"And maybe marlon brando
Will be there by the fire
We'll sit and talk of hollywood
And the good things there for hire
And the astrodome and the first tepee
Marlon brando, pocahontas and me
Marlon brando, pocahontas and me
Pocahontas."
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Marlon Brando dies

Marlon Brando has died at 80. The man made a lot of great films over the years. And once in a blue moon, he could make a bad film more enjoyable. His bizarre take on Dr. Moreau in the 1996 "Island of Dr. Moreau" was the only good thing in it. He most often took the serious roles, but he had a sense of humor. Check out "The Freshman," his take on his former character is perfect. Might be time to rent some flicks this holiday weekend.

Girl: What're you rebelling against, Johnny?
Johnny: Whaddya got?

The Mumpsimus interviews Alan DeNiro

The Mumpsimus interviews Alan DeNiro. It's the second interview that Matthew Cheney has done and it's excellent. They have a good discussion on zines, poetry and "difficult" fiction. Lots of good stuff. Cheney has also said he's looking to talk with M. Rickert. The interviews are great, Matthew, keep 'em coming!

Salon runs "Perfect Circle" excerpts

Salon is printing excerpts from Sean Stewart's "Perfect Circle" starting today. I don't know anything about the book, although it comes from a well respected small press publisher and at least one other person has recommended it. Here's the first paragraph:

I woke up sweaty and shaking. Tense. I had been dreaming about ghost roads again. This one was leaving an apartment complex swimming pool, and there was a little girl walking down it. She was looking back over her shoulder at me, eyes solemn behind a cheap kid's snorkeling mask, and wearing pool flippers; slow dreamy duck-steps, a trail of wet inhuman footprints disappearing into the dim black and white houses, the humming silence.

Living dead presidents

The influence of zombies on American politics has been revealed.

Dream machine at a store near you

A new device in Japan can help you control your dreams.

Placed near the bedside, the dream-maker emits a special white light, relaxing music and a fragrance to help the person nod off.
Several hours later, it plays back the recorded word prompts, timed to coincide with the part of the sleep cycle when dreams most often occur. It then helps coax the sleeper gently out of sleep with more light and music so that the dreams are not forgotten.
The device, which will sell for $136 in Japan starting late August, targets sleep-deprived businessmen, a company official said.

Of course, there have been other types of dream machines available for years. Results may differ however.

Hello middle ages!

The FDA has approved leeches to be sold as "medical devices."

For many people, leaches conjure up the image of Humphrey Bogart removing the bloodsuckers from his legs in African Queen, but FDA reports that leeches can help heal skin grafts by removing blood pooled under the graft and restore blood circulation in blocked veins by removing pooled blood.
Indeed the use of leeches to draw blood goes back thousands of years. They were widely used as an alternative treatment to bloodletting and amputation for several thousand years. Leeches reached their height of medicinal use in the mid-1800s.

By the way, isn't the "African Queen" a rather old reference to use? I love the movie, but the first thing that comes to my mind when leeches are mentioned is the scene in "Stand By Me." Generation gap?

Snakehead is here to stay.
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"Zen" and the art of reviewing

This Salon article about "Zen Arcade" pisses me off. I have no problem with people praising the Husker Du album, it is great. But this article is a little much. There's a lot of pointless noise and stretched out nonsense in the album. I'm sure it marks a particularly important moment in hardcore music, but 20 years later, it can be a little boring to listen to. It does have its classic moments (I'm not sure Husker Du wrote a better song than "Turn on the News"), but the reviewer should ease off on the hyperbole.
Also there's this:

This is the album Nirvana and Pearl Jam only wish they could have made: intelligent, clamorous, and hashing out more torment and passion in four sides than all the grungers and headbangers since -- all without a hint of heavy-metal pretension.

Why is it that everytime someone wants to praise something as a classic, they have to shoot down the latecomers? Nirvana made two great albums, both of which I think are better than "Zen Arcade." (I'm not going to defend Pearl Jam, let their fans do that.)
And then, what's this about "heavy metal pretension"? As if there is no pretension in a double album that goes on about spiritual seeking and includes a song called "Hare Krishna." Believe me, "Zen Arcade" has pretensions all its own.
Can somebody please write an appraisal of "Zen Arcade" that's realistic and doesn't take cheap shots at later bands or heavy metal? I would appreciate it.

Here's the latest image of Godzilla from "Godzilla: Final Wars." The picture is courtesy of Monster Zero. 

Jeff VanderMeer and The Mumpsimus

Matthew Cheney of The Mumpsimus has done an interview with Jeff VanderMeer for SF Site. Definitely worth checking out.

NPR : Too hip for its own good

According to NPR's Ombudsman their music reviews are too hip. I'll wait for you to stop laughing.
Alright. The ombudsman claims that the reviews are incomprehensible and he uses these quotes to illustrate his point:

A review of the band Wilco on All Things Considered on June 21:

These extended explorations and others, like the five minutes of abrasive dental-drill feedback drone near the end of the disc, give Wilco's music an entirely new dimension. The guitar isn't here to make things pretty. Tweedy uses savage, wild lunges to punctuate the verses and sometimes to inject a little danger into otherwise lovely songs.

Yeah, "dental-drill feedback," that must be really hard to understand. Maybe it should have been edited to "shrill, piercing noise."

A review of the band The Magnetic Fields from All Things Considered on June 9:

The songs themselves are the draw. They're disciplined little gems of composition, poison-pen letters set in the first person and caustic, coffee-shop observations propelled by not particularly heroic desires. The best of them tell about being deluded in love or not being able to let go of an old flame. And even under Merritt's dour storm clouds, they gleam.

I'm completely mystified on this one. What is hard to understand here? Maybe "coffee-shop observations propelled by not particularly heroic desires" is a little silly, but it sure isn't hard to understand.

A review of an album by Morrissey on All Things Considered on June 4:

Morrissey has always seemed to be a walking paradox, both playful and morose, ambiguously asexual, political but hopelessly self-involved, which is why You Are the Quarry is still a classic Morrissey album. Songs like "All the Lazy Dykes" and "The World Is Full of Crashing Bores" serve up such themes in spades. But his usual inclination towards detachment ends there. And the new Morrissey, the older Morrissey, the wiser Morrissey, the Morrissey of this moment is unafraid to show a more personal side, venting his soul with songs like "Irish Blood, English Heart" about his withering sense of nationalism and, of course, the starkly brave and confessional accusation of Christianity entitled "I Have Forgiven Jesus."

Again what am I missing here? I'm not saying I agree with any of these reviews, but what is so hard to understand? After reading "the starkly brave and confessional accusation of Christianity" I know exactly what the song, called "I Have Forgiven Jesus" for godsakes, is about and know I don't care. Isn't that what the review should tell me?
All right, maybe some of this language is in rock-crit-ese, but none of it was inscrutable.
So what does our NPR ombudsman give as the alternative?

Ulaby's interview with Timbaland was about how he found inspiration in the Tolkien novels, The Lord of the Rings. It seemed an unusual combination, but Ulaby made Timbaland more comprehensible and his music more accessible.

This was good cultural journalism: It introduced me to an artist I didn't know. It told me why he is important and why he is an artist. I may not run out to buy his CD, but at least I can make an informed choice.

Well good. But he's not comparing same to same here. He's comparing record reviews to an interview with an artist. An interview can go more in depth on what an artist hopes to achieve and why he uses the sounds he does. A review takes what's in front of the reviewer and describes why he or she thinks it's good or bad. It's not an introduction, it's advice.
Sounds like he's upset that rock music isn't reviewed the way classical music is. In classicial music, you can say "this E note coming in during this cluster of notes brings a feeling of" blah blah blah. Nobody in rock cares about E notes or C notes or notes at all. How would a classical person describe five minutes of dental-drill feedback? He wouldn't. It may hit a certain note, but that would miss the point.
It's funny, because I always thought NPR reviews overexplained rock music. Maybe NPR should just leave out the rock reviews and go back to classical. A younger crowd isn't listening to NPR for their record reviews anyway.

UPDATE: I am always so pleased when smart people agree with me. Terry Teachout and Greg Sandow have written blog entries that take issue with the ombudsman's critique as well. Sandow also makes a good point about the whole situation:

That said, there's still a problem. How are music reviewers supposed to talk, when even things they say in simple language seem -- at least to some people -- to come from another planet? If they stop to explain the most basic concepts ("Wilco's latest album may seem to be full of horrible noise, but there's a reason for that"), they'll sound ridiculous to the many people who do know the music. ("The Beethoven symphony that the Philharmonic played last night is very long, but that's how classical pieces are.") One thing this shows is that music, in spite of all the sentimental talk about it, is anything but a universal language. Instead, it seems to divide us -- to mark subcultural boundaries -- far more than it unites us.

Fictionalized animation history

Terry Teachout notes how Who Framed Roger Rabbit made him look back at animated films and consider why they might be important. That entry got me thinking about Kim Deitch's "The Boulevard of Broken Dreams," which is a graphic novel about the early days of animation and how some of the animators were crushed in the process. It's very good and I think Teachout (and just about everyone else) would enjoy it. I learned about the book after Jeffrey Ford did an interview with Deitch at Fantastic Metropolis.

More books on music

There's a whole new set of those 33 1/3 books coming out, including Elvis Costello's Armed Forces by Franklin Bruno, the Replacements' Let It Be by Colin Meloy, and The Beatles' Let It Be by Steve Matteo, as well as a bunch more.
I had mixed reviews for the first two I read, but it's an interesting enough idea that I may pick up some of the new ones if I see them at the bookstore.

Jeffrey Ford in Locus

Jeffrey Ford will be the lead interview in the next issue of Locus. LocusOnline sometimes does interview excerpts, so keep a watch out. (It's a great site anyway; they keep up with the latest genre fiction news.) I'll be rushing out to my bookstore next week to find the magazine on the shelves. Meanwhile, The Mumpsimus has put together a few hot links to Ford interviews while you're waiting for the issue. (Also a previous entry of my own includes many Ford things to tide you over. And I'm still looking for anyone who might be interested in a free hardcover copy of The Portrait of Mrs. Charbuque.)

Excellent new blog: Tingle Alley

Tingle Alley is a new blog by a Maud Newton guest blogger. It's terrific. It's already made it to my everyday check list. Today she has outdone herself. She responds forcefully to a New York Times Book Review essay. The second entry is a look at the questions an apprentice writer must face.

I write this to help me remember it. Because for the past year I’ve suffered more doubt and insecurity than ever before about my writing. Enough unhappiness that it’s seemed worthwhile to ask myself, “Why not just stop?” Why have what amounts to basically a glorified hobby (no one pays me to write fiction) that makes you so miserable? And guilty. And hunch-backed. Why not just be happy with the good husband and the satisfactory job in plumbing supplies, and with friends and family and trying to be a good person in the world? Why not just read the books other people write? Why not choose to be content?
It occurs to me that there are two kinds of misery you can encounter as a writer: The misery of apprenticeship — basically, the frustrations and humiliations involved in learning how to do your craft well — and the misery of why bother with it at all.

Check out Tingle Alley, there's lots of good stuff there.

Godzilla tramples New York

In August, the Film Forum in New York will host two weeks of Godzilla films (scroll down). The festival includes Gojira, Destroy All Monsters, Mothra, Godzilla Mothra Mechagodzilla: Tokyo S.O.S. and many more. I have to find a way to get to these.

Sweeney Todd coming to a theater near you

Apparently Sam Mendes, the director of American Beauty and Road to Perdition, will be directing a movie version of the musical Sweeney Todd that is scheduled for release in 2005. I didn't think much of American Beauty, but it was well directed. I love the Stephen Sondheim musical, I only hope Mendes does a good job.

The Sound of Shatner

Ben Folds is working on a major new William Shatner release that will include the likes of Henry Rollins, Aimee Mann, Joe Jackson and a song written by Nick Hornby.

"It is a great record and it is really worth going out and doing some shows in major cities," Folds told Billboard.com. "(Shatner) is not a musician at all -- he's not rapping or singing -- but he is still part of the music. I've never heard a record quite like it."

A true classic in the making. I can't wait to see the tour. (Thanks to Charles for the heads up.)

Annoying ad

I noticed when I went to IMDB, the most annoying ad in the world came up. Every time I found a new movie, these two giant metal arms would appear on the screen and shake my browser for 10 seconds or so. It would be followed by an ad for I, Robot (I refuse to link to it, both because of the ad and because it looks like it will be a travesty.) Why do advertisers do this? Don't they know it just annoys the hell out of us? There should be some reforms in Internet advertising. It's not getting them anywhere.