Two Manhattan addresses

Two Manhattan addresses with considerable history:

64 East Seventh Street in the East Village, still standing, and now the subject of a song cycle, lyrics by David Hajdu, music by various composers.

And 14 Gay Street in Greenwich Village, now gone.

Thanks, Stefan.

The Internet Archive in the courts

From The Washington Post:

A federal judge has sided with four publishers who sued an online archive over its unauthorized scanning of millions of copyrighted works and offering them for free to the public. Judge John G. Koeltl of U.S. District Court in Manhattan ruled [March 24] that the Internet Archive was producing “derivative” works that required permission of the copyright holder.

The Archive strikes back:

“Libraries are more than the customer service departments for corporate database products,” Internet Archive founder Brewster Kahle wrote in a blog post Friday. “For democracy to thrive at global scale, libraries must be able to sustain their historic role in society — owning, preserving, and lending books. This ruling is a blow for libraries, readers, and authors and we plan to appeal it.”

A blog post at the Internet Archive has more. And if you want to support the Archive, here’s the link for donations.

Handwriting, again

The New York Times looks at handwriting, good and bad. This article appears to be the one for which the Times solicited samples of bad handwriting last October. The paper has been worrying about the future of handwriting for some time now. In 1967, the enemies were electric typewriters, tape recorders, and Xerox machines.

Here’s the handwritng sample I sent — pretty legible, alas. Here’s a worse one that might have had a better chance.

Related reading
All OCA handwriting posts (Pinboard)

[This is a day when I’m in flight from real news.]

Crocs rising

“While other brands that thrived with customers in quarantine have dropped off, sales of the easily slipped-on clogs are up nearly 200 percent since 2019”: The New York Times reports on Crocs.

I have a pair for around the house and another for garbage duty, desultory strolls, &c. Crocs are great.

One caution: a neighbor, hale, hearty, non-fragile, broke an ankle when he slipped on a grassy slope while wearing Crocs. That gives new meaning to the words “easily slipped-on clogs.” Crocs are not the best choice for a slippery surface, though there are slip-resistant ones for work wear.

[This is a day when I’m in flight from real news.]

Break-room signage

[The Human Jungle (dir. Joseph M. Newman, 1954). Click for a larger view.]

Captain John Danforth (Gary Merrill) confronts slacker detective Lannigan (Lamont Johnson). There’s more than coffee in his cup.

On the wall, to the left: “Put all money for coffee & donuts in box.” But it’s the sign to the right that’s the interesting one: “Don’t be a [sponge]. Pay for your coffee or Join the Club.” That is, a coffee club. I like the hand pointing to the sponge — just in case you missed it.

Related reading
All OCA signage posts (Pinboard) : MAdison 5-1234

An EXchange name sighting

[The Human Jungle (dir. Joseph M. Newman, 1954). Click for a larger cab.]

More telephone EXchange names on screen
Act of Violence : The Amazing Dr. Clitterhouse : Armored Car Robbery : Baby Face : Black Angel : Black Widow : Blast of Silence : The Blue Dahlia : Blue Gardenia : Boardwalk Empire : Born Yesterday : The Brasher Doubloon : The Brothers Rico : The Case Against Brooklyn : Chinatown : Craig’s Wife : Crime and Punishment U.S.A. : The Crooked Way : Danger Zone : The Dark Corner : The Dark Corner (again) : Dark Passage : Deception : Deux hommes dans Manhattan : Dial Red 0 : Dick Tracy’s Deception : Down Three Dark Streets : Dream House : East Side, West Side : Escape in the Fog : Fallen Angel : Framed : Hollywood Story : Kiss of Death : The Life of Jimmy Dolan : The Little Giant : Loophole : The Man Who Cheated Himself : Mr. District Attorney : Modern Marvels : Murder by Contract : Murder, My Sweet : My Week with Marilyn : Naked City (1) : Naked City (2) : Naked City (3) : Naked City (4) : Naked City (5) : Naked City (6) : Naked City (7) : Naked City (8) : Naked City (9) : Nightfall : Nightmare Alley : Nocturne : Old Acquaintance : Out of the Past : Perry Mason : Pitfall : The Public Enemy : Railroaded! : Red Light : She Played with Fire : Shortcut to Hell : Side Street : The Slender Thread : Slightly Scarlet : Stage Fright : Sweet Smell of Success (1) : Sweet Smell of Success (2) : Tension : This Gun for Hire : Till the End of Time : This Gun for Hire : The Unfaithful : Vice Squad : Whatever Happened to Baby Jane?

Ten movies, two seasons

[One to four stars. Four sentences each. No spoilers. Sources: Criterion Channel, HBO Max, TCM, YouTube.]

The Human Jungle (dir. Joseph M. Newman, 1954). As newly assigned police captain John Danforth, Gary Merrill is Captain Hardass, cracking down on card-playing, whiskey-sneaking cops. He also seeks to solve the murder of a stripper, who, as he points out, was a human being. A chase through a Pabst Blue Ribbon brewery adds zest. With Chuck Connors, Emile Meyer (Mr. Halloran in Blackboard Jungle), and Jan Sterling. ★★ (YT)

*

The Young Savages (dir. John Frankenheimer, 1961). It opens with an act of blunt, brutal violence and goes on to add layer upon layer of complication. Burt Lancaster plays a district attorney prosecuting three white teenagers for the murder of a Latino teenager. One of those charged is the son of an old flame (Shelley Winters). With John Davis Chandler, Telly Savalas (as a brutal cop), Pilar Seurat, and Stanley Kristien, an actor with just three other screen credits, one for Route 66 and one for Naked City, so you know he’s good. ★★★★ (YT)

*

Kiss the Blood Off My Hands (dir. Norman Foster, 1948). Another movie that opens with an act of blunt, brutal violence, but here it’s unpremeditated, the act of a veteran and former POW, Bill Saunders (Burt Lancaster), suffering from what we can now recognize as PTSD. “The wounds of war, whether of the mind or the of the body, heal slowly,” words on the screen tell us. Bill finds refuge in the London apartment of Jane Wharton (Joan Fontaine), a lonely woman whose sweetheart was killed in battle; the tentative, uneasy relationship that develops between them is threatened, again and again, by a small-time criminal (Robert Newton) who saw what Bill did. An excellent, artfully made noir with an improbable and misleading title. ★★★★ (TCM)

*

Go Tell It on The Mountain (dir. Stan Lathan, 1985). An American Playhouse adaptation of James Baldwin’s first novel. Like the novel, the film moves back and forth in time and place, between the rural Jim Crow south and Harlem, mapping the intergenerational consequences of misogyny and patriarchy in a family whose existence encompasses only two realities: home and church (the great Satan is “the streets”). Baldwin, who told The New York Times he was “very, very happy” with the adaptation, gets the last word: “It did not betray the book.” With James Bond III, Rosalind Cash, Olivia Cole, Ruby Dee, and Paul Winfield. ★★★★ (CC)

*

Appointment with Crime (dir. John Harlow, 1946). A shocker, this one is, Yoda might say. A small-time criminal is abandoned by his cronies in a failed heist; now out of prison, he’s looking for revenge. As small-timer Leo Martin, William Hartnell looks both vulnerable and creepy, like a cross between Alan Ladd and Norman Lloyd, a dangerous combination for dancehall hostess Carol Dane (Joyce Howard). A surprising element: Herbert Lom as an antiques dealer and Alan Wheatley as his live-in amanuensis: how did those guys get past the censors? ★★★ (YT)

*

Appointment with a Shadow (dir. Richard Carlson, 1957). It’s a B-movie variation on The Lost Weekend, with George Nader as an alcoholic reporter who’s promised a big story if he can go one day without drinking. George Nader gives a strong performance as reporter Paul Baxter — sweaty, jittery, bedeviled by car horns and reminders of alcohol: billboards, a liquor-store delivery man, radio commercials. Joanna Moore (Tatum O’Neal’s mother) is his loyal girlfriend; Brian Keith, his girlfriend’s skeptical brother. The big story, with a twist and a chase through the night, adds to the movie’s interest. ★★★ (YT)

*

This Woman Is Dangerous (dir. Felix E. Feist, 1952). Joan Crawford is Beth Austin, a criminal boss, heading a heist outfit and struggling to manage her ultra-needy, ultra-jealous boyfriend of nine years, Matt Jackson (David Brian). When she calls off a heist to schedule eye surgery, because otherwise she’ll be blind in a week, she ends up falling in love with her surgeon, Dr. Ben Halleck (Dennis Morgan). Some nifty police tricks (tapping into telephone lines), and a good final scene as the two rivals come face to face, sort of, in an operating theater where all the doctors in attendance are masked. Insanely improbable melodrama. ★★★ (TCM)

*

The White Lotus (created by Mike White, seasons one and two 2021–2022). I asked my daughter — our TV influencer — if she could recommend something to watch, and this series was her answer, and what a good answer. For anyone who’s not seen it, it’s something of a darkly funny whodunit and whogotit, following the fortunes of moneyed, troubled vacationers at a White Lotus resort. As the season begins, someone has been murdered, and then we go back one week to find out what happened. First season: Hawaii, with a sobriety-challenged resort manager (Murray Bartlett), a “magical Negro” spa manager (Natasha Rothwell), an addled solitary traveler (Jennifer Coolidge), and too many more characters to name. ★★★★ (HBO)

[The magical Negro trope is, trust me, meant to be recognized as such.]

Second season: Now we’re at a White Lotus in Sicily, with three generations of horny men looking for their roots (F. Murray Abraham, Michael Imperioli, Adam DeMarco), a prostitute looking for customers (Simona Tabasco), two couples in intra- and inter-relationship conflicts (Meghann Fahy and Theo James, Aubrey Plaza and Will Sharpe), and, once again, too many more characters to name. The star of the season: Jennifer Coolidge, still addled, now traveling with a personal assistant (Haley Lu Richardson). I was happy to find my hunches about whodunit and whogotit and how on the mark, in nearly every respect. My favorite scene: the Sicilian-Americans meeting their cousins. ★★★★ (HBO)

*

Carnal Knowledge (dir. Mike Nichols, 1971). Two men, Jonathan and Sandy (Jack Nicholson, Art Garfunkel) and five women, Susan (Candice Bergen), Bobbie (Ann-Margret), Cindy (Cynthia O’Neal), Jennifer (Carol Kane), and Louise (Rita Moreno). Jonathan and Sandy begin as Amherst College roommates and blunder their way through relationships: Sandy pressures Susan, his Smith girlfriend, to have sex while Jonathan starts up his own relationship with her; a marriage dissolves (off camera!); another marriage dissolves; Jonathan evaluates prospective partners as one would evaluate animals at a county fair. Jules Feiffer’s screenplay is grimly funny, filled with cliché and misogyny. I can imagine what straight men were asking their partners in 1971: “Babe, you know I’m not like that, right?” ★★★ (TCM)

*

Dear Heart (dir. Delbert Mann, 1964). This movie would pair well, though weirdly, with Carnal Knowledge : it’s a coy look at sexual mores in a world before mustaches and pot. Geraldine Page is Evie Jackson, a lonely postmaster visiting Manhattan for a postal convention; Glenn Ford is Harry Mork, a greeting-card salesman on, well, the make: breaking it off with one woman, already engaged to another, availing himself of a one-night stand with a third — and then along comes Evie. Page is great; Ford, an enigma; and Angela Lansbury has a memorable brief appearance, A large cast with familiar faces in small roles makes the scenes of enforced fun and hilarity worth watching. ★★★ (TCM)

*

Hotel Berlin (dir. Peter Godfrey, 1945). Based on Vicki Baum’s novel, a sequel to her Grand Hotel. Here the setting is a hotel in the waning days of WWII. I was strongly reminded of Casablanca, because everybody comes to the Hotel Berlin: an escaped resistance fighter (Helmut Dantine), Nazi officers (Henry Daniell, Raymond Massey), a famed actress (Andrea King), a Dietrich-like “hostess” (Faye Emerson), a Nobel laureate (Peter Lorre), almost all with a capacity for sharp, grim humor. Their stories intersect in unexpected ways. With a great score by Franz Waxman. ★★★★ (TCM)

Related reading
All OCA “twelve movies” posts (Pinboard)

The Milky Way

My friend Luanne shared a surprise. The phrase “the Milky Way” first appears in Geoffrey Chaucer’s The House of Fame (c. 1380):

“Now,” quod he thoo, “cast up thyn yë.
Se yonder, loo, the Galaxie,
Which men clepeth the Milky Way,
For hit ys whit (and somme, parfey,
Kallen hyt Watlynge Strete)”

Why Galaxie? The OED explains: “post-classical Latin galaxias Milky Way.”

Why Milky Way? The OED explains: “after classical Latin lactea via.”

And why Watlynge Strete? My ancient edition of Chaucer (ed. F.N. Robinson, 1957) explains:

Watlynge Strete, a famous old road, which probably ran from Kent to the Firth of Forth. The Milky Way was called “Watling street” or “Walsingham way” in England, just as it was known in southern Europe as “la via di San Jacopo” (the way to Santiago) and “la strada di Roma” (the way to Rome).

Richard Abbott offers a correction about Watling Street in the comments: “Modern thinking, based on Roman route itineraries, is that it actually goes from Kent roughly north-west through London to Wroxeter.” He adds much more about Watling Street. Here’s a modern-day journey on the street. And from the BBC, “The road that led to 1,000 stories.” Among them: The Canterbury Tales.

[“Now,” quoth he, “cast up your eye. See yonder, lo, the Galaxy, which men call the Milky Way, for it is white (and some, by my faith, call it Watling Street).”]

Succession, sheesh

“I thought it might be time for you and I to move on.”

All OCA sheesh posts (Pinboard)

[The Times calls this first episode “lively and highly entertaining.” I found it a snorefest. Watch people make calls to negotiate a deal — fun!]

NYT vs. Guardian

A cult leader held a gathering with followers yesterday in Waco, Texas. Here’s an account from The New York Times. And here’s an account from The Guardian. Which one gives a better sense of what happened?

I’ll offer just one detail. From the Times:

From the stage, Mr. Trump notably did not attack the Manhattan district attorney, Alvin L. Bragg, in the kind of caustic terms that he had used on social media in recent days. This past week, he had called Mr. Bragg, who is Black, an “animal” and accused him of racism for pursuing a case based on hush-money payments to the porn star Stormy Daniels shortly before the 2016 election. . . .

He did attack one of Mr. Bragg’s senior counsels by name, noting that he came to the office from the Justice Department and describing the move, without evidence, as part of a national conspiracy. “They couldn’t get it done in Washington, so they said, ‘Let’s use local offices,’” Mr. Trump said.

What the Times doesn’t report, and what The Guardian does report, is that Trump** called New York prosecutors “absolute human scum.” Here’s the video. “Human scum” is what he called Bragg last week on his faux-Twitter. Kinda caustic if you ask me.

I left a comment on the Times article, noting that it’s a remarkably demure account of yesterday’s cult gathering. Letting the details go unreported increases the danger that Trump** and his followers pose to our democracy.

*

4:00 p.m.: I have to add one more contrast. The Times:

The rally featured one new twist: the playing of “Justice for All,” a song featuring the J6 Prison Choir, which is made up of men who were imprisoned for their part in the Capitol riot on Jan. 6, 2021.

The song, which topped some iTunes download charts, is part of a broader attempt by Mr. Trump and his allies to reframe the riot and the effort to overturn the election as patriotic. The track features the men singing “The Star-Spangled Banner” while Mr. Trump recites the Pledge of Allegiance.

And The Guardian:

He opened the rally by playing a song, “Justice for All”, that features a choir of men imprisoned for their role in the January 6 insurrection singing the national anthem intercut with Trump reciting the Pledge of Allegiance.

Trump stood solemnly on a podium with hand on heart and footage from the Capitol riot was shown on big screens and US flags billowed in the wind. “That song tells you a lot because it’s number one in every single category,” he told a crowd of thousands. “Number two was Taylor Swift, number three was Miley Cyrus.”

Footage from January 6, shown as something to celebrate, another detail the Times omits.

The Times hasn’t published my comment, perhaps because the paper prohibits “namecalling” and I referred to Trump** and his followers as fascists.

*

7:30 p.m.: I tried another comment, minus “fascists” and “absolute human scum,” and it got through.

[Two impeachments, two asterisks. And an untold number of crimes.]