All posts by Dennis Hartley

60's Counterculture, Behind the Music, Documentary, Rock 'n' Roll

A cellar full of goys: The Beatles: Get Back (****)

December 6, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 4, 2021)

We went to see those movies with Elvis. They’d all scream when he came on screen. So we thought “That’s a good job!” – John Lennon, from a television interview.

By the time the Beatles “debuted” on The Ed Sullivan Show in early 1964, they already had a rich 7-year history. The four polished pros in slick suits didn’t simply pop out of Liverpool fully formed; they had paid their dues toiling in sweaty cellar clubs and seedy strip joints (including the pre-Ringo “Hamburg period” from 1960-1962). But for fans here in the colonies, they descended like gods from the heavens.

People of “a certain age” reflexively say they “remember” watching the Beatles perform on Sullivan nearly 57 years ago (whether they did or not). For me that “memory” is fuzzy, for a couple of reasons. On February 9, 1964, I was 7 years old; too young to grok the hormonal/cultural impact of this “screaming ‘yeah-yeah’ music” (as my dad labeled any rock ’n’ roll song he heard wafting from my room throughout my formative years).

Also, I was living in Fairbanks, Alaska. At the time, none of the local TV stations were equipped to carry live network feeds. We would get Walter Cronkite a day late (the tapes had to be shipped from Seattle via commercial jet). And weekly programs like Sullivan were broadcast anywhere from 1 to 3 weeks later than they aired in the Lower 48. So technically I “remember” watching the Beatles “live” on Sullivan…on a slight tape delay.

In the Summer of 1967, I discovered two things that changed my life. As much as I would like to be able to tell you that it was body painting and tripping on acid…I can’t. Mainly because I had only recently turned 11. The first thing I discovered was Mad magazine (which undoubtedly explains much to long-time readers).

The second thing was record collecting. I scored my first-ever haul of vinyl, blowing three months’ allowance at the JCPenney in Fairbanks, Alaska. I bought two LPs (at $3.98 a pop), and a 45. The LPs were Revolver and Sgt. Pepper’s Lonely Hearts Club Band, and the 45 was “Penny Lane” / “Strawberry Fields Forever”. That was my gateway drug to all the music (from psychedelic and garage to metal and prog and punk and new wave and everything in between) that has become a crucial element of my life to this day.

Flash-forward 35 years. I was enjoying my first visit to the Rock and Roll Hall of Fame in Cleveland. At the Beatles exhibit, I happened upon a glass case that contained some weathered pieces of paper with hand-written lyrics. I lingered over one, which was initially tough to decipher, with all the scribbled-out words and such:

But you know I know when it’s a bean? Huh? It still wasn’t registering as to what I was looking at. However, when I got to: I think I know I mean-er-yes, but it’s all wrong. That is I think I disagree I realized that I was “this” close to John Lennon’s original handwritten draft of “Strawberry Fields Forever”. My mind was blown. Here I stand, head in hand, with my eyes but inches away from a tangible manifestation of genius.

Suddenly, I panicked. Was I worthy enough to look at it? Should I turn my face away, so it wouldn’t melt like the Nazis’ in Raiders of the Lost Ark when Belloq lifts the lid of the Sacred Object? “Don’t look at it, Marion!” I exclaimed to no one in particular. At any rate, I was overcome; there was something profoundly moving about the experience.

[Intermission]

By 1969, the Beatles had done enough “living” to suit several normal lifetimes, and did so with the whole world looking in. It’s almost unfathomable how they could have achieved as much as they did, and at the end of all, still be only in their twenties.

Are there any other recording artists who have ever matched the creative growth that transpired over the scant six years that it took to evolve from the simplicity of Meet the Beatles to the sophistication of Abbey Road?

Hindsight being 20/20, should we really be so shocked to see the four haggard and sullen “old guys” who mope through the 1970 documentary, Let it Be? Filmed in 1969 and directed by Michael Lindsay-Hogg, the movie was originally intended to be a TV special but ended up documenting the “making of” the eponymous album (there were also snippets of the band working on several songs that ended up on Abbey Road).

Sadly, the film has since weathered a rep as hard evidence of the band’s disintegration. Granted, there is some on-camera bickering (most famously, in a scene where an uncharacteristically riled-up George reaches the end of his tether with Paul’s fussiness).

Still, signs of a deeply rooted musical camaraderie remain in that outdoor mini concert filmed on a London rooftop. If you look closely, the boys are exchanging glances that telegraph they’re having a grand time jamming out; an affirmation that this is what this band of brothers were put on this earth to do, and what the hell …it’s only rock ’n’ roll.

The Let it Be movie doesn’t even begin to scratch the surface of how tumultuous 1969 was for the band. As Ian MacDonald notes in his excellent 1994 assessment of the Beatles’ catalog, Revolution in the Head:

The day after the rooftop concert, the band recorded three songs unsuited to recital in a moderate gale [“Two of Us”, “Let it Be”, and “The Long and Winding Road”] before winding the [recording sessions for the “Let it Be” album] up in some relief. An ignominious failure which shook their faith in their collective judgement, it had pushed them to the verge of collapse. […]

[soon after the “Let it Be” sessions wrapped] a fatal rift in the group’s relationships opened when Lennon, Harrison, and Starr asked the Rolling Stones’ American manager Allen Klein to take over the Beatles’ affairs. McCartney, who favoured Linda Eastman’s family firm of management consultants, immediately opened a court battle which long outlasted the remainder of the Beatles’ career.

The dream was over. Or so it seemed. The boys were not about to go out on a sour note (at least in a creative sense). As Bob Spitz writes in his exhaustive band bio, The Beatles:

The tapes from earlier in the year that would eventually become “Let it Be” languished in the can, abandoned, a victim of haste and sloppy execution. “[They] were so lousy and so bad,” according to John – “twenty-nine hours of tape …twenty takes of everything – that “none of us would go near them …None of us could face remixing them; it was [a] terrifying [prospect].” “It was laying [sic] dormant and so we decided ‘Let’s make a good album again,’” George recalled.

That “good album” turned out to be Abbey Road (which I expounded on further here).

One drawback with the Let it Be film (aside from the fact it’s been out of circulation for decades and unavailable on home video outside of the odd bootleg) was its relatively short running time. Considering director Lindsay-Hogg had 60 hours of footage at his disposal, the original 81-minute theatrical cut feels stingy; leaving little room for nuance or providing context to the on-camera bickering the 1970 film is chiefly remembered for.

Perhaps predictably in this age of Tweet-length attention spans, there has been much lamentation and rending of garments regarding the decidedly less stingy running time of Peter Jackson’s nearly 8-hour long Get Back, his oft delayed and long-awaited re-edit, sifted from Lindsay-Hogg’s trove of footage (now streaming on Disney+ as a 3-part series). All I can say to those folks is I’ve got no time for you right now, don’t bother me.

The beauty of Jackson’s film is that his extended cut allows room for nuance and context around those storied studio spats, which in fact did not “cause” the break-up of the Beatles; rather they were symptoms of a longtime creative partnership that was literally “aging out”. Three-quarters of the band (John Paul, and George) had been collaborating since they were in their mid-teens; now they were all in their late 20s.

Like any other human being, as each member of the band matured, their individual priorities (as people and as creative artists) diverged. This was evidenced by the release of solo albums from all four members in 1970, the same year Let It Be saw its belated release: Ringo’s Beaucoups of Blues and Sentimental Journey, Paul’s McCartney, John’s John Lennon/Plastic Ono Band, and George’s epic triple album All Things Must Pass.

In fact, one of the film’s greatest delights is catching snippets of songs (still in their infancy) that would end up on later solo albums. John sings “On the Road to Marakesh/Child of Nature” which would turn up in 1971’s Imagine (with different lyrics) as “Jealous Guy” and works on refining a few lines of verse for “Gimme Some Truth” (also destined for Imagine).

George runs a song by the lads that he’s “been working on” called “All Things Must Pass” (it’s already well-formed at that stage). Paul noodles out a recognizable bit of “Another Day” on the piano, which would be his first solo single hit in 1971, and the gorgeous intro to “Backseat of My Car” (a highlight of 1971’s Ram).

Get Back apes the basic structure of Lindsay-Hogg’s Let it Be; the shoot (initially intended to end up as a TV documentary) begins with fitful and half-hearted rehearsals on a sound stage in the drafty (and acoustically-challenged) Twickenham Film Studios. Paul tries to play cheerleader to his cranky band mates (leading to some of the on-camera “bickering”, although it mostly manifests as passive-aggressive asides).

Director Lindsay-Hogg comes off a bit fitful and half-hearted himself; obviously self-aware that precious shooting days are passing by with relatively no narrative to hang his hat on, he prattles on through most of the first third soliciting ideas to spruce up the planned live performance that the film will culminate with.

At one point, Lindsay-Hogg has a brainstorm to film the concert in an ancient amphitheater in Libya, with the audience shipped in from England on the QE2, but the lads won’t have it (I assume this vignette inspired the “Stonehenge” bit in This Is Spinal Tap). Interestingly, the 1972 Pink Floyd documentary Live at Pompeii included a live performance filmed at the ancient Roman amphitheater in Pompeii, Italy (interspersed with footage of the band working on Dark Side of the Moon in the studio, à la Let it Be).

Once the action moves to the basement of the Beatles’ Apple Corps offices, where a makeshift recording studio has been assembled, the band (and the film) begins to perk up considerably. With the deadline pressure of the now discarded TV special off the table, the band focuses on laying down some tracks, enlisting Glyn Johns as producer (George Martin is seen popping in and out of the sessions on occasion, but for the first time, he was not invited to be at the helm …which in hindsight was an unfortunate decision).

But it’s not until keyboard maestro Billy Preston joins the sessions that the band really begins to bring their “A” game. Ironically, Preston would have never been part of the equation had George not (temporarily) walked out of the project (“See you ‘round the clubs,” he deadpans to his stunned band mates before storming out of frame).

While on his hiatus, George hooked up with his pal Eric Clapton and attended a Ray Charles gig in London. Preston (who the Beatles had originally met on a 1962 tour with Little Richard) was playing organ in Charles’ band.

George invited Preston to hang out at the studio, and he ended up playing keys on several songs (most notably, “Get Back” and “Don’t Let Me Down”), as well as sitting in on the rooftop set. At one point in the film, Paul asks Preston “Has anyone asked you yet if you mind coming in every day?” Preston beams like a beatific Buddha (as if someone is going to say “Fuck you…pay me” to an invitation to sit in with the Beatles!).

I was fascinated by the presence of gentle giant Mal Evans. An enigmatic member of the Beatles’ inner circle, Evans was their Man Friday; bodyguard, road manager, roadie, P.A., and apparently (as evidenced in one scene) an occasional co-lyricist.

In another scene, Evans registers childlike delight as he “plays” the hammer and anvil on an early run-through of “Maxwell’s Silver Hammer”. Evans was the person who “discovered” Badfinger and brought them to the Beatles’ attention-which got them signed to Apple. Sadly, in 1976 he was shot dead in his home by LAPD officers, who mistook his air rifle for a real weapon (Evans had been struggling with depression).

Spoiler alert: Jackson saves the iconic rooftop performance for the finale (as Lindsay-Hogg did in Let it Be…but how else could you end it?). Granted, it’s a long and winding road of “fly on the wall” observation to get there, but it makes the payoff of finally seeing the band perform several classic numbers in their entirety sound that much sweeter. For some, spending a day in the life with the Fabs may ultimately feel like it’s all too much …. but do you want to know a secret? I watched Get Back and thought:

“That’s a good job.”

The End

Documentary, Writers

Nice, very nice: Kurt Vonnegut: Unstuck in Time (****)

November 29, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 27, 2021)

In a 2019 review of George Roy Hill’s 1974 film Slaughterhouse-Five, I wrote:

Film adaptations of Kurt Vonnegut stories have a checkered history; from downright awful (Slapstick of Another Kind) or campy misfires (Breakfast of Champions) to passable time killers (Happy Birthday, Wanda June and Mother Night). For my money, your best bets are Jonathan Demme’s 1982 PBS American Playhouse short Who Am I This Time? and this 1974 feature film by director George Roy Hill.

Michael Sacks stars as milquetoast daydreamer Billy Pilgrim, a WW2 vet who weathers the devastating Allied firebombing of Dresden as a POW. After the war, he marries his sweetheart, fathers a son and daughter and settles into a comfortable middle-class life, making a living as an optometrist.

A standard all-American postwar scenario…except for the part where a UFO lands on his nice, manicured lawn and spirits him off to the planet Tralfamadore, after which he becomes permanently “unstuck” in time, i.e., begins living (and re-living) his life in random order.

Now I am transported to 2021, the year I discovered that the best film adaptation of a Kurt Vonnegut story (Slaughterhouse-Five aside) is…Kurt Vonnegut’s life story, which is the subject of Robert B. Weide and Dan Argoff’s documentary Kurt Vonnegut: Unstuck in Time. One could argue that Vonnegut, a WW2 vet who weathered the devastating Allied firebombing of Dresden as a POW, was in fact telling his life story in novels like Slaughterhouse-Five, Cat’s Cradle, and God Bless You Mr. Rosewater.

Vonnegut’s postwar scenario was also not unlike Billy Pilgrim’s. He married his first wife Jane Cox, and they had a son and two daughters. In 1957, their household nearly doubled in size in the wake of an almost unbearably sad family tragedy. Vonnegut’s sister Alice died of cancer, only two days after her husband lost his life in a commuter train crash. Kurt and Jane welcomed three of the late couple’s children into their family.

Of course, Vonnegut’s life does not begin and end with Slaughterhouse-Five; while it sold like gangbusters and made him an instant darling of the literary set, his was no “overnight success” story. By the time of the book’s publication in 1969, Vonnegut had already been toiling at his typewriter for nearly 20 years in relative obscurity (although his 1963 religious satire Cat’s Cradle had become a cult favorite with college students). In the meantime, he still had to punch the clock to support his family (including a stint during the 1950s with the ad department for General Electric in Schenectady, New York).

Despite his breakthrough success (or arguably due to it), the 1970s were an emotional roller coaster for Vonnegut; his first marriage fell apart, he holed up in a New York City apartment and dealt with chronic depression and writer’s block for several years, and his bi-polar son suffered a mental breakdown. He found his mojo again by channeling family travails into two of his 70s novels, Breakfast of Champions and Slapstick (not popular with critics, but therapeutic). He remarried in 1979, and enjoyed a career resurgence soon after.

Fast-forward (or become “unstuck” if you will) to 1982. Burgeoning filmmaker and avid Vonnegut fan Robert Weide sent him a letter proposing a documentary portrait. A fair amount of time passed with no reply. As Weide himself recounts in the film, just when he’d given up hope that he’d ever hear back, he received a handwritten letter from Vonnegut giving his blessing. An over-the-moon Weide started work on the film in 1988.

When you consider the film’s belated 2021 release, it goes without saying a project nearly 40 years in the making is nothing, if not a labor of love. Love, as I see it, is the film’s theme. It’s about the love of creating, the love of writing, the love of a reader for their favorite author, and ultimately, the love of family and the love of a long friendship.

Weide (best known as a director and executive producer on Curb Your Enthusiasm) offers an endearing apologia early on for being “one of those directors” who interjects himself into his documentary; to his credit he stays fairly unobtrusive (over the decades the filmmaker and his subject developed and sustained a genuine father and son closeness until Vonnegut’s death in 2007).

This is no hagiography; Weide doesn’t sugarcoat the bad patches nor the darker sides of Vonnegut’s personality (“genius is pain”, an English poet once sang). The result is an intimate, inspiring, funny and deeply moving portrait of one of the greatest American writers of the 20^th Century. Weide’s film beautifully illustrates how loss and trauma can be spun into gold by the alchemy of an inventive imagination. And so it goes.

Dramedy, Family Issues, Road Movie

When you’re young: The Pebble and the Boy (***½)

November 15, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 13, 2021)

Reporter : Are you a mod or a rocker?
Ringo : Um, no. I’m a mocker.

-from A Hard Day’s Night, screenplay by Alun Owen

Having grown up in the colonies, I didn’t grok “Mods and Rockers” until 1973, the year I bought The Who’s Quadrophenia, Pete Townshend’s paean to the teenage Mod subculture that flourished in the U.K. from the late 50s to mid-60s. The Mods had very distinct musical preferences (jazz, ska, R&B, soul), couture, and modes of transportation:

My jacket’s gonna be cut slim and checked
Maybe a touch of seersucker with an open neck
I ride a G.S. scooter with my hair cut neat
I wear my wartime coat in the wind and sleet

– from “Sea and Sand”, by The Who

On occasion the Mods would rumble with members of another youth subculture who identified as “Rockers”. They were not as tailored as the Mods but had their own uniforms…let’s just say that they were into leather (as in Tuscadero), motorcycles (as opposed to scooters), and 50s rock (Eddie Cochran, Gene Vincent, Chuck Berry, et.al.).

Here come duck-tailed Danny dragging Uncanny Annie
She’s tehone with the flying feet
You can break the peace daddy sickle grease
The beat is reet complete

– from “Sweet Gene Vincent”, by Ian Dury & The Blockheads

By the time the Who were rhapsodizing about the Mods in their 1973 rock opera, the movement was all but relegated to the dustbins of history. In 1979, Franc Roddam’s film adaptation of Quadrophenia was released. Using the 1964 Brighton “youth riots” as a catalyst, Roddam fashioned a character study in the tradition of the “kitchen sink” dramas that flourished in the U.K. in the early 60s. Wonderfully acted by a spirited cast, it’s a heady mix of youthful angst and raging hormones, supercharged by the power chord-infused grandeur of the Who’s songs.

Here is where it gets interesting. Not long after Roddam’s film began to build a cult following in the U.K., a Mod revival took hold. It may be more accurate to call it a “post” Mod movement, as this iteration was more about co-opting the couture than embracing the culture. Did the film inspire this revival? Some have suggested it did.

While the Who was the band of choice for the original Mods, the 80s Mods embraced bands like The Jam, Secret Affair, and The Chords. Not coincidentally, all 3 of those bands are on the soundtrack for writer-director Chris Green’s comedy-drama The Pebble and the Boy.

19-year-old Mancunian John (Patrick McNamee) is not a Mod. But his father was, from the 1980s until his recent unfortunate demise in a traffic accident. John not only inherits his father’s house (his parents are divorced), but his Lambretta scooter, fully bedecked with Mod accoutrements. Coming home after the funeral, John contemplates his father’s bedroom, which is done up like a shrine to The Jam (John only likes “one of their songs”).

Initially, John puts the Lambretta up for sale, but after discovering a pair of tickets in his father’s wartime coat for an upcoming Paul Weller concert in Brighton, he decides that he will ride it to “the spiritual home of the Mods” and scatter his father’s ashes in the sea.

Not long after he leaves Manchester, the scooter displays signs of needing a tune-up, so he looks up one his father’s pals from the Mod days (“Your dad and I first met at a Jam gig in ’81,” he reminisces to John). When his outgoing daughter Nicki (scene-stealer Sacha Parkinson) learns John has Paul Weller tickets, she invites herself along (she has her own scooter). After a few road trip misadventures (usually instigated by the free-spirited Nicki), the pair find themselves short of funds for completing their journey.

The more reserved John wants to turn back, but Nicki suggests they stop in nearby Woking (the Jam’s hometown, of course) to borrow money from Ronnie (Ricci Harnett), another of John’s father’s friends from the Mod days. The somewhat surly Ronnie and his, uh …friendly wife (Patsy Kensit) invite them to stay the night. The next day, John and Nicki hit the road to Brighton, now joined by Ronnie’s oddball son Logan (Max Boast).

Green’s film is like a mashup of Johnathan Demme’s Something Wild and Adam Rifkin’s Detroit Rock City. Green’s writing and directing is reminiscent of Bill Forsyth in the way he juggles low-key anarchy with gentle humor (even when someone says, “Fuck off!” it’s so good natured, somehow). McNamee is an appealing lead (he reminds me of the young Timothy Hutton), but it’s Parkinson’s sly performance as the endearingly boisterous Nicki that kicks the film up a notch. Rubber-faced Boast is another discovery; he’s a riot.

The bucolic English countryside and Brighton seascapes are gorgeously shot by cinematographer Max Williams (not too surprising after seeing that his previous credits include documentaries for Discovery, National Geographic and the BBC). Add a great soundtrack, and The Pebble and the Boy emerges as one of my favorite films of 2021.

“The Pebble and the Boy” premieres November 16 on various digital platforms.

Cult Movie, Documentary, Horror, Sci-Fi

A conference of worms: Smoke & Mirrors (*) & Dune ()

October 25, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 23, 2021)

I confess that I initially felt out of my depth tackling Jason Baker’s documentary Smoke & Mirrors: The Story of Tom Savini. I knew Savini was an actor, primarily from George Romero’s Knightriders (one of my favorite cult movies) and two Robert Rodriguez films: From Dusk Till Dawn (1996) and Planet Terror (2007). What I did not know (embarrassingly) was that despite 77 acting credits, he is more revered by horror fans and industry peers for his makeup artistry and (disturbingly) realistic special effects wizardry.

Perhaps I can be forgiven; looking up his special effects/makeup credits, it turns out I have only seen 3 out of dozens. I am not averse to the horror genre per se, it’s just that I’m not a fan of slasher/gore films; I tend to avoid them altogether.

But since (to paraphrase Marlon Brando in The Godfather) “it doesn’t make any difference to me what a man does for a living” (with the proviso no one is harmed in the process), I plowed forward with an open mind and an impending deadline and found Baker’s film to be a surprisingly warm, engaging portrait of a genuinely interesting artist.

The big surprise is how soft-spoken Baker’s subject is; especially when his resume reads more like a slaughterhouse tour than a fun night at the movies: Dawn of the Dead, Friday the 13^th, Maniac, Creepshow, The Texas Chainsaw Massacre 2, Trauma, Machete, et.al.

Savini grew up in a working-class Pittsburgh neighborhood and developed a talent for performing magic tricks at an early age. He also became obsessed with the 1957 Lon Chaney biopic Man of a Thousand Faces. He recalls experimenting with various household products to create his own horror makeup, to freak out his family and friends. Obviously, this kid was destined for a life on the stage …or in front of a movie camera.

The most fascinating elements of this predestination were Savini’s experiences in Vietnam, where he served as a combat photographer. Obviously, if your job assignment literally involves focusing on gruesome images day in and day out, it’s going to do a number on your head. Savini describes how he internally compartmentalized the real-life horror of what he saw as “special effects” (which he’d later draw upon for his film work).

Savini also recounts his collaborations with director George Romero, who gave him his first movie gig in his 1976 indie Martin (which was filmed in Pittsburgh). Savini not only acted in the film but created its prosthetic effects. Savini continued to perfect his craftsmanship in higher-budgeted Romero films like Dawn of the Dead and Creepshow.

Some of Savini’s friends and colleagues (Robert Rodriguez, George A. Romero, Alice Cooper, Sid Haig, Corey Feldman) also appear in the film; their consensus is that Savini is a nice guy…even if he makes his living giving us nightmares. In fact, there’s an overdose of people telling us how nice he is (puff piece territory). But he seems like a nice guy. Just attribute all that murder and gory mayhem to …smoke and mirrors.

“Smoke & Mirrors: The Story of Tom Savini” is streaming on various digital platforms.

In an interview published by The Hollywood Reporter in April of 2020, David Lynch made these observations regarding Denis Villenueve’s (then) upcoming remake of Dune:

(Interviewer) This week they released a few photos from the new big-screen adaptation of Dune by Denis Villeneuve. Have you seen them?

I have zero interest in Dune.

Why’s that?

Because it was a heartache for me. It was a failure, and I didn’t have final cut. I’ve told this story a billion times. It’s not the film I wanted to make. I like certain parts of it very much — but it was a total failure for me.

You would never see someone else’s adaptation of Dune?

I said I’ve got zero interest.

If you had your choice, what would you rather make: a feature film or a TV series?

A TV series. Right now. Feature films in my book are in big trouble, except for the big blockbusters. The art house films, they don’t stand a chance. They might go to a theater for a week and if it’s a Cineplex they go to the smallest theater in the setup, and then they go to Blu-ray or On Demand. The big-screen experience right now is gone. Gone, but not forgotten.

Keep in mind, that interview was conducted during the initial lock-down phase of the pandemic. I don’t know about you, but I am still not “ready” to go back to movie theaters. As I wrote in an October 2020 piece about COVID’s effect on theaters:

…that is my personal greatest fear about returning to movie theaters: my innate distrust of fellow patrons. […] I can trust myself to adhere to a common-sense approach, but it’s been my observation throughout this COVID-19 crisis that everybody isn’t on the same page regarding taking the health and safety of fellow humans into consideration.

I’ve noticed a trend as of late where Hollywood studio marketing departments are insisting that you must see their latest blockbuster on the big screen, otherwise you’re just a fraidy cat, cowering in front of your pathetic little 40” flat-screen. Believe me, as a lifelong movie lover I am pulling for the exhibition arm of the industry and want to see them thrive once again, but to my knowledge, no amount of wishful thinking ever defeated a killer virus. As much as I am dying to see the new Bond movie on a big-ass screen, I’ve decided to hold off a while because for me, this is no time to die.

I suppose this long-winded prelude is my way of giving a disclaimer that the following review of Denis Villenueve’s long-anticipated adaptation of Frank Herbert’s Dune does not necessarily reflect the opinions of staff or management of Digby’s Hullabaloo, but those of a fraidy cat, cowering in front of his pathetic little 40” flat-screen.

To put your mind at ease, I’m not going to bore you with a laundry list of how the film does or doesn’t adhere to the author’s original vision in the source novel; mainly since it’s been 40-something years since I read it, and all I can remember is that it felt like homework. It just didn’t grab me like the universe-building works of Asimov, Zelazny, Niven, and similar sci-fi scribes my stoner friends and I were all into at the time.

Obviously, David Lynch is not a fan of his own 1984 adaptation; the first time I saw it 37 years ago I wasn’t either …but in the fullness of time, it has grown on me (as Lynch’s films tend to do). Yes, it has certain cheesy elements that even time cannot heal, but how can you possibly top Kenneth McMillan’s hammy performance as an evil, floating bag of pus, Brad Dourif’s bushy eyebrows…or Sting’s magnificently oiled torso?

It is evident off the bat that Villenueve’s adaptation (co-written by Jon Spaihts and Eric Roth) is more formalized than Lynch’s; he doesn’t leave his cast as much room to ham it up and distract from the business at hand; but rather uses them like chess pieces.

On the plus side, this makes the plot easier to follow. On the downside, Villenueve runs into the same challenge Lynch faced: there are simply too many characters in Herbert’s novel and not enough time within the constraints of a feature film to give anyone an adequate enough backstory to make you care what happens to them.

The cast is led by Timothée Chalamet as Paul Atreides, rising son of “good” Duke Atreides (Oscar Isaac) and Lady Atreides (Rebecca Ferguson). By decree of the Emperor (of Space? Still unclear to me after a forgotten read and two films), the House of Atreides has been given stewardship of precious “spice” mining operations on the planet Arrakis.

This does not set well with the former dominant House on Arrakis, led by “bad” Duke Harkonnen (Stellan Skarsgård, who appears to be channeling Lawrence Tierney in Tough Guys Don’t Dance). Duke Atreides’ new gig is further complicated by an insurgency of native “Fremen” (led by Javier Bardem, sans cattle prod) and ginormous worms.

I gave up comparing worm size in grade school, but Villenueve’s worms are more awesome than Lynch’s (there have been significant advancements in digital effects since 1984). Sadly, that’s the best thing I can say about Dune 2021 (or as I’ve nicknamed it, “Spice World 2”). It boasts impressive special effects and world-building, but otherwise, the film is a dramatically flat, somber affair with an abrupt “That’s it?!” denouement. I know sequels are in the works …but would it have killed them to give us a cliffhanger?

“Dune” is currently in theaters and streaming on HBO Max

On Pop Culture

Everyone’s a Captain Kirk

October 13, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 13, 2021)

What a long, strange trip it’s been. From my original review of the 2009 film Star Trek:

OK, so now I have an excuse to tell you my Star Trek story. Actually, it’s not really that much of a story, but hey, I have some (virtual) column inches to fill-so here goes.

First off, I am not a diehard Trekker (more of a Dwarfer-if you must pry). I enjoyed the 60s TV series, and if I’m channel surfing and happen upon, say, “The City on the Edge of Forever”, or “Space Seed”…They Pull Me Back In (sorry, Mr. Pacino). I never bothered with the spinoff series, but have seen the theatrical films. I tend to agree with the “even-numbered Trek films are the best” theory.

I’ve never felt the urge to buy collectibles, attend a convention, or don a pair of Spock ears for a Halloween party. However, as fate would have it, in my life I have had close encounters (of the 3^rd kind) with two cast members from the original show; encounters that (I imagine) would make a hardcore fan wet themselves and act like the star-struck celebrity interviewer Chris Farley used to play on SNL.

In the mid 80s, I was working as a morning personality at an FM station in Fairbanks, Alaska. Our station co-promoted a personal appearance by Walter Koenig at (wait for it) the Tanana Valley State Fair, so I had a chance to meet him. The thing that has always stuck with me, however, was not any particular thrill in meeting “Chekov”, but rather his 1000-yard stare.

It was a look that spoke volumes; a look that said, “I can’t believe I’m onstage in a drafty barn in Fairbanks Alaska, fielding the same geeky questions yet again about the goddamn Russian accent. This is why I got into show business?!” To me, it was like watching a sad, real-life version of Laurence Olivier’s Archie in The Entertainer. And as a radio personality (lowest rung of the show biz ladder) and fledgling stand-up comic (next rung up), I wondered if this was A Warning.

Flash-forward to the mid 1990s. I had moved to Seattle, and found myself “between” radio jobs, supporting myself with sporadic stand-up comedy gigs and working through a temp agency. Through the temp agency, I ended up working for a spell at…at…I’ll just blurt it out: a Honeybaked Ham store in Redmond (I’m sure that there is a special place in Hell for Jews who sell pork; on the other hand, one of my co-workers was a Muslim woman from Kenya, so at least there will be someone there that I already know).

So I’m wiping down the counter one slow day, thinking to myself “After 20 years in radio, and 10 in stand-up comedy, I can’t believe I’m working at a Honeybaked Ham in Redmond, Washington. This is why I got into show business?!” Suddenly, a limo pulls up, and in strolls a casually dressed, ruddy-faced, mustachioed gentleman, getting on in years (hearing aids in both ears). If you’ve ever worked retail, you know that after a while, all the customers sort of look the same; you look at them, but you don’t really SEE them.

As I was fetching the gentleman his ham and exchanging pleasantries, I caught a couple co-workers in my peripheral, quietly buzzing. I put two and two together with the limo and began to surreptitiously scrutinize the customer’s face a little more closely.

Wait…is that…? Nah! Twice in one lifetime? What are the odds? He paid with a check. Name on the check? James Doohan. I kept my cool and closed the sale. As I watched him walk out the door, with a delicious, honey-glazed ham tucked under his arm, an old Moody Blues song began to play in my head: “Isn’t life stray-ay-ay-hange?”

Mr. Doohan has since slipped the surly bonds of Earth, both figuratively and literally:

Star Trek creator Gene Roddenberry is going where no man has gone before.

Part of his cremated remains will be sent into deep space, along with remains of his wife, Majel Barrett Roddenberry, who appeared on Star Trek the Next Generation as Lwaxana Troi and voiced the computer on multiple Trek series.

Remains of James Doohan (Trek’s Scotty) and pioneering sci-fi author Arthur C. Clarke will also be sent into orbit on a memorial flight from the Houston-based Celestis, reports NBC News.

The company, which has been putting remains into orbit for 16 years, will launch its Summerjammer Solar Sail Mission from Cape Cod in November 2014. This will be the first to enter into deep space, and the craft will orbit the sun between Earth and Venus.

Remains from Roddenberry and Doohan have been sent into space on previous Celestis flights. Summerjammer will be launched with an experimental solar sail from NASA, which it hopes will propel the craft with photons from the sun.

This morning, I was enjoying a bowl of instant oatmeal and watching CNN before heading to work, and happened to catch the countdown for the latest Blue Origin flight. I’ve been sort of half-paying attention to the hype surrounding this latest commercial stunt from Amazon founder Jeff Bezos, because…that’s basically what it is (more like a glorified human cannonball act, as the spacecraft doesn’t actually go into orbit around the Earth).

That said, I remain an original series Star Trek fan (I was 10 in 1966), so I thought it was cool that William Shatner was invited along for the ride (which would make him the first surviving member of the original Star Trek crew to make it into “real” space).

Then something unexpected happened. I started to choke up a little as the rocket took off.

For those of us of “a certain age”, that is to say, old enough to have actually witnessed the moon landing live on TV… the fact that “we” were even fucking able to achieve this feat “by the end of the decade” (as President Kennedy projected in 1961) still seems like a pretty big deal to me.

Of course, there are still some big unanswered questions out there about Life, the Universe, and Everything, but I’ll leave that to future generations. I feel that I’ve done my part…spending my formative years plunked in front of a B&W TV in my PJs eating Sugar Smacks and watching Walter Cronkite reporting live from the Cape.

I think it was those childhood memories, plus seeing Captain Kirk going aloft, that got to me. And once I heard Shatner’s comments after he exited the capsule…I was a puddle:

What you’ve just given me is the most profound experience I can imagine. I’m so filled with emotion about what just happened. I-I…it’s just extraordinary. I hope I never recover from this. I hope that I can maintain what I feel now. I don’t want to lose it. It’s so…so much larger than me and life. It hasn’t anything to do with the little green planet we all live in-it has to do with the enormity, and the quickness, and the suddenness of life and death. […] I can’t even begin to express…what I would love to do is communicate as much as possible the jeopardy…the vulnerability of everything. […] 50 miles [above Earth] and you’re in death. This is life and [pointing to the sky] that’s death…and in an instant [as you enter space] you go ‘Whoa …that’s death!’

How fragile we are. Godspeed, Planet Earth.

Drama, Show Biz

Where the wild things are: Surge (*½) & I’m an Electric Lampshade ()

October 4, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 2, 2021)

Murray: Nick, in a moment you are going to see a horrible thing.

Nick: What’s that?

Murray: People going to work.

– from A Thousand Clowns, screenplay by Herb Gardner

Jonathan Lute: [after Quint has terrifyingly smashed up his entire office with an axe]

Andrew, darling, you’re always threatening to resign…

– from I’ll Never Forget What’s ‘is Name, screenplay by Peter Draper

Johnny: All right, listen. Does anybody mind if I scream here? Is that okay with you all? Cause I’d feel better for it. It won’t take long.

– from Naked, screenplay by Mike Leigh

It is clear from the outset that Joseph, the protagonist of Aneil Karia’s deeply unsettling yet curiously liberating drama Surge, would feel better for it if he could just …SCREAM.

As he wends through a busy Stansted Airport terminal to his gate security job, Joseph (a mesmerizing Ben Whishaw) displays all the tell-tale signs of a ticking time bomb. He’s relatively young but looks haggard beyond his thirty-something years. He’s twitchy and furtive, with a thousand-yard stare that suggests his soul vacated his body some time ago.

After a dreary shift patting down and scanning an endless parade of travelers, Joseph commutes back to his low-rent London flat, where he plops into his armchair, bathed in the sickly light of a droning TV while wolfing a bland microwaved dinner. He has odd eating tics; when he puts a fork in his mouth he reflexively chomps down as if attempting to bite it in half, and when he takes a drink, he looks as though he’s trying to chew on the glass.

He seems …tense.

Something has got to give, and the trigger is a belated birthday dinner with his elderly parents. He appears to have a strained relationship with his cold and gruff father (Ian Gelder). His mother (Ellie Haddington, who stole the show in the recent 4-part PBS Mystery! miniseries Guilt) is more empathetic, but also shows signs of someone who has suffered years of bullying (verbal, emotional…or worse). After a joyless repast, mum serves the cake, and as dad continues to glower and scowl, Joseph finally breaks-literally.

“Don’t you get blood on my carpets!” mum screeches in shock and confusion as Joseph flees after finally succeeding in chewing through the glass (hey…practice makes perfect).

A warning-if (like me) you are prone to anxiety attacks, the ensuing 2/3 of the film has the *potential* to trigger one (telling myself “It’s only a movie” kept me grounded). Put another way, Joseph’s subsequent frenetic bacchanal of self-liberation is a “re-birthing” well outside the parameters of clinical supervision (and decidedly anti-social in nature), all rendered in a dizzying cinematic style reminiscent of Run Lola Run and Trainspotting.

While Rita Kalnejais and Rupert Jones’ screenplay does toy with sociopolitical tropes and character motivations that cross over with Taxi Driver, Naked, Falling Down, and the more recent Joker, Surge is anything but a rote retread of the well-trod “disenfranchised white male going off the deep end” narrative. I found it closer in spirit to Vincent Gallo’s Buffalo ’66, a film that, while equally unsettling, confounds your expectations at every turn.

I’m an Electric Lampshade could be viewed as a kinder, gentler Surge, or perhaps a variation on The Secret Life of Walter Mitty. Billed as a “documentary-narrative hybrid”, writer-director John Clayton-Doyle’s film centers on a quiet, straight-arrow corporate accountant (Doug McCorkle) who surprises his longtime co-workers by using his retirement party to “come out” as an aspiring pop star. So much for golfing and fishing…

Doug brings down the house with a professionally choreographed and produced video featuring him singing and dancing. Actually, the latter part is perhaps best described as “undulating”, as Doug undulates in that oddly earnest yet arrhythmic manner that 60-year-old men tend to undulate on the dance floor at weddings and bar mitzvahs (that’s why I don’t dance at weddings and bar mitzvahs these days…as a public service).

A co-worker offers Doug a business card for a “finishing school for performers” in the Philippines, adding that if he is serious about giving this pop star thing a go, he should check it out. Casting his fate to the wind, and with the full blessing of his wife (Regina McCorkle) Doug embarks to the Philippines to pursue his dream. What his co-worker failed to mention was that all the students are drag queens (but Doug is cool with that).

There’s not much more to the narrative; Doug hangs out in the Philippines for a spell, gets his first professional singing and dancing gig doing a TV commercial for a Filipino yogurt company, and then heads back to the States to prepare for his concert debut in Mexico. The concert takes up the final 15 or 20 minutes of the film (it feels like 3 hours).

It’s all good-natured enough I suppose, but unfortunately, our aspiring “electric lampshade” McCorkle has the charisma of a night light. And the original music (which is critical, as it runs through most of the film) is duller than dishwater (generic EDM). I have nothing against pursuing one’s dreams …but sitting through this could be a nightmare for some viewers.

Behind the Music, Documentary, Jazz Musicians, On Music

In tune with yourself: Fire Music (***½)

September 20, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 18, 2021)

You must surrender whatever preconceptions you have about music if you’re really interested in it.

― Cecil Taylor

The Oxford Dictionary defines “harmonious” thusly:

har·mo·ni·ous

/härˈmōnēəs/

adjective

tuneful; not discordant.

“harmonious music”

That sounds nice. So what is this “discordant” you speak of?

dis·cord·ant

/disˈkôrd(ə)nt/

adjective

1. disagreeing or incongruous.

2. (of sounds) harsh and jarring because of a lack of harmony.

Well, that sounds unpleasant. But here’s the funny thing about music. There may be rules defining what constitutes “harmony” …but there no rules defining what constitutes “music”. What’s “discordant” to you might be “harmonious” to my ears (and vice-versa).

In a piece I did in honor of International Jazz Day, I wrote:

Miles Davis is considered a “jazz” artist, but first and foremost he was an artist; one who defied categorization throughout his career. The influence of his 1970 2-LP set Bitches Brew on what came to be called “fusion” cannot be overstated. But be warned: this is not an album you put on as background; it is challenging music that demands your full attention (depending on your mood that day, it will sound either bold and exhilarating, or discordant and unnerving).

I was somewhat taken aback to learn the other day that that a scant 6 years before he recorded Bitches Brew, Miles Davis made this comment about pioneering “free jazz” multi-instrumentalist Eric Dolphy (taken from a Down Beat interview published in 1964):

“Nobody else could sound as bad as Eric Dolphy. Next time I see him I’m going to step on his foot. You print that. I think he’s ridiculous. He’s a sad motherfucker.”

Ouch.

That’s one of the tidbits I picked up from Fire Music, writer-director Tom Surgal’s retrospective on the free jazz movement that flourished from the late 50s to the early 70s.

Call it “free jazz”, “avant-garde” or “free-form” …it’s been known to empty a room faster than you can say “polytonal”. After giving your ears a moment to adjust, Surgal and co-writer John Northrup do yeoman’s work unraveling a Gordian knot of roots, influences, and cosmic coincidences that sparked this amazingly rich and creative period.

Mixing vintage performance clips, archival interviews, and present-day ruminations by veterans of the scene with a dusting of academic commentary, the filmmakers illustrate how it fell together somewhat organically, flourished briefly, then faded away (Lao Tzu’s oft quoted “The flame that burns twice as bright burns half as long” comes to mind here).

After a nod to Be-bop, the film delves into the work of pioneers like saxophonist Ornette Coleman (his 1960 album Free Jazz gave the category-defying genre a handle) and pianist Cecil Taylor. While artists like Coleman, Taylor (and Charles Mingus, Eric Dolphy, Albert Ayler, Sun Ra, et.al.) are now considered jazz greats, their boundary-pushing explorations were not universally embraced by critics (or audiences) at the time.

In fact, it wasn’t until saxophonist John Coltrane (“the most high and mighty” as one veteran player reverently intones in the film) released his 1966 album Ascension, that the movement received validation. Coltrane had been paying close attention to the revolutionary sounds coming out of the clubs, and Ascension indicated he had embraced the movement (although it certainly threw many of his fans for a loop).

As a musicologist points out in the film, it might have been easy for critics and the jazz establishment to look down their noses (or plug their ears) and dismiss players like Ornette Coleman and Cecil Taylor and their unconventional tonalities as amateurish noodling…but no one could say John Coltrane was an amateur (at least not with a straight face).

The film examines the regional scenes that sprang up, and (most fascinatingly) associated collectives that formed, like The Jazz Composer’s Guild in New York, The Association for the Advancement of Creative Musicians in Chicago, and The Black Artist’s Group in St. Louis (this was “D.I.Y.” long before Punk). The European scene (primarily in the UK, Germany, and Holland) that was inspired by the American free jazz movement is also chronicled.

Sadly, the filmmakers suggest a collective amnesia has set in over the ensuing decades that essentially has erased the contributions of these artists from jazz history. Here’s hoping enough people see this enlightening documentary to reverse that trend.

Documentary, Politics, Show Biz

Tears of a clown: Too Soon: Comedy After 9/11 (***)

September 13, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 11, 2021)

Satire is tragedy plus time. You give it enough time, the public, the reviewers will allow you to satirize it. Which is rather ridiculous, when you think about it.

― Lenny Bruce

Like many people of “a certain age”, I can remember where I was and what I was doing when President Kennedy was assassinated on November 22, 1963. I was attending school (2nd grade) in Columbus, Ohio. There was a school assembly. The principal made some remarks, we put our hands over our hearts, recited the Pledge of Allegiance and were dismissed.

I was not mature enough to grasp the historical significance of what had just happened, nor parse the sociopolitical fallout that ensued in the wake of this great national tragedy. All I got from the principal’s remarks that afternoon was “blah blah blah” and something about a magic ring and the end of the world. My main takeaway was that I got to go home early.

In May of 1963, a musician named Vaughn Meader picked up a Grammy award for Album of the Year…but he didn’t play a note on it. Meader was the star of an ensemble of voice actors who were recruited by writers Bob Booker and Earle Dowd to impersonate then-President John F. Kennedy and his family for a comedy album entitled The First Family.

It’s one of the first comedy albums I remember listening to when I was a kid, because my parents owned a copy (filed next to The Button-Down Mind of Bob Newhart in the built-in storage cabinet of their stereo console). Meader had been doing his JFK impression on stage, but it wasn’t until the surprise success of the gently satirical 1962 LP (7.5 million copies sold-impressive even now for a comedy album) that his career really skyrocketed.

This was, of course, decades before social media existed. Consequently, it would take nothing short of an Act of God to “cancel” an entertainer’s career overnight. Unfortunately for Meader, whatever career boost God gave him with one hand, he took away with the other on November 22, 1963.

As a (possibly apocryphal) story goes, Lenny Bruce was booked for a gig on the night of November 22, 1963. Undeterred by the shocking murder of the President earlier that day, he went on with the show. Reportedly, Bruce went onstage, but said nothing for several minutes, finally breaking his silence with “Boy …is Vaughn Meader fucked.”

Which begs a question: Too soon? Regardless, as Bruce predicted, Meader’s comedy career effectively ended that day. As Oliver Stone said in JFK, “The past is prologue.”

“I think it’s the duty of the comedian to find out where the line is drawn and cross it deliberately.”

― George Carlin

Fast-forward to the night of September 29, 2001. The nation was still reeling from the horror of the September 11^th attacks on the World Trade Center and the Pentagon that took the lives of over 3,000 people. The New York Friar’s Club was roasting Hugh Hefner. It was the first significant gathering of comedy heavyweights since the attacks.

The mood in the room that night was tentative. These were professional funny people, but like all Americans they were not in a jovial frame of mind. Nonetheless, the show went on. When Gilbert Gottfried took to the podium, his opener was a real doozy:

“I had to catch a flight to California. I can’t get a direct flight…they said they have to stop at the Empire State Building first.”

You could have heard a pin drop. Then someone yelled “TOO SOON!”

Gottfried’s story does have a happy ending. Reading the room (correctly), he immediately switched gears and launched into a venerable joke that comedians have amused each other with offstage for decades. It’s known as “The Aristocrats!” because…well, the punch line is: “The Aristocrats!”

It’s more of an improvisational exercise (or gross-out contest) than a “joke”, as whoever is telling it must embellish the setup, while assuring the premise and punchline remain intact. Long story short, Gottfried not only won back the crowd, but he also had fellow comics in tears as they all enjoyed a much-needed yuk.

Unlike the Lenny Bruce anecdote, this is not apocryphal…it’s on film. The footage originally popped up in the 2005 documentary The Aristocrats but serves as an apt opener for Nick Fituri Scown and Julie Seabaugh’s documentary Too Soon: Comedy After 9/11, which premiered on VICE-TV this week (there is a commemorative showing at L.A.’s Chinese Theater September 11).

The directors enlist comics, Broadway players, late-night TV hosts, SNL cast members, and writers for The Onion to share how they reconciled with a newly sensitized sociopolitical landscape to eventually find a way back to just being, you know – “funny”.

For some, it wasn’t simply struggling with writer’s block or facing glum-faced audiences. Muslim-American performers like Ahmed Ahmed, Negin Farsad, Maz Jobrani, Hari Kondabolu, and Aasif Mandvi recall the Islamophobia they encountered, ranging from having racist epithets hurled their way to outright death threats.

Another phenomenon that arose in the wake of the 9/11 attacks was a pernicious purity test that entertainers (or anyone with a public platform) had to pass with flying stars and stripes, under penalty of becoming persona non grata.

The most well-known example (as recalled in the film) was what happened to comic Bill Maher. Just 6 days following the attacks, Maher was hosting his weekly ABC panel show Politically Incorrect. His guest was outspoken conservative Dinesh D’Souza.

D’Souza was commenting on President Bush’s characterization of the terrorists as cowards. ”Not true,” D’Souza said. ”Look at what they did. You have a whole bunch of guys who were willing to give their life; none of them backed out. All of them slammed themselves into pieces of concrete. These are warriors.” Maher replied: ”We have been the cowards, lobbing cruise missiles from 2,000 miles away. That’s cowardly. Staying in the airplane when it hits the building, say what you want about it, it’s not cowardly.”

While others in the media (including print journalists, like Susan Sontag) made similar observations, Maher took the most public flak. This prompted him to embark on something akin to an apology tour, appearing on a number of other talk shows to clarify his remarks.

In the meantime Politically Incorrect began to lose sponsors hand over fist, and in June of 2002 ABC pulled it, citing slipping ratings. Maher has contended he was essentially fired for the comments he made about the hijackers in September 2001.

Good times.

On the flip-side of that coin, what could be more “patriotic” than laughing in the face of adversity? What could be more “American” than pulling yourself up by your bootstraps, dusting yourself off, and (in the immortal words of the late, great Chuckles the Clown), giving them “…a little song, a little dance, a little seltzer down your pants”?

The filmmakers include three key clips that encapsulate this spirit and the healing power of laughter: excerpts from David Letterman’s emotionally raw yet inspiring monologue for his first show following the attacks (September 17th, 2001), John Stewart’s equally heartfelt opener for his first post 9/11 episode of The Daily Show (September 20^th, 2001), and the defiant, rousing return of Saturday Night Live on September 29^th, 2001.

I remember watching all three of those programs when they originally aired and being reminded of them again in the documentary was an unexpectedly moving experience. Speaking for myself there is now an added layer of weltschmerz in recalling these moments of national unity and shared compassion, because if there are two things we’ve lost over these past 20 years in America, it’s a sense of national unity and shared compassion.

Just pray we never lose our sense of humor. Because if we do…boy, are we fucked.

Comedy, Documentary, Drama, Up the Workers

Happy Marxist Day: The Big Scary ‘S’ Word (***)

September 6, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 4, 2021)

“The reason that society changes is not because ideas are good or ideas are bad. The reason society changes is because powerful people are forced to make concessions when people who don’t otherwise have power stand up.”

– Adaner Usmani, Assistant Professor of Sociology at Harvard, from The Big Scary ‘S’ Word.

Climatologist Michael E. Mann was a guest on MSNBC’s The Reid Out this past Thursday, where he was part of a panel discussion regarding Hurricane Ida’s impact on New Orleans earlier in the week and the related storm system that caused severe flash flooding in several Northeast states a few days later. He made this interesting observation:

Those who had the least role in creating [climate change-fueled extreme weather events] …those are the folks who have the least wealth; future generations, people in the developing world and the global South are bearing the brunt of the impacts, because they have the least resilience, they have the least resources to deal with this problem. […] Climate action is a matter of social justice.

Wait…what? “Climate action is a matter of social justice”?! How did Professor Mann draw the chalk from Hurricane Ida to Karl Marx in one fell swoop? Of course, I’m being facetious. I mean, no one is silly enough to conflate “social justice” with “socialism”. Right? For giggles, let’s Google “social justice” and “socialism”, and see what pops up:

Oh, dear.

(from U.S. Catholic, August 6, 2010)

Is social justice the same as socialism?

Conservative TV personality Glenn Beck told Christians, “I beg you, look for the words ‘social justice’ or ‘economic justice’ on your church website. If you find it, run as fast as you can. Social justice and economic justice, they are code words… If you have a priest that is pushing social justice, go find another parish. Go alert your bishop.”

Unfortunately, statements such as this have left even Catholics, who enjoy a rich social justice tradition, confused.

Socialism is defined as economic or political theories that advocate collective or governmental ownership and administration of the means of production and distribution of goods. The threat perceived by socialism is that it threatens the identity of the individual because it merges the masses into one common goal or voice.

Social justice isn’t an economic or political theory, but an outlook that seeks to strengthen the identity of the individual because it sees that human dignity derives its meaning from being made in God’s image (Gen. 1:26). In God’s image, no one is worth more than another. All are deserving of life and whatever is needed to adequately sustain it.

I’m not a particularly religious person, but I think that last line is a nice tenet. Very nice.

“Oh, a sleeping drunkard
Up in Central Park,
And a lion-hunter
In the jungle dark,
And a Chinese dentist,
And a British queen–
All fit together
In the same machine.
Nice, nice, very nice;
Nice, nice, very nice;
Nice, nice, very nice–
So many different people
In the same device.”

–Kurt Vonnegut, Jr., from Cat’s Cradle

So if everyone from the authors of a 3000 year-old book of the bible to a prominent 20th Century science fiction writer can reach a consensus that all human beings are all equally worthy, all deserving of life, and all fit together in the same machine…how is it that the very mention of the word “socialism” has become anathema to so many folks these days?

Something to do with our current political climate, perhaps?

In a Director’s Statement regarding her new documentary The Big Scary ‘S’ Word, Yael Bridge writes:

…during the 2016 election cycle, I was personally fascinated by how Bernie Sanders appealed to people who would otherwise vote for Donald Trump, and the vast common ground between two ostensibly opposed political stances rocked me. I realized there is an urgent need for an honest, accessible exploration of today’s socialist ideas as they are being mobilized in America, as well as their historical precedents.

Before you get too excited, Bridge’s film is not all about Bernie. That said, Senator Sanders does pop up several times, as does Representative Alexandria Ocasio-Cortez, Seattle City Councilwoman Kshama Sawant, Professor Cornel West, author Naomi Klein, and other high-profile politicos and activists.

However, if the film has any “stars”, they are two lesser-known figures. They are Stephanie Price, an Oklahoma school teacher and single mom driven to activism, and Democratic Socialist Lee Carter, an ex-Marine who has represented the 50th district in the Virginia House of Delegates since 2018 (frustrated by his travails stemming from a debilitating work injury and no workman’s comp coverage, he launched his political career by Googling “how do I run for office?”).

In addition to eye-opening contemporary illustrations of pragmatic and robust socialist experiments like worker cooperatives and the Bank of North Dakota, there’s a compact history of American socialism, illustrating how key milestones like FDR’s New Deal and the labor movement continue to benefit all of us to this day (Social Security, Medicare, unemployment insurance, better wages, reasonable work hours, workplace safety, etc.).

Some may register the breezy and amiable tone of Bridges’ documentary as a superficial approach, but it prevents the exercise from developing into a dry lecture. I bet you’ll even pick up one or two fun facts along the way (did you know that the Republican party was founded by socialists? I didn’t.). At any rate, there’s absolutely nothing here to fear here except…oh, never mind.

THE BIG SCARY ‘S’ WORD is available on digital platforms and in select theaters.

Sing us out, Billy Bragg…

Guest Post, On Music

Charlie Watts: More with less

August 25, 2021 Dennis Hartley Leave a comment

By Bob Bennett

Charlie Watts has died. A soft-spoken gentleman, Charlie would sign his notes with a parenthetical “(Rolling Stones)” after his name as if people might not place his name.

Let’s focus on his actual drumming. He played on a small 4 piece 1956 Gretsch drum kit which was more of a be-bop configuration. This minimalism seemed to fit his yeoman’s approach to his job as drummer, no doubt simplifying set-up, getting a consistent sound, facilitating upkeep and minimizing the bane of all drummers – transport. He was not the kind of drummer to use a double-bass drum kit that would spin above the stage (Tommy, here’s lookin’ at you). I would argue Charlie made more with less.

No, Charlie didn’t seek the spotlight, but his legacy of playing on every Rolling Stones song ever made easily cements him as one of the greats of all time.

First and foremost a jazz fan, Charlie had to be coaxed into joining a rock and roll band (apparently by Ray Davies of The Kinks no less). His thundering performance on their early hit “(I Can’t Get No) Satisfaction” showed no doubt that he could adapt. Charlie could hit the drums hard, even though he used a traditional grip like jazz players do.

When he comes in with a *crack* near the beginning of “Start Me Up”, his heavy snare sounds like one of his disciples, Max Weinberg, who drummed in a similar way on Springsteen’s “Born in the USA”. Getting that sound from a small kit is not only an engineering feat, it requires deep experience in where and how to hit the drums. Charlie had it (as does Max!).

My friend, Dennis Hartley wrote a tribute to Charlie Watts, concluding he was the Rock of the Stones. So true, and yet I think his brilliance also lay in his ability to Roll. A perfectly on-time, metronome-like beat is lifeless (and easily obtained with a drum machine) but you cannot teach a person or a machine to play with the “feel” that Charlie brought.

Call it a slight swing or a shuffle, it can be heard on songs like “Midnight Rambler” where Charlie sometimes swings and sometimes plays with the expected “rock” back-beat. “I like to play straight ahead with a groove,” Charlie once said in one of his rare interviews in reference to his playing on “Can’t You Hear Me Knocking”. Without Charlie adding that dash of sultriness, the Stones (including Mick’s swaggering hip shakes) would never have lasted as long as they have.

Charlie also had great dynamics and cymbal work. He sometimes had a jerky look when playing the hi-hat and snare together as he preferred to alternate between them (most drummers will play consistent 1/8 or ¼ notes on the hi-hat and simply layer on the snare, typically on beats 2 and 4). Maybe his habit of playing one or the other let him focus his intensity on one thing at a time. It worked, and provided another organic layer to his playing that perfectly fit the sometimes raggedy sound of the guitars.

Charlie was good at letting songs breathe, never overplaying and sometimes sitting out on entire songs. When the drums did come in, they often did with gusto as one can hear on innovative songs like “She’s a Rainbow” or “Ruby Tuesday”. One of his most innovative performances was playing a tabla with sticks on “Factory Girl” (Ricky Dijon also played on conga).

Like the knowing scrape of a boot from a cool cat’s walk, Charlie’s drumming had a sexiness and a *crack!” which is to say he could rock and roll.