Just finished watching The Circus, Chaplin’s wonderful film from 1928. Silence and black and white. Laughter without laugh tracks, but with Chaplin’s own score carrying us from scene to scene. Pathos comes from The Tramp. He makes us laugh and it’s deep, and meaningful, and sad. The movie made me think of my trip to Ireland in 2003, where I saw the statue above, and it seemed so incongruous there, near the strand, not in Alaska, or in some darkened woods with the hobo’s song in the air. But then I remembered the Irish have always mixed deep sorrow and belly laughs, and everything in between. Perhaps everyone does at times. . . . Read more. “The Art of Laughter”
—after Trygve Seim’s Between
Between stare stare
of the broken
culture contains, intangible mores
finite and inexplicably distant
from consistent virtues of
—after Marc Johnson’s Since you Asked
My silence recalls bland-tongue
prayerful condiments, mutilated connection. Your asking
contains metaphoric trails, my standing still
of an oaks’ neighborhood of size, style—
reanalyzes your truth of committed understanding.
would be conversation occurrence
countering the silence
my sound releases
confused meaning of my mind’s innate sepulture.
—after Bobo Stenson’s Olivia
Wears interwoven light like shadows
climbing contextual walls of needed
Just watched the Swedish film adaptation of the first novel in Larsson’s Millennium Trilogy, and it’s quite good, though very dark, and not for the faint of heart. There is a rumor of an American version coming out in 2012, which seems to be a pattern these days. Another very good Swedish film, “Let the Right One In,” is soon to be a Hollywood production as well, and “Brothers” was recently remade from the Swedish original. A reversal of creative juices is in the air. Bollywood once had a habit of churning out Hollywood movies in new form, but with the success of “Slumdog Millionaire,” I’m guessing the former British colony might do some colonizing on its own. . . . Read more. “Transformations”
I love the music of The Doors, the times and the legend. Watching archival footage in Tom DiCillo’s Rockdoc, I was taken back to a moment in our history filled with so much hope and promise, yet riven with an overwhelming sense of confusion and loss. Americans were deeply confused about a host of things in the 60s, and just like today, sought long and hard for someone to break on through to the other side.
Morrison was born to be a shaman/showman and blaze new trails.
The film reminded me of a few important details. It’s one of the first biopics to deal at all with the musicianship of the other Doors — Robby Krieger, Ray Manzarek and John Densmore. . . . Read more. “People are Strange”