My published Flavorpill post:
Our winter months are glacial in every sense of the graphic mot: they are four-letter-word-shouting cold and pass unbearably slowly. But rather than allowing you to settle into the usual seasonal apathy, the pro-action folks at Urban Escapes present an existential alternative: to tube or not to tube? That means snow tubing, of course, the exhilarating highlight of a get-up-get-down day in the Sterling Forest. First up is a four-mile hike through the scenic New York-New Jersey Highlands; then, the evocative pastime of hurtling down snowy hills willy-nilly on a rubber ring. Besides the imperative safety pointers, hot chocolate and other treats are provided.
30 December 2008
23 December 2008
24 Hour Psycho Back and Forth and To and Fro
My published Flavorpill post:
Back in the '80s, there were those lamentable Psycho sequels in which Anthony Perkins milked Norman Bates' oh-mama dementia. Then, in 1998, came Gus Van Sant's why-bother remake, which essentially ran the original through a color copier. But between the inferior spin-offs, Scottish artist Douglas Gordon masterfully transfigured Alfred Hitchcock's notorious classic into a heady, all-day endeavor with 24 Hour Psycho. In his conceptual screed, Gordon elongates — and, on one side of the split-screened presentation, reverses — Hitch's thesis-exhausted scenes to probe the time-tied relationship between memory and the image. Seen again at about 1/13 its recollected speed, Janet Leigh's iconic shower regains its white-knuckle shock factor.
Back in the '80s, there were those lamentable Psycho sequels in which Anthony Perkins milked Norman Bates' oh-mama dementia. Then, in 1998, came Gus Van Sant's why-bother remake, which essentially ran the original through a color copier. But between the inferior spin-offs, Scottish artist Douglas Gordon masterfully transfigured Alfred Hitchcock's notorious classic into a heady, all-day endeavor with 24 Hour Psycho. In his conceptual screed, Gordon elongates — and, on one side of the split-screened presentation, reverses — Hitch's thesis-exhausted scenes to probe the time-tied relationship between memory and the image. Seen again at about 1/13 its recollected speed, Janet Leigh's iconic shower regains its white-knuckle shock factor.
19 December 2008
Under the Sign of Fincher
Brad Pitt and David Fincher peer up at the De Niro/Scorsese crest for actor-director collaborations, ranking as one of recent cinema's bang-up one-twos. With Se7en (1995) and Fight Club (1999), Fincher gazed into life's abyss with a panache that transfixed alpha males and bumptious cinephiles; Pitt, meanwhile, swaggered between frames with his patented sangfroid. Their latest project, The Curious Case of Benjamin Button, cinches the laurel of "most ambitious," adapting F. Scott Fitzgerald's vertiginous story of a chap who, born old, ages backwards. Lincoln Center's first retrospective of '09 features Button, Fincher's cut of Zodiac, and three classics that influenced the director: Chinatown (1974), Butch Cassidy and the Sundance Kid (1969), and, oddly, Mary Poppins (1964).
16 December 2008
Athens, Greece 2008
With a few weeks left of its fortieth anniversary, the spirit of '68 lives on in Athens, although this incarnation was sparked by the police's shooting of a 15-year-old. The photos are testaments to the intense, but once-coiled ire of the people toward their government. Here are a few telltale photos:
London Shop Fronts
I love the geometry of the capital's multiethnic façades. Other quiddities I enjoy: color, typography, and state of dilapidation.
14 December 2008
Landscape with the Fall of Icarus
"Landscape with the Fall of Icarus" c. 1554-55, oil on canvas
by Pieter Bruegel the Elder, Netherlands (1525-1569)
by Pieter Bruegel the Elder, Netherlands (1525-1569)
13 December 2008
The Last Picture Show: Fare Thee Well Bettie Page
During her 1949-1957 acme, Bettie Page’s pinup-perfect assets were legendary: that pageboy coiffure and those iconic, to-die-for bangs; the rouge lips that seemed to mouth S-E-X; and, of course, the Rubenesque body, which would later be idealized by the painter Olivia—who was just one in a legion of kowtowing worshipers—during Page’s late-life renaissance. But it was also Page’s abracadabra disappearance from the spotlight in 1957—some speculated that she had died; in reality, she simply slipped away to become a reborn Christian, even serving Billy Graham—that sealed her in myth; left with just the image, people’s imaginations tend to wander.
Indeed, her ever-popular visage wandered onto more merchandise and media than, say, Barbie. She adorned lunchboxes, shot glasses, t-shirts, and figurines. She popped up in the 80s as the inspiration for the Rocketeer’s girlfriend in David Stevens’ comic. Of course, there’s Mary Harron’s 2005 biopic The Notorious Bettie Page with Gretchen Mol as the bangin’ pioneer. And in this age of internets and reproduction, her website has tallied over half a billion views in the past five years alone.
Page was and remains a bare-all embodiment of Benjamin’s idea of aura: her allure and beauty lay in the eye of beholder, both male and female. And the numerous girlie glossies in which she posed spoke to the theory—Stare, Gaze, Vue, Eyeful, Bare, He, She, and Sir! Page even supplemented her come-hither stills by appearing in a few burlesques reels with telltale titles like Strip-O-Rama and Varietease. 1955, however, was a parabolic year: the high came as the Santa-cap-sporting and winking centerfold in Playboy’s January issue, the low arrived with Tennessee Senator Estes Kefauver’s anti-pornographic crusade, which inched her towards retirement two years later.
Whether in a bikini, in bondage, or bare-naked, as Nurse Bettie, Banned in Boston Bettie, or Maid Bettie, she was a trailblazer who kindled the flames for the sexual revolution in the 60s. She once proclaimed that, “there’s nothing disgraceful concerning nudity unless one is being promiscuous about it. Don’t forget the Bible says when God created Adam and Eve, they were stark naked. Who can argue with that?”
Page, who was 85, will be laid to rest on Tuesday, a stone’s throw from another voluptuous 50s pinup, Marilyn Monroe.
Indeed, her ever-popular visage wandered onto more merchandise and media than, say, Barbie. She adorned lunchboxes, shot glasses, t-shirts, and figurines. She popped up in the 80s as the inspiration for the Rocketeer’s girlfriend in David Stevens’ comic. Of course, there’s Mary Harron’s 2005 biopic The Notorious Bettie Page with Gretchen Mol as the bangin’ pioneer. And in this age of internets and reproduction, her website has tallied over half a billion views in the past five years alone.
Page was and remains a bare-all embodiment of Benjamin’s idea of aura: her allure and beauty lay in the eye of beholder, both male and female. And the numerous girlie glossies in which she posed spoke to the theory—Stare, Gaze, Vue, Eyeful, Bare, He, She, and Sir! Page even supplemented her come-hither stills by appearing in a few burlesques reels with telltale titles like Strip-O-Rama and Varietease. 1955, however, was a parabolic year: the high came as the Santa-cap-sporting and winking centerfold in Playboy’s January issue, the low arrived with Tennessee Senator Estes Kefauver’s anti-pornographic crusade, which inched her towards retirement two years later.
Whether in a bikini, in bondage, or bare-naked, as Nurse Bettie, Banned in Boston Bettie, or Maid Bettie, she was a trailblazer who kindled the flames for the sexual revolution in the 60s. She once proclaimed that, “there’s nothing disgraceful concerning nudity unless one is being promiscuous about it. Don’t forget the Bible says when God created Adam and Eve, they were stark naked. Who can argue with that?”
Page, who was 85, will be laid to rest on Tuesday, a stone’s throw from another voluptuous 50s pinup, Marilyn Monroe.
Time Out Los Angeles!
Here's the introduction that I penned for the film section in the Time Out Los Angeles guidebook:
Available here!
Available here!
12 December 2008
Scorsese Classics
Fortunately for our Netflix-aided age, Martin Scorsese's entire unholy oeuvre is ready for our queue-and-view pleasure. But watching Goodfellas on your television is still like looking at the postcard version of a Jeff Wall blow-up: the necessary scale is somewhere else. Only an outsize screen and sound system do justice to the sonic menace in Bernard Herrmann's thrumming Taxi Driver score or the eureka-packed portrayal of '70s Little Italy in Mean Streets, for which Scorsese alchemized Nouvelle Vague's style with his pull-no-punches storytelling. Lincoln Center condenses the famed 40-year career into six days of larger-than-LCD-screen personalities, from relentless Jake La Motta and mobsters in limbo to the elder, immigrant Scorseses.
11 December 2008
Essential Sturges
My published Flavorpill post:
Preston Sturges' career did its best St. Louis Arch imitation before the legendary writer/director shed his down-and-out bones at the Algonquin Hotel in 1959. At his acme, Sturges was deft enough to whisk the disparate (social satire, inspired sequences of gee-gosh slapstick, and witty, polyphonic dialogue) into one-of-a-kind comedies. Film Forum screens the seven classics he assembled for Paramount between 1940-1944, like the underrated Depression pick-me-up, Christmas in July, and the apogee of screwball comedy, The Lady Eve. Rounding out the rollicking program are Sturges' late black comedy about a jealous, murder-ready maestro, Unfaithfully Yours, and two winsome screenplays for the unfortunately forgotten Mitchell Leisen.
Preston Sturges' career did its best St. Louis Arch imitation before the legendary writer/director shed his down-and-out bones at the Algonquin Hotel in 1959. At his acme, Sturges was deft enough to whisk the disparate (social satire, inspired sequences of gee-gosh slapstick, and witty, polyphonic dialogue) into one-of-a-kind comedies. Film Forum screens the seven classics he assembled for Paramount between 1940-1944, like the underrated Depression pick-me-up, Christmas in July, and the apogee of screwball comedy, The Lady Eve. Rounding out the rollicking program are Sturges' late black comedy about a jealous, murder-ready maestro, Unfaithfully Yours, and two winsome screenplays for the unfortunately forgotten Mitchell Leisen.
Wine Tasting and Vineyard Tour
My published Flavorpill post:
When a man or woman is tired of New York, they're tired of life — or so goes the mis-saying from possible lush and lexicon-compiler, Samuel Johnson. And for our money, there's no better way to revive the down-and-out spirit (and the spleen) than with a sit-back-and-bask trip to Long Island's wine country. The six-hour jaunt begins at one of North Fork's outstanding vineyards, where there'll be a private, epicurean meal as well as a taste of the good sort of red. The afternoon is then whiled away at other local vineyards. With relatives looming ahead like a year-end exam, this is holiday cheer you can wholeheartedly enjoy.
When a man or woman is tired of New York, they're tired of life — or so goes the mis-saying from possible lush and lexicon-compiler, Samuel Johnson. And for our money, there's no better way to revive the down-and-out spirit (and the spleen) than with a sit-back-and-bask trip to Long Island's wine country. The six-hour jaunt begins at one of North Fork's outstanding vineyards, where there'll be a private, epicurean meal as well as a taste of the good sort of red. The afternoon is then whiled away at other local vineyards. With relatives looming ahead like a year-end exam, this is holiday cheer you can wholeheartedly enjoy.
Essential Cinema: Clair/Picabia/Buñuel
My published Flavorpill post:
French for "between the acts," Entr'Acte was originally made as between-ballet filler for Francis Picabia's Relâche. Nearly 85 years later, René Clair and Picabia's Dada dazzler still contains the ecstatic feeling of throwing caution into the Seine. Picabia, Satie (who pitched the delirious score), Duchamp, and Man Ray make cameos and Clair gives a clinic on visual magic with playful superimpositions, possessed objects, and leaping, balletic bodies in exquisite slow- and reverse- motion. Luis Buñuel supplies two other avant-garde knockouts: Un chien andalou, a prime slice of surrealism dreamt up with Dalí in 1928, and Land Without Bread, a sardonic ethnographic study on the savage destitution in Spain's Las Hurdes region.
Watch Entr'Acte here.
Image from MoMA.
French for "between the acts," Entr'Acte was originally made as between-ballet filler for Francis Picabia's Relâche. Nearly 85 years later, René Clair and Picabia's Dada dazzler still contains the ecstatic feeling of throwing caution into the Seine. Picabia, Satie (who pitched the delirious score), Duchamp, and Man Ray make cameos and Clair gives a clinic on visual magic with playful superimpositions, possessed objects, and leaping, balletic bodies in exquisite slow- and reverse- motion. Luis Buñuel supplies two other avant-garde knockouts: Un chien andalou, a prime slice of surrealism dreamt up with Dalí in 1928, and Land Without Bread, a sardonic ethnographic study on the savage destitution in Spain's Las Hurdes region.
Watch Entr'Acte here.
Image from MoMA.
Black Christmas
My published Flavorpill post:
Before he clogged Yuletide airtimes with A Christmas Story reruns, Bob Clark presided over a different sort of stranglehold on the merry holiday. Clark's 1974 entry into the burgeoning psychopath-on-the-prowl genre, Black Christmas tracks a stalker who shacks up in a sorority house attic and descends to off the unsuspecting sisters (including Olivia Hussey and Lois Lane herself, Margot Kidder) during winter break. Meanwhile, lewd, mumbo-jumbo phone calls only up the suspense. Clark wrests surprising tension from the fact that it takes 20 interminable seconds to trace a call, that attics and stairways always creak, and that a first-person camera (à la Peeping Tom) packs a disturbing thrill.
Before he clogged Yuletide airtimes with A Christmas Story reruns, Bob Clark presided over a different sort of stranglehold on the merry holiday. Clark's 1974 entry into the burgeoning psychopath-on-the-prowl genre, Black Christmas tracks a stalker who shacks up in a sorority house attic and descends to off the unsuspecting sisters (including Olivia Hussey and Lois Lane herself, Margot Kidder) during winter break. Meanwhile, lewd, mumbo-jumbo phone calls only up the suspense. Clark wrests surprising tension from the fact that it takes 20 interminable seconds to trace a call, that attics and stairways always creak, and that a first-person camera (à la Peeping Tom) packs a disturbing thrill.
05 December 2008
Rear Windows
My published Flavorpill post:
Taking its title from Alfred Hitchcock's opus on voyeurism, Rear Windows salutes the curious art that comes from keeping your eyes and ears open. The last segment of BAM's probing multimedia series Between the Lines, the program features the New York debut of Dark Hand and Lamplight, a mesmerizing collaboration between musician Doug Paisley and artist Shary Boyle that synthesizes his understated folk songs with projections of her beautiful live drawings and animations. Jesmyn Ward, who released her first, Faulkneresque novel in November, and GOOD News honcho Ian Chillag contribute readings, while filmmakers Eva Weber and Félix Dufour-Laperrière chip in telltale clips of the neglected.
Taking its title from Alfred Hitchcock's opus on voyeurism, Rear Windows salutes the curious art that comes from keeping your eyes and ears open. The last segment of BAM's probing multimedia series Between the Lines, the program features the New York debut of Dark Hand and Lamplight, a mesmerizing collaboration between musician Doug Paisley and artist Shary Boyle that synthesizes his understated folk songs with projections of her beautiful live drawings and animations. Jesmyn Ward, who released her first, Faulkneresque novel in November, and GOOD News honcho Ian Chillag contribute readings, while filmmakers Eva Weber and Félix Dufour-Laperrière chip in telltale clips of the neglected.
04 December 2008
Mishima: A Life in Four Chapters
The character and name Yukio Mishima is an evocative one, and about as multifaceted as a Buckyball. It's the glamorous nom de plume of Japan's most image-ready and inflammatory post-war writer, Kimitake Hiraoka — the anachronistic imperialist who, in 1970, commandeered an army base with his followers and committed seppuku in one last, glorious stroke of genius. Paul Schrader's phenomenal biopic, Mishima: A Life in Four Chapters, parses the novelist's life through four exquisite, mask-unfastening acts (Beauty, Art, Action, Harmony of Pen and Sword). Propelled by Philip Glass' swelling, mock-heroic score, the film binds a docudramatic recreation of Mishima's last day to beautiful black-and-white flashbacks of his formative years and three radiant interpretations of his art-imitates-life novels.
The Firemen's Ball
My published Flavorpill post:
Made during the Czech New Wave's abbreviated springtime, The Firemen's Ball was "banned forever" in Czechoslovakia after the Soviet invasion in 1968, and precipitated Milos Forman's move to our auteur-inviting shores. Although the country's communist officials saw the black comedy as hammering a sickle into its inept bureaucracy, Forman's send-up diverts with its humanistic portrait of an annual firemen's ball doused by self-inflicted misfortune. BAM's new print from Janus Films highlights the fête's charming and hilarious defeats — whether the girls' motley motives for competing in an ill-fated beauty contest or, as the absurd evening advances, the slow and amusing disappearance of lottery prizes.
Made during the Czech New Wave's abbreviated springtime, The Firemen's Ball was "banned forever" in Czechoslovakia after the Soviet invasion in 1968, and precipitated Milos Forman's move to our auteur-inviting shores. Although the country's communist officials saw the black comedy as hammering a sickle into its inept bureaucracy, Forman's send-up diverts with its humanistic portrait of an annual firemen's ball doused by self-inflicted misfortune. BAM's new print from Janus Films highlights the fête's charming and hilarious defeats — whether the girls' motley motives for competing in an ill-fated beauty contest or, as the absurd evening advances, the slow and amusing disappearance of lottery prizes.
The Electric Kool-Aid Acid Test
My published Flavorpill post:
Two score ago, Tom Wolfe surprised all with his mind-blowing experiment in New Journalism, The Electric Kool-Aid Acid Test. Wolfe's seminal tour de force chronicles his on-the-road adventures with Ken Kesey and his counterculture apostles, the Merry Pranksters, in a free-to-be prose style — one that crystallized the coterie's LSD-kindled philosophy through a vivid mix of onomatopoeia, jiving vernacular, and here-there-everwhere punctuation. Tonight, Symphony Space salutes the book's anniversary with a chat between novelist Rick Moody and — decked out in his usual all-white regalia — Wolfe. Tony-award winner René Auberjonois (aka, the voice of Vanity Smurf) stages one of the manic excerpts.
Two score ago, Tom Wolfe surprised all with his mind-blowing experiment in New Journalism, The Electric Kool-Aid Acid Test. Wolfe's seminal tour de force chronicles his on-the-road adventures with Ken Kesey and his counterculture apostles, the Merry Pranksters, in a free-to-be prose style — one that crystallized the coterie's LSD-kindled philosophy through a vivid mix of onomatopoeia, jiving vernacular, and here-there-everwhere punctuation. Tonight, Symphony Space salutes the book's anniversary with a chat between novelist Rick Moody and — decked out in his usual all-white regalia — Wolfe. Tony-award winner René Auberjonois (aka, the voice of Vanity Smurf) stages one of the manic excerpts.
03 December 2008
Oliver Sudden & Michael Portnoy: The Dudion Levers
My published Flavorpill post:
At the 1998 Grammys, "Director of Behavior" Michael Portnoy achieved as-seen-on-TV notoriety when he spazzed out beside a bewildered Bob Dylan with "Soy Bomb" scrawled on his chest. The Dudion Levers is a more modest — and mutually hatched — collaboration between Portnoy and former opera tenor, Oliver Sudden, who happens to be the nephew of the famed French writer Boris Vian. The reclusive Sudden recruited the outlandish Portnoy for his uncle's planned "power tool," The Instrument, which converts the voice into an orchestral unisound that etches onto nearby objects through a cluster of resonating glyphs: the "dudion levers." For the exhibition's opening night, Portnoy performs with the impressive gadget for the first time.
At the 1998 Grammys, "Director of Behavior" Michael Portnoy achieved as-seen-on-TV notoriety when he spazzed out beside a bewildered Bob Dylan with "Soy Bomb" scrawled on his chest. The Dudion Levers is a more modest — and mutually hatched — collaboration between Portnoy and former opera tenor, Oliver Sudden, who happens to be the nephew of the famed French writer Boris Vian. The reclusive Sudden recruited the outlandish Portnoy for his uncle's planned "power tool," The Instrument, which converts the voice into an orchestral unisound that etches onto nearby objects through a cluster of resonating glyphs: the "dudion levers." For the exhibition's opening night, Portnoy performs with the impressive gadget for the first time.
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- Time Out Los Angeles!
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- Wine Tasting and Vineyard Tour
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