If you see me on the news, it's going to be because I followed my lesser angels

So, a while back I scheduled myself to be at a conference at the University of Houston.  It's a small, local conference and important to my professional community.

And, ha ha, that is the same campus at the same time where the Republican Party has scheduled it's next debate.  That's right.  As I'm eating the most-food like substance librarian money can buy and talking about the excitement of Thesis and Dissertation workflow over a glass of iced tea, somewhere on that same campus, Trump, Rubio and Cruz will be hollering at each other.

It's gonna be a disaster.

I was working at Arizona State University when President Bush and Senator Kerry had a debate on campus, and it was one of the worst days at that job.  And that was a job where I pulled all-nighters and 100 hour weeks.  Basically, it was super loud and crazy on campus, and I failed to leave early (because I was working.  Like a chump.) and it took me two hours to get home as a post 9-11 Secret Service thought it wise to shut down all the useful roads.

So, we'll see what's up.  Could be fine, but I'm staying at a hotel on campus that I assume will be filled with press and party faithful, so, if I get no sleep Wednesday or Thursday night, I blame the free-wheeling ways of an overly-excited bunch of political conservatives loaded up on Pixie Sticks and too many sodas.

Basically, I'm saying - I may go dark for a few days.  Unless, of course, I see a news camera.  In which case - LOOK FOR ME.  Then, send bail.  Because I have a LOT to say about this election cycle.  Also: workflow for theses and dissertations.

Caine Watch: The Italian Job (1969)

Sunday evening, our own SimonUK - who moonlights as a server at The Alamo Drafthouse near my house - was given the opportunity to take it up a notch with their "Staff Presents" program, wherein a member of the staff not usually in programming selects a movie and the Alamo shows it.

You like movies.  I like movies.  We all like movies.  Simon LOVES movies.  He lives amongst piles of them and may well have underwear made of celluloid taped into a rough briefs shape.  I don't know.  And, no matter how many movies you think you've seen, Simon has seen more.  During the Alamo pre-shows when they're showing clips of deep-cut obscure 1970's horror flicks, Simon has seen them all.

Simon is from some far-flung part of England I can never remember, so he had access to movies we really didn't in the U.S., and he's seen a goodly chunk of American movies we all watched growing up, too.  Every once in a while I'm surprised he hasn't seen something from a typical American kid of the 1980's heyday, but not all that often.  He's been responsible for me seeing a lot of flat out great stuff the past several years, gotten me out of the house for Planet of the Apes marathons, etc...  and for all that and more, and making me eat a Full English Breakfast only once, I am forever in his debt.

So, while I had previously seen The Italian Job (1969), when I heard he was showing and introducing the movie, I couldn't not go.  Plus, I really like the movie.  It's good, cheery fun and a great heist pic.  Plus: Michael Caine.

Parker Watch: The Outfit (1973)

I've seen a few adaptations of the Richard Stark-penned series of crime novels starring heist-man, Parker.  Point Blank (great), Payback (not so great), Parker (really not so great).   Maybe another one or two.  But The Outfit (1973) was maybe the closest to an actual Parker book in spirit and execution.  I won't dwell on the differences, because they're many, but the movie does use scenes from the book in whole and in part (it's been a while since I read the early Parker books, and I think they pulled a scene or two from other Parker books, but I may be wrong).

The movie captures a lot about the world of Parker.  It's a lot of backroads, hiding or waiting in cheap motel rooms, the people you try to work with are unreliable and dangerous, and the people who are the closest thing to something you'd call "friend" tend to wind up dead, in prison or both.

I really didn't know much about the movie before SimonUK brought it over Sunday morning for a view, other than that it starred Robert Duvall in the Parker role - here named "Macklin" (author Richard Stark wouldn't let films use the name "Parker" - I suppose until they made a straight adaptation).  The film co-stars Karen Black and Joe Don F'ing Baker.

Bond Watch: You Only Live Twice (1967)

We give You Only Live Twice (1967) the most prized of all Signal Watch awards: The Stefon (the award for the movie that has EVERYTHING).

After the frantic shenanigans of Goldfinger, producers Albert R. Broccoli and Harry Saltzman clearly believed they were in some sort of race against The Devil who would consume their souls if they did not keep making bigger and crazier James Bond films.  Thunderball went all over the place, winding up in a massive underwater battle and then out of control hydrofoil battle.

You Only Live Twice has:

Harper Lee Merges With The Infinite

According to The New York Times, author Harper Lee has merged with The Infinite.

Of all the books I read in K-12 as assigned reading, To Kill a Mockingbird one of only two I picked up again and again after the assignments were over and done (the other being Fahrenheit 451).

The book is so profoundly and stunningly... American.  But, I assume, also universal.  And as important as it is, in general, its also so, so important to share with young people as they move from childhood onto the path to adulthood.

But I don't need to tell you about the book, or its impact.  Heck, it's written above the title in the image of the cover I've posted above.  And, it's assigned reading in every school district in the US, I assume.

For all the work so many authors put out there, it's fascinating to know Harper Lee released her one novel and then retreated, only releasing new material in the last year, and under shady circumstances.  And, yes, I have chosen not to read the other book, which i do not believe she would have intended to release while alive.

Geoff Johns Offers Vision of DCU "Rebirth" Didio will @#$% Up Before Issue 1

New day.  Same company.

DC Comics, in a sales death spiral, continues to not fire the people making the same terrible decisions they've been making for well over a decade.  On Thursday, DC Comics released a video of famed comics writer and live-action area liaison, Geoff Johns talking the mysterious "Rebirth" event hinted at by DC Comics Publisher Dan Didio via an obnoxious image released via twitter a couple of weeks ago.

this isn't even no data, this is negative data

This week is a sort of comics retailers meeting in Portland, OR, and DC has to say something to make retailers think the shoddy output and related plummeting sales of their company currently running comic shops right into the ground is due for am upturn.  Knowing that Dan Didio has about the same level of credibility as the Sham-Wow guy (and Jim Lee is, let's be honest, not great at this sort of thing), at least for the public face they put good ol' Geoff Johns out there in front with a video and some announcements about new price points, new #1's and a return to the numbering on Detective and Action Comics.

Nothing to blog upon, so...

Disney Watch: Snow White and the Seven Dwarfs (1937)

On Nathaniel Capp's recommendation, I'm currently reading Walt Disney: Triumph of the Imagination, a Disney biography from a couple of years ago (and, spoiler: it's fantastic).  Naturally, part of reading the book is the reminder it is that I haven't seen a bunch of Disney films and cartoons in years and years.

The last time I remember seeing Snow White and the Seven Dwarves (1937) was during a theatrical run in summer of 1993 when I was working at The Disney Store and we were semi-required to go see the animated films so we could talk to customers about them.  Don't worry, they paid us to do so.  Terrific perk, and I would have been going, anyway.  And while it's likely I've seen it since then, it had to have been on VHS, to date the last screening I took in.

You guys can be cynical and weird about Disney's feature films, but I only feel that way about certain eras of their movies, and even then - not entirely.

But it all started, first, with a mouse.  And then with Snow White.

President's Day: Warren Gamaliel Harding, America's 29th President

Ol' Number 29

I've been trying to use President's Day to spend some time at least Wikipedia-ing the non-All Star Presidents of the United States.  As in any period, the pool of folks in play trying to be President and who actually win out (and what they do when in office) can tell us a lot about the times in which they lived.  So, with the batch of cartoon characters we've currently got gunning for Leader of the Free World, I really look forward to books written about this era, which will be called America's "WTF? Era".

In the wake of World War I and the iffy conclusion of the Woodrow Wilson presidency,* an unlikely Republican took the nomination on the 10th ballot of the GOP convention in the summer of 1920.  back then, party folks showed up at a real convention and really placed ballots.  The convention was not a televised advertisement.  A lot of dirty laundry got aired and political fortunes were won and lost overnight, and if I could reduce the election cycle to four months, I would gladly opt for the old-style form of corrupt politics over today's corrupt politics.

Once selected, Warren G. stayed home and ran a "front porch campaign", something I think 99% of America would fully back if it would mean the news cycle would stop shouting at us.

Coen Bros. Watch: Hail, Caesar! (2016)

As I said to Jamie when we left the movie "Normally I get annoyed when it's clear the filmmakers expect you to watch the movie more than once to 'get it'."  It's a ridiculous value proposition.  And I am not talking about returning to a mystery movie once you've seen how it all plays out so you can see the pieces working together before the big reveal.  I'm referring to a brand of filmmaking that works extra hard to show how damn smart they are that they forget to tell a compelling story and instead leave a breadcrumb trail for a message that, ultimately, you wonder why they felt they needed to make it so complex you needed a Lil' Oprhan Annie Decoder Ring to decipher it, and it still wound up being "Drink your Ovaltine."

But complexity in messaging has always been the case with the Coen Bros., going especially back to Barton Fink and playing out in even some of their most commercially viable films.  There's always a Mike Yanagita scene, a curve ball leaving you with more questions than answers or at least begging to make you look deeper, and, if you sort it out, it unlocks the picture.   After all, the Coen Bros. do not make mistakes.  They do not do extraneous.  That scene is saying something.

Now, I have my ideas about what the final scene means in Barton Fink, but I would always, always be willing to hear someone else explain it to me, because as much as I like that movie and like what it has to say about the assumptions and pretensions of the creative person, I can't quite nail that last scene on the beach.  I have my ideas, but I am willing to be convinced otherwise.

Sometimes I have a lot of patience for what the Coen Bros. are up to (Inside Llewyn Davis), and sometimes I don't (The Man Who Wasn't There).  And, frankly, while I enjoyed The Big Lebowski's screwball atmosphere the first time I saw it, it was the second time I watched it that the pieces fell in place and I felt like I actually "got it".  Which, of course, makes me want to re-watch The Man Who Wasn't There despite the fact I can't really seem to find it.  Maybe I forgive them because it doesn't feel so much like pretension as a solid movie they're putting out there, one where they offer everything up, and you can try to keep up.  And it's okay to have that nagging feeling that maybe you just saw something that you didn't entirely get on the first round.  With them, I really don't mind giving it another shot.

Hail, Caesar! (2016) was marketed as a sort of slapsticky comedy, something the Coens certainly did back in the Raising Arizona days and which they embraced mightily in The Hudsucker Proxy (a movie I will defend with punches, if necessary), riffing on post WWII-era Hollywood and the innate charm, goofiness and endless scandal that were part of the era.

But this is not that movie.