R. Sikoryak’s Terms and Conditions

[Legalese and Bushmiller. Click for a larger view.]

The artist R. Sikoryak has made a graphic novel of the legalese that accompanies iTunes, each page in the style of a different artist, each with a bearded, glasses-wearing, Steve Jobsian character. Terms and Conditions: The Graphic Novel will be published in March. The pages are all on view here.

Sikoryak’s Roz Chast version of Steve Jobs is more or less Chast’s bearded-guy-with-glasses, who always looks (I think) a little like me.


[A pause in the legalese.]

Dream pants

They appeared earlier this morning: three-dimensional pants, designed by a descendant of Linus van Pelt, marketed under the Trump label. Not pants from a 3D printer: just pants, touted as three-dimensional.

Possible sources: a Gilmore Girls reference to someone as an empty suit, a Gilmore Girls discussion of slacks. (“Please stop saying slacks. That word is creepy.”) And other more obvious sources.

Related reading
All OCA dream posts (Pinboard)

USPS postage calculator

The USPS’s Postage Price Calculator makes the everyday mailer a capable calculator of postage prices. Useful too for party games. Guess the cost of a large flat-rate box to the Cook Islands! See who comes closest!

[Answer: $95.95.]

“The Revolutionary Post”

From the podcast 99% Invisible, “The Revolutionary Post,” an episode about the development of the United States Postal Service. Did you know that until the mid-1800s, the recipient of a letter paid its postage? And that the prepaid postage stamp led to a boom in letters? And that post offices added “ladies’ windows” where women could pick up their mail?

I’m now waiting on a library copy of Winifred Gallagher’s How the Post Office Created America: A History (2016). In the meantime, here is a brief (unrelated) account of the ladies’ window.

Postcards of the future

George Orwell, Nineteen Eighty-Four (1949).

A little like predictive text: there are a limited number of things you are expected to say. I wonder if Orwell knew about this kind of postcard.

Related reading
All OCA George Orwell posts (Pinboard)

Daniel Schorr on journalism, politics, and truth

From To the Best of Our Knowledge, a 2008 conversation with Daniel Schorr about journalism, politics, and truth. A useful reminder that before Dunning K. Trump there was Bush the Second, of whose administration Schorr says, “These are people who in a sense have mounted a coup inside the government against the government.” And before Bush the Second there was Richard Nixon, who, as Schorr reminds us, was famously caught on tape observing that “The press is the enemy.”

#grabyourwallet

Here’s a new website for the discriminating shopper: #grabyourwallet.org. With URLs for contact forms and telephone numbers for corporate headquarters.

See also: Pagan Kennedy’s “How to Destroy the Business Model of Breitbart and Fake News” (The New York Times).

Calling Amazon’s corporate number (206-266-1000) got me nothing but a maze of recorded messages. It might be better to call customer service (888-280-4331).

Did you know that Amazon advertises on Breitbart? (I can’t call it ”Breitbart News.”)

Two Henrys

[Henry, February 6, 2017.]

Henry just exited an Exhibition of Modern Sculpture. (Really.)

Related reading
All OCA Henry posts (Pinboard)

Twelve more movies

[No spoilers.]

Soylent Green (dir. Richard Fleischer, 1973). It is 2022. The “greenhouse effect” leads to oppressive heat. Cities are overpopulated and covered in a yellow-brown haze. Citizens wear facemasks and generate electricity from car batteries and exercise bicycles. The homeless sleep on any available staircase. Scoops dispose of the unruly. And food has been replaced by “soylent” — little red, yellow, and green planks of nutrition. With great performances from Charlton Heston and Edward G. Robinson (in his last film). “There once was a world, you punk.” Best scene: Robinson watching movies.

And there are Blackwings.

*

Un peu de festival du Jacques Demy

Les horizons morts (1951). Demy’s short first film, in which the director stars as a young man with a broken heart. Here is the kernel of the full-length films that were to follow.

Le sabotier du Val de Loire (1956). A short documentary through a week in the life of a sabot maker: love, death, craftsmanship, modernity. As the camera watches this man splitting or carving wood or eating soup, every action feels like the most important thing in the world.

Ars (1959). The life of Jean-Marie Baptiste Vianney, parish priest, self-flagellant, saint. A strong Bresson influence here. The year 1959 marked the hundredth anniversary of Vianney’s death.

Lola (1961). Watch what happens, as Michel Legrand’s song says, as sailors, dancers, a young woman, a long-lost son, and an alienated young man (Marc Michel) criss-cross Nantes. Obscure objects of desire on the move, with every character another’s double or stand-in. At the center of it all, the dancer Cécile, now known as Lola (Anouk Aimée). Beautifully filmed in soft, milky black and white.


[“C’est moi, c’est Lola.“]

La luxure (1962). Demy’s contribution to The Seven Deadly Sins, a collection of short films by different directors. Wordplay, crassly charming pickup lines, a fantasia on Hieronymus Bosch, and music by Michel Legrand. The solemn world of the earliest Demy films is giving way to playful urbanity, and, of course, la luxure — lechery.

Bay of Angels (1963). A variation of sorts on Stefan Zweig’s story “Twenty-Four Hours in the Life of a Woman.” A newbie gambler (Claude Mann) vacations in Nice and meets up with an older (and compulsive) hand at roulette (Jeanne Moreau). Both gamblers smoke Lucky Strikes. Let the chips, or plaques, fall where they may.

The Umbrellas of Cherbourg (1964). A sweetbitter fairytale of love and loss and love. A jazz opera of sorts (with some brief metadialogue about preferring movies to opera — all that singing!). An influence on Mister Rogers’s operas? I wonder. Offscreen, the sorrows of war. With Catherine Deneuve, Nino Castelnuovo, and Lola’s Marc Michel.

The Young Girls of Rochefort (1967). A fair comes to town, and relationships rearrange themselves. Look, it’s Catherine Deneuve. And her ill-starred sister Françoise Dorléac. And Bernardo from West Side Story (George Chakiris). And Gene Kelly. And sailors. And they’re all singing and dancing. Or someone is singing for them. But they’re the ones dancing. This film made us happy beyond happy for all 126 of its minutes. And yes, it’s an inspiration for La La Land, but this film is the one to watch. Please, watch The Young Girls of Rochefort, before Netflix says “Very long wait.”


[Dorléac and Deneuve as twin sisters Solange and Delphine Garnier.]

We’re watching Demy via Criterion’s The Essential Jacques Demy. Two more to go.

*

Vicki (dir. Harry Horner, 1953). Social media and death. A publicity man (Elliott Reid) and a gossip columnist (Max Showalter) turn a waitress (Jean Peters) into a model and aspiring actress. And then she’s murdered. A remake of I Wake Up Screaming, with strong overtones of Laura, even in the music that plays behind the opening credits. With a strong performance by Richard Boone, who steps into Laird Cregar’s shoes as terrifying, obsessed cop Ed Cornell. Best line: “If men want to look at me, let them pay for it.”

*

Indignation (dir. James Schamus, 2016). A Jewish boy from Newark goes off to a Christian college in Ohio. (Why, exactly?) We stopped after twenty minutes or so, having watched long enough to see that this film is yet another version of mid-century America in which color filters turn everything into The Past. Or everything except the luminous blonde-haired student who will obviously be the protagonist’s undoing. From a Philip Roth novel.

*

City of Gold (dir. Laura Gabbert, 2016). A portrait of Los Angeles food writer Jonathan Gold, and a celebration of the delights to be found in strip malls, storefront restaurants, and food trucks. “In this completely ordinary place,” says, Gold, driving down yet another boulevard, “there happens to be extraordinary food.” He is utterly unpretentious in his appreciation of the world’s cuisines: Chinese, Ethiopian, Iranian, Korean, Mexican — and hot dogs and Squirt soda. Gold may be best known as the man who ate his way down Pico Boulevard. Best watched with food nearby.

Related reading
All OCA film posts (Pinboard)
Fourteen more films : Thirteen more : Twelve more : Another thirteen more : Another dozen : Yet another dozen : Another twelve : And another twelve : Still another twelve : Oh wait, twelve more : Twelve or thirteen more : Nine, ten, eleven — and that makes twelve : Another twelve

Culs-de-sac?

From the Gilmore Girls episode “The Nanny and the Professor” (January 20, 2004). The episode begins with Rory and Lorelai discussing a plural form. Rory: “It’s culs-de-sac.” Lorelai: “No way!” Lorelai adds that culs-de-sac “doesn’t even sound like English.” Rory: “That’s because it’s French.”

The Oxford English Dictionary and Webster’s Second give culs-de-sac as the plural. Webster’s Third adds “also cul-de-sacs.” But Garner’s Modern American Usage (2003) gives cul-de-sacs as the proper plural. Bryan Garner says that with some exceptions (for instance, faits accomplis), “the trend is to anglicize French plurals.” That observation holds in Garner’s Modern English Usage (2016), which adds that culs-de-sac was “a common variant until about 1940,” now outnumbered by cul-de-sacs, 4:1. (The ratio comes from Google’s Ngram Viewer).

I’m amused that the French for “sack-bottom” or “bag-bottom” has become a favored term of American realtors. But as Rory might say, “That’s because it’s French.” I’m not sure it occurred to me until this morning that I am living on a cul-de-sac. I always thought I was living on a dead-end street. But not the one in the Kinks song.

Related reading
“William Safire Orders Two Whoppers Junior” (The Onion)

[In imaginary towns like Stars Hollow and Pleasantville, all streets are either cul-de-sacs or endless loops. My Super Bowl prediction: Gilmore Girls 3, Super Bowl 0.]