“Once in Nathal I ask myself what I am doing here, and I ask myself the same question when I arrive in Vienna. Basically, like nine tenths of humanity, I always want to be somewhere else, in the place I have just fled from. In recent years, this condition has, if anything, become worse: I go to and from Vienna at diminishing intervals, and from Nathal I will often to to some other big city, to Venice or Rome and back, or to Prague and back. The truth is that I am happy only when I am sitting in the car, between the place I have just left and the place I am driving to. I am happy only when I am traveling; when I arrive, no matter where, I am suddenly the unhappiest person imaginable. Basically I am one of those people who cannot bear to be anywhere and are happy only between places.”
Bernhard, Thomas, Wittgenstein’s Nephew
Here’s an archive of Siskel and Ebert’s Sneak Previews show at IMDB
I’ve checked out a few of the early ones. Your mileage may vary. Good stuff though.
It is a difficult matter to make the most of any given place, and we have much in our own power. Things looked at patiently from one side after another generally end by showing a side that is beautiful. A few months ago some words were said in the Portfolio as to an “austere regimen in scenery”; and such a discipline was then recommended as “healthful and strengthening to the taste.” That is the text, so to speak, of the present essay. This discipline in scenery, it must be understood, is something more than a mere walk before breakfast to whet the appetite. For when we are put down in some unsightly neighborhood, and especially if we have come to be more or less dependent on what we see, we must set ourselves to hunt out beautiful things with all the ardour and patience of a botanist after a rare plant. Day by day we perfect ourselves in the art of seeing nature more favourably. We learn to live with her, as people learn to live with fretful or violent spouses: to dwell lovingly on what is good, and shut our eyes against all that is bleak or inharmonious. We learn, also, to come to each place in the right spirit. The traveller, as Brantôme quaintly tells us, “fait des discours en soi pour se soutenir en chemin“; and into these discourses he weaves something out of all that he sees and suffers by the way; they take their tone greatly from the varying character of the scene; a sharp ascent brings different thoughts from a level road; and the man’s fancies grow lighter as he comes out of the wood into a clearing. Nor does the scenery any more affect the thoughts than the thoughts affect the scenery. We see places through our humours as though differently colored glasses. We are ourselves a term in the equation, a note of the chord, and make discord or harmony almost at will. There is no fear for the result, if we can but surrender ourselves sufficiently to the country that surrounds and follows us, so that we are ever thinking suitable thoughts or telling ourselves some suitable sort of story as we go. We become thus, in some sense, a centre of beauty; we are provocative of beauty, much as a gentle and sincere character is provocative of sincerity and gentleness in others.
ESSAYS OF ROBERT LOUIS STEVENSON
SELECTED AND EDITED WITH AN INTRODUCTION AND NOTES BY WILLIAM LYON PHELPS, project gutenberg
1 to change the lightbulb, 9 to build the libraries.
MEAT PUPPETS: Monsters (SST) Supposedly a combination of their two 1988 albums (a mirage omelet, thanks a lot), this is really the guitar-god record Curt Kirkwood always had in him–on all but a couple of cuts the arena-rock bottom that’s an interview fantasy for those who haven’t caught them on a ZZ Top night powers his chunky riffs and psychedelic axemanship. What’ll keep them from turning into plutonium is the utterly unmacho vocals, brother harmonies making even “Party Till the World Obeys” and the one that begins “Tie me up/Get it right” seem like critiques of power, which is what they are–psychedelic in the nicest way yet again. A MINUS
MEKONS: Rock ‘n’ Roll (A&M) If you love rock and roll (which is possible even if you slum the spelling with apostrophes), but don’t think Rock and Roll (much less Rock ‘n’ Roll) a propitious title right now, you could love this album, which takes their love-hate relationship with America to the bank. Musically, it’s rock and roll despite the fiddles sawing louder than ever, almost as Clashlike as the promo claims, with Steve Goulding bashing away louder than ever too. Lyrically, in great song after great song, rock and roll is devil’s-breath perfume, capitalism’s “favourite boy child,” a commodity like sex, a log to throw on the fire, a “shining path back to reconquer Americay.” Are they implicated? Of course. Do they love it? Yes and no. A
EDDIE MURPHY: So Happy (Columbia) The failure of this wicked Prince rip to scale the charts reminds us once again how difficult it is for defiant outsiders to fracture pop stereotypes. Murphy will never be El DeBarge, but he’s perfect for cartoon funk, and over the years his wheedling croon has gotten serious. Maybe the problem is that his sexual urges still don’t emanate from very deep inside. Often, in fact, they’re inspired by his bathroom reading–he’s big on locations, spends an entire song convincing her to do it in a chair. Inspirational Dialogue: She: “Are you close?” He: “If I get any closer I be behind you.” B PLUS
PIXIES: Doolittle (4AD/Elektra) They’re in love and they don’t know why–with rock and roll, which is heartening in a time when so many college dropouts have lost touch with the verities. You can tell from the bruising riffs, the rousing choruses, the cute little bass melodies, the solid if changeable beat. But not from any words they sing. They’ll improve in direct relation to their improved contact with the outside world. Getting famous too fast could ruin them. B PLUS
The Raft of the Medusa is an oil painting of 1818–19 by the French Romantic painter and lithographer Théodore Géricault. Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm (16′ 1″ × 23′ 6″), it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today’s Mauritania on 2 July 1816. On 5 July 1816, at least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practised cannibalism. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain.
Géricault chose to depict this event in order to launch his career with a large-scale uncommissioned work on a subject that had already generated great public interest. The event fascinated him, and before he began work on the final painting, he undertook extensive research and produced many preparatory sketches. He interviewed two of the survivors and constructed a detailed scale model of the raft. He visited hospitals and morgues where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As he had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his international reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting.
My take on King Arthur Flour’s – SOFT AND CHEWY OATMEAL-RAISIN COOKIES
1/2 cup butter (1 stick)
1/4 cup granulated sugar
1/2 cup brown sugar
1 teaspoon ground cinnamon
1/2 teaspoon salt
1/2 teaspoon baking soda
1 teaspoon vanilla extract
3 tablespoons honey
3/4 cup flour
1 1/2 cups oats
1 1/2 cups raisins
Mix. Bake in oven at 375 for 10 minutes.
Pro tips –
* let butter get to room temp first
* after mixing, refrigerate some then shape into cookies
* I think the honey is the secret ingredient for chewy-ness
Classic Films Every Wed at 2pm & 7pm
at the Mayan Theatre!
May 8 – June 26
Check it out at Landmark/Denver site