Archives for February 2004

I made it through the whole weekend without posting anything (except for two almanac entries and a couple of links, which hardly counts). And yes, I definitely had a happy birthday. Among other things, three beautiful women sang “Happy Birthday” to me at Caf

Courtesy of Byzantium’s Shores, a complete guide to taking (and faking) the Rorschach Test, including line reproductions of the actual inkblots used in the test.

What I want to know is how Mr. TMFTML interprets Plate VI.

More Lileks envy, this time inspired by his description of the slow movement of the Gershwin Concerto in F:

It’s the sort of music that used to say “New York” to people in Peoria. It has that “Chorine on the A train at 3 AM” feel – tired of being sophisticated, tired of the pose, tired of living up to its own dreams and expectations. But when the piano comes in it’s like Gershwin himself in a white suit entering an Automat painted by Edward Hopper – he pops the cigar out of his mouth and says why the long faces? This is New York, pal. Let’s go stand on the corner and watch it ramble past. Whaddya say? There’s no other city in America that can inspire these aural evocations – it’s not like anyone listens to Boston’s debut album and thinks I am so walking around Nob Hill right now. San Francisco to me is tied to the “Vertigo” score, but that’s a trick of fiction. Chicago has one song: one. It informs us that State Street is a Great Street, and we go along with the assertion because it rhymes. But all of Gershwin’s work is saturated with New York, and you know it. It’s the love that doesn’t have to say its name….

Read the whole thing here.

I’m having lunch with Cinetrix and Old Hag at a secure undisclosed location on the Upper West Side this Friday. We may sell tickets.

Sue Russell, biographer of serial killer Aileen Wuornos, writes about the inconvenient facts that got left out of Monster, the Wuornos biopic, in today’s Washington Post:

With “Monster’s” sympathetic take, Hollywood has put its boot print on a piece of history. And as Aileen’s biographer, I find the movie’s distortions disturbing. The filmmakers acknowledge upfront that “Monster” is fictionalized, that it is only “based upon” a true story. But will anyone notice this disclaimer, let alone pay attention to it? Already, most people seem not to. Reviewer upon reviewer has referred to Aileen’s saga as depicted in the movie as true.

To be sure, the hitchhiking prostitute who confessed to killing seven men in Florida in 1989-90 and was executed in 2002 was no JFK or Malcolm X, two other real-life figures whose stories were altered for the big screen. But by retooling her into a victim who began killing to fend off a rapist, “Monster” conveniently transforms her into something we can stomach far more easily than we can a woman who’s a ruthless robber and murderer. It perpetuates the comforting yet erroneous belief that women only kill when provoked by abuse. But women kill for other reasons, too, as Aileen’s real life amply demonstrated….

She was severely damaged goods and mentally flawed. Yet many have endured far worse than she. Ultimately, she was irredeemably dangerous. She killed in cold blood, cutting down men who had lives and wives and families. That’s a truth not even Hollywood should pretty up.

Read the whole thing here.

“‘To talk about music’ is a miserable paradox, and contains in four words an admission of incongruity. I remember the embarrassed feeling I had when I read Kierkegaard’s somber theological speculations on Mozart and Don Giovanni. Is Don Giovanni not just a ‘charming’ opera which has a place on the repertoire somewhere with Carmen and The Barber of Seville? Or is it something entirely different, opening up the fathomless abyss of human existence? There is a hierarchy of values, the validity of which cannot be proved by what one calls ordinary means. In this respect, as in others, the Good and the Beautiful are intimately related. To me Mozart’s quartets and Bach’s Well-tempered Clavichord are in essence much more closely akin to Saint Thomas’ Summa than to Wagner’s G

Joseph Epstein (who is not OGIC) on George Steiner:

“The question of capital punishment arising in connection with In Cold Blood, he says, ‘At least in England they don’t keep them waiting about for five or ten years.’ I point out that in the Christie case they should have and ask whether he thinks the death sentence is ever justifiable. ‘Well, there have been people on whom I can picture it being carried out. Brecht, for one. In fact I can imagine doing it to him myself. It might even have been rather enjoyable, when the time came, to have been able to say to him, “Now let’s step outside.” I’d have given him a good last meal, of course. Still, you must admire the logic of a man who lives in a Communist country, takes out Austrian citizenship, does his banking in Switzerland, and, like a gambler hedging his bets, sends for the pastor at the end in case there could be something in that, too.'”