Jerry Beck reminded me that it’s Frank Frazetta’s birthday. So raise a wench and battle-axe to the Michaelangelo of sword and sorcery illustration.
Frazetta
Posted in Culture on February 9, 2010 by christianFriday Song: U2
Posted in Music on February 5, 2010 by christian
What can one do about U2 at this point? I can’t think of another band that’s stayed on a plateau of popularity since their brilliant big hit debut in 1983 with “New Year’s Day.” I soon grew weary of the group, despite their superior songwriting. Red Rocks gave way to Madison Sqaure and beyond. Bono bugged me for his self-aware pomposity, though it’s clear in terms of politics and charity he’s done more for the human race than most of the planet. I can’t ignore that, or his obvious passion. But after the Eno-esque masterful “The Joshua Tree” (their Sgt. Pepper’s) they veered onto many different paths.
And of course, I loved “Achtung, Baby” — a more wily, less somber dirty pop-rock showcase. I particularly loved the apocalyptic anthem, UNTIL THE END OF THE WORLD, written for the Wim Wenders 1992 epic of the same name. Next to WINGS OF DESIRE, this is my favorite Wenders film, featuring what to me is unarguably one of the greatest collection of pop songs ever assembled for a motion picture. From David Byrne to Depeche Mode to REM to Julee Cruse to Tom Waits, this is an awesome selection of original music from bands I’m not always partial too. U2 got their licks in with the title track that aporopos conveys the globe spanning vibe and angst of Wenders beautiful science fiction road movie. Here’s the video he directed for the band and film.
The Pee-Wee Herman Show
Posted in Culture with tags Club Nokia, John Paragon, Lori Alan, Paul Reubens, Phil Hartman, Tim Burton on February 4, 2010 by christian
Had the surreal blast of attending the hit revamped version of “The Pee-Wee Herman Show” last night. Here’s what I wrote last year in a reverie about the original HBO broadcast of his groundbreaking stage fantasia:
Like most of America, I first discovered Pee-Wee Herman through his 1981 HBO special, apropos named “The Pee-Wee Herman Show,” a taped live version of his hit LA Groundlings show and precursor to his beloved Saturday morning series. I was entranced with Paul Reuben’s brilliant deconstruction of children’s shows situated in a pop universe designed by Gary Panter, influenced by 50’s educational films and Japanese cartoons. With a wide cast of colorful characters such as Phil Hartman’s sea dog, Captain Carl, and Miss Yvonne, “the most beautiful woman in the world,” the show managed to both playfully tweak kid’s television and honor its wide-eyed innocence.
We all know about the rest of Pee-Wee’s rise to movie and kid-vid fame and the ridiculous brief fall from media grace. When Reubens announced a revival of his stage show last year, I was only slightly worried that he could pull it off, but the overwhelming demand for tickets led to a last minute venue change from the most apropos Henry Fonda Theatre to the more inapropos Club Nokia in downtown LA. Walking towards the Nokia complex with its barrage of spotlights felt like entering the Neo-Tokyo in AKIRA. Fortunately, my fears were dispelled within notes of the infectious original theme song by Jay Cotton (not the Mark Mothersbaugh TV version) and then to see that beautiful pop playhouse stage…and when Pee-Wee Herman strolled out, we were all hooked again. It’s one of those moments where you think to yourself, “This is really happening — there’s Pee-Wee in person!”
I won’t go into all the details, but the show worked just as well as the 1981 version (with updated gags) especially the show-stopping “Abstinence” song (Reubens knows the best way to kill a meme is to bring it out in the sunlight). It was a treat to see the original Mailman Mike return (John Moody), along of course with the mystical Jambi and still the most beautiful woman in Puppetland, Miss Yvonne (Lynne Marie Stewart). The sets and puppetry were fantastic, as were the technical credits including the lovely Chairy (voiced by the amazing Lori Alan) who shared a poignant moment with Pee-Wee. Bravo to director Alex Timbers for keeping the pace fast and furious as an episode of the series. The show belongs in a theater proper, as Club Nokia was too much of a Club Nokia, but that will change when it heads to…Broadway.
After the show, hung out in the VIP lounge (impressed?) and took a photo with John Paragon in his Jambi gear. Paul Reubens did an absolutely awesome Q&A and he took on every question, dumb or smart, with perfect answers or zingers:
Q: “How did you come up with Pee wee?”
A: “Uh, there’s this little thing called the internet…”
He told an archetypal Hollywood story about Paramount kicking him out of his huge lot office the Monday after BIG TOP PEE WEE opened to weak box-office and reviews. If Reubens wanted to be a talk show host, he would rule the roost. The best part was when he expressed with genuine emotion how grateful he is to everybody who cares about the character — watching Pee Wee Herman stifle tears…we all felt like the Luckiest Boy In The World. I woke up this morning with a song in my head and a roar in my throat…
Symphonic Suite Theatre
Posted in Culture, Film, Music with tags anime, Gatchaman, Yamoto on February 3, 2010 by christian
I love how the Japanese romanticize their anime characters, particularly when it comes to the de rigeur soundtrack collections. In my youth of Arcadia, Japanese toys and media were absolutely scarce unless you lived on the West Coast or had a relative in the overseas military. I reveled in the moments I could tune into Channel 26’s GATTIGER or IKKYU-SAN from faraway San Francisco. When my parents first took me there to Jeffrey’s Toys in Ghiradhelli Square for a weekend treat, I discovered a giant glass case displaying an explosion of die-cast and plastic color in the form of robots, racecars, monsters, and spaceships representing all walks of anime and even better, kaiju — which meant the incredible Bullmark metal Godzilla, Ghidrah, Gigan and Baragon. Jeffrey’s became my cultural treasure chest (and those toys were outrageously expensive) and a reservoir for my entry into Japanese collectibles. I also loved the LP’s hanging on the wall with their gorgeously illustrated covers, my favorites being the Symphonic Suites for GATCHAMAN and SPACE CRUISER YAMATO. The albums promised a world of action, mystery and adventure, all encapsulated by the archetypal Japanese overtly-lush soundtracks.
Friday Song: The Asylum Street Spankers
Posted in Culture, Music on January 29, 2010 by christian
I have a strange relationship with this incredibly popular yet unknown band from the green oasis of Texas, Austin. When I was living in Dallas, a co-worker passed me a copy of “Bud Good & The Good Buds,” a front for some weed-crazed local musicians who played the hell out of their own collection of satirical bluegrass folk country, centered around a pirate radio station and a ship full of pounds. I played the hell out of that CD driving from Dallas to the 1998 Poetry Slam at the Paramount Theatre in Austin. I particularly loved the joint anthem, “Funny Cigarette” and the train tribute, “Super Chief,” songs that captured the eccentric Texas ambiance like an episode of “King Of The Hill.”
So what were the odds that the opening band to kick off the Poetry Slam was the Asylum Street Spankers, featuring one Pops Bailas, who began to sing…”Funny Cigarette.” Bud Good & The Good Buds! Some of them anyway, for the Spankers had about seven or eight revolving members, but I knew by his voice Pops had to be Bud Good. When I later moved to Austin, I become more familiar with this most-Austin of groups, replete with its eclectic and electric membership (you might recognize singer Wammo from his role in SLACKER). They’re simply one of the best live bands I’ve ever seen and they always carry with them my time in Texas. The Spankers have a new album, “God’s Favorite Band’ and are on tour now so I advise those to treat yourself to a night of fun, song, satire and kick-ass music.
J.D. Salinger RIP
Posted in Culture on January 28, 2010 by christian
I first picked up an orange copy of “Catcher In The Rye” back in high school. Well, found it in a desk actually and took it home. I’d barely heard of it or its author, but within the first paragraph I was hooked, as were most readers in 1951 and to this very day. Despite J.D. Salinger’s prep school millieu — or maybe because of it — Holden Caufield became the most famous adolescent in 20th century American literature. His abhorrence at the “phonies” around him solidified the first post-modern generational angst and would lead to the flowering of the Beats. I devoured all of Salinger’s thin output, amazed that a writer could so easily remove himself from the public eye after such a brief, successful run. Maybe he said everything he wanted; maybe he thought he couldn’t top “Catcher In The Rye.” I’m hoping we’ll get a clue as to what he’s been writing over the past four decades. But it’s certain that no matter what the era, Holden Caufield abides.
“Among other things, you’ll find that you’re not the first person who was ever confused and frightened and even sickened by human behavior. You’re by no means alone on that score, you’ll be excited and stimulated to know. Many, many men have been just as troubled morally and spiritually as you are right now. Happily, some of them kept records of their troubles. You’ll learn from them – if you want to. Just as someday, if you have something to offer, someone will learn something from you. It’s a beautiful reciprocal arrangement. And it isn’t education. It’s history. It’s poetry.”
whyPad?
Posted in Culture with tags Apple, ipad, Steve Jobs on January 28, 2010 by christianSo let me get this straight, it’s a screen without a keyboard. Half a laptop. How does that help? Where does it go? Does it sit on my lap or table? Am I to be looking down at all times? Do I want to type on a soft screen? How do you watch a 16:9 movie with a 4:3 ratio? Are you to read books? How? Hold it up? Prop it up? Then you have a laptop without a lap — in other words, a screen. Why?
Friday Song: Bryan Ferry
Posted in Culture, Film, Music on January 22, 2010 by christian
Here’s a favorite from a not-at-all-guilty pleasure, Sir Ridley Scott’s magnificent, misunderstood 1986 fairy tale epic, LEGEND, written by William Hjortsberg (ANGEL HEART), with fantastic makeup effects by Rob Bottin and beautiful production design by Assheton Gorton. And Tim Curry as the greatest devil in film history. A critical and commercial failure on release due to the pragmatic Reagan era of Michael Keating and Donald Trump being a harsh buzz killer on a world of fairies and unicorns. Still, I showed the director’s cut of LEGEND to some friends a few years back and they were giggling in disbelief: “Unicorns?” Yet they loved THE MATRIX and could accept Keanu Reeves as a kung fu killing machine in the future. Ultimately, Tom Cruise with long hair didn’t work for audiences in the 80’s, especially after TOP GUN. He won’t even talk about the film today.
But as the third of Ridley Scott’s amazing genre trilogy, ALIEN and BLADE RUNNER, I adore LEGEND, even though the American release has clearly been over-edited, losing its pastoral narrative rhythm in favor of a more MTV version. Replacing Jerry Goldsmith’s unique, evocative soundtrack with Tangerine Dream gives the film a different texture, if not wholly appropriate, yet I appreciate their score in its own way; obviously, I’m a big TD fan. Sir Ridley asked Roxy Music maestro Bryan Ferry to record a song for the end credits and to use as a promotional video. Ferry took an unused demo called “Circles” from the “Avalon” sessions and adapted it into this haunting, memorable song — with the added bonus of David Gilmour on guitar. Although “Is Your Love Strong Enough” didn’t save LEGEND and only made it to number 22 on English charts, I’m a sucker for Bryan Ferry’s ultra-smooth and sincere voice. That this song has its roots in their masterpiece, “Avalon,” makes it even more appealing. And then there’s lovely Mia Sara running among fairies, devils and unicorns…
Serfs Up
Posted in Culture on January 21, 2010 by christian
WASHINGTON, DC – A coalition of public interest organizations strongly condemned today’s ruling by the US Supreme Court allowing unlimited corporate money in US elections and announced that it is launching a campaign to amend the United States Constitution to overturn the ruling. The groups, Voter Action, Public Citizen, the Center for Corporate Policy, and the American Independent Business Alliance, say the Court’s ruling in Citizens United v. FEC poses a serious and direct threat to democracy. They aim, through their constitutional amendment campaign, to correct the judiciary’s creation of corporate rights under the First Amendment over the past three decades. Immediately following the Court’s ruling, the groups unveiled a new website – http://www.freespeechforpeople.org – devoted to this campaign.
“Free speech rights are for people, not corporations,” says John Bonifaz, Voter Action’s legal director. ”In wrongly assigning First Amendment protections to corporations, the Supreme Court has now unleashed a torrent of corporate money in our political process unmatched by any campaign expenditure totals in US history. This campaign to amend the Constitution will seek to restore the First Amendment to its original purpose.”











