Showing posts with label diversions. Show all posts
Showing posts with label diversions. Show all posts

Wednesday, June 22, 2022

KEITH RICHARDS: UNDER THE INFLUENCE dir. Morgan Freeman

Truth: I would rather listen to the people Robert Johnson has inspired than listen to the man himself. Also true: Keith Richards makes me want to dust off Johnson and give him another listen. I saw Under The Influence on Netflix. 

"Rock and Roll had nothing on these guys" -- Keith Richards on American Country Music in general and Johnny Cash and Carl Perkins in particular. 

Yeah , but there was a time when The Rolling Stones were particularly scary. Read Sway for some idea. And Keef is big on going straight to the source. Robert Johnson didn't record much, so The Centennial Collection should do you. Plus you get a spiffy essay by Jimmy Page. If you can find it I recommend The Sun Years by Howlin' Wolf. And I recommend the recently rebuffed Damn Right, I've Got The Blues by Buddy Guy -- the album that turned everything around (for Buddy Guy, of course). 

Saturday, January 14, 2012

Robert Anton Wilson Week

I've only ever picked up the first instalment of the Illuminatus! Trilogy (A), and that was some years back. I thought it too superficial in its mischief to bother with anything else by Robert Anton Wilson, but the scamps at Boing-Boing have spent all week trying to persuade me otherwise. They haven't yet reached me, but I have enjoyed the attempt.

Sunday, November 27, 2011

Whither The Arts Critic?


I'm not sure I care, and I doubt you do, either.

I read, but didn't bother linking to, this Michael Kaiser lament for the vanishing day of the critic. I'm elitist enough to appreciate where his appeal is coming from, but far too plebeian in my mentality to give it any credit whatsoever. Listen, I miss Pauline Kael as much as any reader out there, but I'm considerably happier living in the current climate than I was in the climate of the 80s when I first discovered her. Kael is gone, movies don't count like they used to, and most of them suck, besides.

If the movies aren't interesting, the variety of little scenes and happenings crowding in to replace them often are. It seems like just about everything is going up for grabs — which is scary, sure, but also not a little exciting. I'm not altogether on-board with Ian David Moss's response to Kaiser, but I did resonate with this line near the end: “(Complaining about the collapsing value of the newspaper arts critic is) like complaining about the oversupply of artists — y’all had better get used to it, because it’s not going away.”

Exactly.

Wednesday, November 23, 2011

... KISS Me Twice ...

My parents got home from Bible Study, and asked if everything was alright. I said, “Yeah,” and kept fiddling with my homework.

“So what's the air rifle doing next to the door?” asked my father.

“Oh,” I said. I'd actually tucked it beneath the coats on the rack, to keep it from being seen, a ploy that apparently failed if you were hanging one up. “Right. I meant to put that away.”

“So?”

“Ah . . . I got this weird phone call, kinda freaked me out a bit.”

“What'd they say?”

What, indeed? It was hard to explain, so I took it from the top: I was seated at the basement desk, toiling on my homework. The phone rang. In those primitive days before Call Display, if you wanted to know who was calling you, you picked up the receiver and answered the phone. In this case, my caller didn't identify himself. “How old are you?” he asked.

“Fifteen,” I said, guessing at the age of my caller and hoping to one-up him. In fact I was 12.

“Perfect. Who's the greatest rock band in the world?”

“Uh . . .” The truth was I'd only started listening to the radio, and couldn't name more than two, maybe three bands, tops. I was nervous, and lunged for the obvious answer. “The Beatles?”

“The Beatles? No, no. I'm talking about your favourite rock band, the one you listen to the most.”

“The Beatles,” I said, resorting again to the lie. I didn't yet have a favourite rock band, but would have chosen one with a “harder” sound to it than the Beatles.

“Seriously? The Beatles?”

“Yeah.”

“Oh.” He sounded disappointed. “Well . . . I was looking for KISS.” Then he hung up, and I retrieved my air rifle, lest some goon barge through the door to deal me the physical harm I had invited by giving the wrong answer to this improvised bit of polling.
With KISS you never knew. They were obviously tapping into something beyond the pale. The pancake makeup, the flash-pots. Breathing fire, spitting blood. The theatrics tended to inspire a similar degree of extremity in the fans. So far as I knew, none of my Mennonite friends listened to KISS, but there was a Ukrainian Catholic kid in my class who doodled the KISS logo on anything within reach. His locker was papered over with pictures of KISS concerts — a modest shrine compared to his bedroom back home, if you believed his claims (and I did). I wouldn't have classified my classmate as crazy, but I had read the story in the paper about the kid who took his father's shotgun to shop class and blew away another kid, later claiming he'd received direct orders from the band.

The fans called themselves an “Army” and I wasn't about to take any chances. Hence the air-rifle. Now that my father was home I figured I was safe enough. He could absorb the invasion's first salvo, while I crawled out the window and fled for my life.
That ain't workin'...
Thirty-five years later, there's a video of the band making a guest appearance on a sketch comedy show. They show up in regalia as a high-school girl's prom date. Her square parents are shocked and appalled. You can find it pretty quickly, but I'd advise against it. It's gratingly unfunny theatre, because it gets the social positioning completely ass-backwards. These days the scary, dangerous people from the fringe are Dad in his belly-cinched pants and Mom in her high-maintenance coif. The Munsters' high concept has been perfectly reversed, thanks in no small part to KISS.

Indeed the alleged “Knights In Satan's Service” aren't just identifiably human, they're struggling to keep the paint fresh on an increasingly bourgeois facade. Another round of memoirs, another season of Gene Simmons' meta-antics; costumes held together with duct-tape, an inveterate pussy-hound whose marriage is held together with the duct-tape of constructed celebrity drama.

There's the Wizard of Oz, and then there's the chap behind the curtain. Is there a curtain behind the curtain? Is there anything in the comic books that somehow peels back the vital layer and catches a glimpse of the edgy, conceptual power that once summoned an Army?

Friday, May 06, 2011

"Forbidden Zone" Excerpt

Look who traveled to Japan's nuclear ghost-towns, and lived to write about it:



William T. Vollmann, eh? There's something about the guy (his prolificity and perspicacity, for starters) that I find admirable/intimidating/frightening.

Wednesday, December 22, 2010

Pre-Christmas Grab-Bag of Links

Today's post is a grab-bag of links I had every intention of riffing off, but never quite mustered up the wherewithal to get the job done. Still, attention must be paid.
Family and friends know me as a quick mimic, with a tonal range that can catch people off-guard. In my experience, there aren't too many cartoon voices that can't be convincingly aped. Fred Flintstone, however, is entirely beyond my reach. This is a terrific homage to Alan Reed, the man who gave us the incomparable voice of Fred Flintstone.
During a recent malaise, I retreated to the comfort of a series of comic books I'd enjoyed in the late 80s: Andrew Helfer and Kyle Baker's tweaking of that hoary old hero of the pulps and radio, The Shadow. In the mid-80s DC Comics briefly dragged The Shadow of old into contemporary Manhattan, with the help of Howard Chaykin. Chaykin's approach wasn't that far removed from the one he used for American Flagg (it's never been far removed from Flagg, really); he does what he does and it pays the bills. When Helfer took over, though, readers got a young writer keen to take the scene into unexpected territory, and an artist — Bill Sienkewicz — who had the surrealistic flair to pull it off. But when Sienkewicz left and Kyle Baker took over, there was a perfect merging of visual-literary sensibility. Jason T. Miles does a terrific job (with the aid of some snazzy scans) of unpacking Helfer & Baker's deft touch with The Shadow. I would only add that by the series' conclusion Helfer & Baker were probably having too much fun: the final six issues detailed, among other things, the travails of the Shadow's sons as they dragged his corpse through one indignity after another en route to Shangri-La.

I don't quite “get” the veneration that significant writers have for the works of H.P. Lovecraft. His stuff strikes me as ornate and overwrought — he's too busy describing the horror his characters feel to bother dispensing any for the reader (this one, at any rate). I suspect, though, that my distance is more a product of having encountered him late in life, as opposed to in my adolescence (the ideal time to encounter any pulp fiction).

Having said that, I'm usually up for reading meditations on his work. Over at PopMatters, Dennis P. Quinn explores the rich ironies that abound among the personalities and subcultures that have taken (typically occult) religious inspiration from Lovecraft's fiction. Lovecraft the man was an avowed atheist who held all religions in contempt; he considered his Cthulu works, for example, an act of ridicule. Ah, but there are acolytes who beg to differ . . . .

Speaking of Cthulu, earlier this year Erik Davis took a close and careful look at the current “Cute Cthulu” meme and was decidedly not amused. I'll post the link in just a minute, but before I do: here is where I riffed off Davis' treatise on Led Zeppelin IV — the best of the 33 1/3 books I've read. On the strength of that I went ahead and purchased The Visionary State (A), Davis' encyclopedic account (with photographs by Michael Rauner) of the various religious expressions unique to modern California. The Visionary State proved to be breathtaking, so I ordered his latest book, Nomad Codes (A), which I'm looking forward to reading through the holidays.

Alright, on to the link. It is NSFW, thanks to a hentai illustration near the bottom of the piece. This might be regrettable to some people, but the truth is Davis could not get to the root of what makes this “Cute Cthulu” business so insidious without referring to hentai. So there it is, and here is the link (NSFW).

Friday, December 03, 2010

Mel Birnkrant, The Colorforms Years

Cory Doctorow at Boing-Boing links to Mel Birnkrat's reminiscences of designing toys in the 70s and 80s -- a "golden age" by Doctorow's lights. I saw the Outer Space Men display, and figured I was in for a lengthy exploration of Matt Mason & Co., the "golden age" of toys by my lights. Imagine my surprise, then, when the toy company in question turned out to be Colorforms, a name that during my childhood was synonymous with thrift and lockjaw articulation. These were the toys that quickly found their way to the bottom of the toy box, then the garbage can.

Imagine my further surprise when I looked at my computer clock and realized I had actually spent an entire hour poring over this man's memories and illustrations. In the 70s he and a team of artists took their mutual obsession with vintage toys and illustrations and pretty much set the aesthetic template that brought about a mutual renaissance for the licensing suits at Disney and the Children's Television Workshop.

Birnkrat seems a bit rueful about the now predominant image of Mod Mickey with foot out, arms behind back. He won't claim any credit for generating this enduring gust of zeitgeist, but Birnkrat certainly proved himself as a finely attuned weather vane, back in the day. Here's a shot of his desk.

Tuesday, November 30, 2010

The Boxed Set, Continued: Resistance Is ... Futile?

The impulse DVD purchase sure ain't what it used to be, now that video-on-demand is so very accessible. Throw in the chastening effect of considerable personal experience and it's a wonder I buy DVDs at all. How many times have I dropped $25 or more on some “special edition” of a movie I remembered oh-so-fondly, only to take it home, pop it in the player and realize within 20 minutes that I was reheating a turkey? Even if the movie is my personal Citizen Kane the fact is I'm still getting older, time is moving faster, and the list of yet-to-be-seen “Don't You Miss It!” material is growing exponentially by the day.

So how is it my weekly visits to Costco keep rocking me on my heels, despite this jaded state of mind? It's Christmas, of course: the season for boxed sets. I rifle through the display the way I once rifled through hockey cards. “Got 'im, got 'im, need 'im, got 'im . . . uh . . . mm, future rental . . . got 'im,” etc. Springsteen & Co. enticed me last week. This week I saw Costco selling the complete Man From U.N.C.L.E. for the exact same price ($78).



Yowsa, what kitschy packaging! Time-Warner-HBO certainly knows how to appeal to the boy inside the man (and really: how many women get excited by DVD packaging?). If they had Saran-Wrapped the AMT model to the “briefcase” there's no earthly way I could have resisted the lure, even if I'd fasted for 40 days and 40 nights.

But resist I did — just barely. It helped to keep several recent and relatively inexpensive disappointments top-of-mind. I couldn't pass up The Prisoner for $30 — the classic Patrick McGoohan vehicle, of course, not the recent reheat. When I sat the family down and played the first disc, the reaction I received was . . . well, let's just say that my reciprocal reaction to Glee is more ebullient. And even I had to admit this recent exposure was a mixed bag of tricks. As with Star Trek: TOS, much of The Prisoner's enduring charm lies in its period-piece curiosity factor. If the viewer isn't braced for trippy-hippie hijinx and scenery-chewing histrionics, it is difficult to make much of a case for the show's intellectual content. (I had to wonder which acid flashback was the greater torment: The Village or The Banana Splits?)

More pertinently, this summer I picked up the first season of I Spy (five bucks!) a series often touted as the most superior of the Bond spin-offs, what with its interracial duo and international location shoots. Watching it for the first time, some forty years after it first aired, I can certainly acknowledge the innovation and risks that Culp & Cosby took. The first episode sends the two off to China to intercept an athlete intent on defecting to the Reds. The athlete is obviously modeled on Muhammad Ali, and Cosby's character stifles a very convincing impatience with the man's ego and political naiveté. But this is a 90-second scene in an episode that swings a heavy moral hammer to considerably less effect than Roddenberry did, and concludes with a merry little chase-on-foot through the slums of Hong Kong. Family Verdict? “Dad, please. We'd rather watch The Prisoner.”

Also on sale (same price as Boxes Boss & U.N.C.L.E.) is the complete Get Smart, which remains far and away the best DVD investment I've made — one increasingly unlikely to ever be usurped. Get Smart has the period-piece curiosity factor in spades, of course. But more than that, it's remarkable how much better this series was at conveying the same social commentary as the material it was spoofing, while retaining a capacity to entertain through nearly five decades. In fact, now that I think of it, the case could be made that time has only added to the series' already formidable entertainment cache.

And so the U.N.C.L.E. briefcase was returned to its place. And I returned to mine, where I could settle for the better value of another go-round with Agents 86 and 99, while gently nudging the imagination through remembered projections of fevered deprivation.

Links: DVD sets: The Man From U.N.C.L.E. (A), I Spy (A), The Prisoner (A). Note the on-line cost difference. And it's increasingly difficult for me to maintain my resistance after reading this guy. Thankfully, there is also this guy.

Thursday, September 02, 2010

Everyone's A Comedian: Coming To Terms With The "New New Criticism"

When Jerry Seinfeld announced, shortly after the close of his monumental sitcom, that he was honing material for a new stand-up routine, few people were surprised. He was still a young guy with a lot of drive; clearly a Johnny Carson fade-away was not in the cards. But it had been nearly a decade since Seinfeld had pulled together new stand-up material, and he had some work to do.

Comedian, the documentary that follows his progress back to the concert hall, captures an early foray into the beer circuit. It’s a not-bad set, but Seinfeld is clearly still finding his legs. Following the set, he joins a table of stand-up veterans, and solicits their thoughts.

It’s like throwing a raw steak into a room full of pit-bulls. These guys are only too happy to tell him exactly why his material isn’t funny. In fact, not only is his material not funny, he’s not funny — not anymore. They take him apart, piece by piece, while Seinfeld sips his drink and gives the occasional physical indicator suggesting he might actually be listening.

Given a scene like that, it’s not surprising when a veteran comic downshifts and starts driving below the speed limit. They just naturally reach that point in life when they actually want to join The Sammy Maudlin Show: a couch with a rotating but limited cast of glad-handers and chortling sycophants.



Just how far removed is the world of the published writer to that of the stand-up comic? If this country’s self-designated national newspapers are any indication, not so far. As a comic in all seriousness, allow me to suggest, if I may, the National Post embodies the round table at the back of the bar, while the Globe more closely resembles Maudlin’s klieg-lit comfy couch. Exceptions allowed for, of course, but that’s basically the book review biz north of 49.

We can parse over the benefits and drawbacks of each model — the author pretty much loses either way, by my reckoning — but somewhere in this mess is the audience. Writers write to be read, and God help ‘em if they want to be read by reviewers and critics, ‘cos those jokers want to be read, too, often quite desperately. The best thing for any writer is to stand up and read directly to their public — their intended community. Most audiences are willing to meet a writer halfway; if, under those conditions, the prose falls flat, the writer has a pretty sharp idea what needs to be attended to. Everybody wins.

As for Mr. Alexis’ contention, my sense is his central worry is over a particular community that was probably never there to begin with — a great cloud of witnesses; intelligent interlocutors eager to greet the new golden child of letters: Salman Maudlin, perhaps. Sorry, bub, but if that's the "community" you're after, you're destined for either the couch or the table.

Everybody gets to riff off the written word these days: Marchand, Metcalfe, even me. Blame it on television. Blame it on the po-mo novel gazing that has hog-tied academia. Blame it on teh interwebz. Sure, it’s a bit of a rabble sometimes. But what are you going to do?

These days everyone’s a comedian.

Link love: Here, here and here is the National Post, doing what it does best. For further contrast here are my thoughts on a book I recently enjoyed; here is the Globe's suspiciously enthusiastic take, and here is the Post's enthusiastic take-down. Here ("John Who?") and here ("Alexis is being disingenuous") are two considerate responses to André Alexis. Now go watch Comedian, even if — especially if — you thought you were done with Jerry Seinfeld.

Wednesday, August 18, 2010

Krull-Inspired Desperation

It should surprise no-one if I admit that I was one of the original contributors to the meager box-office pot of 1983's galling sci-fi/fantasy mash-up stinker Krull (i).



Youngsters who have been raised in this golden era of Peter Jackson's Lord Of The Rings and Ron Moore's Battlestar Galactica might find this difficult to believe, but 20 years ago the pickings for fans of either genre were so slim, we happily joined the queue. And when the movie was over, we marched over to the video arcade to play the game -- our desperation was just that great.

Having said that, I don't believe even I would have been so desperate as to willingly give myself away in a Krull Wedding promotional stunt. Unbelievable, but true (via boing-boing).

Sunday, August 15, 2010

Whither Canuckle-head Critical Culture?

André Alexis takes the back pages of The Walrus to bemoan the decline of Canadian Critical Culture here. I'm not altogether sure what I make of the piece, but he's definitely got me meditating on it. Alexis' mention of Stan Persky and Jay Scott reminded me that there was a time, in the late 80s/early 90s, when I saved and savored the Globe's weekend "review" section. I'd almost forgotten how much fun it was to take in those voices, and aspire to similar flights of public persuasion.

Anyhow, when my mulling makes the transition to early vintage, the post will be duly served.

Tuesday, July 06, 2010

"Whom Gods Destroy": Toy Story 3

Toy Story 3 opens with a scene familiar to viewers of the previous films: Andy’s toys “being played” through a spectacular cliff-hanger. John Lasseter and Crew are acknowledging the obvious: “Yes, we’ve done this twice before. But let’s see if we aren’t still capable of a few surprises.” And, in fact, it did get me giggling.

Which did surprise me, frankly. Unlike most of the audience, I was not chaffing for a third chapter to this franchise. I thought Toy Story 2 was the best sequel to a brilliant first act since The Godfather II. The Toy Stories explored issues of fealty and yearning and development of character with a surprising degree of nuance, but these introspective moments never jarred in contrast to the larger madcap adventure. That they accomplished this feat twice was nearly miraculous. Why push it any further? Was there any question raised by these films that still needed to be answered?

Then again, most of the questions raised by the films had ambiguous answers tailored to the circumstances. There is a theological irony running through these films: the toys may feel their deepest yearnings fulfilled when they are being played with, but they discover their truest selves when they are separated from their godlike owners. Similarly, the madcap adventures they initiate to get back to Andy are always larger in scale and spectacle, and considerably more emotionally involving, than the zany shorts concocted by the child-god’s brain. In the first movie Woody has to learn to share his owner and be content with the possibility of Andy’s fickle loyalties. In the second, he has to relinquish the prospect of a sterile immortality for the joys of perilous engagement with Andy. What lessons remain?

Turns out Woody has to learn how to let go of the college-bound Andy, a scenario he seemed to be more at peace with at the conclusion of last movie than he is at the beginning of this one. Strangely, after several years of being left entirely to their own devices, Woody is the only toy who isn’t ready to move on. Seeing this, viewers now know the lay of the land: the toys will be separated from their joy, will initiate feats of comic daring-do to get back, during which old lessons of loyalty will be reinforced and the singular new lesson will be learned.

The architecture is dependable (it's a retelling of Toy Story 2, basically), and the emotional revelations have worthy weight, even if some come with the unwanted (for me, at least) freight of blunt sentimentality. But as one wag said after viewing The Godfather III, “We all knew one of these films would have to be third best.” In the case of Coppola’s movies, that was quite a distant third. Not so much for this one, but waiting to see it on the smaller screen at home, where expectations are scaled down accordingly, might have actually been the more rewarding experience.

There is a new toy that hovers at the outskirts of the final scenes: a plushy Totoro. Chances are this is just a little tip of the hat Lasseter is giving his hero, Hayao Miyazaki. But it could also be a sign of things to come. When viewers pay admission for a Miyazaki film, they leave narrative template expectations at the door, because Miyazaki will subvert and thwart them from the moment the lights go down. Day & Night, the preliminary animated short for TS3, was a mini sermon on fearlessly exploring the mysterious and unexpected: is Pixar bracing us for a template change? I truly hope so.

Elsewhere:
discarded toys aren't all necessarily fated for the incinerator — meet Bamboo Charlie. Most reviewers are more smitten with this film than I am: Tasha Robinson is probably the clearest voice on their behalf. Plus: do you remember Lego before the Minifigs took over? Do you really? WP Flashback: bitch, bitch, bitch — what is it with me and Pixar, anyway? Is there any reason why I shouldn't just declare Monsters, Inc. to be this generation's Casablanca and leave the rest alone?

Monday, July 05, 2010

An Aboriginal Lourdes?

I was culling through old e-mails this morning, and ruefully wishing I could just post some of the exchanges I've had with readers and fellow bloggers. Iron sharpens iron, and many of these bits of back and forth have a quality and frankness that greatly exceeds what gets posted here.

I wouldn't do that without seeking permission first, of course. But I also hesitate because the intimacy of exchange is an element that gives weight to the content. Make it public, and *poof*: some of the significance disappears.

Instead, I'll post a link to an old story that I heard on CBC radio a couple of years ago, which I promptly shared with Mary Scriver, to get her thoughts on the matter. It plays like something out of Dostoevsky: aboriginals, and a few others, flock to the site of an old residential school in British Columbia, where they gather round the grave of a young woman who died of TB or pneumonia in 1949. The girl, Rose Prince, was the daughter from a line of chiefs of the Dakelh First Nation — a hunchback, remembered for being gentle and in a near-constant state of prayer. Nothing especially remarkable about her life's story, really, but when her grave was moved a year after her burial, it was reported that her coffin fell open to reveal a perfectly uncorrupted body — and a powerful scent of roses.

Cut to the turn of the millennium, and dirt from her grave is said to have miraculous properties (typically enough, some people are more blessed by this than others). A Catholic priest organizes a yearly pilgrimage to this site, and thousands gather for the Eucharist and a blessing, then take a baggy full of dirt from the site for ailing family members.

Betsy Trumpener, the woman who crafted this documentary, is of course keenly tuned in to the discordant ironies of this scene: Indians volitionally flocking to a site where they were once dragged and tormented throughout their formative years, in order to receive a blessing and . . . be healed. I found the experience of listening to it quite powerful and not a little disturbing. You can hear it here: just head to the upper right-hand corner and click beneath “Related” for the audio.

Speaking generally, there are several aspects common to most miracle stories that usually intrigue me. The first is the outrageousness of the miracle (assuming we take the story at face value). The obvious question that occurs to any listener is, “Why does one schmuck get the benefit of supernatural interruption, and not another? Why not me?” The second aspect is the politicization of the miracle: “Here's why. Now go and do likewise — or else.”

The third aspect is its tangential benefits. In the radio documentary we hear a skeptical woman's thoughts before she takes mass, then after. She believes something has happened to her — chiefly an unanticipated emotional release — and she believes it to be beneficial. That it occurred on this historically vile location is very significant for her.

Just outlining it like this can make it all seem unremarkable, but the details do provide a portrait of human frailty that I find rather endearing — so long as the politicization aspect doesn't piss one off too much.

Thursday, May 06, 2010

We Laugh, Because We've Grown Weary Of Crying

T-shirt. But if you still have tears, or an abundance of optimism, these links should take care of that. Well ... except for the TED talk. Where do they find these guys? And how can I be like that?

*****

In the past five years of blogging I've pointedly pushed my tone away from the splenetic, chiefly because the majority of the web seems taken up with the wrong people venting their spleens to no good purpose. My wife faults me for my reticence, says I'd attract more readers if I just let loose on, say, religious ridiculousness for starters. God knows I've plenty of spleen to vent on that subject, but, geez: it's like shooting fish in a barrel. Except the marksman has become fond of the fish. Maddening though their (mostly) barrel-constrained antics might be.

But I digress. Here, courtesy of The Academic Ivory Tower (via The Atlantic), is an example of an attitude that makes me call for the guillotine. Wow, is Richard Bausch ever special. First of all, he's a writer. Secondly, he's a writer who turned down a $10,000 advance for a snap assignment. Why did he, a writer (read: "nearly impoverished arty-type"), turn down the easy money? Because said proposal was for yet another "How To Write" book, and Bausch is waaaaaay above such grotty stuff.

I have my own take on "How To Write" books: I think they're fab. I consume them the way some folks consume detective stories, pastoral guides or erotic vampire romances. Occasionally one of these books is insightful and unique enough to turn me on to the author's works of fiction — surely a bonus for any writer struggling to be heard above the fray. If the vast majority of them are easily forgotten, who cares? They're a subset of the self-help genre, and let me tell you: some of those books can change your life for the better, if you give them half a chance.

Bausch could have rolled up his sleeves and attempted something as grand and humane as John Gardner accomplished (twice). Hell, he could have dusted off a few wheezy lectures he gave at George Mason, then cashed the cheque on a pleasant vacation with the missus. But, no: "This work is not done as a job, ladies and gentlemen, it is done out of love for the art and the artists who brought it forth, and who still bring it forth to us, down the years and across ignorance and chaos and borderlines."

Well, fan me with a King James Bible: this man's never written a word to get himself laid! I don't trust him — and neither should you.

WP Flashback: my John Gardner post, which continues to attract comments.

Wednesday, March 10, 2010

Thursday, October 22, 2009

Groening = Disney?

Something I gleaned early from this experience is that Hollywood publicists are so used to journalists kowtowing to their every request that they no longer understand what journalism actually is. We’re talking about cartoon characters here, not Watergate -- John Ortved on the challenges of compiling an unauthorized history of The Simpsons: here, via bookforum.

Monday, September 28, 2009

Lit-Links, & Other Distractions

I am currently reading Douglas Coupland's latest novel: Generation A. For the last 10 years or so I've made it a policy to hold off on buying Coupland's novels until they hit the remainder bin. Unfortunately, the effect of reading a Coupland novel two years after it's been published is somewhat akin to feasting on a Jif & Welch's sandwich made from week-old Wonder Bread: it's just a little off. Last week I was perusing the stacks at Book City. Since I was in a beloved independent, and since Coupland's title was fresh off the press, I figured the right thing to do was drop the money and take home the book. But now The Guardian Book Club has me wondering if I shouldn't be (re)reading his first novel. Ah, the irony!

*****

I could be wrong, but it sounds to me like P.J. O'Rourke is still bitter he missed out on all that muddy fun.

*****

Oooooh, brother: not this -- again.

*****

This, on the other hand, merits further discussion. My parents, who now rank among David's most devoted fans, seem to have completely forgotten their originally peeved reaction to his acerbic comedic stylings back in 1987. Ah, the irony.

*****

Late addition: "Non-traumatizing Canadian fiction does exist. No, really, it does. And we want to prove it to you" -- Introducing The Workhorsery.

Wednesday, May 27, 2009

The World's Most Beautiful Libraries

Here, via ALD. Before I saw this I used to get depressed every time I walked through the door of our village's tiny, mouldy, pathetically underfunded public library. I believe I might just upgrade that fever of disappointment to "potentially suicidal."

Tuesday, April 28, 2009

"There Must Be Some Way Outta Here..."

See how long you can endure this auction block slide-show of Michael Jackson's Neverland items before you have to look away. Via Boing-Boing.

Monday, March 09, 2009

Arcade Nostalgia

Once when our family was visiting my grandparents I discovered a weathered catalog with a blue cover from Auto World, dated 1967. I was 10 or 11 when I found this publication, and I spent hours poring over it. This place in Scranton, PA didn’t just sell and ship every model car in existence (from floor models to “show cars” like 007’s Aston Martin, The Munster’s Dragula, The Man From UNCLE’s Piranha, and of course everything with Ed “Big Daddy” Roth’s name on it), they also sold every conceivable accoutrement relating to model cars.

I recently mentioned this catalog to my uncle, and this provoked some curious memories from the mid-to-late 60s, when he was an adolescent. When my grandfather drove into the city, he’d drop my uncle and a couple of his friends off at a slot-car derby — an arcade-type establishment where a kid paid 75 cents an hour to run his slot-car on a huge, elaborate track that filled the room. These cars were of a different scale than the ones I was familiar with: mine were no larger than a Matchbox car, while my uncle’s required two hands for proper placement on the track.

My uncle had a cheap model called “La Cucaracha” (purchased from this mail order outfit) which eventually earned the reputation for being the fastest thing on the track. An older brother of a schoolmate dropped a bunch of money on the most expensive model in the catalog, determined to beat my uncle. He didn’t realize until the model arrived that much of what he was purchasing was “detail work” — all sorts of fiddly bits and pieces that contributed to the model’s “authenticity” but did nothing for the car’s potential velocity.

When it came time to race, this kid brought out his expensive car and pitted it against “La Cucaracha.” Unfortunately for my uncle’s nemesis, “La Cucaracha” was a single-molded vehicle which ran low to the ground and hugged the track like a coat of paint. As both cars took the first hairpin curve, “La Cucaracha” fishtailed and sent the fancy car flying off the track. It hit the floor and shattered into dozens of little pieces. The older lad gathered what was left of his formerly fine car, then slouched out the door.

My uncle’s story has come to mind because Boing-Boing has been linking to nostalgic recollections of video arcades, the slot-car derbies of my youth. In the late 70s and early 80s downtown Winnipeg was the living embodiment of a hippie’s bad acid trip. From Eaton’s to The Hudson Bay, Portage Avenue was chock-a-block with arcades, record stores and head shops (which not only had video games, but rock ‘n’ roll and drug paraphernalia, and skids and skids of porn). I can only recall a few of these establishments — there was Circus Circus, a creepy, filthy place with too much light for good gaming; the Pirate’s Den, which was painfully loud despite its wall-to-wall carpeting; and Mother Trucker’s, which somehow acquired the distinction of being “drive-through drug city.”

I can’t begin to account for the hours and money I spent in these places, which were all billed as “Family Fun Centres!” Out of a perverse desire to prove the point I’d occasionally cajole our father into joining me (which he did out of a perverse desire to bond with his older son) and dropping five dollars for 30 minutes of noise and mayhem. The proprietors treated him the same as anyone else, but at 40-plus he was easily double the age of any other patron in the room. I got a kick out of how the twittering, chirping, buzzing pandemonium that hit him at the door always seemed to catch him off-guard.

My friend liked to initial his high scores with “DDT.” I chose “ZAP”; when I later spotted someone else using that, I switched to “ILK.” We were both jealous of our friend “KAZ” — a uniquely truncated version of his last name, which also served as his nickname. When a game called “Commando” allowed for longer high score entries, I underwhelmed a potential girlfriend by entering, “I ♥ JAYMIE D!!” My fruitlessly saccharine missive placed 10th in a list of gutter obscenities.

Some guys manage to dovetail their video game addiction into true love. Last Christmas a neighbor was given a vintage “Asteroids” game, from his wife. That woman dropped serious coin on eBay, but it’s a matter of record her husband outdid the “Nintendo response” come Christmas Day. That’s a “first year of marriage” gift: at our stage of the game (15 years next month), if my wife were to present me with a vintage cabinet I’d take it as a pointed cue to book the marriage counselor. A mutual gift of new living room furniture, on the other hand, is the sign of a healthy, happy marriage. Well ... that and a boxed set of some kind.
These memories are certainly pleasant, but I can’t say I’m especially nostalgic for video arcades. Every senior centre on the continent has a billiard room where the menfolk go to remember the glory of their youth. A video arcade in my future retirement centre would be a waste of space. The consoles and games of today beat the simple pleasures of the 80s by a very wide margin.

And yet, and yet ... a couple of years ago KAZ sent me a disc loaded with MAME versions of arcade games. I booted it up and showed my daughters a few favorites, including Ghosts ‘n’ Goblins. I found that even after I tweaked the controls I couldn’t get any further in the game than I could when I was 19. Twenty-five years later, I still suck.

So why is it, in this age of Wii delights, the girls occasionally nudge old ILK in the ribs and ask him to fire up GnG and play with them?