Category: Suggestions

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Netflixed: Almost Famous

Seth Anderson0 comment


“Almost Famous” (Cameron Crowe)

Held up better than expected on a second viewing, can this movie really be 10 years old?

Almost Famous is a 2000 comedy-drama film written and directed by Cameron Crowe and telling the fictional story of a teenage journalist writing for Rolling Stone magazine while covering a rock band Stillwater, and his efforts to get his first cover story published. The film is semi-autobiographical, as Crowe himself was a teenage writer for Rolling Stone.

The film is based on Crowe’s experiences touring with rock bands The Allman Brothers Band, Led Zeppelin, The Eagles, and Lynyrd Skynyrd. In a Rolling Stone article, he talks about how he lost his virginity, fell in love, and met his heroes, experiences that are shared by William, the main character in the film. Kate Hudson earned an Academy Award nomination for her portrayal of band groupie Penny Lane, while Crowe won the Oscar for his original script. Jason Lee and Billy Crudup co-star.

[Click to Netflix Almost Famous]

Speaking of the joys of vinyl records, this film’s poignancy partially based on nostalgia for a different era, an era where a suitcase full of records1 can be a talisman. If the film were set in 2009, you could not hand off a loaded iPod with the same emotional resonance.

Some Cameron Crowe maudlin moments, but nothing that gets in the way of the film’s narrative flow. Helps, probably, if the lead character’s personality (outsider, unusual family life, passionate music lover) resonates with the viewer.

There is a director’s cut, called Untitled,2 which adds some 34 minutes of footage, but as far as I can tell, this is unavailable in the US. Perhaps Dreamworks is working on a re-release?

Ebert raves:

Oh, what a lovely film. I was almost hugging myself while I watched it. “Almost Famous” is funny and touching in so many different ways. It’s the story of a 15-year-old kid, smart and terrifyingly earnest, who through luck and pluck gets assigned by Rolling Stone magazine to do a profile of a rising rock band. The magazine has no idea he’s 15. Clutching his pencil and his notebook like talismans, phoning a veteran critic for advice, he plunges into the experience that will make and shape him. It’s as if Huckleberry Finn came back to life in the 1970s, and instead of taking a raft down the Mississippi, got on the bus with the band.

[Click to continue reading Almost Famous :: rogerebert.com :: Reviews]

as does the anonymous NYT reviewer:

The power of popular music — its ability to give shape, meaning and intensity to the inexpressible emotions of daily life — is something of a motif in Cameron Crowe’s career as a director. Think of John Cusack hoisting his boombox aloft outside Ione Skye’s window in “Say Anything” or Tom Cruise hurtling down the highway in “Jerry Maguire,” spinning the radio dial in search of a song to suit his mood and happening upon Tom Petty’s “Free Falling.” Mr. Crowe has always used rock not merely as soundtrack decoration but also as a window into the souls of his characters.

In “Almost Famous,” a loose, affectionate look back on his earlier career as a teenage music journalist, Mr. Crowe has devoted a whole movie to the love of rock ‘n’ roll. The soul he lays open — a sweet, forgiving and generous one — is his own. The movie follows the adventures of William Miller (Patrick Fugit), a San Diego 15- year-old whose fairy-tale ascendance from nerdy schoolboy to Rolling Stone reporter mirrors Mr. Crowe’s own life story. But Mr. Crowe is less interested in biographical or historical literalism — he freely mixes real and fictional characters and prefers period atmosphere to period detail — than in evoking the joyful, reckless, earnest energy of rock in the years between 60’s idealism and punk nihilism.

[Click to continue reading ´Almost Famous´: With Sympathy for the Devil, a Rock Writer Finds His Way – NYTimes.com]

Footnotes:
  1. IMDb: The old records William looks through at the beginning are actually Cameron Crowe’s, saved from his younger years. [↩]
  2. Cameron Crowe wanted to call the movie this all along, but the studio balked [↩]

Fela Kuti Biopic

Seth Anderson0 comment


“Fela: The Life And Times Of An African Musical Icon” (Michael Veal)

Certainly looking forward to seeing this, whenever it gets released. Any sour mood can be alleviated by playing Fela Kuti1 at high volume and dancing around, shaking one’s hips with abandon.

Focus Features has set Steve McQueen to direct “Fela,” a feature film based on the life of African musician and activist Fela Anikulapo Kuti — the subject of the recently opened Broadway musical “Fela!”


“Hunger (Criterion Collection) [Blu-ray]” (Steve McQueen)

McQueen, the British artist who made his feature directing debut last year on the Irish hunger strike drama “Hunger” will write the script with Biyi Bandele, based on the Michael Veal book “Fela: The Life and Times of an African Musical Icon.” Cine Mosaic’s Lydia Pilcher and Leigh Blake are producing. The musical has spurred a resurgence of interest in Fela, who died in 1997, and his Afrobeat musical style, which is a fusion of American jazz, funk and West African drums.

The musical is not connected to the film project: Focus is basing its pic on a rights package consisting of screen rights to Fela’s music and his life story, plus Veal’s book.

Fela lived large — with some 27 wives — and paid a high price for speaking out against oppression in Nigeria. In one attack on his home, Fela’s 78-year-old mother was killed after being thrown from a second-story window. Fela responded by placing her coffin on the steps of the Nigerian leader’s residence.

“Fela might be the most globally influential pop artist outside the Beatles in the last 50 years,” said Focus topper James Schamus.

[Click to continue reading Focus to film ‘Fela’ feature – Entertainment News, Film News, Media – Variety]


“Opposite People/Sorrow Tears and Blood” (Fela Kuti)

I’ve also heard rumors that all of Fela’s albums are going to be remastered and released, soon, but haven’t run across any details about the release schedule yet.

Footnotes:
  1. Sorrow Tears and Blood, for instance [↩]

Sunday Song Survey

Seth Anderson0 comment

Today’s edition of Songs That Played During My Meditation Time1

  1. The Besnard Lakes– Disaster


    The Besnard Lakes Are The Dark Horse

    Like this pulsing bass line a lot, and actually this song is really growing on me. The band has a new album coming out early next year, I’ll probably pick up a copy.

  2. Destroyer– European Oils
    2006 Pitchfork Music Festival Sampler
    I went to the Pitchfork Music fest this year2, I think, but I don’t remember seeing Destroyer. Probably would have been fun, as I like the album this song is taken from.
  3. Louis Jordan & His Tympany Five– You Will Always Have A Friend
    Disc E: 1949-1950
    you will always have a friend, as long as you have money to spend. True, cynical, but true. Recently picked up a 5 disc box set of Louis Jordan: a slightly forgotten, R&B jump blues jokester from the 1940s and 1950s. Highly enjoyable. This is a danceable calypso-esque song, with horns, drums, piano and percussion.
  4. Beastie Boys– Get It Together


    Ill Communication

    With Q-Tip providing additional vocal contributions, one of the better tracks on Ill Communication, the last great album the Beastie Boys released, so far anyway. Ma Bell got the Ill Communication. Indeed.

  5. Stone Roses, The– Made Of Stone


    The Stone Roses

    from one of the many golden eras of British pop, now reissued and remastered.

  6. Marley, Bob & The Wailers– Duppy Conqueror


    Burnin

    speaking of ululation, this track from one of my Desert Island discs3 has some funky background vocal effects. I suspect Peter Tosh is making sounds with his mouth emulating a cat purring, but who knows. Lovely track, not my favorite on this album, but every song by the classic edition of the Wailers4 is excellent in my estimation.

  7. O’connor, Sinead– All Apologies
    Universal Mother
    and speaking of trills and spills, love how O’Connor’s Irish brogue is noticeable on words like marriage, buried. Also imagine she sings in the son I feel as one, instead of the Kurt Cobainin the sun I feel as one, but I could be wrong.
  8. Callahan, Bill– Diamond Dancer


    Woke On A Whaleheart

    Bill Callahan’s5 decent, observational song about a girl who danced by herself so hard she became a diamond, gave the world her light. His baritone is so emotionless, he probably irritates you or enthralls you, depending upon your mood.

  9. We The People– You Burn Me Up And Down


    Nuggets: Original Artyfacts From The First Psychedelic Era, Vol. 4
    Florida based garage rockers, a favorite song from my favorite compilations of garage rock, the Nuggets series.

  10. Butthole Surfers– Mexican Caravan


    Psychic … Powerless … Another Mans Sac

    I came of age in Austin during the Butthole’s heyday, so of course I love this song and this band. Not everyone loves psychedelic punk rock songs about scoring Mexican heroin, that is their loss.

  11. The Black Keys– Stack Shot Billy


    Rubber Factory

    Modern garage rock, slightly derivative6 but still quite fun. One could compile an eclectic mix of Stagger Lee songs, ranging from the original recorded versions of bluesmen from the 1920s and 1930s, to the R&B versions in the 1950s to the 1960s British blues-rockers to The Clash to Nick Cave and the Bad Seeds to The Black Keys. That Stagger Lee is a bad motherfucker.

all in all, a pretty good meditative soundtrack

Footnotes:
  1. no playlist today, just a shuffle [↩]
  2. 2006 [↩]
  3. an album I would theoretically take with me if I had foreknowledge I was going to be stranded on a desert island [↩]
  4. before Bunny Wailer and Peter Tosh left [↩]
  5. aka Smog aka (Smog) for some reason [↩]
  6. but then what rock music isn’t? [↩]

C. G. Jung – Creation of a New Cosmology

Seth Anderson0 comment

More on Carl Jung’s so-called Red Book, previously discussed, but still unread, at least around these parts

He wrote it out himself, using a runic Latin and German calligraphy. Its opening portion, which begins with quotations from Isaiah and the Gospel according to John, is inked onto parchment, each section beginning with an initial illuminated as if by a medieval scribe with a taste for eyes, castles and scarabs.

The book’s accounts of Jung’s visions, fantasies and dreams are also punctuated with his paintings (some of which are on display in the exhibition), images executed during the years of World War I and the decade after that now appear as uncanny anticipations of New Age folk art of the late 20th century. They display abstract, symmetrical floral designs Jung came to identify as mandalas, along with almost childlike renderings of flames, trees, dragons and snakes, all in striking, bold colors.

But what is particularly strange about this book is not its pretense or pomposity but its talismanic power. It was stashed away in a cabinet for decades by the family, then jealously withheld from scholarly view because of its supposedly revealing nature. Since being brought into the open, partly through the efforts of the historian and Jung scholar Sonu Shamdasani (who is also curator of this exhibition), it has become a sensation.

A meticulously reproduced facsimile, published in October by W. W. Norton & Company, with detailed footnotes and commentary by Mr. Shamdasani (who also contributed to the volume’s accompanying translation), “The Red Book,” costing $195, is in its fifth printing.

[Click to continue reading Exhibition Review – ‘The Red Book of C. G. Jung – Creation of a New Cosmology’ – At the Rubin Museum, a Psychoanalyst’s Inner Universe – NYTimes.com]

Eight photo slide show, here.

Amazon has the book listed for sale, but is continuously temporarily out of stock. Didn’t the publisher realize that this would be a big selling book? We’ve all heard about it for years and years.

Netflixed: Gomorrah

Seth Anderson0 comment


“Gomorrah (The Criterion Collection)” (Criterion)

A non-glamourous look at the working class1 of the Naples crime organization. Documentary feel, and based in reality, this isn’t a film celebrating the life of crime.

The intertwining tales of a delivery boy, a tailor, a businessman and two cocky teenagers form the fabric of this gritty and lyrical examination of the influential Neapolitan mob known as the Camorra. Peering into a multitude of social strata within present-day Naples, director Matteo Garrone’s film — a hybrid of melodrama, crime and art-film genres — was nominated for a Best Foreign Language Film Golden Globe and a Best Documentary Independent Spirit Award. [Click to Netflix Gomorrah]


“Gomorrah: A Personal Journey into the Violent International Empire of Naples’ Organized Crime System” (Roberto Saviano)

I liked it a lot. I might even pick up a copy of the book, despite not usually veering into best seller territory

From Roger Ebert’s review:

Roberto Saviano, who wrote the best seller that inspired the movie, went undercover, used informants, even (I learn from John Powers on NPR) worked as a waiter at their weddings. His book named names and explained exactly how the Camorra operates. Now he lives under 24-hour guard, although as the Roman poet Juvenal asked, “Who will guard the guards?”

Matteo Garrone, the director, films in the cheerless housing projects around Naples. “See Naples and die” seems to be the inheritance of children born here. We follow five strands of the many that Saviano unraveled in his book, unread by me. There is an illegal business in the disposal of poisonous waste. A fashion industry that knocks off designer lines and works from sweatshops. Drugs, of course. And then we meet teenagers who think they’re tough and dream of taking over locally from the Camorra. And kids who want to be gangsters when they grow up.

None of these characters ever refer to “The Godfather.” The teenagers know De Palma’s “Scarface” by heart. Living a life of luxury, surrounded by drugs and women, is perhaps a bargain they are willing to make even if it costs their lives. The problem is that only death is guaranteed. No one in this movie at any time enjoys any luxury. One of them, who delivers stipends to the families of dead or jailed Camorra members, doesn’t even have a car and uses a bicycle. The families moan that they can’t make ends meet, just like Social Security beneficiaries.

[Click to continue reading Gomorrah :: rogerebert.com :: Reviews]

Terry Gross and John Powers piece on NPR from February, 2009:

“Gomorrah” is based on a powerful book by an ambitious, young Neapolitan journalist named Roberto Saviano who saw his own father badly beaten because he called an ambulance for one of the mob’s victims. Fueled by righteous anger, Saviano did undercover reporting on the docks at an illegal textile factory, and he even waited tables at Camorra weddings. The result was a passionate, highly personal expose whose visibility annoyed the mob’s bosses, who are evidently not avuncular old fellows like Marlon Brando. These dons issued their version of a fatwa back in 2006, and three years later, Saviano, just 29 years old, is still living a life of bodyguards, armored cars and safe houses.

While Saviano’s book burns hot, he’s implicitly his story’s crusading hero. Garrone’s approach is cool, detached and almost anthropological. He knows that in a movie, Saviano’s feverish style would make “Gomorrah” exciting in the wrong way, turn it into operatic melodrama or pulp fiction.

Featuring no heroes, Garrone’s movie is pointedly anti-mythological, never more so than in its treatment of murder. “Gomorrah” is actually far less violent than “The Godfather” or “Goodfellas,” but it seems more brutal for Garrone offers no cinematically cool deaths and nobody softens the blow with catchy lines about killing not being personal, only business.

[Click to continue reading The Gritty Gangsters Of ‘Gomorrah’ : NPR]

Manohla Dargis concludes the NYT review:

I don’t want to overplay the film’s violence — it has a lower body count than the average Hollywood action flick — or underplay Mr. Garrone’s artistry. But part of what’s bracing about “Gomorrah,” and makes it feel different from so many American crime movies, is both its deadly serious take on violence and its global understanding of how far and wide the mob’s tentacles reach, from high fashion to the very dirt. There’s a heaviness to the bloodletting here, which has pressed down on this world and emptied its faces, halls and apartments of life. This is a world in which no one laughs, populated by men who are so busy killing one another that they don’t realize they’re as good as dead already.

Though Mr. Garrone doesn’t point a finger at the audience, he doesn’t let anyone off the hook. Toward the end of the film, the tailor accidentally catches sight of Scarlett Johansson on television as she smilingly promenades on a red carpet in one of the gowns he helped to make. As the announcers chatter about the gown (“an apparent simplicity, but in reality, very elaborate”), and the paparazzi scream for the star, the tailor smiles wistfully at his creation, which he and a roomful of women painstakingly hand-sewed in a gloomy factory for too many hours and too little money. It’s a cream-colored dress with a nice drape and satiny sheen, and while you can’t see the blood that went into every stitch, it’s there.

[Click to continue reading Movie Review – Gomorrah – Lesser-Known Mobsters, as Brutal as the Old Ones – NYTimes.com]

Footnotes:
  1. for lack of a better term [↩]

Netflixed: God Grew Tired of Us

Seth Anderson1 Comment


“God Grew Tired of Us: A Memoir” (John Bul Dau, Michael S. Sweeney)

[the book version]


“God Grew Tired of Us” (Christopher Quinn)

[Film]

After raising themselves in the desert along with thousands of other “lost boys,” Sudanese refugees John, Daniel and Panther have found their way to America, where they experience electricity, running water and supermarkets for the first time. Capturing their wonder at things Westerners take for granted, this documentary, an award winner at the 2006 Sundance Film Festival, paints an intimate portrait of strangers in a strange land.

[Click to Netflix Netflix: God Grew Tired of Us]

Wow, what a moving film. Not treacle, but still caused us to weep a few times. Don’t expect the film to fill in much of the historical backdrop of the Sudan war, nor the Darfur refugee crisis, that is not contained in the scope of the movie. Instead, just marvel at the resiliency of the human spirit.

Stephen Holden of the New York Times:

“God Grew Tired of Us,” a sober, uplifting documentary that follows the resettlement in the United States of three young men uprooted as children by the civil war in Sudan, is the softer, Hollywood-sanctioned version of an earlier documentary, “The Lost Boys of Sudan.”1 A National Geographic production, directed by Christopher Quinn and narrated by Nicole Kidman in her loftiest A-student elocution, “God” won both the Grand Jury Prize and the Audience Award at the 2006 Sundance Film Festival. How could it not? Handsomely photographed and inspirational, but not cloyingly so, it is the rare contemporary documentary that doesn’t leave a residue of cynicism and outrage.

As it balances excruciating images of hardship, suffering and starvation with wry observations of newly arrived immigrants learning to use electric appliances and visiting their first supermarket, you are won over by the charm, good manners and nobility of its three subjects, John Bul Dau, Panther Bior and Daniel Abul Pach. Each is a member of the Dinka, the Christian, animist, agricultural people in southern Sudan driven from their land by Islamic government forces from the north. Except for a couple of sentences about the hasty British partition of Sudan, the film offers no historical background.

[Click to continue reading Movie Review – God Grew Tired of Us – After a Struggle to Escape Comes an Effort to Adjust – NYTimes.com]

Andrew O’Hehir of Salon.com:

“Does Santa appear in the Bible?” wonders a recent Sudanese refugee, confronting the bewildering spectacle of Christmas shopping at a mall in Syracuse, N.Y. He knows what Christmas is; it was celebrated with rituals and dancing every December in the Kenyan relief camp where he has lived for the previous 10 years. But what is the connection, he wonders, between this fat man in a red suit and the birth of Jesus Christ?

For American viewers, moments like those may be the most pungent in Christopher Quinn and Tommy Walker’s documentary “God Grew Tired of Us,” which follows a small group of Sudan’s “lost boys” into their new American lives. The young men in the film have never operated an electrical appliance or a water faucet, never been inside a building of more than one story. On their first plane voyage, they clownishly stumble on and off escalators, eat the margarine and salad dressing out of their little plastic pouches, wander through the vast corridors of airports in Nairobi, Brussels and New York in single-file amazement.

But the comedy of their journey from one world to another is not cruel. Instead it is wrenching, pathetic and noble, and along the way the three men at the heart of “God Grew Tired of Us” come to stand for more than themselves. Like all of humanity, they have come out of a pre-industrial age and into a postmodern one rapidly. For most of us in the West, the process began with the birth of our grandparents or even great-grandparents. The lost boys made the journey in two days instead of 100 years or more, but their dislocation in the world of swimming pools, supermarkets and Santa Claus is nonetheless familiar to us.

Why is it, as one of them wonders aloud, that using Palmolive dishwashing liquid does not turn everything in your kitchen green? Why is it green at all? During a tour of an enormous Pennsylvania grocery store, they commit the phrase “hoagie rolls” to memory as an important element of American culture. One man peers dubiously at a mountainous pile of waxy, green cucumbers and inquires, “Is this edible?” Another comes to understand that Americans prefer potatoes that have been cooked, sliced into fine slivers, heavily salted and stored in a colorful plastic bag.

So much history and geography is covered in “God Grew Tired of Us,” and the human story it conveys is so moving and so charged with ambiguous moral lessons, that it seems almost irresponsible to complain about it on formal or historical grounds. Let’s put it this way: This is an important film. It’s amazing that it exists, and the events it recounts are still more amazing. Everybody should see it.

[Click to continue reading Beyond the Multiplex – Salon.com]

It isn’t relevant, really, but the Chicago Bulls starting small forward, Luol Deng, is also from the Dinka tribe of the Sudan. What a difference of circumstance from the Lost Boys of Sudan.

Wikipedia:

When he was young, his father Aldo, a member of the Sudanese parliament, moved the family to Egypt to escape the Second Sudanese Civil War. In Egypt, they met former NBA center Manute Bol, another Dinka, who taught Deng’s older brother, Ajou Deng, how to play basketball while also serving as a mentor for Luol himself. When they were granted political asylum, his family emigrated to South Norwood in London, England. Deng developed an interest in soccer and basketball, and was invited to join England’s 15-and-under teams in both sports. During this time, he began his career at Brixton Basketball Club. At the age of 13, he played for England’s squad in the European Junior Men’s Qualifying Tournament, averaging 40 points and 14 rebounds. He was named the MVP of the tournament. Next, he led England to the finals of the European Junior National Tournament, where he averaged 34 points and earned another MVP award.

…

Deng is involved in numerous charities. He has been noted for his work on behalf of the Lost Boys of Sudan and other refugees. During the summers of 2006 and 2007, Luol went to Africa, Asia and Europe with the NBA for their Basketball Without Borders Tour. He is also a spokesperson for the World Food Programme. “He really does epitomize everything I had hoped for as a person and a basketball player,” general manager John Paxson said. “I think it’s one of the reasons we’ve gotten to the level we’re at this year. I’m truly proud of him. I think the world of him as a person and as a player.”

[Click to continue reading Luol Deng – Wikipedia, the free encyclopedia]

Footnotes:
  1. available at Netflix [↩]

Louis Armstrong 20th Century Icon

Seth Anderson1 Comment


“Pops: A Life of Louis Armstrong” (Terry Teachout)

We’ve written about Louis Armstrong before1, and concur with the assessment that he was one of the key artists of the 20th century.

Louis Armstrong, a k a Satchmo, a k a Pops, was to music what Picasso was to painting, what Joyce was to fiction: an innovator who changed the face of his art form, a fecund and endlessly inventive pioneer whose discovery of his own voice helped remake 20th-century culture.

His determination to entertain and the mass popularity he eventually achieved, coupled with his gregarious, open-hearted personality, would obscure the magnitude of his achievement and win him the disdain of many intellectuals and younger colleagues, who dismissed much of what he did after 1929 as middlebrow slumming, and who even mocked him as a kind of Uncle Tom.

With “Pops,” his eloquent and important new biography of Armstrong, the critic and cultural historian Terry Teachout restores this jazzman to his deserved place in the pantheon of American artists, building upon Gary Giddins’s excellent 1988 study,


Satchmo: The Genius of Louis Armstrong

and offering a stern rebuttal of James Lincoln Collier’s patronizing 1983 book,


Louis Armstrong: An American Genius

Mr. Teachout, the drama critic of The Wall Street Journal and the chief culture critic of Commentary magazine, writes with a deep appreciation of Armstrong’s artistic achievements, while situating his work and his life in a larger historical context. He draws on Armstrong’s wonderfully vivid writings and hours of tapes in which the musician recorded his thoughts and conversations with friends, and in doing so, creates an emotionally detailed portrait of Satchmo as a quick, funny, generous, observant and sometimes surprisingly acerbic man: a charismatic musician who, like a Method actor, channeled his vast life experience into his work, displaying a stunning, almost Shakespearean range that encompassed the jubilant and the melancholy, the playful and the sorrowful.

At the same time, Mr. Teachout reminds us of Armstrong’s gifts: “the combination of hurtling momentum and expansive lyricism that propelled his playing and singing alike,” his revolutionary sense of rhythm, his “dazzling virtuosity and sensational brilliance of tone,” in another trumpeter’s words, which left listeners feeling as though they’d been staring into the sun. The author — who worked as a jazz bassist before becoming a full-time writer — also uses his firsthand knowledge of music to convey the magic of such Armstrong masterworks as “St. Louis Blues,” “Potato Head Blues,” “West End Blues” and “Star Dust.”

[Click to continue reading Books of The Times – The Voice That Helped Remake Culture, From Terry Teachout – Review – NYTimes.com]

A consummate entertainer, inextricably linked in with the history of the century…

The reader gets a dramatic snapshot in this volume of Armstrong’s life on the mean streets of New Orleans, where he grew up, the illegitimate son of a 15-year-old country girl, among gamblers, church people, prostitutes and hustlers; his adventures in gangland Chicago and Jazz Age New York; the rapid metamorphosis of this shy, “little frog-mouthed boy who played the cornet” into the most influential soloist in jazz; and the long, hard years on the road, crisscrossing the United States dozens of time, playing so many one-nighters that he often came off the stage, in his own words, “too tired to raise an eyelash.”

I’ll let you know how the book is, I’m ordering it right now.

At Amazon, the author writes:

Dear Amazon Readers:

Pops: A Life of Louis Armstrong, my new book, is the story of a great artist who was also a good man.

A genius who was born in the gutter–and became a celebrity known in every corner of the world.

A beloved entertainer who was more complex–and much tougher–than his fans ever imagined.

It’s not the first Armstrong biography, but it’s the first one to tell Satchmo’s story accurately. I based it in part on hundreds of private, after-hours recordings made by Armstrong himself, candid tapes in which he tells the amazing tale of his ascent to stardom in blunt, plainspoken language. I’m the first biographer to have had access to those tapes.

Read Pops and you’ll learn the facts about his 1930 marijuana arrest, his life-threatening run-in with the gangsters of Chicago, his triumphant Broadway and Hollywood debuts, his complicated love life, and much, much more.

You’ll also come away understanding exactly what it was that made him the most influential jazz musician of the twentieth century, an entertainer so irresistibly magnetic that he knocked the Beatles off the top of the charts four decades after he cut his first record.

If you’ve ever thrilled to the sounds of “West End Blues,” “Mack the Knife,” “Hello, Dolly!” or “What a Wonderful World,” this is the book for you and yours. Give Pops a read and find out all about the man from New Orleans who changed the face of American music.

Sincerely yours,

Terry Teachout

For an artist as prolific for so long as Louis Armstrong, you might not know where to start listening. I can’t say there are any Louis Armstrong albums that I own that are bad2, but my favorite era has always been the Hot Fives and Hot Sevens


“The Complete Hot Five and Hot Seven Recordings” (Louis Armstrong)

Everybody knows Louis Armstrong–even if it’s just for his heart-pleasing renditions of “Hello Dolly” and “What a Wonderful World.” Well, this four-CD box set marking the 100th anniversary of his birth–give or take a year–contains some of his most groundbreaking, historic works. Recorded between 1925 and 1929, the Complete Hot Five and Hot Seven Recordings find Armstrong with more than able cohorts, including pianists Earl “Fatha” Hines and Lillian Hardin (Armstrong’s second wife), clarinetist-saxophonist Johnny Dodds, and trombonist Kid Ory. Recorded when Armstrong was emerging from the influence of his idol, Joe “King” Oliver, these sides feature the main staples of the Armstrong canon, including “Potato Head Blues,” “Big Butter and Egg Man,” “Cornet Chop Suey” and the Armstrong-Hines duet “Weather Bird.” The jewel of the collection is “West End Blues,” with Armstrong’s stratospheric, pyramid-structured solo, which ranks as one of the greatest in the history of music. The sessions also mark an important technological breakthrough, with the transition from acoustic to electrical recording.

Armstrong’s virtuosity on the cornet and trumpet alone would have been enough to ensure his fame. On the 1927 song “Heebie Jeebies,” he forgot the lyrics and scatted them and became the first jazz singer, paving the way for Sarah Vaughan, Ella Fitzgerald, and Betty Carter. All in all, this set shows that Louis Armstrong’s heroic talents enabled him to become the alpha and omega of 20th century music. As author Robert O’Meally, who wrote the superb liner notes to this well-packaged collection, puts it, “like Chaucer’s poetry, which virtually begins the process of codifying the English language as a medium for sophisticated versification, Armstrong’s Hot Fives and Hot Sevens provide a wide launching pad from which the history of the art of jazz takes flight.”

Footnotes:
  1. and a few other times or more [↩]
  2. there could be some crap albums, in other words, but I’ve never heard one, and don’t know if they exist [↩]

Tunnel of Blues sold

Seth Anderson1 Comment

Looks as if I sold another photo to the astute folks at St. Martin’s Press for use as a book jacket photo illustration1.

Tunnel of Blues

I’m not positive about all the details yet, but I think this is the book: Through the Cracks, by Barbara Fister

More details as I get them2…

The photo is of a viaduct on 24th Street between Canal and Stewart, heading towards our Chinese herbalist.

Footnotes:
  1. earlier this year I sold a photo for Luck of the Draw [↩]
  2. like when the publish date is, what the illustration will look like, etc [↩]

Railroad Tycoon Who Built Chicago

Seth Anderson0 comment


“The Railroad Tycoon Who Built Chicago: A Biography of William B. Ogden” (Jack Harpster)

Looks to be an interesting book, I just bought myself a copy

William Butler Ogden, born and raised by a pioneer New York family, was truly a man of destiny. He took over his ill father’s lumber and woolens businesses when only sixteen years old; and for fourteen years he improved and expanded his family’s fortune. Devastated by the sudden death of his fiancé, and encouraged by friends to help promote the nascent railroad industry in America, Ogden moved to the small, swampy settlement of Chicago in 1835 when the population barely reached four thousand people.

Old Fort Dearborn, erected in 1803 on the Chicago River at Lake Michigan, was the genesis of the city of Chicago.

A year later, already a heavy investor in Chicago real estate, he became the city’s first mayor. Slowed, but never stopped, by a succession of financial panics that wracked the nation in the mid-1800s, Ogden became one of Chicago’s wealthiest citizens. As a leader of what was known as the city’s business-elite, he was also a principal player in the development of the city’s cultural, charitable and educational sectors.

Ogden built the first railroad out of Chicago, and was the driving force in making the city the railroad capital of the country. His role as the pioneer railroad entrepreneur in America was never questioned; and he was largely responsible for the young nation’s western expansion. He also built and operated the largest lumber empire in the country in central Wisconsin; a huge iron mining and foundry enterprise in Pennsylvania; Chicago’s earliest brewery; Chicago’s most successful real estate company; and a wide range of other business enterprises.

[Click to continue reading OGDENBOOKS.COM]

from the book jacket blurb:

William Butler Ogden was a pioneer railroad magnate, one of the earliest founders and developers of the city of Chicago, and an important influence on U.S. westward expansion. His career as a businessman stretched from the streets of Chicago to the wilds of the Wisconsin lumber forests, from the iron mines of Pennsylvania to the financial capitals in New York and beyond. Jack Harpster’sT he Railroad Tycoon Who Built Chicago:A Biography of William B. Ogden is the first biography of one of the most notable figures in nineteenth-century America.

Harpster traces the life of Ogden from his early experiences as a boy and young businessman in upstate New York to his migration to Chicago, where he invested in land, canal construction, and steamboat companies. He became Chicago’s first mayor, built the city’s first railway system, and suffered through the Great Chicago Fire. He had diverse business interests that included real estate, land development, city planning, urban transportation, manufacturing, beer brewing, mining, and banking, to name just a few. Harpster, however, does not simply focus on the business mogul; he delves into the heart and soul of the man himself—Ogden was a dedicated family man, a noted raconteur, a respected philanthropist, and a friend to many of the era’s rich and powerful.

The Railroad Tycoon Who Built Chicago is a meticulously researched and nuanced biography set against the backdrop of the historical and societal themes of the nineteenth century. It is a sweeping story about one man’s impact on the birth of commerce in America. Ogden’s private life proves to be as varied and interesting as his public persona, and Harpster weaves the two together into a colorful tapestry of a life well and usefully lived.

Alfred Hitchcock – The Masterpiece Collection

Seth Anderson0 comment


“Alfred Hitchcock – The Masterpiece Collection” (Alfred Hitchcock)

Hmm, Amazon.com is currently selling this boxed set of 14 Alfred Hitchcock films for $54, or $3.85 a disc. Not all of the included films are masterpieces, but there are several which are good enough movies for multiple viewings. Seems like a pretty good deal, actually.

With 14 films, each supplemented with numerous documentaries, commentaries, and other bonus materials, Alfred Hitchcock – The Masterpiece Collection will be the cornerstone for any serious DVD library. Packaged in a beautiful, conversation-starting velvet box, the individual discs inside come four to a case, decorated with original poster art.

No doubt opinionated fans will argue about what should fall under the rubric of “masterpiece” in Hitchcock’s body of work, but with the bona fide classics Vertigo, Psycho, and The Man Who Knew Too Much, there’s plenty of timeless movie magic here. Eye-popping transfers and gorgeous sound make this set one of the must-have releases of the year.

Should the Hitchcock fan have the energy for more after imbibing on the movies themselves, a bonus disc provides additional documentaries. These include a revealing interview in which the master of suspense discusses, among other things, how much he dislikes working with method actors, going so far as to name names (we’re talking about you, Jimmy Stewart and Montgomery Clift). In an American Film Institute lifetime achievement ceremony, the master of suspense is praised by the likes of Stewart and Ingrid Bergman, and seems to be suffering from severe boredom as celebrities pile on the flattery. Then Hitchcock opens his mouth to accept the award, delivering an endlessly witty stream of perfect bon mots that prove once again that he was a master of high comedy as well. Revealing documentaries about the making of Psycho and The Birds round out the feast of extras. The 36-page booklet, filled mostly with stills and poster art, provides little new information about the films

These are the included films

Saboteur
Robert Cummings stars as Barry Kane, a patriotic munitions worker who is falsely accused of sabotage, in this wartime thriller from Alfred Hitchcock. Plastered across the front page of every newspaper and hated by the nation, Kane’s only hope of clearing his name is to find the real villain. The script as a whole is a clever one–Algonquin wit Dorothy Parker shares a screenwriting credit, and her trademark zingers make for a terrific mix of humor and suspense. Saboteur is a pleasure whether you’re a die-hard Hitchcock fan or just someone who likes a good nail-biter. –Ali Davis

Shadow of a Doubt
 Alfred Hitchcock considered this 1943 thriller to be his personal favorite among his own films, and although it’s not as popular as some of Hitchcock’s later work, it’s certainly worthy of the master’s admiration. Scripted by playwright Thornton Wilder and inspired by the actual case of a 1920’s serial killer known as “The Merry Widow Murderer,” the movie sets a tone of menace and fear by introducing a psychotic killer into the small-town comforts of Santa Rosa, California. Through narrow escapes and a climactic scene aboard a speeding train, this witty thriller strips away the façade of small-town tranquility to reveal evil where it’s least expected. And, of course, it’s all done in pure Hitchcockian style. –Jeff Shannon

Rope
An experimental film masquerading as a standard Hollywood thriller, Rope is simple and based on a successful stage play: two young men (John Dall and Farley Granger) commit murder, more or less as an intellectual exercise. They hide the body in their large apartment, then throw a dinner party. Will the body be discovered? Director Alfred Hitchcock, fascinated by the possibilities of the long-take style, decided to shoot this story as though it were happening in one long, uninterrupted shot. Since the camera can only hold one 10-minute reel at a time, Hitchcock had to be creative when it came time to change reels, disguising the switches as the camera passed behind someone’s back or moved behind a lamp. James Stewart, as a suspicious professor, marks his first starring role for Hitchcock, a collaboration that would lead to the masterpieces Rear Window and Vertigo. –Robert Horton

Rear Window
Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock’s classic Rear Window is both confined and multileveled: both its story and visual perspective are dictated by its protagonist’s imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbors. Cheerful voyeurism, as well as the behavior glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder. At deeper levels, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director’s brilliance as a visual storyteller. –Sam Sutherland

The Trouble with Harry
A busman’s holiday for Alfred Hitchcock, this 1955 black comedy concerns a pesky corpse that becomes a problem for a quiet, Vermont neighborhood. Shirley MacLaine makes her film debut as one of several characters who keep burying the body and finding it unburied again. Hitchcock clearly enjoys conjuring the autumnal look and feel of the story, and he establishes an important, first-time alliance with composer Bernard Herrmann, whose music proved vital to the director’s next half-dozen or so films. But for now, The Trouble with Harry is a lark, the mischievous side of Hitchcock given free reign. –Tom Keogh

The Man Who Knew Too Much
Alfred Hitchcock’s 1956 remake of his own 1934 spy thriller is an exciting event in its own right, with several justifiably famous sequences. James Stewart and Doris Day play American tourists who discover more than they wanted to know about an assassination plot. When their son is kidnapped to keep them quiet, they are caught between concern for him and the terrible secret they hold. When asked about the difference between this version of the story and the one he made 22 years earlier, Hitchcock always said the first was the work of a talented amateur while the second was the act of a seasoned professional. Indeed, several extraordinary moments in this update represent consummate filmmaking, particularly a relentlessly exciting Albert Hall scene, with a blaring symphony, an assassin’s gun, and Doris Day’s scream. The Man Who Knew Too Muchis the work of a master in his prime. –Tom Keogh

Vertigo
Although it wasn’t a box-office success when originally released in 1958, Vertigo has since taken its deserved place as Alfred Hitchcock’s greatest, most spellbinding, most deeply personal achievement. James Stewart plays a retired police detective who is hired by an old friend to follow his wife (a superb Kim Novak, in what becomes a double role), whom he suspects of being possessed by the spirit of a dead madwoman. Shot around San Francisco (the Golden Gate Bridge and the Palace of the Legion of Honor are significant locations) and elsewhere in Northern California (the redwoods, Mission San Juan Batista) in rapturous Technicolor, Vertigo is as lovely as it is haunting. –Jim Emerson

Psycho
For all the slasher pictures that have ripped off Psycho (and particularly its classic set piece, the “shower scene”), nothing has ever matched the impact of the real thing. More than just a first-rate shocker full of thrills and suspense, Psycho is also an engrossing character study in which director Alfred Hitchcock skillfully seduces you into identifying with the main characters–then pulls the rug (or the bathmat) out from under you. Anthony Perkins is unforgettable as Norman Bates, the mama’s boy proprietor of the Bates Motel; and so is Janet Leigh as Marion Crane, who makes an impulsive decision and becomes a fugitive from the law, hiding out at Norman’s roadside inn for one fateful night. –Jim Emerson

The Birds
Vacationing in northern California, Alfred Hitchcock was struck by a story in a Santa Cruz newspaper: “Seabird Invasion Hits Coastal Homes.” From this peculiar incident, and his memory of a short story by Daphne du Maurier, the master of suspense created one of his strangest and most terrifying films. The Birds follows a chic blonde, Melanie Daniels (Tippi Hedren), as she travels to the coastal town of Bodega Bay to hook up with a rugged fellow (Rod Taylor) she’s only just met. Before long the town is attacked by marauding birds, and Hitchcock’s skill at staging action is brought to the fore. Beyond the superb effects, however, The Birds is also one of Hitchcock’s most psychologically complicated scenarios, a tense study of violence, loneliness, and complacency. What really gets under your skin are not the bird skirmishes but the anxiety and the eerie quiet between attacks. Treated with scant attention by serious critics in 1963, The Birds has grown into a classic and–despite the sci-fi trappings–one of Hitchcock’s most serious films. –Robert Horton

Marnie
Sean Connery, fresh from the second Bond picture, From Russia with Love, is a Philadelphia playboy who begins to fall for Tippi Hedren’s blonde ice goddess only when he realizes that she’s a professional thief; she’s come to work in his upper-crust insurance office in order to embezzle mass quantities. His patient program of investigation and surveillance has a creepy, voyeuristic quality that’s pure Hitchcock, but all’s lost when it emerges that the root of Marnie’s problem is phobic sexual frigidity, induced by a childhood trauma. Luckily, Sean is up to the challenge. As it were. Not even D.H. Lawrence believed as fervently as Hitchcock in the curative properties of sexual release. –David Chute

Torn Curtain
Paul Newman and Julie Andrews star in what must unfortunately be called one of Alfred Hitchcock’s lesser efforts. Still, sub-par Hitchcock is better than a lot of what’s out there, and this one is well worth a look. Newman plays cold war physicist Michael Armstrong, while Andrews plays his lovely assistant-and-fiancée, Sarah Sherman. Armstrong has been working on a missile defense system that will “make nuclear defense obsolete,” and naturally both sides are very interested. All Sarah cares about is the fact that Michael has been acting awfully fishy lately. The suspense of Torn Curtain is by nature not as thrilling as that in the average Hitchcock film–much of it involves sitting still and wondering if the bad guys are getting closer. Still, Hitchcock manages to amuse himself: there is some beautifully clever camera work and an excruciating sequence that illustrates the frequent Hitchcock point that death is not a tidy business. –Ali Davis

Topaz
Alfred Hitchcock hadn’t made a spy thriller since the 1930s, so his 1969 adaptation of Leon Uris’s bestseller seemed like a curious choice for the director. But Hitchcock makes Uris’s story of the West’s investigation into the Soviet Union’s dealings with Cuba his own. Frederick Stafford plays a French intelligence agent who works with his American counterpart (John Forsythe) to break up a Soviet spy ring. The film is a bit flat dramatically and visually, and there are sequences that seem to occupy Hitchcock’s attention more than others. A minor work all around, with at least two alternative endings shot by Hitchcock. –Tom Keogh

Frenzy
Alfred Hitchcock’s penultimate film, written by Anthony Shaffer (who also wrote Sleuth), this delightfully grisly little tale features an all-British cast minus star wattage, which may have accounted for its relatively slim showing in the States. Jon Finch plays a down-on-his-luck Londoner who is offered some help by an old pal (Barry Foster). In fact, Foster is a serial killer the police have been chasing–and he’s framing Finch. Which leads to a classic Hitchcock situation: a guiltless man is forced to prove his innocence while eluding Scotland Yard at the same time. Spiked with Hitchcock’s trademark dark humor, Frenzy also features a very funny subplot about the Scotland Yard investigator (Alec McCowen) in charge of the case, who must endure meals by a wife (Vivien Merchant) who is taking a gourmet-cooking class. –Marshall Fine

Family Plot
Alfred Hitchcock’s final film is understated comic fun that mixes suspense with deft humor, thanks to a solid cast. The plot centers on the kidnapping of an heir and a diamond theft by a pair of bad guys led by Karen Black and William Devane. The cops seem befuddled, but that doesn’t stop a questionable psychic (Barbara Harris) and her not overly bright boyfriend (Bruce Dern, in a rare good-guy role) from picking up the trail and actually solving the crime. Did she do it with actual psychic powers? That’s part of the fun of Harris’s enjoyably ditsy performance.

[Click to continue reading Amazon.com: Alfred Hitchcock – The Masterpiece Collection: James Stewart, Kim Novak, Karen Black, Bruce Dern, Barbara Harris, William Devane, Grace Kelly, John Forsythe, Shirley MacLaine, Edmund Gwenn, Teresa Wright, Joseph Cotten, Alfred Hitchcock, Alec Coppel, Alma Reville, Anthony Shaffer, Arthur La Bern, Arthur Laurents, Ben Hecht: Movies & TV]

A good edition to any film-lovers library, in other words, with a few throw-aways included.

Kraftwerk Remastered Disaster

Seth Anderson2 Comments


“Computer World” (Kraftwerk)


“The Catalogue” (Kraftwerk)

I was pretty enthused about the remastered versions of Kraftwerk’s eight best albums. However, David Cavanagh’s Uncut review has given me pause1

Sadly, the remaster is a fiasco. The soft tones of “Computer Love” become sharp, the wide spaces of” Home Computer” contract into tunnels, and “Pocket Calculator” bears down on us like a spiked ceiling in a horror film. Equally poor is the remastered Radioactivity, atmospheric crackles and hisses have been removed by noise reduction software. For pity’s sake, they’re part of the music! Autobahn, Trans-Europe Express and The Man-Machine have less sound-quality issues, but are all inferior to the original EMI CDs. Anyone planning to buy the 8 CD The Catalogue, would be well-advised to sample an individual remaster first.

Hütter is within his rights to tinker with Kraftwerk’s canon as he wishes, but a botched Kraftwerk remaster series is a bitter disappointment nevertheless. It’s not such an issue, thankfully, with the remaining three LPS; the lean, industrial Techno Pop {a re-titled Electric Cafe with added track “House Phone”}; The Mix (1991), a surprisingly addictive re-imagining of 11 classic tracks in dancefloor context; and Tour De France (2003), a cycling fetishist’s techno headphone soundtrack with a gorgeous five-note motif. For those who’ll never sport the yellow jersey, have no fear. It also works its magic if you’re on an exercise bike.

Yikes. Has anyone heard the remastered versions? Is it as bad as described?

Footnotes:
  1. not available online, but click here for a scanned version for your personal use [↩]

So You Think You Know Pasta

Seth Anderson0 comment


“Encyclopedia of Pasta (California Studies in Food and Culture)” (Oretta Zanini De Vita)

“I think of her as a kind of Julia Child,” said Mona Talbott, the executive chef at the American Academy in Rome and coordinator of its Rome Sustainable Food Project, founded by Alice Waters. “Julia Child demystified French food. Oretta demystifies pasta.”

Indeed, in its 300-odd pages, the “Encyclopedia of Pasta” ranges from abbotta pezziende, a short pasta that means “feed the beggar” in Abruzzo dialect, to the zumari of Puglia, a long pasta traditionally added to vegetable soups. In between there are the corzetti of Liguria and Piedmont, the little stamped-out coins; pi fasacc of Lombardy, which look like little babies in a papoose; avemarie, which cook for as long as it takes to say a Hail Mary; and several dozen variations on macaroni and ravioli. Each illustrated entry lists ingredients, provenance and how the pasta is traditionally served.

The range of shapes shows that cooking “was a way of self-expression for women to show their creativity and imagination with little or no resources,” Ms. Talbott said. She cited gnocchi ricci, or curly gnocchi, a specialty of Amatrice in Lazio, the city famous for spaghetti all’amatriciana, which are made by kneading together one dough made with flour and eggs, another made with flour, boiling water and salt.

The book also explodes a few myths. Do not think of mentioning the popular belief that Marco Polo had a role in the history of pasta. “Ma no,” she said in a jovial paroxysm of outrage. “When Marco Polo came back they had been eating pasta in Italy for 200 years!”

Instead, she notes in her encyclopedia, dried pasta made with durum wheat was found in Italy starting around A.D. 800. It was spread by the Muslim conquerors of Sicily, and by the 12th century the maritime republics of Genoa and Pisa marketed dried pasta.

“Documents exist to prove this, should there be anyone left — and it appears that there is — who still believes that Marco Polo introduced noodles into Italy in 1296 on his return to Venice from China,” she writes.

[Click to continue reading So You Think You Know Pasta – NYTimes.com]

If I didn’t know better, I’d think I had Italian DNA coursing through my body. Wine, pasta, espresso, poetry, what more could one want?

Michael Moore, Capitalism’s Little Tramp

Seth Anderson1 Comment


“Slacker Uprising” (Michael Moore)

Despite his films’ faults, I still enjoy Michael Moore’s movies. Am looking forward to seeing his latest.

Bruce Headlam pens a back-handed review, full of constructions like:

In the United States Mr. Moore’s conservative critics may decry his popularity, but his films and best-selling books are far more popular outside the country, especially in Britain, elsewhere in Europe and in Japan. In such places Mr. Moore has become a kind of anti-cultural ambassador — the prism through which a large part of the world views the United States.

But a film that flatly concludes that capitalism is evil is certain to put him at odds with most of the left wing in his own country, and even with President Obama, who gave a speech the next day on Wall Street on the need to reregulate, not replace the financial industry.

[Click to continue reading Film – Michael Moore, Capitalism’s Little Tramp – NYTimes.com]

Really? Most of the left wing is on the side of the bankers? And your evidence is? Have you ever actually talked to someone who calls themselves a Liberal, outside of your normal circles?

Anyway, the Liberal typing up this blog concurs with Mr. Moore: Capitalism unchecked is a beast that destroys us and our planet. Of course it also enables us to have a luxurious lifestyle, but criticism of an ideology is not the same as a hatred. Just ask the workers of the Republic Window company who held a sit-in not too long ago.

There are fewer of the trademark Moore stunts in “Capitalism,” a sprawling 126-minute film that tries to connect data points across the economy, including the bailout, financial deregulation, privatized juvenile detention centers, the collapse of the American auto business (again), “dead peasant” insurance policies, Goldman Sachs’s influence in Washington, the crash of a commuter jet in Buffalo, the Florida condo market and an old-fashioned sit-in at a Chicago door-and-window factory.

In part the stunts are harder to pull off for a famous, rabble-rousing filmmaker. But at the movie’s heart is the original footage Mr. Moore’s shooters made of workers inside the occupied factory in Chicago (his was the only crew let in during the five-day strike) and of homeowners being evicted. Mr. Moore retains an ear for ordinary speech that is uninflected by the exigencies of morning talk shows or “SportsCenter” clichés.

because, as the Chicago Tribune noted, unchecked capitalism encourages greed, and theft:

After Republic Windows and Doors abruptly shuttered its North Side plant last winter, some of the 200 union workers who lost their jobs peacefully refused to leave for several days, demanding wages they’d earned and becoming a national symbol of the economic crisis.

On Thursday Cook County prosecutors made a startling allegation: The sudden plant closing was all part of a monthslong plot by the head of Republic Windows to loot the business, steal key manufacturing equipment and set up a new operation in Iowa.

After a judge hit former chief executive officer Richard Gillman with a whopping $10 million bail, he was led away to Cook County Jail while wearing a pin-striped suit, white collared-shirt and a dazed expression.

Prosecutors laid out their case in an unusually detailed 56-page filing. Gillman and two other undisclosed executives abandoned Republic Windows’ crushing debt, stole its assets and secretly trucked the equipment from the plant to the new operation in Red Oak, Iowa, the charges alleged.

But that operation failed, too, just a month and a half after it started, leaving hundreds of employees from both Chicago and Iowa out of work and devastated.

All told, Gillman and the others defrauded company creditors who were owed at least $10 million and stole more than $200,000 cash from Republic Windows, prosecutors alleged.

[Click to continue reading Republic Windows CEO charged in plot to loot the company — chicagotribune.com]

Werner Herzog Interviewed by Rocco Castoro

Seth Anderson0 comment


“Conquest of the Useless: Reflections from the Making of Fitzcarraldo” (Werner Herzog)


“Herzog on Herzog” (Werner Herzog)

As always, Werner Herzog has interesting things to say. And this makes me laugh, since whenever I watch a Herzog film1 I turn on the Director’s Commentary. Sometimes, if the film is a little slow, the commentary is much more enjoyable, and his accent is fun to emulate.

RC: In Grizzly Man, like most of your documentary films, you provide the narration.

I grew into this somehow. In the old days I had the feeling that, yes, I should do it, because I wouldn’t know of anyone who would be as credible as my own voice.

RC: It does seem like the best person to narrate a documentary would be its maker.
It’s a question of credibility, and I don’t care how bad my German accent is. I make myself understood anyway.

[Click to continue reading WERNER HERZOG – Vice Magazine]

Indeed you do, Mr. Herzog, indeed you do.

Also, he is allegedly starting his own film school.

I will be starting my film school very soon, and I will make a point about a sense of literature for young people who want to step into filmmaking. One of the prerequisites will be that those who apply have to read this, this, and this.

RC: It’s amazing that you’re starting a film school. Can you give me a sampling of what will be on your syllabus?
 For example, Virgil’s Georgics. They don’t have to read it in Latin, but there are some good translations around.

Oh, and of course, Bad Lieutenant: New Orleans Port of Call

There’s been quite a bit of controversy around that film and no one’s even seen it yet. Abel Ferrara, the director of the original Bad Lieutenant, was outraged that you were doing what he considered to be a remake. But you steadfastly deny that it’s a remake and claim to have never even seen the original.
I don’t need to see the film that was made sometime in the 90s. Mine has a completely different story and a completely different setup. Basically what happened is that one of the people who had produced the first Bad Lieutenant held rights to the title, and they were hoping to establish some sort of a franchise. I don’t mind, I can live with the title, but I always felt it had to be something else. I tried to call it Port of Call New Orleans, but I couldn’t prevail. So now it’s Bad Lieutenant and then it has the subtitle of Port of Call New Orleans.

Footnotes:
  1. I’ve seen about a third of his films, but will eventually see most [↩]

Carl Jung and the Holy Grail of the Unconscious

Seth Anderson3 Comments


“Man and His Symbols” (Carl Gustav Jung)

Fascinating, long piece on the Carl Jung book known as Liber Novus, or The Red Book. There are a couple of sample pages in this promotional piece (PDF)

This is a story about a nearly 100-year-old book, bound in red leather, which has spent the last quarter century secreted away in a bank vault in Switzerland. The book is big and heavy and its spine is etched with gold letters that say “Liber Novus,” which is Latin for “New Book.” Its pages are made from thick cream-colored parchment and filled with paintings of otherworldly creatures and handwritten dialogues with gods and devils. If you didn’t know the book’s vintage, you might confuse it for a lost medieval tome.

And yet between the book’s heavy covers, a very modern story unfolds. It goes as follows: Man skids into midlife and loses his soul. Man goes looking for soul. After a lot of instructive hardship and adventure — taking place entirely in his head — he finds it again.

Some people feel that nobody should read the book, and some feel that everybody should read it. The truth is, nobody really knows. Most of what has been said about the book — what it is, what it means — is the product of guesswork, because from the time it was begun in 1914 in a smallish town in Switzerland, it seems that only about two dozen people have managed to read or even have much of a look at it.

Of those who did see it, at least one person, an educated Englishwoman who was allowed to read some of the book in the 1920s, thought it held infinite wisdom — “There are people in my country who would read it from cover to cover without stopping to breathe scarcely,” she wrote — while another, a well-known literary type who glimpsed it shortly after, deemed it both fascinating and worrisome, concluding that it was the work of a psychotic.

So for the better part of the past century, despite the fact that it is thought to be the pivotal work of one of the era’s great thinkers, the book has existed mostly just as a rumor, cosseted behind the skeins of its own legend — revered and puzzled over only from a great distance.

Which is why one rainy November night in 2007, I boarded a flight in Boston and rode the clouds until I woke up in Zurich, pulling up to the airport gate at about the same hour that the main branch of the United Bank of Switzerland, located on the city’s swanky Banhofstrasse, across from Tommy Hilfiger and close to Cartier, was opening its doors for the day. A change was under way: the book, which had spent the past 23 years locked inside a safe deposit box in one of the bank’s underground vaults, was just then being wrapped in black cloth and loaded into a discreet-looking padded suitcase on wheels. It was then rolled past the guards, out into the sunlight and clear, cold air, where it was loaded into a waiting car and whisked away.

THIS COULD SOUND, I realize, like the start of a spy novel or a Hollywood bank caper, but it is rather a story about genius and madness, as well as possession and obsession, with one object — this old, unusual book — skating among those things. Also, there are a lot of Jungians involved, a species of thinkers who subscribe to the theories of Carl Jung, the Swiss psychiatrist and author of the big red leather book. And Jungians, almost by definition, tend to get enthused anytime something previously hidden reveals itself, when whatever’s been underground finally makes it to the surface.

[Click to continue reading Carl Jung and the Holy Grail of the Unconscious – NYTimes.com]

So for me, the important question is, when is the thing going to be published? And how do I get a copy of my own? Looks like the book is scheduled to be released in October of this year.

ABOUT HALFWAY THROUGH the Red Book — after he has traversed a desert, scrambled up mountains, carried God on his back, committed murder, visited hell; and after he has had long and inconclusive talks with his guru, Philemon, a man with bullhorns and a long beard who flaps around on kingfisher wings — Jung is feeling understandably tired and insane. This is when his soul, a female figure who surfaces periodically throughout the book, shows up again. She tells him not to fear madness but to accept it, even to tap into it as a source of creativity. “If you want to find paths, you should also not spurn madness, since it makes up such a great part of your nature.”

The Red Book is not an easy journey — it wasn’t for Jung, it wasn’t for his family, nor for Shamdasani, and neither will it be for readers. The book is bombastic, baroque and like so much else about Carl Jung, a willful oddity, synched with an antediluvian and mystical reality. The text is dense, often poetic, always strange. The art is arresting and also strange. Even today, its publication feels risky, like an exposure. But then again, it is possible Jung intended it as such. In 1959, after having left the book more or less untouched for 30 or so years, he penned a brief epilogue, acknowledging the central dilemma in considering the book’s fate. “To the superficial observer,” he wrote, “it will appear like madness.” Yet the very fact he wrote an epilogue seems to indicate that he trusted his words would someday find the right audience.

more information as I find it, but in the meantime, do click through and read the tale

Amazon has it available for pre-order: