Lora

You can find Lora here. Follow the download link, chose Code, then download the ZIP file. The webpage must be outdated, as there are indeed six styles, not four.

[Found via brettterprestra.com.]

The legacy Blogger interface

My hope that the new Blogger interface was proving to be a New Coke is evaporating. I found Orange Crate Art switched over this morning. On my phone in Mobile View (iOS, Safari), I saw no way to switch back. On my Mac, the option to revert to the (so-called) legacy interface is still available. But the promise that “the legacy interface will still be optionally available” is now gone.

Good grief: does one just toss away a legacy? No. A legacy should get preferential treatment and be admitted to a top school despite a mediocre or less than mediocre academic record. Google, please treat the legacy Blogger interface accordingly and give it every unmerited advantage available.

*

9:00 a.m.: The message just now on a Blogger page I created to try out the new interface: “In July, the new Blogger interface will become the default for all users. The legacy interface will still be optionally available.”

Twelve movies

[One to four stars. Four sentences each. No spoilers.]

The Fat Man (dir. William Castle, 1951). A one-off film with J. Scott Smart reprising his radio serial role as Brad Runyon, bon vivant, gourmet, and detective. The character is said to have been inspired by Dashiell Hammett’s Continental Op, but Runyon seems to me more the Nero Wolfe type. He dines, dances (very well), and investigates the murder of a dentist, all the while looking like John Candy with a fake moustache. A wonderful B-movie with a zillion flashbacks, along with Rock Hudson, Emmett Kelly, and Julie London. ★★★★

*

Trapped (dir. Richard Fleischer, 1949). A semi-documentary story of Treasury agents and counterfeiters? I’m sold. Lloyd Bridges is the nominal star, but the movie’s more compelling presences are John Hoyt as a louche nightclub denizen and the ill-fated Barbara Paxton as a cigarette girl. Three great touches: chewing gum, an apartment where Latin music plays non-stop, and a chase through a Los Angeles streetcar depot. ★★★★

*

Smash-Up: The Story of a Woman (dir. Stuart Heisler, 1947). Susan Hayward stars as Angelica Conway, a nightclub singer who career disappears when her songwriting husband Ken (Lee Bowman) becomes a star himself. Angelica’s descent into alcoholism is fueled by loneliness and suspicions about Ken and his catty assistant Martha (Marsha Hunt). Some great scenes: Angelica and Martha sparring at a party, Angelica and Robert Shayne in a bar; Angelica preparing a meal for her daughter. Bowman is the weak link, but Hayward gives a great (Lupino-esque, I’d say) performance in a forward-looking film that treats alcoholism as a disease. ★★★★

*

Once You Kiss a Stranger. . . (dir. Robert Sparr, 1969). A reimagining of Strangers on a Train, with Paul Burke (beloved in our household from the television series Naked City) as a pro golfer and Carol Lynley as the Bruno Anthony of the piece. Burke is fine as a man in over his head, but the movie is a tour de force for Lynley, by turns seductive, vicious, witty, but always insane. Also featuring a portable TV, an eight-track tape player, an enormous VCR, flocked wallpaper, and a car chase in the Valley (the Valley, always recognizable). With Whit Bissell as a brave psychiatrist and Philip Carey (who played the gay football player on All in the Family) as an egomaniacal golfer. ★★★★

*

Sex and the Single Girl (dir. Richard Quine, 1964). This movie and the previous one remind me how rarely I watch anything from this decade. (Elaine says our best year for movies is 1949 — or is it 1947?) Natalie Wood and Tony Curtis are delightful in this comedy of assumed and mistaken identities; Lauren Bacall and Henry Fonda, less so; Fran Jeffries and Mel Ferrer, much less so; the car chase, much, much less so. The sexual politics (get her drunk) are intolerable; the coyness — a man who has lost his, uhh, “confidence”; a woman who was “active” before marriage, that is, employed — insufferable. ★★

*

Rancho Notorious (dir. Fritz Lang, 1952). Another Criterion Channel noir western. “Legend of Chuck-A-Luck,” a song that runs through the movie, spells out the theme with an awkward redundancy: “hate, murder, and revenge.” No matter: after a brutal beginning, the story follows a ranch-hand (Arthur Kennedy) as he searches for the unknown bad man who raped and murdered his fiancée, ending up at last at Chuck-A-Luck, a ranch and haven for criminals presided over by a vaguely Circe-like Marlene Dietrich. The best line: “I wish you’d go away and come back ten years ago.” ★★★★

*

The Thin Man (dir. W.S. Van Dyke, 1934). The verbal and non-verbal communication between Nick and Nora Charles (William Powell and Myrna Loy) is a delight, ditto the extended party scene, ditto the dinner scene, in which Nick improvises his way to figuring out who done it. The mystery and its cast of characters are not especially interesting, making this relatively short film feel much longer than its eighty minutes. Nora: “Want a drink?” Nick: “What do you think?” ★★★

*

The Two Mrs. Carrolls (dir. Peter Godfrey, 1947). Humphrey Bogart is a painter, of wives, not houses. The second Mrs. Carroll (Barbara Stanwyck) has two challenges to contend with: her husband and a wanna-be philanderer (Alexis Smith). Bogart is all unhinged emoting, but Stanwyck and Smith are well-matched as frenemies, the one anxious, the other cold and unflappable. A better leading man for this picture: James Mason. ★★★

*

From the Mixed-Up Files of Mrs. Basil E. Frankweiler, aka The Hideaways (dir. Fielder Cook, 1973). The Afterschool Special to end all Afterschool Specials: siblings Claudia and Jamie (Sally Prager and Johnny Doran) run away to Manhattan to live in the Metropolitan Museum of Art. I read E.L. Konigsburg’s novel for the first time as an adult and loved it. This adaptation, filmed on location, takes us inside Macy’s, the General Post Office Building, and the Metropolitan Museum of Art: O time capsule of Manahatta! Alas, the movie inexplicably veers away from the novel and disappoints when Mrs. Frankweiler (Ingrid Bergman) appears. ★★★

*

Two documentaries by Ron Mann

Imagine the Sound (1981). Music and conversation from four musicians identified with the avant-garde in jazz: Paul Bley, Bill Dixon, Archie Shepp, and Cecil Taylor. To see these musicians on film is a rare thing. But there’s little here to orient a newcomer, and nothing in the way of structure: the film meanders between brief or extended samples of performance and brief or extended samples of conversation. Worst moments: Taylor reading his poetry; best moments: Taylor at the piano. ★★★

Poetry in Motion (1982). I first saw this film of poets talking and reading from their work in 1984, on a date with Elaine. Jim Carroll did an introduction (I recall that he spoke about people who died, among them, no doubt, his friend Ted Berrigan); the projector kept failing; and the audience was, let’s say, irreverent. All these years later, the moments I remember as best — Helen Adam, Amiri Baraka (with David Murray and Steve McCall), Ted Berrigan, Tom Waits — hold up well. But so much of what’s here points toward “spoken word” and the substitution of gestures, gimmickry, and poet voice for the magic of language. ★★★

*

Of Time and the City (dir. Terence Davies, 2008). A deeply personal Liverpool story, made of archival footage and Davies’s narration, which touches on everything from movies to growing up gay to the Beatles to royalty (“The Betty Windsor Show”) to the poverty of crumbling nineteenth-century buildings and new tower blocks. With copious citation and allusion, ranging from Sir Walter Raleigh to Ulysses and Four Quartets. If W.S. Sebald had set out to make a film, it might look something like this one. It’s brilliant film, soon leaving the Criterion Channel. ★★★★

Related reading
All OCA film posts (Pinboard)

Antigone in Ferguson

I watched a Theater of War event for Zoom last night: Antigone in Ferguson, an adaptation of Sophocles’s Antigone with music by Philip Woodmore. Cori Bush, just elected to Congress, introduced the event. The actors included Tracie Thoms (Antigone) and Oscar Isaac (Creon). De-Rance Blaylock and Duane Martin Foster, choir soloists, were teachers of Michael Brown, who was killed by a police offer six years ago yesterday in Ferguson, Missouri. Relatives of other men killed by police spoke after the performance: Gwen Carr, mother of Eric Garner; Valerie Bell, mother of Sean Bell; Marion Gray-Hopkins, mother of Gary Hopkins Jr.; and Uncle Bobby X, uncle of Oscar Grant. They spoke of the devastation of losing a loved one to police violence, of pain that never goes away, something Sophocles would understand.

I found many overtones of Lee Breuer’s The Gospel at Colonus, with a message of healing and redemption added to Sophoclean tragedy, most notably in a final song, “I’m Covered.” In Sophocles’s play, Antigone covers her brother Polynices’s body with dust, giving him a symbolic burial and thereby defying Creon’s order against burial rites for an enemy of the state. In the final song, there’s a different kind of covering, as the members of the choir proclaim that they are covered in the blood of Jesus. The most striking visual element in the performance: Willie Woodmore (the composer’s father), with enormous headphones and sunglasses, as the blind seer Tiresias.

I was one of forty (or more) people who raised a hand but had no chance to speak in the discussion that followed the performance. I wanted to say something about Creon. He is accusatory, paranoid, misogynist, intent upon demeaning and destroying anyone who challenges his authority, resistant to any plea that he should take a different course of action. He also identifies the state with himself: “So I should rule this country for someone other than myself?” he asks his son. Sound like anyone you know?

Related reading
All OCA Sophocles posts (Pinboard) : Ajax and EMTs

[I’ve quoted from Paul Woodruff’s translation, in Theban Plays (Hackett, 2003).]

She and her

The caption for a photograph in The New York Times:

Ms. Hill’s closet in Washington. Like many people’s, it is filled with officewear she may not need for a while. At top right, a framed photo of she and her Congressional colleagues.

“A framed photo of she”: yeesh. A simple fix: “A framed photo of Hill,” &c.

The other problem: the unintended suggestion that Hill’s unneeded officewear is hanging in closets hither and yon.

“Art is fierce”

Toni Morrison:

I want to describe to you an event a young gifted writer reported:

During the years of dictatorship in Haiti, the government gangs, known as the Tonton Macoutes, roamed about the island killing dissenters, and ordinary and innocent people, at their leisure. Not content with the slaughter of one person for whatever reason, they instituted an especially cruel follow-through: no one was allowed to retrieve the dead lying in the streets or parks or in doorways. If a brother or parent or child, even a neighbor ventured out to do so, to bury the dead, honor him or her, they were themselves shot and killed. The bodies lay where they fell until a government garbage truck arrived to dispose of the corpses — emphasizing that relationship between a disposed-of human and trash. You can imagine the horror, the devastation, the trauma this practice had on the citizens. Then, one day, a local teacher gathered some people in a neighborhood to join him in a garage and put on a play. Each night they repeated the same performance. When they were observed by a gang member, the killer only saw some harmless people engaged in some harmless theatrics. But the play they were performing was Antigone, that ancient Greek tragedy about the moral and fatal consequences of dishonoring the unburied dead.

Make no mistake, this young writer said: art is fierce.

From “The Habit of Art.” 2010. In The Source of Self-Regard: Selected Essays, Speeches, and Meditations (New York: Alfred A. Knopf, 2019).

All of which is a preface to this reminder that Theater of War presents a streaming performance of Antigone in Ferguson, tonight, 7:30 CDT. Zoom required. Register here.

A great sadness of my teaching life is that the teaching of “backgrounds” in my English department appears to have disappeared with my retirement. “Backgrounds” as I understood the word meant beginnings, of epic, lyric, tragedy, and comedy. Say, Homer, Virgil, and Ovid; Sappho and Catullus; Aeschylus, Sophocles, and Aristophanes.

Anyone who thinks that “the classics” no longer have anything to teach us isn’t paying attention.

Related reading
All OCA Sophocles posts (Pinboard): Modest proposals

Today’s Saturday Stumper

Today’s Newsday Saturday Stumper, by Greg Johnson, made for a challenging half hour of solving. The puzzle looks daunting, with eleven-, thirteen-, and fifteen-letter answers across the top and bottom. I started with 16-A, four letters, “They’re easy to take,” and my incorrect answer was still good enough to get me started. When I put in my final answer, for 21-D, four letters, “Guy from Charlottesville,” I had no idea why the answer made sense and thought it couldn’t be right. Maybe it didn’t make sense. But it was correct. Done and baffled, that was me.

Oh, wait — I typed those sentences, and now the answer makes sense. My love/hate relationship with that kind of clue continues. These fingers, dear hearts, is always a-warrin’ and a-tuggin’, one agin t’other.

Some clue-and-answer pairs I especially liked:

7-D, four letters, “ER’s critical supply.” Clever, especially as the answer could be clued in a more straightforward way.

9-D, seven letters, “Window box favorite.” I don’t know why I was confident about the answer, but I was. Dowdy intuition, maybe.

12-A, thirteen letters, “Qualifier for a silly statement.” Fresh, lively, and surprisingly easy to see with a couple of crosses.

20-A, three letters, “Qtr.’s baker's dozen.” A good way to make a mundane answer Stumpery.

28-A, six letters, “Cultural center?” Well done.

30-A, four letters, “Fictional Autobiography subject (1847).” Yes, 1847!

32-A, four letters, “To-go pieces.” As above: a good way to, &c.

33-D, eight letters, “Important decade in analysis.” I don’t know whether to admire or lament the effort probably required to make this clue tricky.

41-D, six letters, “‘The ___ of the moth for the star’: Shelley.” Seeing Shelley in a puzzle always makes me think of my friend Rob Zseleczky, the consummate Shelley reader.

One quarrel: 5-D, five letters, “Numbers on angels.” This clue feels awfully forced in the interest of Stumping. On? No, about.

No spoilers: the answers are in the comments.

“Defend Our Post Office”

[A video from People for the American Way. Music: Alabama Sacred Harp Singers, “Present Joys.”]

Whose toes?

[“Tourist Posing With 200-Year-Old Sculpture Breaks Her Toes.” The New York Times, August 7, 2020.]

Granted, the referent must be sculpture. And granted, the text that follows clears things up. But I’d rewrite this headline: “Tourist Accidentally Breaks Toes of 200-Year-Old Sculpture.” “Sculpture’s toes” sounds too awkward to me, or a little too much like (so-called) language-poetry.

Here’s the article. Step carefully.

A secret message, of course

Elaine and I chose a film out of the blue last night, Terence Davies’s Of Time and the City (2008), a meditation (for lack of a better word) on the Liverpool of the director’s early life, made of archival footage with commentary. In 2016 we watched and loved Davies’s The Long Day Closes (1992). Of Time and the City is the only other movie of his available from the Criterion Channel, and it vanishes on August 31. So — we watched.

How strange, late in the film, to hear Peggy Lee’s 1957 recording of Oscar Hammerstein II and Jerome Kern’s “The Folks Who Live on the Hill.” That was one of my dad’s favorite songs, and we played Mel Tormé’s 1956 recording five years ago at his memorial. My dad died five years ago yesterday.

I couldn’t place Peggy Lee’s voice last night, even though I have the recording (on one of my dad’s CDs). I thought I was hearing Lee Wiley. As Elaine pointed out, I got it half right.

[Joking aside, Lee Wiley was indeed a major influence on Peggy Lee.]