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I wonder if there are other shows on TV that have made you laugh a lot. I never watched Seinfeld when it was running. But once on an airplane my wife was watching a Seinfeld episode and told me I should look at it. Curb Your Enthusiasm —I still have no idea what that means or signifies—took off for me instantly. It was fascinating to watch Larry David happily sink to levels of corruption and venality that seemed to bother absolutely no one, probably because they only pretended to be better.
I could go on, but getting the little girl drunk should have been the prison term he served in the Curb movie. My favorite Seinfeld episodes were the wedding in India. The only difference if it were being made today would be that Elaine would have slept with the bride, too, but forgotten about it.
And it was only the Curb movie, like the Sex in the City movie, that was the miss. Somehow what seems brave and surprising and thrilling—did they really get away with that?
Not exactly a profound insight, but people who should know better will never learn. My absolute favourite Aretha recording:. It is simple, straightforward, uncluttered ballad singing at its best. The piano intro is superb, the harmony and horns perfect. Sam Cooke would have smiled. Have you heard anything since to make you think otherwise? Christgau wrote a rave of Ball Four. Any thoughts on it? As you say, the writing can be embarrassing.
But I found it caught the ugliness, the disgust, the cheapness of feeling of that whole day and its aftermath in a way that was very hard to take, and it should be hard to take. Which of his movies not including documentaries hold up best for you, and how much does his use of music play into that?
The actors and the director were the voice of the movie, all it needed. The same with Taxi Driver. After that, often the music—the constant hum of songs in Goodfellas and Casino especially—seemed there to disguise or distract you from the hollowness of the plot or the shallowness of the material. It all but erases the movies. Someone sent me cassettes, taped off the radio broadcast, at the time, and they still sound better than any of the bootlegs or even an official version I received years later.
I heard it the other day for the first time in literally 35 years when it popped up in the shuffle mix at my neighbourhood cafe; it knocked me sideways the way random encounters with half-forgotten songs sometimes will. Given how you feel about Ferry, it made me think of you.
I wonder if Ferry sued. I could listen all day. Consumer guidance has never been your main objective, but I hope you can offer some. What do you reach for today? I did write about Odyshape when it came out, I think in more detail—in any case the album seemed to me a great leap in terms of the band trusting their own impulses toward abstraction in rhythm and melody.
I believe I was eleven when I bought and devoured it, immediately after having read the first autobiographies by Wilt Chamberlain and Howard Cosell. Looking back decades later, I sometimes think it may be the most significant book I read prior to college, and certainly one of the most important in my life!
Thank you so much! The book was a cauldron, just one shock and injustice after another, and the real tragedy that, even with Hawkins finally admitted to the NBA, realizing that no one, especially Hawkins, would ever know what he could have done. The story and the book perfectly dovetailed with the aftermath of the Civil Rights movement, its unfinished story, and the growing awareness that, from one side, racism was going to be far more difficult to defeat, even legally, than anyone thought, or, from the other side, that racism would endure and triumph.
Two writers addressing fundamental questions of sport and society without ever surrendering their love of the game, or surrendering to it. Particularly, from these pieces: They are all performed in the key of E, and composed around the same time.
All three are ballads dealing with people of close relation conducting illicit activities. The songwriting in these three pieces shares a distinct literary quality which implies its setting to be in the depression era. It was patterned on Of Mice And Men , but we tried to put a twist or two on it.
Same story, different context. I am taken to a Steinbeckesque world within each of these tunes, and I am fascinated by them. Curious to hear your thoughts. But whereas Hendrix and Janis are sanctified martyrs, Jim Morrison and Brian Jones also are not viewed as sympathetically. But Rolling Stone reviewers wrote trenchant takedowns of bad bands.
Hence music criticism is nowhere compared to where it was in Do you have any insight into how those were chosen, or any thoughts on them in general? Especially good is Ghana Highlife Mix Vol Still, carrying on with the conceit: Say someone did have a gun to your head. What would you sing? I loved the shamelessness of performing with the Remainders—and the protection in being part of a group, or a cabal within the group—the Critics Chorus of Dave Marsh, Joel Selvin, Matt Groening, Roy Blount.
What were your impressions at the time and does anything from it survive today? I liked the cover. It ultimately left no impression. When for you was the best time to be there? Certainly I loved the University from the moment I stepped into a classroom in the fall of I looked for great teachers and found them—they were all over. During the Free Speech movement in , and in times after, I would think, either in the middle of a protest or worse, or just walking from one place to another, how lucky I was to be alive, and there, at that moment—to be part of history being made.
But it could have been in the early s, when I was researching what became Lipstick Traces in the University libraries, spending hours, days, weeks on end for close to three years in the stacks, going from one book to another, making discoveries that for me would change everything simply by trusting proximity. It just seemed too long. Are you a fan? I was surprised because, entertaining and sometimes as revelatory as that book is, to me it feels like a tentative first step towards much greater, and more sustaining work.
My question is, what did and what do you think of the books that catapulted McLuhan into a household word? Was his work back then part of whatever conversations you may have had about media, culture, etc.? Were his ideas much discussed or part of the curriculum at UC Berkeley? I remember The Medium Is the Massage as a collage paperback and an album. It was later explained to me that this was the only good McLuhan book, because it came from a dissident, critical perspective that McLuhan abandoned when he sold out.
There was a definite slacking off and the disappearance of McLuhanmania about or so, just because of this sense that McLuhan was now a pollyannaish huckster for big media, big money, and by extension the Vietnam War and anything else you hated about modern life. I felt the same, except that it felt that he was less selling out—not that he minded the money and the fame—than buying in. He had seen the future—no matter how pompously oracular he could be about it—and he wanted to be part of it.
But to me he was always less a seer than someone insisting on a change in perspective. Do you know if this, or a different date, has been confirmed?
But stories change over the years. Do you like it? As such it is a virtually useless. That Ocasio-Cortez immediately signed on to a Victory Tour is a disturbing sign—about her. What cannot be underestimated is the fervor and commitment of Trump Nation, which is not just merchandise: The face and the sounds and the gesture are those of white students and parents outside Little Rock High School when a few brave black students walked in under the physical, but not verbal or moral or emotional, protection of the National Guard in But this was worse: These people have gone over.
If there is voter fraud, it will be, as it was recently, Trumpists voting over and over because anything is justified if it helps Keep America Great, which means if it Makes Me Feel Powerful. Why were the Raincoats an appropriate band to anchor that moment? There are a bunch of reasons. And another is the way Greta talked about the Raincoats: I showed her the Greil Marcus piece and she spun out her own version of it. Greta, in real life, also loved the Raincoats.
We both have a lot of respect for them. So it was a big honor for us. We felt like we were on hallowed ground. I was able to use it to speak really directly to the problem of my characters. The theme of the movie is expressed. It is sort of open-ended; the characters are a little ambiguous.
And everything about the Raincoats is open-ended. There is a wobbliness to the music on that first record.