When they first broke through in the early eighties, the Bangles were kind of an all-girl west coast version of Blondie. Or at least it seemed so if you based the comparison on this song...
The Maids: Back To Bataan
6 hours ago
Here's Lizzie sitting on the arm of the couch in our living room at 74 Penarrow Drive. What I'd like to know is, who was sitting next to her on this particular occasion (before I cropped the person out of the picture)? Put your guesses in the comments section.
Boy I really wanted to like the new movie Drive. Descriptions I'd read ahead of time made me think it might be a cool genre exercise like those Walter Hill used to make in the seventies and eighties (like the similarly named The Driver) Alas, Nicolas Winding Refn is no Walter Hill, and certainly no Quentin Tarantino (a name that came up in several reviews of the film). There is some good stuff in the movie-- notably the acting by Ryan Gosling, Carey Mulligan, and especially Albert Brooks. Refn does exhibit some style in his direction (I particularly appreciated his ability to slow things down and avoid the kind of quick cutting that is way too ubiquitous in contemporary thrillers). But unfortunately, the good parts don't seem to be in the service of much of anything worthwhile. If there was some kind of payoff for the viewer who sits through this thing, I completely missed it. I guess the point might be that even a criminal can be a decent person, capable of compassion. But I'm not sure that the movie really comes down on the side of that conclusion, since I found it impossible to believe that the main character was ever acting out of anything but selfishness, often pursued in poorly thought out actions. Unlike Columbiana, which was so stupid that you could just give in and go along for the ride, Drive gives every indication that Refn has something more serious on his mind. But in the end, I'm at a loss to say what that might be, leaving me to think Drive is just as empty as that other movie.
Just outside of Missoula is a small state park called Council Grove. It marks the spot where a treaty between the American settlers and local Indian tribes was signed back in the mid-nineteenth century. I visited last weekend looking for photo ops, and these four pictures represent the best of the shots I took. The river is Clark's Fork.
I was using a new fixed focal length lens that I recently purchased, and I'm pretty pleased with its performance, with regard to color and crispness.
It was a bit early in the year to catch the leaves changing, though you can kind of tell they are on the verge. Hopefully I'll get a chance to get oput again when the colors are really spectacular.
"A first grader should understand that his or her culture isn't a rational invention; that there are thousands of other cultures and they all work pretty well; that all cultures function on faith rather than truth; that there are lots of alternatives to our own society. Cultural relativity is defensible and attractive. It's also a source of hope. It means we don't have to continue this way if we don't like it."
Terri is the kind of movie that makes you believe it is still possible to tell a story on a human scale in a fictional film, without relying on exaggeration, special effects or star power to grab and hold an audience. Director Azazel Jacobs' establishes a tone that rings true from the first frame, and never wavers in presenting a story of a generally goodhearted kid who is working out how to cope with the largely unfortunate circumstances that he has little control over at home or at school. A loner at the beginning of the story, he discovers that there may be something to gain from developing some friendships, though his efforts in that regard are somewhat tentative at first, and not always successful as it becomes clear that even other goodhearted people can let you down. But at the end, one is left with the impression that Terri has recognized that he has at least some control over what comes next, and that certainly had me leaving the theater in an upbeat mood. It's really strange to me that this kind of film is so rare today, by which I mean I don't get why they don't appeal to large audiences-- or more to the point, why aren't they given the kind of distribution that makes them available to a mass audience. You certainly see elements of this kind of story in more big budget affairs (I'm thinking, for example, of The Blind Side). But in those cases, the manipulation of the audience is so calculated and blatant, while a movie like Terri comes off as totally unpretentious and real. It's like in the former case, the goal is to elicit a cathartic "awww" from the audience at the end; while in the latter case, the goal is to promote empathy for real people, who are recognizable in (if not literally represented by) the characters in the story. I'm not really opposed to the concept of catharsis, but there's a huge difference between feeling like a good person because you went to a movie, and seeing a movie that makes you want to be a better person. I guess those two responses don't have to be mutually exclusive, but given that there were only two people in the theater when I saw Terri, I'm guessing producers see a lot more commercial promise in focusing on the much easier goal of producing that "awww," which is really too bad for all of us.
Back in the pre-World War II era, cartoonists often had an entire page to fill in the Sunday color sections. In addition tot he featured strip, they often added a topper-- a shorter strip with another group of characters to provide a little variety on the page. H.H. Knerr, the primary artist on The Katzenjammer Kids for almost thirty years created Dinglehoofer Und His Dog to top the Kids. If you're familiar with the former, you'll recognize some consistencies between the two. Anyway, here are a few examples of what weekly readers got from Herr Dinglehoofer back in the late thirties.


Here's a processed shot of a family baby-- let's see if any of you can guess who this is. Put your guesses in the comments section.
When I first started at my current job, there was a small coffee shop on campus that I would frequent for lunch (and other events like films and poetry readings). It was a friendly, comfortable spot, just one building over from my office, and I generally ordered a cup of soup, which were generally quite good. Due to some campus construction, the operation was eventually moved to another building a bit further away. It's not a huge campus, so I'm not talking miles, but it was slightly less convenient and so my visits became a bit more sporadic, though I continued to enjoy the soup. At some point, a new little snack shop opened in the student union that was even closer than the old coffee shop, and so that became a regular stop. They too offered soup, and usually had two or three choices, which made it an especially attractive option, though on occasion I would still stroll the extra steps to the other place-- it was nice to have such choices, and that meant I could be picky in what I had for lunch. But then the proprietors of the coffee shop complained to the campus administration about unfair competition, and the soup vanished from the snack shop. I have to admit, I took this a little personally and fell out of the habit of going to either spot for lunch. Every now and then, I would have a meeting with someone in the coffee shop, and the soup was still pretty good, but I mostly brown-bagged or skipped lunch altogether. All of which is a lengthy prelude to mentioning that I had lunch at the coffee shop yesterday for the first time in probably two years, and I had the soup: cream of broccoli. It was fine (though it could've been hotter), but nothing to cause me to adjust my habits and make it a regular stop once again. I don't really blame the owners for looking out for their own interests, but I wish I still had all those choices, and it doesn't appear likely that things will go back to the way I liked them best.
One of my areas of research, going back to my grad school days, has been the popular music industry in America. One of the things that became evident very early on is just how shady that business was for most of its history. That's not to say that everyone in the industry was tainted, and some were unfairly maligned (disc jockeys, for one example), but you didn't have to look very hard to find extremely unethical if not criminal behavior behind the scenes of the hit-making machinery. Tommy James puts that topic front and center in his book Me, the Mob, and the Music. The framework for the story is essentially his own rise to success and fame in the sixties as the front man for the Shondells, who enjoyed a long string of hits that began with "Hanky Panky" and extended through the late sixties and early seventies. That's the framework, but the persistent theme is how much of that success was orchestrated by the actions of Morris Levy, a notorious mobster who ran Roulette Records (among other enterprises) and used his underworld reputation to pretty much get what he wanted from artists, distributors, broadcasters, and anyone else who might contribute to getting his releases to the top of the charts. It's a gripping story, and James comes off as both a talented artist and an honest reporter about the advantages (and disadvantages) that came along with being employed by Levy. Although tensions inevitably arose from the relationship, it's clear he retains a lot of affection for his "mentor" though eventually the two were estranged as Levy's activities caught up to him and he ended up in jail. The book ultimately is more successful as a music story than a true crime story, mainly because James' perspective on Levy does not come from being in the latter's inner circle. But that's certainly enough to make it a worthwhile read, maybe especially if you've ever danced to "Mony Mony" at a wedding reception or sang along to "Crimson and Clover" on the radio-- which may never have happened without the hidden hand of organized crime.
Whitney Darrow Jr. was one of the classic New Yorker cartoonists, whose work appeared in that mag and elsewhere for almost half a century beginning in the 1930s. These few examples give you an idea of his style and humor; and though they may have first appeared in print decades ago, I think they remain fresh and funny today. If you can't read the captions, just click on the images for enlargements. 


"Virtue is not a chemical product, as [Hippolyte] Taine once described it: it is a historic product, like language and literature; and this means that if we cease to care about it, cease to cultivate it, cease to transmit its funded values, a large part of it will become meaningless, like a dead language to which we have lost the key."
In the uncropped version of the above photo, Ben is holding Natalie back to keep her from chasing someone. My question to you is, who was she trying to chase? Put your guesses in the comments section.
These are some random photos that I took a few years ago in Milan and Venice. For one reason or another, each seemed to be a bit more striking once I converted them to black and white. The first is a newsstand in St. Mark's Plaza in Venice.
The ornate floor seen above is found in what was described to us as the world's oldest shopping mall in Milan. Of course, we heard the same thing about a complex of buildings in Rome, but at least in this case, the place was still open for business.
It was a rainy day in Venice (actually Milan too) while we were there, and I kind of liked the way these umbrellas appeared looking out through the grated screen onto St. Mark's Plaza.
A somewhat typical scene of a singing gondolier, entertaining both his customers on the boat and the folks walking alongside the canal.
This one makes me wonder what the young woman is looking at, especially since everyone else on the promendae is heading off in the opposite direction.
I enjoy taking pictures in the rain-- more to the pointy, I enjoy the results of pictures taken in the rain. Actually taking them can be a bit of a hassle.