The Washington Post profiles Onion Nation. (The article is written by someone with the ubercool, possibly made up name of Wells Tower.)
The choicest material -- the staff writers' ideas -- had been pitched this morning, and the writers were sorting through the chaff, the jokes sent in each week by part-time contributors, known in local editorial parlance as "the [expletive] list." The writers fidgeted and slumped in their chairs, visibly oppressed by the haze of failed hilarity thickening in the room.
Fallen cannon fodder included: "Face Of God Seen On Bus Ad For God"; "California Courts To See What Else They Can Marry"; "Meter Attendant Accidentally Tries To Collect Change From Vending Machine"; and the following op-ed: "You're Breaking The Human Half Of My Cyborg Heart," which caused senior writer Dan Guterman to groan and offer a counter-headline, " 'I Suck,' By A Joke."
Joining the blogging world...José Saramago. Of course, the site's in Portuguese and he doesn't write it, but Condalmo has a link to a translated version.