This week it seems as if my blog was nothing but obituaries. On top of that we had overtime at work and I had the misfortune of contracting both sinusitis and bronchitis at the same time. I then thought that this entry would be on one of my favourite subjects, namely the blogs I read most often and enjoy the most.Indeed, I sometimes feel guilty that I don't have links to any of them on this blog (the reason being that my sidebars are much too busy as it is). I hope that this entry will make up for this.
For the most part, the blogs I read the most fall into one of two categories: blogs devoted to movies (with the occasional departure into television) and general pop culture blogs (not unlike A Shroud of Thoughts itself). In the former categories are two blogs which I enjoy a great deal. One is Mad About Movies. Mad About Movies is essentially a blog dedicated to movie reviews. Generally the reviews are devoted to newer films, although they have also reviewed some older films as well (notably, they reviewed David Lynch's Eraserhead recently). One thing that really separates Mad About Movies from other blogs I like is that it has multiple contributors (most often Marina, who I believe founded Mad About Movies, or the Wong Blogger). The fact that more than one person contributes to Mad About Movies gives the blog more than one point of view--while one contributor might prefer genre films, another might prefer chick flicks. In any case, the reviews are always well written and well thought out. While I may not necessarily agree with any given review, I can honestly say that they always have legitimate reasons for either liking or disliking a film.
The other movie blog I enjoy is Reel Fanatic. Like Mad About Movies, Reel Fanatic also features movie reviews, with the occasional foray into television. It also features news regarding the world of cinema and television as well. Reel Fanatic writes very well, with a good sense of humour and a keen insight into film. It also helps that many of his tastes are similar mine. While I do disagree with some of his opinions on films and TV shows at times, I can say that like the contributors to Mad About Movies, he always has justifiable and legitimate reasons for anything he likes or dislikes.
As I said, the other blogs I enjoy fall more into the category of "general pop culture." Among these is Popped Culture. Popped Culture covers nearly the whole gamut of pop culture, from movies to television to music to various other pop culture tidbits. It includes reviews of movies and TV shows as well as news and even sometimes commentary on various pop culture artefacts. The blog is authored by Jeremy in Toronto, although his wife and friends (also talented writers) have done guest shots at times. I must admit that I enjoy Popped Culture a great deal because Jeremy seems to be interested in a lot of the same topics I am (Popped Culture is the only blog beyond A Shroud of Thoughts I know of which had a post on pirates not related to those of the Caribbean...).
The other "general pop culture" blog I enjoy is Strange Culture. In a way calling Strange Culture a "general pop culture blog" is a bit misleading, as it is actually a bit more than that. Its author, RC, does cover movies, TV shows, music, and so on, but he has also posted on such subjects as tech billionaire and Dallas Mavericks owner Mark Cuban and TOOOL (The Open Organization of Lockpickers). I don't always agree with what RC has to say (I seem to recall I disagreed with him on Snakes on a Plane), but I can always understand where he is coming from. Like the other blogs mentioned here, his reasons for liking or disliking something are always sound and justifiable.
I have a few other blogs I read on a regular basis, but these are the ones I enjoy the most. One interesting observation I just made recently is that most of the blogs I read are written either by Southeners (Reel Fanatic is from Macon, Georgia) or Canadians (Jeremy of Popped Culture is in Toronto, while I seem to recall Marina of Mad About the Movies is from Canada as well, although I can't remember where). Why I would read blogs written by Southerners is perfectly understandable. I am from the South (a part of Missouri called "Little Dixie" to be exact), so my views, tastes, and attitudes are going to closer to those of other Southerners than, say, Yankees. As to why I enjoy blogs written by Canadians, I am at a loss to explain that. I can only surmise that perhaps Canadians have better tastes and better writing skills than most Americans....
At any rate, I encourage any of you reading this entry to pay these blogs a visit. Each of these blogs is clearly a labour of love, into which a lot of work goes. I can guarantee you won't be disappointed.
Saturday, September 30, 2006
Friday, September 29, 2006
Two More Celebrity Deaths
As I said in yesterday's entry, there are times that I worry that this might become "the Death Blog." It seems as if this week several artists have died and today I am eulogising two more. The first of these is actor Robert Earl Jones. Robert Earl Jones is an actor famous for his stage roles. He is also the father of actor James Earl Jones. Jones died at September 7 at age 96.
Robert Earl Jones was born February 3, 1910 in Coldwater, Mississippi. He dropped out of grade school to work for sharecropper. He later worked for the railroad until the Depression cost him his job. Jones was also a boxer, and was even a sparring partner with the famous Joe Louis in 1937 (he would later play Louis in the movie Spirit of Youth). Jones made his debut on Broadway in the play The Hasty Heart in 1945. He would go onto appear in Set My People Free, All God's Chillun Got Wings, Of Mice and Men, a revival of Death of a Salesman, and Mule Bone. Among other things, Jones worked with Langston Hughes at the Harlem Suitcase Theatre.
Robert Earl Jones also had a career in movies, making his film debut in Lying Lips in 1939. He is perhaps most famous for his role in The Sting, as Luther Coleman, the older con man. He also appeared in such films as Trading Places, The Cotton Club, and Witness.
For at time in the Fifties Jones was blacklisted when he refused to testify before the House Un-American Activities Committee. During the Thirties he had been involved with what some then considered leftist causes. The National Black Theatre Festival gave him a Lifetime Achievement Award. He was also inducted into the Black Filmmakers Hall of Fame.
Although most famous as the father of James Earl Jones, Robert Earl Jones was a considerable talent on his own. James Earl Jones inherited his full, deep voice from his father, and Robert Earl Jones could put his magnificent voice to great use in the roles he played. This can be seen in The Sting, where Jones plays con man Luther Coleman very convincingly. If James Earl Jones is one of the top actors of our time, much of it is due to his father.
The other famous artist to die lately was cinematographer Sven Nyqvist. He passed on at the age of 83. He had been treated for aphasia.
Nykvist was born December 3, 1922 in Moheda, Kronobegs lan, Sweden. Fascinated by the movies while still young, he bought his first eight millimeter camera at age 15. At age 19 he started in the Swedish film industry as an assistant camera man. His first cinematographer credit came on the 1952 movie Under the Southern Cross, wher he received credit as co-director and co-cinematographer.
Of course, Nykvist's greatest claim to fame is as cinematographer to legendary Ingmar Bergman. He first worked with the director on the 1952 film Gycklarnas afton (Sawdust and Tinsel in the UK, The Naked Night in the U.S.); however, he would not work with Bergman together until the two made Jungfrukallan (The Virgin Spring). From that point on Nykvist worked on most of Bergman's important films--Såsom i en spegel (Through a Glass Darkly), Nattvardsgasterna (Winter Light), Scener ur ett aktenskap (Scenes From a Marriage), and Fanny and Alexander.
Nykvist would also work with other directors on such films as The Unbearable Lightness of Being, Star 80, Sleepless in Seattle, and What's Eating Gilbert Grape. Besides Bergman, his most notable work beyond that with Bergman was perhaps the films he made with Woody Allen. He photographed Allen's films Crimes and Misdemeanours, Another Woman, and Celebrity. Nykvist also directed a few films of his own, including En Och En(One and One) and Oxen (The Ox).
Kyvist won Oscar for Best Cinematography twice, once for Viskningar och rop (Cries and Whispers) and again for Fanny and Alexander. He was nominated for the same award for his work on The Unbearable Lightness of Being. He received the Lifetime Achievement Award from the American Society of Cinematographers, the BAFTA award for best cinematography on Fanny and Alexander, and the British Society of Cinematography award for best cinematography for Fanny and Alexander.
Nykvist was well known for his simple, naturalistic approach to cinematography. His camera work was generally straight forward with no unusual angles or fancy shots. His approach to lighting was subtle and natural. It is for this reason that many of Bergman's classic films (and many of the films Nykvist made with other directors) tend to look more realistic, as if one is watching scenes from the real lives of characters than a movie. His simple, naturalistic cinematography was proof that the maxim "Less is more" can sometimes be true. With his approach, Nykvist could create moods through light without sacrificing a softer, more natural look. He was definitely one of the greatest directors of all time.
Robert Earl Jones was born February 3, 1910 in Coldwater, Mississippi. He dropped out of grade school to work for sharecropper. He later worked for the railroad until the Depression cost him his job. Jones was also a boxer, and was even a sparring partner with the famous Joe Louis in 1937 (he would later play Louis in the movie Spirit of Youth). Jones made his debut on Broadway in the play The Hasty Heart in 1945. He would go onto appear in Set My People Free, All God's Chillun Got Wings, Of Mice and Men, a revival of Death of a Salesman, and Mule Bone. Among other things, Jones worked with Langston Hughes at the Harlem Suitcase Theatre.
Robert Earl Jones also had a career in movies, making his film debut in Lying Lips in 1939. He is perhaps most famous for his role in The Sting, as Luther Coleman, the older con man. He also appeared in such films as Trading Places, The Cotton Club, and Witness.
For at time in the Fifties Jones was blacklisted when he refused to testify before the House Un-American Activities Committee. During the Thirties he had been involved with what some then considered leftist causes. The National Black Theatre Festival gave him a Lifetime Achievement Award. He was also inducted into the Black Filmmakers Hall of Fame.
Although most famous as the father of James Earl Jones, Robert Earl Jones was a considerable talent on his own. James Earl Jones inherited his full, deep voice from his father, and Robert Earl Jones could put his magnificent voice to great use in the roles he played. This can be seen in The Sting, where Jones plays con man Luther Coleman very convincingly. If James Earl Jones is one of the top actors of our time, much of it is due to his father.
The other famous artist to die lately was cinematographer Sven Nyqvist. He passed on at the age of 83. He had been treated for aphasia.
Nykvist was born December 3, 1922 in Moheda, Kronobegs lan, Sweden. Fascinated by the movies while still young, he bought his first eight millimeter camera at age 15. At age 19 he started in the Swedish film industry as an assistant camera man. His first cinematographer credit came on the 1952 movie Under the Southern Cross, wher he received credit as co-director and co-cinematographer.
Of course, Nykvist's greatest claim to fame is as cinematographer to legendary Ingmar Bergman. He first worked with the director on the 1952 film Gycklarnas afton (Sawdust and Tinsel in the UK, The Naked Night in the U.S.); however, he would not work with Bergman together until the two made Jungfrukallan (The Virgin Spring). From that point on Nykvist worked on most of Bergman's important films--Såsom i en spegel (Through a Glass Darkly), Nattvardsgasterna (Winter Light), Scener ur ett aktenskap (Scenes From a Marriage), and Fanny and Alexander.
Nykvist would also work with other directors on such films as The Unbearable Lightness of Being, Star 80, Sleepless in Seattle, and What's Eating Gilbert Grape. Besides Bergman, his most notable work beyond that with Bergman was perhaps the films he made with Woody Allen. He photographed Allen's films Crimes and Misdemeanours, Another Woman, and Celebrity. Nykvist also directed a few films of his own, including En Och En(One and One) and Oxen (The Ox).
Kyvist won Oscar for Best Cinematography twice, once for Viskningar och rop (Cries and Whispers) and again for Fanny and Alexander. He was nominated for the same award for his work on The Unbearable Lightness of Being. He received the Lifetime Achievement Award from the American Society of Cinematographers, the BAFTA award for best cinematography on Fanny and Alexander, and the British Society of Cinematography award for best cinematography for Fanny and Alexander.
Nykvist was well known for his simple, naturalistic approach to cinematography. His camera work was generally straight forward with no unusual angles or fancy shots. His approach to lighting was subtle and natural. It is for this reason that many of Bergman's classic films (and many of the films Nykvist made with other directors) tend to look more realistic, as if one is watching scenes from the real lives of characters than a movie. His simple, naturalistic cinematography was proof that the maxim "Less is more" can sometimes be true. With his approach, Nykvist could create moods through light without sacrificing a softer, more natural look. He was definitely one of the greatest directors of all time.
Thursday, September 28, 2006
Edward Albert R.I.P.
There are times that I worry that this might become "the Death Blog." This is one of those times. Composer Sir Malcolm Arnold and playwright Joseph Hayes passed on recently. And now yet more artists have died. Today I will euologise one, actor Edward Albert. I will cover two more tomorrow.
Edward Albert was the son of the late Eddie Albert, who passed on just last year at the age of 99. Edward Albert died September 22 after a battle with lung cancer.
Albert was born February 20, 1951 to actor Eddie Albert and actor/dancer Margo. His middle name "Laurence" was taken from his godfather, acting legend Sir Laurence Olivier. He made his debut on the big screen at age 13 playing a runaway in the post-Civil War era film The Fool Killer. He attended both Oxford University and UCLA. In 1972, he was cast opposite Goldie Hawn in Butterflies are Free. In that film he played a young blind man who was trying to get away from an overbearing mother.
Albert was a prolific actor, with an active career in both movies and television. He played in such films as 40 Carats, Midway, Galaxy of Terror, The Greek Tycoon, and Guarding Tess. On television he appeared on such shows as Kung Fu, Ellery Queen, Police Story, and Dr. Quinn Medicine Woman. He was a regular on the soap opera Port Charles from 1997 to 1998. Albert also appeared on stage, playing in the musical Cesar and Ruben in North Hollywood in 2003.
Like his father before him, Edward Albert was an activist. He was so active in campaigning for the preservation of Escondido Canyon that the e Santa Monica Mountains Conservancy named the area the Edward Albert Escondido Trail and Waterfalls not long before his death. Albert had served on both California's Native American Heritage Commission and the California Coastal Commission. He was active in protecting the rights of the Chumash tribe, native to California. For the last ten years Edward Albert cared for his father, who was suffering from Alzheimer's disease.
If anything else can be said about Edwar Albert, it is that he was his father's son. Although his career was not nearly as successful and he did not live nearly as long, both men were talented actors who also had a social conscience. In the case of both Albert's, their legacy goes far beyond the movies and TV shows they made. Even if Edward Albert and his father had not been talented actors, their concern for the environment and for other peoples would be enough to warrant great sadness at their deaths.
Edward Albert was the son of the late Eddie Albert, who passed on just last year at the age of 99. Edward Albert died September 22 after a battle with lung cancer.
Albert was born February 20, 1951 to actor Eddie Albert and actor/dancer Margo. His middle name "Laurence" was taken from his godfather, acting legend Sir Laurence Olivier. He made his debut on the big screen at age 13 playing a runaway in the post-Civil War era film The Fool Killer. He attended both Oxford University and UCLA. In 1972, he was cast opposite Goldie Hawn in Butterflies are Free. In that film he played a young blind man who was trying to get away from an overbearing mother.
Albert was a prolific actor, with an active career in both movies and television. He played in such films as 40 Carats, Midway, Galaxy of Terror, The Greek Tycoon, and Guarding Tess. On television he appeared on such shows as Kung Fu, Ellery Queen, Police Story, and Dr. Quinn Medicine Woman. He was a regular on the soap opera Port Charles from 1997 to 1998. Albert also appeared on stage, playing in the musical Cesar and Ruben in North Hollywood in 2003.
Like his father before him, Edward Albert was an activist. He was so active in campaigning for the preservation of Escondido Canyon that the e Santa Monica Mountains Conservancy named the area the Edward Albert Escondido Trail and Waterfalls not long before his death. Albert had served on both California's Native American Heritage Commission and the California Coastal Commission. He was active in protecting the rights of the Chumash tribe, native to California. For the last ten years Edward Albert cared for his father, who was suffering from Alzheimer's disease.
If anything else can be said about Edwar Albert, it is that he was his father's son. Although his career was not nearly as successful and he did not live nearly as long, both men were talented actors who also had a social conscience. In the case of both Albert's, their legacy goes far beyond the movies and TV shows they made. Even if Edward Albert and his father had not been talented actors, their concern for the environment and for other peoples would be enough to warrant great sadness at their deaths.
Sunday, September 24, 2006
Playwright Joseph Hayes Dies
Tony winning playwright Joseph Hayes died at age 88 of complications from Alzheimer's Disease on September 11.
Hayes' first play on Broadway was Leaf and Bough, which played for one night in 1949. He would see much more success with the novel The Desperate Hours. The novel focused on a group of fugitives who invade a home and hold the family hostage. Hayes would adapt his own novel into the 1955 Broadway play, starring Karl Malden, Mary Orr, and Paul Newman. The play would win the 1955 Tony for Best Play. That same year it was adapted into the classic movie, starring Humphrey Bogart and Fredric March. It would later be remade in 1990.
Hayes would also write other Broadway plays. The Happiest Millionaire played in 1956. It would later provide the basis for the 1967 comedy film starring Fred MacMurray and Greer Garson. In 1962 Hayes' play Calculated Risk played on Broadway. Hayes also produced The Happiest Millionaire and Calculated Risk (which was in turn based on one of his novels).
Hayes wrote the screenplay for The Desperate Hours and The Young Doctors. His novels also provided the basis for the films Neunzig Minuten nach Mitternacht (based on Yours After Midnight), The Third Day, and Haute tension (based on the novel No Escape). Another novel provided the basis for the Wonderful World of Disney episode Bon Voyage. Among the novels Hayes wrote were Don't Go Away Mad, The Thompsons, and Come into My Parlour.
Hayes was a fairly prolific novelist, who also worked on stage and in film. His lasting contribution was definitely The Desperate Hours. Not only did the movie based upon the novel and play prove to be a lasting classic, but its influence continues to be felt even to this day. It has been imitated both in other films and in episodes of TV shows countless times. Indeed, it can be argued that The Desperate Hours is one of those archetypal plots on which writers and directors will always be doing variations. The fact that Hayes also wrote other novels, plays, and movies is a tribute to his considerable talent.
Hayes' first play on Broadway was Leaf and Bough, which played for one night in 1949. He would see much more success with the novel The Desperate Hours. The novel focused on a group of fugitives who invade a home and hold the family hostage. Hayes would adapt his own novel into the 1955 Broadway play, starring Karl Malden, Mary Orr, and Paul Newman. The play would win the 1955 Tony for Best Play. That same year it was adapted into the classic movie, starring Humphrey Bogart and Fredric March. It would later be remade in 1990.
Hayes would also write other Broadway plays. The Happiest Millionaire played in 1956. It would later provide the basis for the 1967 comedy film starring Fred MacMurray and Greer Garson. In 1962 Hayes' play Calculated Risk played on Broadway. Hayes also produced The Happiest Millionaire and Calculated Risk (which was in turn based on one of his novels).
Hayes wrote the screenplay for The Desperate Hours and The Young Doctors. His novels also provided the basis for the films Neunzig Minuten nach Mitternacht (based on Yours After Midnight), The Third Day, and Haute tension (based on the novel No Escape). Another novel provided the basis for the Wonderful World of Disney episode Bon Voyage. Among the novels Hayes wrote were Don't Go Away Mad, The Thompsons, and Come into My Parlour.
Hayes was a fairly prolific novelist, who also worked on stage and in film. His lasting contribution was definitely The Desperate Hours. Not only did the movie based upon the novel and play prove to be a lasting classic, but its influence continues to be felt even to this day. It has been imitated both in other films and in episodes of TV shows countless times. Indeed, it can be argued that The Desperate Hours is one of those archetypal plots on which writers and directors will always be doing variations. The fact that Hayes also wrote other novels, plays, and movies is a tribute to his considerable talent.
Saturday, September 23, 2006
Sir Malcolm Arnold R.I.P.
British composer Sir Malcolm Arnold, who won an Oscar for the score for Bridge on the River Kwai, has died following a chest infection. He was 84 years old.
Arnold was born in Northampton on October 21, 1921. He studied music at the Royal College of Music. He played with the London Philharmonic before eventually taking to composition. His first music composed for movies was for segments of This Modern Age in 1946. He would go onto compose music for such films as Hobson's Choice, The Belles of St. Trinian's, I am a Camera, The Inn of the Sixth Happiness, Suddenly Last Summer and the 1964 adaptation of The Thin Red Line. His most memorable score is probably the one he composed for The Bridge on River Kwai, for which he won the Oscar for Best Music, Scoring. He was the first British composer to win the award.
In addition to the Academy Award, Arnold also won an Ivor Novello Award for his score to The Inn of the Sixth Happiness. In 1969 he was also made a Bard of the Cornish Gareth. He received the C.B.E. the following year. In 1993 he was knighted. Arnold also received several honourary doctorates.
As well as his film scores, Arnold wrote several tonal works and various concertos.
There are those film scores which stand out in one's mind, that one can hear in one's mind well after he or she has seen a film. These are the sort of scores Arnold composed. What is even more remarkable is that Arnold composed over 130 scores for films. A composer who was prolific and capable of great quality, he was certainly a rarity.
Arnold was born in Northampton on October 21, 1921. He studied music at the Royal College of Music. He played with the London Philharmonic before eventually taking to composition. His first music composed for movies was for segments of This Modern Age in 1946. He would go onto compose music for such films as Hobson's Choice, The Belles of St. Trinian's, I am a Camera, The Inn of the Sixth Happiness, Suddenly Last Summer and the 1964 adaptation of The Thin Red Line. His most memorable score is probably the one he composed for The Bridge on River Kwai, for which he won the Oscar for Best Music, Scoring. He was the first British composer to win the award.
In addition to the Academy Award, Arnold also won an Ivor Novello Award for his score to The Inn of the Sixth Happiness. In 1969 he was also made a Bard of the Cornish Gareth. He received the C.B.E. the following year. In 1993 he was knighted. Arnold also received several honourary doctorates.
As well as his film scores, Arnold wrote several tonal works and various concertos.
There are those film scores which stand out in one's mind, that one can hear in one's mind well after he or she has seen a film. These are the sort of scores Arnold composed. What is even more remarkable is that Arnold composed over 130 scores for films. A composer who was prolific and capable of great quality, he was certainly a rarity.
Friday, September 22, 2006
Suffragette City
One of my favourite music artists of all time is David Bowie. And my favourite Bowie album of all time is The Rise and Fall of Ziggy Stardust and the Spiders from Mars. And my favourite song from that album is "Suffragette City." Indeed, it is my favourite Bowie song of all time (even more than "Space Oddity"). Just in case you have never heard the song (which given the air play it still gets, I think is unlikely unless you have never listened to rock music at all), here are the lyrics:
Hey man, oh leave me alone you know
Hey man, oh Henry, get off the phone, I gotta
Hey man, I gotta straighten my face
This mellow thighed chick just put my spine out of place
Hey man, my schooldays insane
Hey man, my work's down the drain
Hey man, well she's a total blam-blam
She said she had to squeeze it but she... then she...
(CHORUS)
Oh don't lean on me man, cause you can't afford the ticket
I'm back on Suffragette City
Oh don't lean on me man
Cause you ain't got time to check it
You know my Suffragette City
Is outta sight...she's all right
Hey man, Henry, don't be unkind, go away
Hey man, I can't take you this time, no way
Hey man, droogie don't crash here
There's only room for one and here she comes, here she comes
CHORUS
Oh hit me!
CHORUS
A Suffragette City, a Suffragette City
I'm back on Suffragette City, I'm back on Suffragette City
Ooo, Sufraggete city, ooo, Suffragette City
Oooh-how, Sufragette City, oooh-how, Sufragette City, oooh-how
Sufragette
Ohhh, Wham Bam Thank You Ma'am!
A Suffragette City, a Suffragette City
Quite all right
A Suffragette City
Too fine
A Suffragette City, ooh, a Sufragette City
Oh, my Sufragette City, oh my Suffragette City
Oh, Suffragette
Suffragette!
The Rise and Fall of Ziggy Stardust and the Spiders from Mars is a concept album relating the rise and fall of rock star Ziggy Stardust, a messiah from Mars who ultimately fails in his mission to save Earth. "Suffragette City" is the next to last song on the album. Following the song "Ziggy Stardust," which tells of the beginnings of Ziggy's downfall, "Suffragette City" continues that theme. As the song says, "...my work's down the drain..." At this point in Ziggy's career he had given in wholly to the excess of sex, drugs, and his rock stardom, destroying any chances he had as a messiah.
Oddly enough, even though "Suffragette City" is identified as one of the David Bowie songs and the best song from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was not written for the album. "Suffragette City" existed in some form as early as 1971. Indeed, if things had gone differently, it might not have even been recorded by David Bowie. The song was originally offered to Mott the Hoople. Rumours to this day persist that a version of the song recorded by Mott the Hoople exists.
The song itself is a mixture of various influences, both music and pop culture wise. Over all the song borrows a good deal from classic rock 'n' roll, both in its piano (borrowed apparently from Little Richard) and its "saxophone (actually an ARP synthesiser)." At the same time, it at times seems reminiscent of the surf music of The Beach Boys (who borrowed heavily from the rock 'n' roll greats as well). The catchphrase "Wham Bam Thank You Ma'am!" was the title of a song from jazz great Charles Mingus's 1961 album Oh, Yeah. Given Bowie's love of jazz, there can be little doubt that the borrowing was intentional. The song also makes reference to the classic novel and the movie adapted from it A Clockwork Orange in the line "Hey man, droogie don't crash here." In A Clockwork Orange "droog" is a term for a young thug or gangster.
Regardless, I have always loved the song. For me "Suffragette City" is not only one of the most accomplished and well done songs of classic rock, but a darn catchy tune as well.
Hey man, oh leave me alone you know
Hey man, oh Henry, get off the phone, I gotta
Hey man, I gotta straighten my face
This mellow thighed chick just put my spine out of place
Hey man, my schooldays insane
Hey man, my work's down the drain
Hey man, well she's a total blam-blam
She said she had to squeeze it but she... then she...
(CHORUS)
Oh don't lean on me man, cause you can't afford the ticket
I'm back on Suffragette City
Oh don't lean on me man
Cause you ain't got time to check it
You know my Suffragette City
Is outta sight...she's all right
Hey man, Henry, don't be unkind, go away
Hey man, I can't take you this time, no way
Hey man, droogie don't crash here
There's only room for one and here she comes, here she comes
CHORUS
Oh hit me!
CHORUS
A Suffragette City, a Suffragette City
I'm back on Suffragette City, I'm back on Suffragette City
Ooo, Sufraggete city, ooo, Suffragette City
Oooh-how, Sufragette City, oooh-how, Sufragette City, oooh-how
Sufragette
Ohhh, Wham Bam Thank You Ma'am!
A Suffragette City, a Suffragette City
Quite all right
A Suffragette City
Too fine
A Suffragette City, ooh, a Sufragette City
Oh, my Sufragette City, oh my Suffragette City
Oh, Suffragette
Suffragette!
The Rise and Fall of Ziggy Stardust and the Spiders from Mars is a concept album relating the rise and fall of rock star Ziggy Stardust, a messiah from Mars who ultimately fails in his mission to save Earth. "Suffragette City" is the next to last song on the album. Following the song "Ziggy Stardust," which tells of the beginnings of Ziggy's downfall, "Suffragette City" continues that theme. As the song says, "...my work's down the drain..." At this point in Ziggy's career he had given in wholly to the excess of sex, drugs, and his rock stardom, destroying any chances he had as a messiah.
Oddly enough, even though "Suffragette City" is identified as one of the David Bowie songs and the best song from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was not written for the album. "Suffragette City" existed in some form as early as 1971. Indeed, if things had gone differently, it might not have even been recorded by David Bowie. The song was originally offered to Mott the Hoople. Rumours to this day persist that a version of the song recorded by Mott the Hoople exists.
The song itself is a mixture of various influences, both music and pop culture wise. Over all the song borrows a good deal from classic rock 'n' roll, both in its piano (borrowed apparently from Little Richard) and its "saxophone (actually an ARP synthesiser)." At the same time, it at times seems reminiscent of the surf music of The Beach Boys (who borrowed heavily from the rock 'n' roll greats as well). The catchphrase "Wham Bam Thank You Ma'am!" was the title of a song from jazz great Charles Mingus's 1961 album Oh, Yeah. Given Bowie's love of jazz, there can be little doubt that the borrowing was intentional. The song also makes reference to the classic novel and the movie adapted from it A Clockwork Orange in the line "Hey man, droogie don't crash here." In A Clockwork Orange "droog" is a term for a young thug or gangster.
Regardless, I have always loved the song. For me "Suffragette City" is not only one of the most accomplished and well done songs of classic rock, but a darn catchy tune as well.
Thursday, September 21, 2006
Smith
Lately television seems to have developed a taste for thievery. Last season saw the debut of two short lived series centred on professional thieves, Heist and Thief. It is left to be seen if the similarly themed Smith has what it takes to succeed where those two series failed.
Smith features Ray Liotta as Bobby Stevens, a man with a double life. He is a family man with a wife (the beautiful Virginia Madsen) and two kids, who makes a living selling paper cups. But Bobby is also a master thief who heads a crew that only goes after high priced items (think Rembrandt paintings and the like), a side of his life his family is seemingly ignorant of. This is a show where the lead character might be getting onto his son about doing his homework one minute, only to be shown committing a daring heist the next.
Smith is well cast. Liotta is perfect as Bobby Stevens, believable both when he is in the midst of a robbery or interacting with his wife and kids. Virginia Madsen shines as his wife Hope, speaking more words with the look in her eyes than many actresses can with their voices. Bobby's crew is rounded out by well established actors of film and television, including Simon Baker from Red Planet (who plays Jeff, a cold blooded assassin), Amy Smart from Felicity (who plays con artist and forger Annie), and Franky G from the remake of The Italian Job (who plays Joe, one of the crew's transportation experts).
While I must say that I enjoyed Smith, I must also admit that I am a bit worried for its survival. Smith packed more action and suspense in its debut episode than many shows do in ten episodes. This is a very fast paced series. Worse yet, the show hardly has a linear plot. It can move from flashbacks to the present day with the ease that Quentin Tarentino does in his movies. It is left to be seen whether viewers, accustomed to more casually paced, linear series will take to what is a very intelligent, very complex show. As it is, my concerns may not be unwarranted. Tuesday night Smith was beaten in the Nielsens by both Law and Order: SVU and Boston Legal. Worse yet, its second half hour had lower ratings than its first, meaning viewers actually tuned away. I suppose it is possible for a show to be too intelligent for its own good.
At any rate, I liked Smith quite a bit. If anything else, it is a good change of pace from the police procedurals, reality shows, and talent competitions that have filled the airwaves for the past several years. I only hope that audiences are anxious for something that is daringly different as well.
Smith features Ray Liotta as Bobby Stevens, a man with a double life. He is a family man with a wife (the beautiful Virginia Madsen) and two kids, who makes a living selling paper cups. But Bobby is also a master thief who heads a crew that only goes after high priced items (think Rembrandt paintings and the like), a side of his life his family is seemingly ignorant of. This is a show where the lead character might be getting onto his son about doing his homework one minute, only to be shown committing a daring heist the next.
Smith is well cast. Liotta is perfect as Bobby Stevens, believable both when he is in the midst of a robbery or interacting with his wife and kids. Virginia Madsen shines as his wife Hope, speaking more words with the look in her eyes than many actresses can with their voices. Bobby's crew is rounded out by well established actors of film and television, including Simon Baker from Red Planet (who plays Jeff, a cold blooded assassin), Amy Smart from Felicity (who plays con artist and forger Annie), and Franky G from the remake of The Italian Job (who plays Joe, one of the crew's transportation experts).
While I must say that I enjoyed Smith, I must also admit that I am a bit worried for its survival. Smith packed more action and suspense in its debut episode than many shows do in ten episodes. This is a very fast paced series. Worse yet, the show hardly has a linear plot. It can move from flashbacks to the present day with the ease that Quentin Tarentino does in his movies. It is left to be seen whether viewers, accustomed to more casually paced, linear series will take to what is a very intelligent, very complex show. As it is, my concerns may not be unwarranted. Tuesday night Smith was beaten in the Nielsens by both Law and Order: SVU and Boston Legal. Worse yet, its second half hour had lower ratings than its first, meaning viewers actually tuned away. I suppose it is possible for a show to be too intelligent for its own good.
At any rate, I liked Smith quite a bit. If anything else, it is a good change of pace from the police procedurals, reality shows, and talent competitions that have filled the airwaves for the past several years. I only hope that audiences are anxious for something that is daringly different as well.
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