The Most Happy Bordello

The historic bordello district was slightly south of where I currently reside, the city still has certain residues of days gone by, if one knows where to look.1


“Sin in the Second City: Madams, Ministers, Playboys, and the Battle for America’s Soul” (Karen Abbott)Sin in the Second City: Madams, Ministers, Playboys, and the Battle for America's Soul sounds like an interesting overview of the period.

The Most Happy Bordello – WSJ.com:
One doesn’t hear much nowadays about bordellos, also known as cathouses, brothels, houses of ill repute or simple whorehouses. When I was an adolescent in Chicago, in the early 1950s, the trip to such a place was a rite de passage for nearly every male youth of unambiguous appetites. In my day the chief such institutions, operating on assembly-line principles, were to be found outside the city, one in Kankakee, the other in Braidwood. Students at the University of Illinois relieved the tedium of their sound liberal arts or business educations by visiting establishments in Danville, birthplace of Dick Van Dyke and Bobby Short.
…But the great cathouse era of Chicago was in the first decade or so of the 20th century. This era and those cathouses have now been described with scrupulous concern for historical accuracy and in clear, lively prose by Karen Abbott in “Sin in the Second City.” Lavish in her details, nicely detached in her point of view, Ms. Abbott has written an immensely readable book. “Sin in the Second City” offers much in the way of reflection for those interested in the unending puzzle that goes by the name of human nature.

Ms. Abbott’s account of fleshly sin and the response to it in the city of Chicago in the early 20th century centers on a bordello known as the Everleigh Club, which even now is talked about in Chicago by men interested in the sporting life. The club was the creation of two sisters, Minna and Ada Everleigh, who themselves had earlier worked the hard trade of harlotry in Omaha and elsewhere.

The Everleigh Club opened on Feb. 1, 1900, and closed on the morning of Oct. 25, 1911. In between times, the sisters accrued assets, by Ms. Abbott’s estimate, worth more than $20 million in today’s dollars, while their establishment acquired world-wide fame as one of the wonders of the city of Chicago, which, in the words of First Ward Alderman Michael “Hinky Dink” Kenna, “ain’t no sissy town.”

The Everleigh Club was a cathouse with a vast difference — it was more like the Ritz, with, of course, added attractions. Sumptuous food was served (entrées on the buffet included guinea fowl, pheasant and broiled squab), music both serious and popular played while a basso continuo was supplied by the popping of champagne corks, and the downstairs décor included a gold piano that set the sisters back no fewer than 15 grand.

Unlike their consoeurs in the Levee, as the whorehouse district on Chicago’s South Side was called, the sisters Everleigh enforced a high standard of luxury, carefully culled their clientele and monitored the behavior of staff. They also treated their girls — known as courtesans, and sometimes as the butterflies — with fairness and an utter absence of cruelty, which was far from the case in other houses in the Levee. Girls working at the Everleigh Club made more than a hundred dollars a week, a fine wage at the time. To give some notion of the general tone of the place: While customers were upstairs frolicking with the girls, downstairs their suits were being pressed.

Although Ms. Abbott does not describe what went on in the girls’ rooms chez Everleigh, she informs us that corporate accounts were available to good customers, and she chronicles the gaudier scandals. These include one of the Marshalls Field, of the famous department-store family, being shot in the Levee; and, later, Herbert Swift, of the great meatpacking family, dying of unknown causes after supposedly departing the Everleigh Club with one of its girls. The heavyweight champion Jack Johnson served time in jail under the Mann Act for transporting an Everleigh butterfly named Belle Schreiber across state lines.

The characters of Minna and Ada Everleigh and their thoughtful way of going about their business are intricately delineated by Ms. Abbott, who, I think it fair to say, views them affectionately and with measured admiration. But her book is ultimately a saga of a clash between the forces of vice and those of reform in the city of Chicago. In this battle, reform has right but absolutely no humor on its side — right, that is, if one assumes that human weakness is easily eradicated through the changing of institutions.

The methods proposed for dealing with the extensive prostitution in Chicago early in the last century were, first, to segregate it in a particular part of town, and, second, to root it out and eliminate it altogether. Ministers, ambitious young lawyers set on forging political careers, anti-smoking campaigners, temperance workers, the B’nai Br’ith, vegetarians, and others on the side of sweetness and light naturally enough went for complete elimination.

I did finish reading this book several months ago, well worth reading if you have a chance.

Footnotes:
  1. reposted because there is something wrong with the original movabletype post from 2007 []

Waterboys Deluxe

I owned this album on vinyl a gazillion years ago, and repurchased it recently on CD. What a great album. Nostalgia aside, reminds me of the best of Arcade Fire: talented multi-instrumentalists jamming to crescendos of passionate Celtic-inspired indie-rock with interesting lyrics. Actually, I like this album better than anything I’ve heard by the Arcade Fire1, probably because I heard the Waterboys first. Helps if you like Irish/Celtic music, or Van Morrison even, but that is not required for full enjoyment.


Fisherman’s Blues

 

The Waterboys were formed in London in 1981 and led by the singer/songwriter Mike Scott, the group’s only constant member – with the supporting musicians ever changing around him. 1988’s Fisherman’s Blues is the Waterboys’s 4th album for which the band were joined by traditional Irish players like fiddler Steve Wickham, drummer Dave Ruffy, keyboardist Guy Chambers and bassist Marco Weissman, resulting in a stripped-down, folky sound which was a marked step away from the “big music” he founded and pursued in previous albums. It has been called their ‘warmest and most rewarding record’. Complete with a bonus disc of previously unreleased tracks and packaged in a digipack with pvc slipcase – it follows on from the successful re-issues of the first 3 Waterboys’s albums ‘The Waterboys‘, ‘A Pagan Place‘ and ‘This Is The Sea2

Allmusic:

Mike Scott had been pursuing his grandiose “big music” since he founded the Waterboys, so it came as a shock when he scaled back the group’s sound for the Irish and English folk of Fisherman’s Blues. Although the arena-rock influences have been toned down, Scott’s vision is no less sweeping or romantic, making even the simplest songs on Fisherman’s Blues feel like epics. Nevertheless, the album is the Waterboys’ warmest and most rewarding record, boasting a handful of fine songs (“And a Bang on the Ear,” the ominous “We Will Not Be Lovers,” “Has Anybody Here Seen Hank?,” and the title track), as well as a surprisingly successful cover of Van Morrison’s breathtaking “Sweet Thing.” Fisherman’s Blues was reissued in 2006 with a bonus disc containing fourteen outtakes, alternate versions and late-night studio jams.

You can hear a free track streamed at LastFM

I don’t remember where I read about the re-issue3, but I’m pleased to have rediscovered an old favorite. Check it out.

Footnotes:
  1. and I may be crazy for making the comparison, but hey, these are my ears! []
  2. these are all worth owning too, but Fisherman’s Blues is the best place to start, imho []
  3. if I don’t blog something, fwoosh, there it goes from the rusty sieve of my memory []

Franz Kafka porn brought out of the closet

Surprised Kafka’s porn stash took so long to emerge.

A stash of explicit pornography to which Franz Kafka subscribed has emerged for the first time after being studiously ignored by scholars anxious to preserve the iconic writer’s saintly image.

Having stumbled by chance across copies in the British Library in London and the Bodleian in Oxford while doing unrelated research, James Hawes, the academic and Kafka expert, reveals some of this erotic material in Excavating Kafka, to be published this month. His book seeks to explode important myths surrounding the literary icon, a “quasi-saintly” image which hardly fits with the dark and shocking pictures contained in these banned journals.

Their additional significance is that the publisher, Dr Franz Blei, was also the man who first published Kafka in 1908 – a series of miniature stories later gathered in his book Meditation.

[From Franz Kafka’s porn brought out of the closet – Times Online ]

Raindrop Porn
[Raindrop Porn will have to suffice unless I find any graphic goodies on the internet]

and the stash, kept locked with a key only Kafka had, was apparently pretty racy

Even today, the pornography would be “on the top shelf”, Dr Hawes said, noting that his American publisher did not want him to publish it at first. “These are not naughty postcards from the beach. They are undoubtedly porn, pure and simple. Some of it is quite dark, with animals committing fellatio and girl-on-girl action… It’s quite unpleasant.”

“Academics have pretended it did not exist,” Dr Hawes said. “The Kafka industry doesn’t want to know such things about its idol.”

He added: “Perhaps Kafka’s biographers simply don’t like the idea that their literary idol was helped out in this… way in the vital early stages of his career

As far as I can tell, the book is only available in England at the moment. American Puritanism at work.

“Excavating Kafka” (James Hawes)

a different title by James Hawes is available in the US, maybe covering some of the same topics:

“Why You Should Read Kafka Before You Waste Your Life” (James Hawes)

Everybody knows the face of Franz Kafka, whether they have read any of his works or not. And that brooding face carries instant images: bleak and threatening visions of an inescapable bureaucracy, nightmarish transformations, uncanny predictions of the Holocaust. But while Kafka’s genius is beyond question, the image of a mysterious, sickly, shadowy figure who was scarcely known in his own lifetime bears no resemblance to the historical reality. Franz Kafka was a popular and well-connected millionaire’s son who enjoyed good-time girls, brothels, and expensive porn, who landed a highly desirable state job that pulled in at least $90,000 a year in today’s dollars for a six-hour day, who remained a loyal member of Prague’s German-speaking Imperial elite right to the end, and whose work was backed by a powerful literary clique.

Here are some of the prevalent Kafka myths:

*Kafka was the archetypal genius neglected in his lifetime.

*Kafka was lonely.

*Kafka was stuck in a dead-end job, struggling to find time to write.

*Kafka was tormented by fear of sex.

*Kafka was unbendingly honest about himself to the women in his life – too honest.

*Kafka had a terrible, domineering father who had no understanding of his son’s needs.

*Kafka’s style is mysterious and opaque.

*Kafka takes us into bizarre worlds.

James Hawes wants to tear down the critical walls which generations of gatekeepers—scholars, biographers, and tourist guides—have built up around Franz Kafka, giving us back the real man and the real significance of his splendid works. And he’ll take no prisoners in the process.

The Clash’s Shea Stadium Gig Heading To CD


“Clash on Broadway” (The Clash)

Excellent news. I’ve heard crappy versions of some of these songs, but an official release is exciting. The Clash are still one of my all time favorite bands.

Long bootlegged and sought after by collectors, the Clash’s Oct. 13, 1982, performance at New York’s Shea Stadium will finally see official release Oct. 7 via Legacy.

The gig found the Clash opening for the Who on the latter band’s “farewell” tour, and features a wealth of favorites, from “London Calling” and “Police on My Back” to “The Magnificent Seven” and “Clampdown.”

The band, which at the time was touring in support of its recent album “Combat Rock,” also offered up the singles from that effort, “Should I Stay or Should I Go” and “Rock the Casbah.” According to Legacy, late guitarist Joe Strummer found the Shea tapes while preparing to move into a new house.

[From The Clash’s Shea Stadium Gig Heading To CD]

In case you were curious, this is the track listing:

Kosmo Vinyl Introduction

“London Calling”

“Police on My Back”

“Guns Of Brixton”

“Tommy Gun”

“The Magnificent Seven”

“Armagideon Time”

“The Magnificent Seven” (return)

“Rock the Casbah”

“Train in Vain”

“Career Opportunities”

“Spanish Bombs”

“Clampdown”

“English Civil War”

“Should I Stay or Should I Go”

“I Fought the Law”

Cylon-centric special feature


“Battlestar Galactica – Season One” (Sci-Fi Channel, The)

News from the Battlestar Galactica front.

Months before its final 10 episodes begin airing in January, we now know for certain that “Battlestar Galactica” will live on — in the form of a two-hour special on the Sci Fi Channel to air in 2009 after the series concludes.

The unnamed feature will be directed by the show’s co-star, Edward James Olmos, and written by “Battlestar” writer and former “Buffy the Vampire Slayer” brain Jane Espenson.

The stand-alone will document the Cylons’ attempts — those of two agents in particular — to grapple with human survivors, both those aboard ships and those left alive on planets, shortly after the Cylons’ destruction of human home worlds.

So it’s a flashback, but not all the way back.

Three confirmed cast members are Michael Trucco (Sam Anders), Aaron Douglas (Galen Tyrol), and Dean Stockwell (Cavil, Cylon model No. 1) — all Cylons. Shooting will begin promptly in Vancouver, Canada, and Sci Fi promises women regulars are being cast as well, with more names coming soon.

[From ‘Battlestar Galactica’: Edward James Olmos will direct Cylon-centric special feature | Show Tracker | Los Angeles Times]

Deadwood Fan #1
[Deadwood Fan #1]

At least one television drama I enjoy watching is still on the air, for a moment longer.1

Footnotes:
  1. Deadwood, The Wire, Arrested Development all got the unkind ax. BSG is on its last season, but the creators are trying to stretch that season out a bit. []

New Byrne Eno album

New David Byrne- Brian Eno collaboration called Everything That Happens Will Happen Today.

Brian Eno and I have finished our new record, Everything That Happens Will Happen Today. One of the songs, “Strange Overtones”, will be available free via everythingthathappens.com in exactly one week — you can log on and get a reminder if you like — and the whole record will be available August 18th. A company called Topspin Media helped to set up the website and our online business.

In a nutshell, Brian wrote most of the music, and I composed most of the vocal melodies and lyrics, and then sang them. Other musicians play on the album too. It’s not Bush of Ghosts II: this is a record of sung songs, and the result really surprises me. Despite a sinister inflection to both the lyrics and the music, many songs feel fairly uplifting and the overall tone is hopeful. From where does this quality derive?

[From 07.28.2008: Almost Everything]

Tour to follow, if you give the Byrne-borg your email (or one of your disposal email accounts), you’ll get more details. Supposedly, this email will not be shared with DHS, or the Total Information Awareness project.

Total Information Awareness Logo

Total Information Awareness Logo

In September I will begin a tour, on which I will be playing music from the new album as well as music from our previous collaborations – 3 Talking Heads albums, Bush of Ghosts, etc. If you’d like to be updated as this story unfolds, please add your email address via the box to the right (we will not contact you for any reason other than to tell you about this David Byrne and Brian Eno project and the tour and we promise not to give or sell your contact to anyone else or even to the government)

Prior collaborations between these two artists are among my most favorite of albums, so am greatly anticipating this one too. Oh, and kudos to Mr. Byrne for releasing the track as 320 kbps (though the autoplay video is annoying)

moved the video below the fold since it autoplays Continue reading “New Byrne Eno album”

This Was Maxwell Street


"And This Is Free: The Life and Times of Chicago’s Legendary Maxwell St." (Various)

Very cool, I’m getting a copy.

Chicago’s legendary Maxwell Street open-air market, founded by immigrant Eastern European Jews in the 1870s, attracted bargain-hunters of every ethnic background every weekend for more than a century. The unique, vibrant street bazaar was officially closed in 1994, as urban shopping evolved and the University of Illinois at Chicago campus expanded into the area, just south of downtown. Maxwell Street had long since become best-known as the outdoor home base for many of the city’s world-famous blues musicians.

A coalition of blues aficionados, black and white; historians; and children and grandchildren of Maxwell Street’s Jewish pushcart and storefront merchants tried but failed to preserve elements of the area as the market was being shut down. Direct memories of the street in its mid-20th-century heyday are diminishing, and a sense of the life of the place might easily be lost.

But now “And This Is Free: The Life and Times of Chicago’s Legendary Maxwell Street”” — a new multimedia disc and booklet “MultiPac” that combines historic films and a photo slideshow on DVD, a CD of blues tied to the area, and informative written commentary — has been released by Shanachie Entertainment. The express purpose, says its executive producer, Sherwin Dunner, is bringing the texture of the street alive again.

[From This Was Maxwell Street – WSJ.com]

[non-WSJ subscribers can use this link]

(H/T Chuck Sudo)

My first apartment in Chicago was on 19th and Halsted; to drive to it, you have to pass through Maxwell Street Market (which has since been moved, and sanitized, and the University of Illinois has taken the area over). When we drove to see the apartment prior to signing the lease, we were a bit shocked (both of us recent college graduates from Austin, TX, which has no areas like Maxwell Street). Turned out not to be so bad, and we heard some good electric blues there later on. We also didn’t realize that 5 blocks in Chicago is a large distance, psychologically. The dudes standing around oil barrel fires, selling recently stolen merchandise had no interest in hanging out on my apartment stairs, we needn’t have worried.

Though this was the neighborhood that shaped Benny Goodman, Adm. Hyman Rickover, Supreme Court Justice Arthur Goldberg and CBS Chairman William Paley, the longstanding Jewish experience on Maxwell Street had not been examined on film until Israeli émigré Shuli Eshel began shooting her documentary on that side of the story, “Maxwell Street: A Living Memory,” in 1999. More than half of the spirited, sometimes nostalgic interviewees in that film are already gone, but her film has its own key role in this new release — and Roger Schatz, her co-author on the oral history book “Jewish Maxwell Street Stories”” (Arcadia Publishing), provides the narration for the MultiPac’s informative slideshow.

“The Jews of Maxwell Street really didn’t care if you were black, blue or yellow as long as you bought the merchandise so they could make a living and educate their children,” Ms. Eshel suggested in an interview with this reporter. “But then, the famous Chicken Man (an African-American who performed with a live chicken on his head, shown at work in the MultiPac) was there to make a living, too. Maxwell Street taught you how to understand people well enough to do business. As the famous Chicago Judge Abraham Lincoln Marovitz, from that neighborhood, puts it in my film, ‘Selling on the street was about survival at first, but later on became about the pursuit of the American Dream.'”

That spirit, as much as the remarkable talent of the street performers working the same urban blocks, is alive in this remarkable bit of multimedia history.

Paul Westerberg – 49:00 redux

Stephen T. Erlewine downloaded Paul Westerberg’s new eccentric album, 49:00, too

Although there are enough full-blown songs to anchor this album, much of the music here wouldn’t make sense on a proper album as it floats in and out of focus, sometimes overlapping with an existing tune, sometimes offering just a tantalizing flash of melody or formative riff. But far from being a frustrating collection of unfinished home demos, 49:00 plays as a complete work, where the raggedness is part of the point — and its coarse four-track surfaces feel defiant in an age of computer recording. There’s undeniably an element of ragged rebellion in the rough-hewn creation of 49:00 but Westerberg has always sounded best when he’s on the fringe — and while this was delivered in a high-tech fashion, the album, with all its unfinished surfaces and frayed fragments, is old-fashioned college rock filled with fragile ballads, rude rock & roll, dead-end detours, and smart-ass jokes, like the classic rock oldies Westerberg flips through at the end of the album. Of all of Westerberg’s solo albums, 49:00 comes closest to recapturing the spirit of the Replacements but it doesn’t do so by doggedly re-creating the ‘Mats’ drunken mess; instead, Westerberg reconnects to the joyous, reckless sense of adventure that fueled his earliest work, and by doing so his scruffiness is once again endearing and hard to resist.

[From The Allmusic Blog » Paul Westerberg – 49:00]

Apparently, Amazon was the only online retailer that let Westerberg set the terms of download (49 minutes without track titles, breaks), and set his own price – 49¢. I got a chance to listen to the album finally, and I like it. You have to be in the right frame of mind to appreciate the oddness of it, especially when two different songs are playing at the same time from different speakers, once you can open your ears to non-standard compositions, the album makes a certain amount of sense.

On the other hand, if you are just playing the album as background, it seems kind of half-assed. Usually only the extended re-release of classic albums contains such material as song sketches, and unfinished bits. A bit disconcerting to listen to song fragments of songs you’ve never heard before. Maybe I should put mine together, and release it on an album? What do you think, would you pay 49¢ to listen to nearly an hour of various bits of music I made?

Paul Westerberg Album 49


“Besterberg: Best of Paul Westerberg” (Paul Westerberg)

Actually, Paul Westerberg has come up with a pretty clever way to sell an entire album: release it (cheaply!) as one long track, forcing listeners to hear it in the way it was originally sequenced.

I bought the album for $.49, all 49 minutes of it, and if I like the album, will buy the actual CD. If there is one, this might just be a oddity and curio. Still am happy to squander two quarters for an interesting idea.

 

update, apparently not available anymore. If you want a copy of the mp3, contact me directly, and we’ll see if we can work it out.

Netflixed: The Big Clock


“The Big Clock (Universal Noir Collection)” (John Farrow)

Watched the Big Clock recently

1948.

Crime magazine publisher Earl Janoth (Charles Laughton) tries to pin the murder of his own mistress on the magazine’s editor, George Stroud (Ray Milland), when he discovers George coming out of the woman’s apartment. Things fall into place as all the signs increasingly point to George as the killer, making it that much easier for Earl to set up the editor to take the fall. Based on the novel by Kenneth Fearing.

[Netflix: The Big Clock]

An enjoyable little noir film. Nothing too groundbreaking, and clunky occasionally, but still fun. Seems like I wrote a longer review somewhere, but don’t remember where. Probably on twitter, which means it was only 140 characters long anyway.

This has been another edition of “Reviews That Should Have Been Longer, But…”

Herzog and the forms of madness

I agree with Roger Ebert: there can never be enough discussion of Werner Herzog. As I’ve burbled before, not every Herzog film is great, but they are all interesting, worth watching, and worth thinking about.

I received an intriguing communication from a reader, the art critic Daniel Quiles, about Werner Herzog. Yes, there has been a lot about Herzog on the site recently, but in my mind there can never be too much. He and a few other directors keep the movies vibrating for me. Not every movie needs to vibrate, but unless a few do, the thrill is gone.

Herzog seems to react strongly to subjects he wants to make a film about. You never hear him saying someone “brought me a project,” or his agent sent him a screenplay. Every one of his films is in some sense autobiographical: It is about what consumed him at that moment. The form of the film might be fiction, might be fact, might be a hybrid. The material dictates the form, and often his presence in the film dictates the material: It would not exist if he were not there. In a way, that’s what Quiles is writing about in connection with “Encounters at the End of the World.”

[Click to read the rest of the discussion of Herzog and the forms of madness – Roger Ebert’s Journal]

I still haven’t seen either Rescue Dawn nor Wild Blue Yonder. Soon, soon. Looks like Herzog is filming a movie about New Orleans currently called Bad Lieutenant: Port of Call New Orleans

There’s also Encounters at the End of the World, which sounds intriguing:

Read the title of “Encounters at the End of the World” carefully, for it has two meanings. As he journeys to the South Pole, which is as far as you can get from everywhere, Werner Herzog also journeys to the prospect of man’s oblivion. Far under the eternal ice, he visits a curious tunnel whose walls have been decorated by various mementos, including a frozen fish that is far away from its home waters. What might travelers from another planet think of these souvenirs, he wonders, if they visit long after all other signs of our civilization have vanished?

Herzog has come to live for a while at the McMurdo Research Station, the largest habitation on Antarctica. He was attracted by underwater films taken by his friend Henry Kaiser, which show scientists exploring the ocean floor. They open a hole in the ice with a blasting device, then plunge in, collecting specimens, taking films, nosing around. They investigate an undersea world of horrifying carnage, inhabited by creatures so ferocious, we are relieved they are too small to be seen. And also by enormous seals who sing to one another. In order not to limit their range, Herzog observes, the divers do not use a tether line, so they must trust themselves to find the hole in the ice again. I am afraid to even think about that.

Herzog is a romantic wanderer, drawn to the extremes. He makes as many documentaries as fiction films, is prolific in the chronicles of his curiosity and here moseys about McMurdo, chatting with people who have chosen to live here in eternal day or night.

Looking forward to a visit from the Netflix fairy soon

Deadwood officially dead


“Deadwood: The Complete Seasons 1-3” (Michael Almereyda, Timothy Van Patten)

Beth passed on confirmation of what we already expected, namely that Deadwood creator David Milch would never film the four hours of follow-up as promised by HBO and David Milch. Boo.

If you’ve been holding your breath about “Deadwood,” you can now exhale.

The HBO western drama is officially, categorically, absolutely dead — with no possibility of a movie to wrap up storylines that have been dangling for nearly two years.

“Deadwood” departed in August 2006 when creator David Milch, apparently weary of the project, moved on to “John From Cincinnati,” a truly bizarre sci-fi drama starring Austinite Austin Nichols that caught on with a few critics (including me) but very few viewers. It was deemed a gorgeous head-scratcher by most.

After “Deadwood” ended, HBO tried to calm frantic fans with the promise of a future movie that would address the conclusion of the violent goings-on in the Dakota Territory. But as time dragged on, the prospect faded. Actors moved on to other projects, and now Milch is working on another HBO series about a corrupt NYPD squad in the 1970s.

[From “Deadwood” officially dead … no movie planned | TV Blog]

Bummer, but not unexpected. Apparently too expensive a set, too many high profile (expensive) actors, and a high-strung creator with a recent high profile failure (John From Cincinnati). Oh well, another unresolved, flawed drama, just like real life.

Who the #$&% Is Jackson Pollock?


“Who the #$&% Is Jackson Pollock? (Documentary)” (Harry Moses)

What a great film1 . An epic culture clash between the mumble-frackers and the regular 18-wheeler-driving Janes (so to speak)


When brash trailer park resident Teri Horton bought a secondhand painting for five bucks, little did she know it could be a genuine Jackson Pollock worth millions. This film documents Horton’s volatile 15-year journey into the heart of the art world’s elitist establishment to have the painting authenticated. The clash between stuffy art dealers and the cussin’, beer-drinkin’ Horton is funny, eye-opening and utterly unforgettable. [From Who the #$&% Is Jackson Pollock?]

Teri Horton, a truck driving, trailer park resident with a stubborn streak is annoyed by the stuffed shirts of the New York art world, and refuses to give up when they tell her the painting she owns is not authentic. To a non-member of the art gallery crowd, her evidence seems solid (for instance, a fingerprint smudged on the back of her canvas that matches a fingerprint found on a paint can in Jackson Pollack’s studio, and on the back of another authentic painting), but the various experts, such as Thomas Hoving, former director of the Metropolitan Museum of Art in New York, disagree. The film, released in 2006, doesn’t have a happy ending (she refuses the offer of $9,000,000 from a Saudi sheik), but doesn’t have an unhappy ending either.

Ben McGrath, of the New Yorker, wrote a small article on the topic2 recently, which begins:

The art world, we keep hearing, is in a fine mess, awash in money and bereft of direction, and a recent documentary, “Who the #$&% Is Jackson Pollock?,” seems to prove the point. In it, a retired truck driver in California named Teri Horton buys what she considers to be an ugly painting as a gag gift for five dollars at a thrift store, is later told that it looks like a Jackson Pollock (the title refers to her initial reaction), and then struggles to convince anyone who matters that it could be the real thing. The film pits old-fashioned art authenticators (Thomas Hoving, the former Met director, runs his fingers over the painting before declaring, “It’s dead on arrival”) against a forensic scientist in Montreal, Peter Paul Biro, who finds what he believes to be Pollock’s paint-stained fingerprints on the back of the canvas. Horton says she has turned down an offer of nine million dollars for the painting from a Saudi collector.

The other day, at Cipriani Dolci, in New York, Kevin Jamison, a graduate student in government and politics at St. John’s, and the co-founder of a fledgling art consultancy, flipped through a copy of Ellen Landau’s “Jackson Pollock,” comparing the reprints in the book with a pair of images stored on his iPhone. These were of paintings he’d bought, for twenty-five dollars apiece, at an antique shop in Norfolk, Virginia, this summer, and they looked, to an untrained eye, like plausible Pollocks, at least in the sense that they were abstract and drippy. “They were under a stack of paintings about this tall,” Jamison, who has a baby face masked by stubble, said, pointing at the tabletop. One is seventeen inches by twenty-one inches, and painted on rice paper, using only white and gray. The other is twenty-six by twenty-six, on canvas, and much more colorful: green, yellow, red, white, and black.

Jamison watched “Who the #$&% Is Jackson Pollock?” upon returning from Virginia, and then set about finding what he hoped could be useful forensic details, which he also showed on his iPhone: a flake of gold paint, visible only under magnification (Pollock used gold spray paint in his studio); rusty vintage staples; and a peculiar screwlike indentation that he found on the left side of the larger painting, which he believes could match a similar mark that he spotted in Pollock’s “One: Number 31, 1950,” at MOMA. (A caveat: referring to the painting’s left side “depends on what someone considers the top or the bottom,” Jamison said. “I’ve been looking at it for a couple of months and hanging it different ways.”)

“As of now, what they’re worth is what I paid for them,” Jamison said. But Peter Paul Biro, the forensic expert, has agreed to examine the paintings in person early next month, and Jamison has also corresponded with Richard Taylor, a professor of physics at the University of Oregon, who examined fractal patterns in some of the contested Herbert Matter Pollocks (two dozen paintings discovered in a Long Island locker) currently on exhibit at Boston College’s McMullen Museum of Art.


“Jackson Pollock” (Ellen G. Landau)

great fun: essential viewing for anyone at all interested in the art world and/or forensic science.

Footnotes:
  1. The film’s title is probably Who the Fuck is Jackson Pollack, but good luck finding a copy that prints the full title, even in our post-Carlin world []
  2. which is why I rented the film, duh. []

Secret Red Cross Report of C.I.A. Torture


“The Dark Side: The Inside Story of How The War on Terror Turned into a War on American Ideals” (Jane Mayer)

War criminals: no better than any despot we’ve fulminated against over the years.

Red Cross investigators concluded last year in a secret report that the Central Intelligence Agency’s interrogation methods for high-level Qaeda prisoners constituted torture and could make the Bush administration officials who approved them guilty of war crimes, according to a new book on counterterrorism efforts since 2001.

The book says that the International Committee of the Red Cross declared in the report, given to the C.I.A. last year, that the methods used on Abu Zubaydah, the first major Qaeda figure the United States captured, were “categorically” torture, which is illegal under both American and international law.

The book says Abu Zubaydah was confined in a box “so small he said he had to double up his limbs in the fetal position” and was one of several prisoners to be “slammed against the walls,” according to the Red Cross report. The C.I.A. has admitted that Abu Zubaydah and two other prisoners were waterboarded, a practice in which water is poured on the nose and mouth to create the sensation of suffocation and drowning.

The book, “The Dark Side: The Inside Story of How the War on Terror Turned Into a War on American Ideals,” by Jane Mayer, who writes about counterterrorism for The New Yorker, offers new details of the agency’s secret detention program, as well as the bitter debates in the administration over interrogation methods and other tactics in the campaign against Al Qaeda.

[snip]

Citing unnamed “sources familiar with the report,” Ms. Mayer wrote that the Red Cross document “warned that the abuse constituted war crimes, placing the highest officials in the U.S. government in jeopardy of being prosecuted.” Red Cross representatives were not permitted access to the secret prisons where the C.I.A. conducted interrogations, but were permitted to interview Abu Zubaydah and other high-level detainees in late 2006, after they were moved to the military detention center in Guantánamo Bay, Cuba.

[From Book Cites Secret Red Cross Report of C.I.A. Torture of Qaeda Captives – NYTimes.com]

Impeachment is too lenient of a punishment: George Bush and his handlers should stand trial at The Hague for crimes against humanity. 2009 cannot come too quickly.

Continue reading “Secret Red Cross Report of C.I.A. Torture”

Rachid Taha Rocks


“Rock el Casbah: The Best of Rachid Taha” (Rachid Taha)

Rachid Taha is great, too bad he didn’t see fit to include Chicago on his recent tour.

An old-school rock star headlined SummerStage in Central Park on Saturday afternoon. Grinning and unshaven, he strutted around the stage, sang in a knowing growl and cued his band for extended, hard-grooving versions of songs using fuzz-toned guitar riffs over a dance beat.

He wore a leather fedora, then switched to a red cowboy hat. He dumped a bottle of water onto audience members — redundant, since it was raining — and onto his own head. He twirled his microphone on its cord, joked about Ecstasy and cocaine and was less than reverent when handed a flag. For his encore the band vamped and chanted, “Get up, get up,” and the star declaimed, “My name is James Brown! My name is Marvin Gaye!” But his other songs were serious: reflections on exile and cultural strife.

The star was Rachid Taha, an Algerian now based in France. Mr. Taha is the most rock-influenced of Algerian rai singers, who mix Arabic and North African elements with Western ones; he has collaborated with British musicians including Brian Eno, Steve Hillage and Robert Plant. At SummerStage his songs dipped into hard rock, reggae, rumba-pop and Bo Diddley, but often they used Arabic-style beats defined by the hand drum called a darbuka, and Mr. Taha’s voice was answered by oud solos.

Rai’s blunt lyrics have made it both popular and persecuted in Algeria, while in France the music has become a voice for Arab-speaking immigrants. (Mr. Taha had a band in the 1980s called Carte de Séjour, or “residence permit.”) One of Mr. Taha’s hits, and an extended centerpiece at his SummerStage show, was “Ya Rayah” (“Party”), an old Algerian song about emigration and the longing for home, which began with an unmetered, tradition-tinged introduction before the beat kicked in.

Mr. Taha has just released a greatest-hits album in the United States, “Rachid Taha: The Definitive Collection (Wrasse), and he sang some of them, including “Rock el Casbah,” his precise Arabic translation of the Clash’s “Rock the Casbah,” a song about rock as banned but unstoppable music.

[From Music Review – Rachid Taha – Rachid Taha, the Algerian Rock Star, at SummerStage – Review – NYTimes.com]

We’ve raved about Mr. Taha previously

The San Francisco Chronicle’s Eric K. Arnold is also a fan:

Rachid Taha compares his music to a plate of couscous. Interviewed via translator from his home in France, the 49-year-old Algerian-born singer and global punk icon says he was happy to discover that “Frank Zappa had come to the same conclusion when he said, ‘How to describe my music? Difficult to explain if you’ve never tasted couscous.’ “

Known for playing a modified version of the oud called the mandolute, Taha says he represents a link “between Africa, the Orient and the West. In the same way as Omar Sharif is to cinema,” he adds wryly.

A career-spanning Taha retrospective, “Rock El Casbah: The Best Of,” was released in the United States this month, in time for a four-city tour (which brings him to San Francisco’s Stern Grove Festival July 13). Like couscous, the 15-song CD draws its flavor from many different elements. There’s the punk side, represented by his celebrated version of the Clash’s “Rock the Casbah” and the rabble-rousing “Douce France.” Taha’s love of traditional folk music comes through on his covers of Farid El Atrache’s “Habina” and Dahmane El Harrachi’s “Ya Rayah.” A philosophical, existentialist aspect shows up in “Kelma” (“Thoughts”), and “Ida” (“If”). And “Menfi” – which translates to “The Exile” – addresses a prominent theme in Taha’s music, that of identity.

Specifically, the identity of being Algerian, Arabic and Muslim while living in a country that hasn’t always been friendly to immigrants. Coming to France from Algeria at a young age, he says, “I knew what to expect.”

Tradition plays a big role in Taha’s music. Yet he’s incorporated progressive elements into his style, paving the way for such later artists as Natascha Atlas and Cheb Mami. In his solo career, he’s worked extensively with producer Steve Hillage, who, in addition to adding electronic textures to Taha’s sound, “is a guitar-playing Peter O’ Toole,” he says. (Think “Lawrence of Arabia,” not “My Favorite Year.”)

[From Rachid Taha’s punk world music]

I probably already own most of the songs on the Greatest Hits package1, but I’ll probably still pick it up.

Footnotes:
  1. I’m too lazy to check right now []