The folks at UnionDocs is offering a three-day intensive workshop on the essay film, called A Letter to the World: Experiments in Essay Filmmaking, between September 8 and 10, to enable artists to articulate their ideas and explore new methodologies in crafting their work. The workshop will be led by filmmaker Lynne Sachs and will feature guest instructors Alan Berliner, Akosua Adoma Owusu and Roger Beebe, with scholars Timothy Corrigan and Nora M. Alter, co-authors of the book Essays on the Essay Film.
The workshop is open to filmmakers, students, artists, scholars, etc.
Fifty years ago today, on June 1, 1967, the Beatles’s Sgt. Pepper’s Lonely Hearts Club Band was released in the United States. (The UK release was a few days earlier on May 26.)
You will no doubt hear a lot about this anniversary in the coming days, if you haven’t done so already. As a kid, I vividly remember the twentieth anniversary being a big deal, partly because because the opening lyric to the album’s title song is “It was twenty years ago today / Sgt. Pepper taught his band to play,” and because Capitol-EMI had released a digitally remastered CD of the album. CD was state-of-the-art in 1987. In that same spirit, CapitolEMIUniversal Music Group released a newly remixed and remastered super-deluxe edition of Sgt. Pepper’s that includes a bunch of extras, such as some studio takes, a video documentary and a mono mix of the album. (There’s also a mere anniversary edition that won’t set you back $120.)
A reproduction of the 20th anniversary CD of Sgt. Pepper’s Lonely Hearts Club Band released in 1987.
I first listened to Sgt. Pepper’s in the aftermath of the twentieth anniversary in 1987. One of the songs that always stuck out to me was “Being for the Benefit of Mr. Kite.” The song might not be the best one on the album, but with its circus-like atmosphere, achieved through a variety of archaic musical instruments and through innovative multitrack recording and mixing, it was a song that transported me to altogether different time and place. Curiously, the song also features the Andalusian Cadence, although I did not know that at the time.
The fiftieth anniversary remixed-and-remastered recordings are available on streaming services, such as Amazon, Spotify, and Apple Music, and after listening to the remixes, which do in fact sound richer than what was previously available on CD and digital formats, I revisited “Being for the Benefit of Mr. Kite.” What on earth is John Lennon signing about in this song?
In case you need a refresher, here’s the lyrics that open the song:
For the benefit of Mr. Kite
There will be a show tonight on trampoline
The Hendersons will all be there
Late of Pablo Fanque’s Fair—what a scene
Over men and horses, hoops and garters
Lastly through a hogshead of real fire!
In this way Mr. K. will challenge the world!
Writing in Smithsonian Magazine in 2011, Mike Dash wrote explains many of the references in this song, especially “Pablo Fanque’s Fair”. He explains how the song lyrics were based on an antique poster than John Lennon bought in Kent. The poster was “to benefit” a circus performance in 1843 run by Pablo Fanque, who was not only a very successful circus performer but was, in the golden age of the circus in Victorian England, a black man who owned his own circus(!).
A reproduction of the 1843 poster that inspired John Lennon to write “Being for the Benefit of Mr. Kite” in 1967.
Looking at the poster, you can see how Lennon assimilated the various elements of the poster into his song. There’s of course Pablo Fanque’s Cirus Royal, the Hendersons, Henry the Horse dancing the waltz, the “somersets” (somersaults) and trampoline, and, of course, Mr. Kite himself.
But beyond the connection to the song, the article provides a deep and engaging historical account of Pablo Fanque and his circus. It’s worth a read to learn about the circus and the “entertainment industry” in Victorian England.
Last month, the longest running and last remaining American circus of the Victorian era closed. But the atmosphere of the circus, in general, and the story of a black circus entrepreneur, specifically, might not be entirely forgotten. Perhaps, because of the anniversary reissue of Sgt. Pepper’s, some curious listeners will hear “Being for the Benefit of Mr. Kite,” we will remember this odd Victorian-era entertainment and wonder what it was like to see Pablo Fanque’s Fair.
One of my former students at Queens College has been producing something really valuable lately. Forward Nation Radio launched in March as a videocast and podcast that the producer refers to as a “progressive show with ‘bite.'” The program arose as a response to what I would call the “fake news” echo chamber. This is where the commercial press publishes something critical about the president and then he and his surrogates cry “fake news.” The commercial press responds with “no, you’re fake news!” And on it goes…
The latest episode starts with a skit of a childlike Donald Trump character inviting his pal Sergey, presumably Sergey Kislyak, to come over to his White House for play. He entices him with a few secrets that he wants to tell him. It reminded me of what Harry Shearer does on Le Show, voicing several characters in humorous but chilling skits about current political topics.
The episode continues with a news summary, responding to listener feedback, and interjecting a healthy dose of political opinion. The host, David Leventhal, is undoubtedly a political progressive but offers well-reasoned and critical counter arguments to what you normally hear on commercial print and television media. And it is certainly a lot more thoughtful and educated what you get on right-wing propaganda outlets.
Leventhal’s finest moment in the episode came when he responded to an op-ed about the “lack of diversity” on campus, apparently written by one of Leventhal’s colleagues at Queens College. (Departmental infighting, anyone?) He immediately deconstructs the questions, noting that it is not referring to ethnic, gender, religious, or even income diversity. He quick identifies that the question is referring to ideological diversity: a balance between liberals and conservatives on campus. Leventhal draws on his professional experience to debunk this question: this was “bullshit” and “propaganda” thirty years ago, and it is “bullshit” and “propaganda” today, he says.
Leventhal take a long view about the purpose of labelling college campuses as liberal havens to undermine the value of education. He correctly identifies that what passes as conservative media is actually propaganda. The only way to counter propaganda is through education, he says. When quote-unquote conservative media rally against liberal bias in the media and in education, they are really trying to undermine the professional investigative methods of journalism to uncover truth and, at the same time, undermine the research methods and expertise of academics. In other words, quote-unquote conservatives aren’t represented on campus because those quote-unquote conservatives are actually propagandists who spread “alternate facts,” and Leventhal concludes, those “alternate facts…are not what should be peddled on college campuses.”
Of course, this is an extremely partisan series, but honestly, it was refreshing to listen someone use a balance of fact, reason, and emotion to argue against the attacks on journalism, academia, democracy, and even our own government that the right-wing is seeking to dismantle.
Take some of the abundant leisure time that our post-industrial society has afforded you to read a series of nine portraits of working-class men and women in America, published last week in the New York Times Magazine. The article challenges the image of working-class jobs, which today are no longer in manufacturing as they were throughout most of the industrialized twentieth century.
The decline of the old working class has meant both an economic triumph for the nation and a personal tribulation for many of the workers. Technological progress has made American farms and factories more productive than ever, creating great wealth and cutting the cost of food and most other products. But the work no longer requires large numbers of workers.
But it’s not as if there are not any jobs. As we’ve known for decades, the working-class jobs of today are in services: health-care, education, hospitality, transportation, and customer service. Not only have the jobs changed, but they faces so have the faces of the American worker. “The emerging face of the American working class is,” as Binyamin Appelbaum succinctly summarized in the introduction to the article, “a Hispanic woman who has never set foot on a factory floor.”
A different author writes each of the stories. On a personal note, I was thrilled to see that a college chum and fellow KCSB alumnus, Eric Steuer, penned one of the stories, about a customer service representative at Zappos in Las Vegas named Sandi Dolan.
Partly to torment my students with a long reading, but also to perhaps have them reflect on contemporary issues, I assigned Siegfried Kracauer’s “Mass Ornament” essay to my students in my History of Film class this week.
By a great stroke of luck, Nicholar Baer is delivering a lecture about Kracauer’s writings and film on Wednesday, February 15, at the department of Cinema Studies at New York University. The students in my Tuesday class may get a chance to hear this lecture, but the students in my Wednesday class will not. Our class meets at the same time as this lecture.
Nicholas Baer: Siegfried Kracauer & the Historical Film
This presentation will examine how Siegfried Kracauer addressed the relation between history and poetics in his film-theoretical writings. I will argue that insofar as Kracauer came to define the medium’s “basic aesthetic principle” in terms of engagement with the singular and transitory occurrences of physical reality, he obfuscated Aristotle’s opposition between history and poetry, paradoxically locating the poetics of film in its potential as a historian of contemporary life. Notably, however, the genre of the historical film was problematic for Kracauer, given its efforts to visualize a past that is by definition no longer present. Rather than showing “how things actually were,” in Leopold von Ranke’s famous words, the historical film can only envision “things as they could have happened.” An examination of Kracauer’s extensive writings on the historical film will shed new light on his film theory and illuminate significant developments in his thought from Weimar Germany to 1960s New York. Not least, Kracauer’s texts will provide an occasion for considering cinema in relation to historical-philosophical debates on the dissolving distinction between empirical reality and fictional construction, the history and the story, and the true (das Wahre) and the verisimilar (das Wahrscheinliche)—issues of renewed concern in our own “post-truth” era.
Nicholas Baer: Siegfried Kracauer & the Historical Film
A week ago, it seemed like the US was on the cusp of having its first woman president of the United States. We had been preparing for this moment for a very long time, and as early as May, well before the party nominations were wrapped up, the New York Times published this map. They projected Clinton to carry these states.
Were Clinton voters and democrats living in a filter bubble, similar to the one Mitt Romney supporters inhabited that made their candidate’s loss in 2012 unthinkable? Did the Democrats think that they could just run anyone against Trump and that the voters would reject an emotionally unstable, intellectually vacuous, and bigoted white man from New York?
The shock of a Trump presidency has been very difficult to process. It’s embarrassing that we as an electorate voted this way. A man who who has been a huckster and a charlatan will be a peer to the Roosevelts, John F. Kennedy, Abraham Lincoln, and Thomas Jefferson. A man who’s name signified tackiness enshrined in gold will be the chief executive of the country. A man whose companies have declared bankruptcy several times will be the one who will be negotiating treaties and passing budgets. (I wonder what will happen when the debt ceiling will need to be raised in the March 2017: my guess is draconian cuts to spending and an attendant economic recession.)
No matter how embarrassing it is to watch Americans install a caricature of a successful businessman in the White House, the prospect of who will be running the federal government is an even more chilling prospect. Are we setting up to live in an autocracy? It certainly seems feasible with a pliant and spineless Republican Congress who will choose party over country every time. Our only hope is that the petit bureaucrats in Washington do their thing and bring sensible inaction to their jobs, but when did they ever come through for us?
Around here, the election and the aftermath has been a lot like a death. Many of us are in mourning, knowing that a lot of the the progress we made in the last decade will almost certainly evaporate. Many us fear what will come in terms of deportations, anti-semitism, rampant racism, misogyny, science denial, and good old fashioned crony capitalism. And we are stung by the unthinkable reality of an uncertain future as a failed state. As in mourning, emotions overwhelm rational thought.
But once we start to think more clearly, weren’t we unsatisfied with Hillary Clinton as the standard bearer for not only the Democrats but also for American women. Back in the spring, I wondered whether the ascendance of Bernie Sanders as a viable candidate was partly due to women supporting him—not Hillary Clinton—because they were hoping for someone better to be the first woman president. Sanders was more aligned with their interests, despite being a man, than Clinton was simply for being a woman. It reminded me of the days when the Democrats would try to put forward someone like Jesse Jackson or Al Sharpton as the first black presidential candidate of their party. We deserved better. And in time, we got Barack Obama. We deserve better than Hillary Clinton and someday we will know who that better candidate will be.
And after this mourning period, we start to move on and begin to see silver linings. One such bright spot Trump’s victory is that the Democrats and the nation have finally gotten rid of the Clintons and their moderate liberalism. They not pulled this country so far right that Richard Nixon could be a liberal Democrat today, as Lawrence Lessig pointed out last Wednesday morning, they unabashedly [sold the party out to Wall Street]. He published that piece hours after many of us awoke to realize that Trump would be the 45th president of the United States, and, at the time, it was cold comfort for what the future could hold. In time, we’ll excitedly move on.
And that is what must happen after the death of a loved one or a similarly stunning loss. We will move on. Things will never be the same again, but we will cope, and as a country, we will get through it.
Tonight, experimental filmmaker Ernie Gehr will be giving the seventh annual Experimental Film Lecture, jointly presented by the departments of Cinema Studies and Undergraduate Film & Television at New York University’s Tisch School of the Arts. The pre-lecture screening is of his films in 16mm. You might want to see those while you can, lest they burn up in the projector.
For nearly fifty years, artist Ernie Gehr has transformed his deep knowledge of the moving image into a distinct vision of cinema’s potential for interpreting and fragmenting reality. With an astute, often humorous, appreciation for the limits and possibilities of the frame, Gehr has, since the mid-1960s, created a large, radical body of work that continues to challenge and surprise audiences. He uses his camera as a tool for creating new modes of perception. With few words, no characters, and no plots, his films, video work, and installations push us to re-imagine our own relationships to time and space.
There are a multiplicity of adjectives that fit Ernie Gehr’s experimental film and digital work: abstract, beautiful, mysterious, invigorating, utopian.
In Gehr’s hands, the camera seems to take on magical properties, able to transform the most quotidian object or environment—the pattern of sunlight on a wall, a busy street—into marvelous and unexpected phenomena.
Join us for screenings at 5:30 and Gehr’s Experimental Lecture at 7:00.
Pre-lecture 16mm screening of Serene Velocity (1970), Shift (1972-74) and Rear Window (1986/1991)
Experimental Lecture with screenings of Lisa and Suzanne (1968-69), Untitled: Part 1 (l981), Coney Island Boardwalk (2013)
The One Club, a non-profit organization devoted to developing creative talent in the advertising industry is hosting its annual multicultural creative career fair, Here Are All the Black People, taking place on Friday, September 30th at The Times Center in New York City.
Although I’m a little confused about The One’s choice in using Cornel West waxing rhapsodically about love in the video above, I am pleased to see the culture industries finally acknowledging their failings in fostering multiculturalism on television, in movies, and in advertising. After all, organized and public protests, such as “Oscars so White,” brought attention to these issues and the industries have little choice but to respond.
I hope this event, and others like it, encourage underrepresented and marginalized peoples to enter these creative fields and effect change in these industries.
Interested students should sign up and attend this event and apply for a stipend to offset any expenses in attending.
The long-running MP3 blog Fluxblog has been compiling yearly surveys of music from the 1980s. They posted the first compilation with music from 1989 last September, and every couple of months or so later, another year in reverse-chronlogical order drops. Each survey consists of eight discs and about 150 songs from the decade spanning various genres. Last week, they released the seventh survey with songs from 1983.
I started listening to the first compilation last week, and in my own obsessive-compulsive way, I set a few ground rules for listening to each survey:
I listen to each survey in reverse order, just as the curators—if not nature—intended.
I listen to each song in full from each survey. No skipping songs.
I will not listen to songs from the earlier collections until I get to that year’s survey.
I reserve the right to “side bar” to other recordings from the era.
And, of course, I allow myself to listen to other things, including music made before or after the 1980s.
Six day in, it’s been an almost all-consuming experience and, yet, I’m only getting through the end of the 1988 survey. To make for a better listening experience, I even bought this pretty solid and inexpensive Bluetooth audio receiver to connect to an older Harmon Kardon HK550 Vxi receiver, which is fittingly from the same era as the music I’m surveying, and to listen throughout the house.
Listening to the 1989 survey, I was surprised to hear song after song that I swore came from the 1990s. I suspect that going backwards in time will put me deep in the quintessential 1980s sounds before I reach the fuzzy transition period of the early 1980s, where pop music simultaneously bore the traits of the 1970s and the 1980s.
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Four hundred years ago this month, Miguel de Cervantes Cortinas and William Shakespeare died. It is almost cosmic that the most celebrated Renaissance writer of Spain and the most celebrated Renaissance writer of England both died on same day: April 23, 1616.
If it seems unlikely that Cervantes and Shakespeare died on the very same day, it is because they did not die on the same day. Cervantes died a day earlier, on April 22, 1616. And because England was still using the Julian calendar in 1616, Shakespeare died 11 days later on May 3, 1616. However, you cannot deny that it makes for a better story if the two did die on the very same day. In fact, the United Nations has—since 1995—observed a World Book and Copyright Day on April 23 to remember the passing of Cervantes and of Shakespeare, as well as that of other writers including Garcilaso de la Vega and Vladimir Nabokov.
The all-black t-shirts are made from 100% high-quality, ring spun cotton that makes for very soft and comfortable shirt. The artwork is discharged. Unlike most every t-shirt printed today, there is no layer of plastic ink nor is the fabric dyed. Instead, I removed (“discharged”) the black color from the t-shirt, leaving behind the natural color of the all-cotton fabric. On the black t-shirt, the artwork looks sepia-toned. It’s very cool.
The result is the most comfortable t-shirt you’ve worn and because the artwork is not dyed, it will never fade. It might even last until the quincentennial, although the t-shirt might not last that long.
Home | TripMode | Your mobile data savior.2017/03/01 MacSparky suggested this to help you save data transfer when tethering. Looks reasonable for those of us considering switching to an unlimited plan with tethering.
The Jobs Americans Do - NYTimes.com2017/02/24 An enlightening set of portrayals of nine job Americans do now. An old college chum, Eric Steuer, penned on of the portraits in the series.
Underground New York2017/02/22 "A rare behind-the-scenes view of the exploding New York “underground” in the late sixties, a turbulent time and place that was to change American culture forever. A German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the “New American Cinema,” that was born on the streets of New York. Against a backdrop of cultural upheaval in all of the arts and growing political agitation against the Vietnam War, Bachman interviews the most prominent figures in “underground film,” including Jonas Mekas, Shirley Clarke, the Kuchar Brothers and Bruce Connor, and visits the most notorious location in the New York art world of the era - Andy Warhol’s Factory - to conduct an interview with the genius of Pop Art himself."
– Scott Hammen
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