Signal Watch Reads: The Ocean at the End of the Lane (by Neil Gaiman, 2013)

I wound up finishing my book I planned to read to and from Boston (note - last night's post on Firebreak) and decided that rather than read the trade paperback I had in my bag, I'd pick up another book at the airport.

I don't know why, exactly, but after a few minutes of perusing the shelves, I was absolutely certain I wanted to read a Neil Gaiman book I hadn't yet read, of which there are plenty, and so I found the one Neil Gaiman book they had on the shelf, bought it, and started it at the gate and finished it by the time we were touching down, with at least a half hour of airplane-nap tucked in there.  So I can tell you - it is possible to read this book between Boston and Austin in a single flight.

The book in question was Gaiman's 2013 novel The Ocean at the End of the Lane, which I believe had won a few awards and was (or is) a best-seller.

Signal Watch Reads: Firebreak - a Parker Novel (by Richard Stark)

While I'm glad that Stark came back to try Parker again in the 90's, and then, with this novel released around 2001 (and a few more afterward), there's no question that the tone had changed.  The first two books back were nearly comedies.  Firebreak (2001), has moments of delving back into the Parker of The Green Eagle Score, and, especially, The Sour Lemon Score, but Stark was no longer able to tap into near nihilism that drove the first third of the series again until Slayground and Butcher's Moon.

Here, you can feel Stark doing some hand waving as he deals with the fact that the world of heists has changed since Parker was pulling armored car heists and knocking over rare coin shows.  By 2000, security systems were everywhere, surveillance was commonplace, and the internet was still called "The Information Superhighway" by dopey newscasters.

Stark wants to deal with these modern touches, but when he does, it's half-satisfying.  Every once in a while he states how something works, and you want to say "well, no...  Not even in 2001.".  And he's saddled the heisters with a character he's concocted to bridge the books into this new age of technology (which was already well underway when this book was released).

I'm Going to Harvard!

For a two day conference that starts Monday morning.

Just, you know, something that is happening.

Musical Watch: Show Boat (1951)

Show Boat (1951) is one of those movies you see classic movie buffs referencing a lot, but which I'd never seen and didn't know anything about.  Except that it stars Ava Gardner (bonus!) who doesn't do her own singing (...yeah...).

It is, indeed, about a big paddle-wheel steamer on the Mississippi that acts as stage and home to a troop of river-bound performers in a sort of vaudeville show, and the story of the Hawks family that runs the show.

Familiar faces include the aforementioned Ava Gardner, Agnes Moorehead playing a tightly wound matronly figure (shocking, I know), Joe E. Brown as the ship's owner and stage producer, and Kathryn Grayson as the daughter of Moorehead and Brown, who wants to be a performer herself.

This Week's Tragedy in Dallas and Beyond

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As a record of what occurred this week -

Alton Sterling, an African American man, was killed in Baton Rouge, Louisiana by two police officers during an arrest.  Witnesses and video of the incident indicate that the police were unwarranted in the shooting, that Sterling was upset but not able to resist - and the video definitely shows an immobile Sterling shot at point blank range by the officers.

In Minnesota, Philandro Castile, another African American man, was shot and killed by a police officers while reaching for identification while seated in his car with his girlfriend and a 4 year old child.  Castile's girlfriend live-streamed the video of what occurred to Facebook.  The video is available on YouTube and other locations as of this writing.

Thursday, 7/7, peaceful protests were scheduled in most major population centers, part of what has become known as #blacklivesmatter, a movement intended to draw attention to the unjustly assumed guilt,lives lost to police bullets, and the situation of African Americans in the United States in regards to overly violent responses of police especially in cases involving Black men and women.  

On Thursday evening, as the protest march drew to a close in Dallas, Texas around 8:45 P.M., a sniper began firing from the rooftops, striking 11 officers and killing five.  In the chaos, no civilians were injured, one man was briefly mistaken as a suspect and then cleared, and three wound up in custody and the/ a gunman was killed by police in the early morning hours of 7/8.

The sniper was targeting white officers, and details are still coming out about his background (but less, so far, about the three others held in custody).

To add to the confusion, the police used a remote controlled robotic device mounted with a bomb to approach and kill the gunman and bring the threat to a definite conclusion.

In short, it's been an awful week.

MST3K Watch: Bride of the Monster (1955) (MST3K episode 1993)

I've seen this movie a few times thanks to the power of MST3K.  And if you're ever curious to see one of the movies covered in the Tim Burton film Ed Wood, I strongly recommend this one.

But I am not spending time writing up this movie.  We all have lives.

Musical Watch: Oklahoma!

The first time I saw Oklahoma! (1955) was in Spring of 1994.  I was sitting on my bed/ couch (it's hard to explain, but anyone who ever lived in Jester at UT understands), when my roommate, Peabo, burst in through the door.

"Oklahoma! is on TV!  Right now!"

"Y'okay."

And we turned it on and watched the whole thing, complete with commercial breaks.

I don't know that I saw it again for a few years, but I saw a rendition of the stage play at the Paramount in Austin circa 2000, and we own the DVD and have seen it at least twice.  

Jamie's actually from Oklahoma (the state, not the musical), and her mom was a big fan of the show, so when Jamie arrived, part of the package was a baked-in enthusiasm for the music from the Rodgers & Hammerstein production.  

Tuesday night Jamie and I hit The Paramount Film Series for the first time this summer (along with Cousin Sue) to see the movie on the big screen.

Whether you've seen Oklahoma! or not, it's a bit like Westside Story or other big musicals - you've heard the big hits whether you know that's where they came from or not.  And in the case of Oklahoma!, the big hits are nigh every song in the show.  So, even as bits in a commercial or co-opted elsewhere, you've heard 'em.  The album has been a #1 record in both the US and the UK (circa 1957), certified multi-platinum and is consistently in production.  If you don't know the music, I assure you - your parents do.

A lot of it's pretty damn catchy.

What's weirdest to me about Oklahoma! is the utter disparity between the sunshiney image of the movie - complete with upbeat music, sweetly naive bumpkin characters, hokey imagery - and the really pretty dark story at the middle of the play, as well as some pretty adult content.  In short, you absolutely could not perform this play in a middle school without a lot of cutting.

Ann Miller Watch: On the Town (1949)

I watched On the Town (1949) just last year at The State Theater downtown, so there was no good reason to watch the movie again.  But, Ann Miller.  Sometimes these things happen.

Here's my write up from last time.

best not to think on it too much

Marvel Watch: Iron Man III (2013)

In some ways, all I want to write about here is how much I like Gwyneth Paltrow in movies and how at odds that is with what little I know about her from what we all get to hear about her real life.  Pepper Potts I want to hang with.  But Paltrow?  It's hard to say.

When I went to see Iron Man III (2013), I was laboring under the misconception it was about Pepper Potts as much as it would be about Tony Stark, but, alas, that was not to be.  It was just a few moments that they chose to use in the trailers.

While I really like all three Iron Man movies, gigantic flaws and plotholes and all (and Iron Man 2 has plotholes you could navigate in a steamliner), there's just no comparing what goes down in this movie - scale-wise - with, really, any of the Captain America movies or even Thor.  Or Guardians of the Galaxy.  It's a personal story for Tony, and that focus gives it a certain sense of a 90's actioner to it except in two or three big-scale sequences (like saving everyone who fell out of an airplane).  The consequences of the story seem entirely tied to Tony, and that makes the movie all the more personal while also really making it seem consequence-free in a lot of ways that, say, The Winter Soldier felt like it mattered to everyone on Earth.

Jungle Watch: The Legend of Tarzan (2016)

In some ways it's a goddamn crime that the version of Tarzan that Millennials grew up with was saddled with Phil Collins music and Rosie O'Donnell's voice blasting like an air-horn throughout.  I recently tried to re-watch the Disney version of Tarzan, and for all the technical achievements of the film, that "let's do things tied entirely to what's popular in the moment", upon reconsideration, makes the film a grating mess.

I guess Gen X may have been the last generation to be given Tarzan to enjoy in steady doses.  I remember watching black and white Tarzan on TV as a kid, and I have to assume it was Johnny Weissmuller and Maureen O'Sullivan with Cheeta.  It's also possible we were watching later movies, the 1960's TV series...   Who knows? Tarzan has known a lot of incarnations in film and television, including maybe the version that really informed me most about Tarzan, the 1970's-era cartoon show.

Before the release of 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, Marvel put out a Tarzan magazine comic which covered the first half of the first Tarzan novel.

And this was really what informed me as to the more detailed version of Tarzan's origin.

Like a lot of kids, we played "Tarzan", even if I can't really recall what that meant other than climbing whatever we could get a grip on around the yard and imagining we'd made friends and foes of the 10 or so jungle animals we could name.  But being able to talk to monkeys and lions seemed like a pretty good deal to us.  The 70's and 80's were still safely within the 20th Century, and the notion of High Adventure was still very much a marketable commodity at the time, across nearly all genres, and Tarzan was right at the center of that.

I finally watched the original Johnny Weissmuller movie and read the actual Edgar Rice Burroughs novel of Tarzan of the Apes just last year.  The book is a book of its time, as is the movie, and both have their place in history.  While the prose of the novel may be purple and many ideas in the book would now seem dated, the story still holds as an adventure and romance.  And if we're looking for our own cultural DNA, both Tarzan and ERB's John Carter are vital to understanding what was to come with superheroes and superhumans in fiction and popular culture, and - of course - that's now escalated to culture writ large with fifth generation offspring of Burroughs' creations throwing shields in billion dollar movies.

All that to say, I was a bit pre-disposed to want to see a new Tarzan movie, and, yet, I've seen very, very few of them to date.  Not even Greystoke, which I am told again and again is not worth seeing.