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bleh

Okay, I’ve fucked up the daily blogging thing, but I have a real good excuse!

More later.

films

Some films of note:

R-Sector: a South Korean horror flick that uses virtually no special effects in a Vietnam war tale of a unit sent to look for another unit that has vanished while investigating a haunted plain. Genuinely creepy, low budget without looking low budget. The only flaw in the film is the climax, which tries to hurriedly explain things, adding a veneer of logic to a really spooky ghost story.

The Girls Rebel Force of Competitive Swimmers: So bad it’s good, this Z-grade horror flick is like Buffy, if Buffy made no sense, featured gratuitous nudity, and was terrible.  This is truly a movie that has everything: juggling zombies, hypno-terrorism, and mouth-to-mouth soup resuscitation. Absolutely awful, and I recommend it highly.

CQ: Roman Coppola wrote and directed this film about films, something that the director’s he’s referencing (Fellini, Truffaut), waiting until their later years to do. That’s a weakness of the film: about a young man getting his start in the French film industry of the 60s, the message is that he hasn’t figured out what his message is. But the strong points, namely Coppola’s strong command of the camera and the campy fun of the film-within-a-film (a Barbarella-esque spy film) make it worth a recommendation.

Cinema Paradiso: As a comparison, it’s easy to see why this rememberance won so many awards: the breezy story of a young boy who falls in love with the world of his local movie house, and the film projectionist who begrudgingly let him in. Warm hearted, but I lost interest in the films latter last third.

Pirates of the Carribean: At World’s End: I think it was Nathan Rabin of the AV Club who nailed the analysis of these films. The last two are overcomplicated, with two many plots overlapping and in some cases choking what could be a great romp, but watching them, you still get the sense that the director has a grip on what’s happening: that it may be a mess, but there is some commanding brain behind them.

Getting the hang of daily blogging

Back in the swing of things. Work, diet, and exercise helped me overcome the little d depression I had over the weekend. I’m working, getting things put together. Hell, I just put ink into my fountain pen (note: not a metaphor) and hand wrote a few ideas out.

Meanwhile, the AV Club sums up my thoughts on the more violent aspects of the RNC protests succinctly:

The anarchists were a tiny minority of the people downtown on Monday. And they were about as effective at creating genuine social change or fomenting a real revolution against capitalist oligarchy as a crowd of drunken basketball fans overturning cars in the wake of an NBA championship would be.

We have a futon now, which means that I can sit next to my wife and write comfortably, rather than cringe as 12 year old springs dig into my spinal column, for that is what the couch feasts on: it must drink deep from the juice of the spine!

Craziness

I’m going to try and blog every day this month.

So, today, thanks to the internet, I was able to direct my wife away from the rioting and macing that took place in the normally sedate St. Paul. I used the Twitter feeds of some of the organizers, who were astonishingly up to the minute about the positions of the police.

Following those feeds, and the other “indie” media, then switching to the mainsteam news channels was like watching a gazelle racing a rock. I’m not talking in terms of quality: the slant of both was obvious–I’m always acutely aware that both groups are presenting me with a version of events. That I am being sold a product, and that product is not Reality.

But going from an updated-on-the-ground Twitter feed to the NBC news reporter standing, literally, above it all, and telling me in a tut-tut voice things I knew six hours ago, it’s easy to feel patronized. And I did. But beyond that, it was just the slowness of this, the sense of having it filtered that was so crystal clear in this case.

Bill is in a funk

And not the good kind, where I’m driving a 70s Cadillac and wearing wide lapels, either. Which, if I consider that the good kind, should give you some kind of idea of how I feel.

Fringe 08

This year’s Fringe was a homecoming for me. I volunteered again, something I don’t think I’ve done in, what, five years?  My duties were simple, I set up the YouTube channel (13,000 views), did the Twitter feed, and helped write the Daily Fringe. And I saw shows.

This was a fantastic Fringe. The ratio of fantastic–not just good but fantastic, stuff that makes you think that theater might just be a viable art form–to crap was high, and most of the rest I saw was at least good. Only three clunkers, but I won’t talk about them.

So, instead I’ll talk about a handful of things I really loved. This list is by no means exclusive.

The Pumpkin Pie Show: This was one I fell for heavy. Two actors telling stories, but not personal, autobiographical works; stories. Not only were the quality of the tales high, starting off in a place of normalcy (a car ride, a wedding reception) before taking off into the realms of sadness, and grotesquery, but the way that Clay Chapman and Hannah Cheek physcially inhabited the characters was astounding. I saw this show four times.

The Jamal Lullabies: I hate the fact that this didn’t play to packed houses. But they started after opening weekend and their show description gave you no idea how funny it was. The word “original” gets thrown around a lot at the Fringe, but “subtle” is a rare flower. I saw it on a lark because they opened late in the Fringe, and was rewarded by being completely sideswiped: I was expecting an urban, hip-hop driven show who’s moral I could predict and instead got beautiful choral arrangements by four women in their 20s playing teenagers who played their roles with absolute sincerity and never broke character. I wasn’t sure at first if I was supposed to laugh, which made it all the funnier.

The Cody Rivers Show: Stick to Glue: In my online review I called it “wonderfully depressing.” It’s like watching cheerleaders do the most intelligent comedy you’ve ever seen. They never stopped, and they never dumbed it down. This, combined with Boom, the one-man show by one of the Cody Rivers fellows, in which a man builds a bomb to attract butterflies, leads me to believe that we should ban the both of them from future Fringes. They’re too good.

Mortem Capiendum: Speaking of depression, I got a bit concerned through the first weekend that all the great stuff I was seeing was from Out of Towners. Fortunately, Four Humors stepped up to the plate again and knocked another one out of the park with their latest show in which a travelling medicine show goes into an unexpected pitch of curing not just “shaky hands” but death itself.

But what I was really looking forward to were the parties, and they did not disappoint. The Fringe is frequently described as summer camp for theater, but it’s more than that. I’m a bad theater artist. I rarely go to see shows, don’t socialize that much. I’m kind of a home body. But for 11 days in the summer, I can easily live the life I thought I was going to lead. Seeing shows, occassionally  doing them, and hanging out until all hours with my peers.

I miss it already.

Still Alive (not the J. Coulton Song)

Still alive. Posting will resume soon.

Out of Towners Showcase

Last night was interesting. I showed up to tape the Out of Towner’s showcase for the Fringe, only to discover my tripod didn’t have the quick-release. This isn’t a metaphor for my penis; I just couldn’t attach the videocamera to the tripod, and love the Fringe though I do, I’ll be damned if I’m going to hold a camera for two hours.

No one, of course, had a tripod and a search for gaff tape or Velcro yeilded only packing tape, and I really didn’t want to wrap that around my camera.

Fortunately, the day was saved by my birding wife, and all the obscure gear she keeps in the car. One of which was an armature for her motion sensative camera. You clamp it onto your deck, and mount a camera on it. Hurrah! I was able to attach it to a guard rail and capture, with relative steadiness, the performances. The shows with a lot of motion were a problem, but all in all I think it came out well.

Holy crap is this an awesome interview with Terri Garr

AVC: When they pitched Mr. Mom to you, did they play up the “message” angle, that you’d be playing a character who’s redefining gender roles?

TG: No! They just told me it was about a guy who does the work that a woman does, because it’s so easy. And I went, “Oh, yeah. Ha ha.” It’s so easy. All the women I know who stay home and take care of their kids, they go, “Oh yeah, this is easy.” Hmm.

Random Roles: Teri Garr | The A.V. Club

I might feel slightly sad

Music, as I say, was never a big part of my life. Except, of course, when it was; at those intersections where I began to interact with people, become part of the group, socialize. They were awkward and often embarrassing, so I thought I should share them with you.

My first year of college–my first week of college–I not only got the title role in a play (The Nerd, surprise!), but I also got an assistant editorship on the school newspaper, due to my proficiency with Macs (Thanks, High School! That totally makes up for the 1,000,000 humiliations I suffered at your hands!). I wasn’t getting laid, of course, but my extensive research into the subject* assured me that this would certainly happen during Spring Break**.

My musical diet up to that point had all been Top 40 pop singles, along with rap, once that broke with Midwestern white kids. I was certainly aware of alternative music, but as far as I got with it was a Cure greatest hits tape.

It was in the basement offices of the newspaper offices that I got my first real taste of the sonic spectrum, and if I gave you a list of what we heard, you’d probably think “Well, yeah, everybody’s heard that,” except of course I hadn’t. It was like that scene in The Jerk where Navin hears Easy Listening music for the first time***. It was there that I first encountered The Smiths, on a mix tape. This song, in fact:

I was never a big Smiths fan, though the lyrics for “How Soon Is Now?” could hardly be more biographical. I was still at the point where I had no real sense of my self-identity, who I was or what I was trying to say artistically.

This began to change when my Army unit was activated for Desert Storm, and I was confronted with the very real possibility that I could die at 19. Your own mortality is a hard concept for a teenager to swallow.

We never shipped over to Iraq, after the bombings started it suddenly became more useful to have a transportation unit in Kentucky to take stuff off of trains rather than put them on. So we stuck around Fort Campbell, KY, with a lot of time on our hands. And it was there that I met someone whom I will refer to as H.

H. was everything I was not–my polar opposite: Blonde, unafraid, artistically productive****, female, and beautiful. The fact that I was gob-smacked with her was obvious to everyone but me, who thought that I was only interested in her friendship. What an asshole I was.

We had fun. And we listened to a lot of music, mostly hers, but a few pieces of mine that I didn’t find too embarrassing; I really can’t recall how many times we listened to Pretty Hate Machine or Violent Femmes. But we listened to a lot of her music, stuff by bands that, for her, had broken through years ago, but was still undiscovered country for me: Sonic Youth, Front 2 4 2, Bauhaus, Joy Division, and, of course, The Smiths.

I get bits of songs stuck in my head, and so one day, towards the beginning of our friendship*****, as we were walking to the PX I started singing, under my breath, “I’ve come to wish you an Unhappy Birthday.” And when she looked at me, her eyes lit up when she said, “I didn’t know you listen to the Smiths!”

There is a rule in theatre auditions. Don’t mention any skill you’re not prepared to demonstrate. If you say you can tap dance, you better goddam well have a practiced routine ready. A corollary to this rule is that if you’re going to sing a song to impress a girl you don’t realize you have a major crush on, you better goddam know the words to that song.

I trailed off halfway through the first verse. I could see the light going out.

“That’s not how that goes.”

“Er, yeah, I’ve only listened to it a couple of times, actually.”

It would be a wonderful ending if she had said, “I’ll play it for you later,” or gave me a mix tape with it, wouldn’t it? But she didn’t have that song, and in fact I’m utterly positive that I haven’t listened to it until just now, when I sought it out for this entry. Which is a shame, because in the darker days ahead of me in college, I’m sure I would have found some solace in The Smiths and Morrissey, who, looking back, had a good handle on my inability to connect in a real way.

That was the spring where I realized that I had gone through my entire life letting fear make my choices. That the self-image I had of myself a guy who Saw Things Others Did Not See was shattered by the realization that I had a huge blind spot when it came to myself. It was when, months later, I had the sickening realization that H. would never be in love with me, followed by the revelation that I had been in love with her this whole time. I had a plank in my eye while I was busy pointing out the sawdust in others.

I’m not sure what I listened to when those two punches hit me, where I found comfort or escape, but it should have been The Smiths.

—-
* HBO & Showtime, weekend programming after 12:30 p.m.

** It didn’t.

*** Again, my mental landmarks are comedic, not melodic.

**** A singer, she wrote her own songs and performed with bands at college.

***** Since I was the only guy, married or unmarried, who was not aggressively trying to make her, I suppose part of my function was as a shield******.

****** I.e, “beard”