| contact: drbenway at priest dot com
| blogging since Oct '01
This is Gordon Osse's blog.
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"He who does not at some time, with definite determination consent to the terribleness of life, or even exalt in it, never takes possession of the inexpressible fullness of the power of our existence."
all faces followers of
All colors, beams of
-- Akhenaton, "Hymn to the Sun"
Opt your children out of Pentagon harassment
WHO I WORK FOR: Mount Hope Wholesale
Wholesale nuts, grains, fruits and spices (and more) shipped from Cottonwood AZ
(Tell them you heard about them on Gordon's blog!)
WHAT I'VE SEEN LATELY:
(r) = re-viewing
God Told Me To (1976, Cohen)
Whispering City (1947, Otsep)
Times and Winds (2006, Erdem)
Dirty Money (Un flic) (1972, Melville)
10th District Court (2004, Depardon)
RFK Must Die: The Assassination of Bobby Kennedy (2007, O'Sullivan)
The Furies (1950, Mann)
In a Lonely Place (1950, Ray)(r)
The Adjuster (1991, Egoyan)(r)
Mad Men The Buddha of Suburbia Intelligence (2006, Haddock) Family Guy
SUGGESTED VIEWING: The Power of Nightmares: The Rise of the Politics of Fear (2004, Curtis) [available for streaming/download here]
Parishioner Ed Ward from the United States: "It was...ooooh, some time in the '70s. Shall we say around the time of 'Taking Tiger Mountain'? That sounds good. I was the West Coast correspondent for Creem, and thus got offered many interesting opportunities to converse with the highest quality rock stars of the day. So when Island Records asked me if I'd like to talk to Brian Eno, I of course said yes.
Best of all, I didn't have to go anywhere, which was good because in those days I didn't drive and there was precious little public transportation in Marin County. He was coming to me, after doing some sort of radio interview or something. So I sat and waited for him to show.
And waited. And waited. No word from the handlers, no nothing.
About three hours late, a car pulled up and two guys got out, followed by a third. I wasn't too upset about the delay, because it gave me all kinds of time to come up with fascinating questions for a guy who was reputed to be quite intelligent and know all kinds of things about odd areas of music which fascinated me and very few of my fellow rock scribes. Plus I had to call Creem to tell them this was happening, and no one was home.
But finally the great man was at my door, and the two promo guys ushered him in. I offered him the best seat in the house, my dog ambled up, sniffed, and definitely approved, and then one of the promo guys spoke.
"Brian's got laringytis."
So how am I supposed to do an interview?
"You aren't. He can't talk."
So why don't you take him back to his hotel so he can recuperate.
"Well, we were supposed to bring him here, so we did."
I was at a complete loss now, but I noticed Eno was eating some leaves.
"What are those?" I asked, although I did recognize them.
"Nasturtium leaves," he whispered. "Good in salads."
And with that, he and the two guys got back in their car and left. I walked them to the gate, and noticed where Eno had gotten the nasturtium leaves: from the ones growing by the entrance to the house, of course.
He was gone before I had the chance to tell him what was the first target my dog hit when we went for our twice-a-day walks. But (other) nasturtium leaves do taste good in salads, folks!" [via perfectsound on NerveNet list/Rocking Vicars list]
This excerpt from the new book of conversations between Michael Ondaatje and Walter Murch shows why this is one of my favorite kinds of books -- artists talking articulately about how they create
It's a stage in the process I call "editing with eyes half closed." You can't open your eyes completely, which is to say, you can't express your opinion unreservedly. You don't know enough yet. And you're only the editor. You have to give everything the benefit of the doubt. On the other hand, you can't be completely without opinion, otherwise nothing would ever get done. Putting a film together is all about having opinions: this not that, now not later, in or out. But exactly what the balance should be between neutrality and opinion is a very tricky question. The point is, if you squash this down, then you push the whole curve of the film down, whereas it might have righted itself by its own mysterious means. If you try to correct the film while putting it together, you end up chasing your own tail. . .
Actually, when you stop to think about it, it is amazing that film editing works at all. One moment we're at the top of Mauna Kea and -- cut! -- the next we're at the bottom of the Marianas trench. The instantaneous transition of the cut is nothing like what we experience as normal life, which seems to be one continuous shot from the moment we wake until we close our eyes at night. It wouldn't have been surprising if film editing had been tried and then abandoned when it was found to induce a kind of seasickness. But it doesn't: We happily endure, in fact even enjoy, these sudden transitions for which nothing in our evolutionary history seems to have prepared us.
I think that some people falsely believe that this is a conversation, or that I have a relationship with my audience. There's no real relationship there. Ultimately, neither party has any responsibility to the other. If my readers or I imagine a relationship, we're just looking for love in all the wrong places.
None of this has the least bit to do with the intention of Cage's piece, to my mind. The idea is, there is no such thing as silence: even in a soundproof room, you hear 2 tones, your bloodstream and your nervous system, if I remember correctly.
The deal also underscores the potential common interests of high-speed Internet access providers and organizations that deliver complex digital media. Internet providers, including Tiscali, have said that one way to persuade consumers to pay for more expensive high-speed access is to offer them content such as movies and music that takes more time - an often excruciating amount of time - to download via slower telephone dial-up connections.
Mario Mariani, senior vice president for access and media business of Tiscali, a public company based in Cagliari, Sardinia, that is listed on the Nuovo Mercato in Milan, said he hoped for "great success" in adding to Tiscali's modest base of 100,000 high-speed users. The rest of the company's customers reach the Internet through dial-up lines.
Mariani said he did not believe, as record companies assert, that Kazaa promotes music piracy and said, "We are really against piracy." He added that he believed that Kazaa and other music-swapping services would put pressure on major record companies to develop new forms of distribution and that the deal with Tiscali would help prompt such development.
e digital has an iPod competitor coming out this fall, the Odyssey (scroll down)
They promise the looks of an iPod, but with Mac or PC USB 2.0 connectivity and the addition of FM tuner, multiple format playback, voice navigation and voice recording. The Odyssey 1000 will sport all those features with a 20 gig drive in a tiny 2.87" x 4.3" x 0.9" package for around $350.
So you need USB 2.0, but you can tell it what to play! Not sure about random playlists, but maybe that's a moot point.
Also appears to be completely PC- or Mac-compatible. More info here.
I somehow missed that Wire had a new EP out in the spring.
The unexpected reunion happened when they were invited to play the Royal Festival Hall a while back, something usually conferred on classical musicians.
Newman's take on the tides of rock/electronica is funny and informative if you're not European.
"I can remember going to this Christmas party at the end of 2000, it was the parents of some friends of our son, and all the kids were upstairs--well, by kids I mean like fourteen-fifteen-sixteen--and all the grown-up music downstairs was really quite dreadful. All this seventies shit. I went upstairs and said, 'hey I have the Hives, anyone want to hear it?' And there was a fucking riot! They couldn't get it on quick enough. They were jumping on their beds, screaming." And even that represented a major shift in focus.
"Before that all those kids were into nu-metal, which I can see, since in this country there'd been all that kind of skateboarding-rock thing--very generational. Nu-metal has elements of hip-hop and elements of heavy rock. But then you get to something like the Hives, and that's just pure rock. There's no hip-hop or rapping of any kind."
Newman pauses for a moment before finishing. "Which, you know, thankfully saves us from fucking Fred Durst."
Another author I don't click with so far. But many do -- he's the fellow who published a book of short stories (and was compared to Conrad and Nabokov) after living in the US and speaking English for 3 years. His new novel is Nowhere Man.
Seventy-five years after its premiere, Metropolis has been given new life by a comprehensive restoration which brings the film startlingly into the present. Far from an exhumed artifact, this Metropolis feels like it was made yesterday. Though this version, combining all the existing elements and using text intertitles to represent missing sections, still represents just under 80 percent of the film's original length, it is, barring a miracle, as close as we will ever get -- and, indeed, as close as anyone who didn't see the film in those precious first few weeks has ever gotten. While sizeable sequences, including a lengthy visit to the pleasure palaces of Yoshiwara, remain lost, the film's overreaching scope is clearer than ever -- more than a parable, it's clear Lang had in mind an overarching social saga, a futurist recasting of Balzac.
Describing the bowdlerization of the film's plot, Koerber says, "What we've seen [before] is a kind of Frankenstein movie -- that's not what the movie is about at all. It's about all kinds of things, including Biblical myths, astrology and whatever." Similarly, the innumerable movies exhibited over the years as Metropolis are hybrid monsters cobbled together from leftover parts, smoothing over the gaps left by missing footage by excising plot threads with no end to be tied to.
I've only started to look through this, but it's at least a good starting point for research. The collator (?) is an Intelligence veteran and administrator at Muskingum College in Ohio. There's a search engine for the site too.
I just picked up Jim Hougan's Spooks, Evan Hunter's The Very Best Men, and James Bamford's Body of Secrets this week since I found them all fairly cheap so I've taken it as a sign to find the best books on US Intelligence.
If anyone has any suggestions, please comment or email.
Since I posted this on my other blog, I've researched the site a bit more and found a number I want to read. Essential overviews:
Inside the CIA's Private World: Declassified Articles from the Agency's Internal Journal 1955-1992 by H. Bradford Westerfield
From the Shadows: The Ultimate Insider's Story of Five Presidents and How They Won the Cold War by Robert M. Gates