Ian’s Shoelace Site

Ian’s Shoelace Site, with twenty-five ways to tie your shoes, and more than a hundred ways to lace them. (Who knew?)

“The stuff that was good”

Shahid Kamal Ahmad, game developer, interviewed on the podcast Mac Power Users:

“It’s a short life. We’re not kids anymore. But we forget so much of the good, and it’s just the way we’re primed. Evolution rewards us for remembering that which screwed us up. It does not reward us for remembering the stuff that was good.”

I listen to most of MPU at 1½× — so much of it is beyond what I need for my Mac endeavors. But every time I listen, I hear something of interest — though before today it’s always been something about the Mac. A reminder to remember the good stuff in one’s life is helpful regardless of platform.

“Scholarly voracity”

Murr learns to read:

E.T.A. Hoffmann, The Life and Opinions of the Tomcat Murr, trans. Anthea Bell (1999).

A Gennett Records documentary

From WTIU, a 2018 documentary, The Music Makers of Gennett Records. Louis Armstrong, Bix Beiderbecke, Blind Lemon Jefferson, Uncle Dave Macon, and Charley Patton were among the musicians who recorded for Gennett in Richmond, Indiana. Here’s a list.

Driving back from the east coast on I-70 one summer, totally beat, we went through all of Ohio without finding a hotel room. Something was going on: the Indy 500? a state fair? both? It was past midnight when we ended up snagging the one available room in Richmond, in the Leland Hotel. I realized that musicians — at least white musicians — might have stayed there in the late 1920s and ’30s when recording for Gennett.

[The Leland now provides housing for older people.]

Two Millhauser reviews

Two reviews of Steven Millhauser’s new book of stories, Disruptions : one not so smart, in The New York Times, and one smart, in The New Yorker. I haven’t read Disruptions yet, so I read just enough of these reviews to think I know what to think about them.

Related reading
All OCA Steven Millhauser posts (Pinboard)

Eleven movies, one series

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

Flaxy Martin (dir. Richard L. Bare, 1949). A lawyer, Walter Colby (Zachary Scott), serves a crime boss and falls for his girlfriend Flaxy (Virginia Mayo), with many complications ensuing. Flaxy is missing for much of the movie, literally out of the picture, as Walter spends time in the company of, and for a while handcuffed to, plucky librarian Nora Carson (Dorothy Malone). As in The Best Years of Our Lives and White Heat, Mayo is a long way from light comedy, and she does very well. Watch for Elisha Cook Jr. as a cliché-spouting gunman and Tom D’Andrea (the goldfish-soliloquy cabbie in Dark Passage) as a mechanic who appears to live in his garage. ★★★ (YT)

*

The Black Glove, aka Face the Music (dir. Terence Fisher, 1954). Alex Nichol plays an American jazz trumpeter touring England. When a singer he’s just met (Ann Haslip) is murdered, he finds himself the prime suspect. Musically, things are off here: our hero steps into someone else’s rehearsal, begins blowing, uninvited, at top volume, and everyone’s cool with that. And the police appear to be cool with leaving him to solve the crime himself. ★★ (YT)

*

The Big Caper (dir. Robert Stevens, 1957). If you’re a crime boss (James Gregory) looking to pull off a payroll heist, what do you do? Why, of course: have an underling (Rory Calhoun) and your own girl (Mary Costa) pose as a married couple buying a gas station in the town where the heist is to take place. What results is a surprisingly good movie with Asphalt Jungle overtones (and Florenz Ames as a Sam Jaffe-like safecracker). Best scenes: the “couple” at home and at a barbecue, talking with neighbors and pretending to be ordinary suburbanites. ★★★ (YT)

*

Bullets for O’Hara (dir. William K. Howard, 1941). We watched thinking that this movie might have been Anthony Quinn’s first, but he had already appeared in thirty of ’em (he’s up to third billing here). Completely forgettable, aside from the ridiculous premise: a newly married man robs his wife’s wealthy friends before revealing to her that he’s a gangster. A police detective then hatches a plot. Quinn has something of a Mike Mazurki vibe here — there’s no sign of what would come later in his career. ★★ (TCM)

*

Godland (dir. Hlynur Pálmason, 2022). A new movie, streaming at Criterion, so I know I’m supposed to like it, and I did, to a point. This story of a young (presumably Lutheran) priest traveling from Denmark to and across Iceland to serve a village is visually compelling: Maria von Hausswolff’s cinematography held my attention at every moment of the movie’s 142 minutes. The themes in play are hard to miss: faith and doubt, impermanence, selfhood and community, a beautiful and unforgiving natural world, the languages of colonizer and colonized (it’s the nineteenth century, and Iceland was under Danish rule). But characterization and plot are thin, and when I learned that the title Godland is a distortion of the movie’s Danish and Icelandic titles, and that the photographs described in the preamble are a fiction, I felt at least slightly cheated. ★★★ (CC)

[Vanskabte land (Danish): Disfigured land. Volaða land: Volcanic land? Volatile land? Miserable land?]

*

Paris Underground, aka Madame Pimpernel (dir. Gregory Ratoff, 1945). Just a few minutes in, and this movie was acing the Bechdel test. It’s Paris, 1940, and two friends have fled Paris: Constance Bennett is an indolent American, Kitty de Mornay; Gracie Fields is her stout-hearted English friend Emmeline Quayle. Their plans change with the discovery of a downed British pilot. Based on Etta Shiber’s memoir Paris Underground, with strong touches of Hitchcockian comedy. ★★★★ (YT)

*

A four-part series

Merpeople (dir. Cynthia Wade, 2023). In a memoir of life with agoraphobia, Allen Shawn writes that the world needs all kinds of people: athletes, philosophers, sex symbols, and worriers, people ”who can design air conditioners” and people ”who can inspire joy.” So I suppose it must need people who want to perform as professional mermaids and mermen — the audiences on view in this documentary series certainly appear to be happy. As do the performers, all of whom have chosen a life of burning eyes, meager pay, ungainly fish bodies (pulled into place with the help of personal lubricant), and the constant danger of hypothermia (the mantra “No dead mermaids” runs through the series). The Blixunami, the Mertailor, and Sparkles are three of the more compelling personalities here. ★★★★ (N)

*

From the Criterion Channel’s British Noir feature

It Always Rains on Sunday (dir. Robert Hamer, 1947). An extraordinary piece of filmmaking about family life and its discontents in London’s East End: Rose Sandigate, a former barmaid, now a wife and stepmother (Googie Withers), two resentful stepdaughters, one son, and a kind but obtuse husband (Edward Chapman) who seems more interested in darts than in his wife. Other families and complications abound in this world of crime, poverty, and seduction. Into the uneasy Sandigate situation comes a man from the past, an escaped convict (John McCallum) whom Rose once loved — it’s a bit like a lower-class Brief Encounter, compressed to a single day but moving to a very different end. Don’t miss the closing credits: they tell an interesting story. ★★★★

Pool of London (dir. Basil Dearden, 1951). Merchant seamen, one American, one Jamaican (Bonar Colleano, Earl Cameron) on a weekend’s shore leave in London. Minor and major crime, an interracial almost-relationship (Cameron and Susan Shaw), and a gripping chase to end the story. But until that chase, the movie meanders. Filmed on location, and looking as if it took inspiration from It Always Rains and Naked City. ★★★

Yield to the Night (dir. J. Lee Thompson, 1956). A movie with a title from Homer (Iliad 7, when a herald urges Ajax and Hector to cease their single combat), a recitation of “Loveliest of trees, the cherry now,” and Diana Dors as a murderer awaiting execution: I’m there. Having seen Man Bait and The Long Haul, I knew that Dors was a highly capable actor, and this movie must be her finest moment, as we watch her character change from platinum-haired glamour girl (scenes in flashback) to a glassy-eyed, pallid woman in a prison jumpsuit. The prison scenes are noteworthy for the small kindnesses offered by both the convict and her keepers. The opening credits make a point worth thinking about, with second billing going not to Michael Craig, who plays Dors’s lover, but to Yvonne Mitchell, who plays a prison matron: there’s a clear, albeit one-sided, lesbian subtext here. ★★★★

Hell Drivers (dir. Cy Endfield, 1957). An ex-con (Stanley Baker) takes a job at a trucking firm transporting loads of gravel, with the drivers expected to move at terrifying speed to make their daily quota. The film focuses on corrupt business practices, friendship, romantic love, and male rivalry, with extended and, finally, boring displays of toxic masculinity on the road and in a roadside restaurant — it’s like a cross between On the Waterfront and Rebel Without a Cause. It doesn’t help that the scenes of breakneck driving are so obviously speeded up. With Peggy Cummin, Herbert Lom, Patrick McGoohan, and a young Sean Connery. ★★

[The other films in this feature: All Night Long, Green for Danger, Night and the City, Obsession, Odd Man Out, The Small Back Room, Time Without Pity, The Woman in Question. Our household has already seen them, and they’re all worth seeing.]

*

Showgirls (dir. Paul Verhoeven, 1995). It’s the story of an aspiring dancer (Elizabeth Berkley) who professes no formal training, aspires to a career in Las Vegas, and spends much of her screentime naked or barely clothed. Rivalries, friendships, threats, and leering looks from all directions make up the thin, predictable plot, supplemented by copious use of the word “darlin’” and dance sequences that look like debased versions of Metropolis and The Rite of Spring. As a movie, it’s merely bad; as a bad movie, it’s not bad enough to be good. Best/worst scene: the pool, which had us laughing from the moment the electric palm trees light up. As a movie: ★ / As a bad movie: ★★ (CC).

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

A joke in the traditional manner

What do ducks like to eat?

Kid-tested, kid-approved: “Good one, Papa!” The punchline is in the comments.

More jokes in the traditional manner
The Autobahn : Did you hear about the cow coloratura? : Did you hear about the new insect hybrid? : Did you hear about the shape-shifting car? : Did you hear about the thieving produce clerk? : Elementary school : A Golden Retriever : How did Bela Lugosi know what to expect? : How did Samuel Clemens do all his long-distance traveling? : How do amoebas communicate? : How do ghosts hide their wrinkles? : How do worms get to the supermarket? : Of all the songs in the Great American Songbook, which is the favorite of pirates? : What did the doctor tell his forgetful patient to do? : What did the plumber do when embarrassed? : What do cows like to watch on TV? : What do dogs always insist on when they buy a car? : What happens when a senior citizen visits a podiatrist? : What is the favorite toy of philosophers’ children? : What kind of pasta do swimmers like? : What’s the name of the Illinois town where dentists want to live? : What’s the worst thing about owning nine houses? : What was the shepherd doing in the garden? : Where do amoebas golf? : Where does Paul Drake keep his hot tips? : Which member of the orchestra was best at handling money? : Who’s the lead administrator in a school of fish? : Why are supervillains good at staying warm in the winter? : Why did the doctor spend his time helping injured squirrels? : Why did Oliver Hardy attempt a solo career in movies? : Why did the ophthalmologist and his wife split up? : Why does Marie Kondo never win at poker? : Why is the Fonz so cool? : Why sharpen your pencil to write a Dad joke? : Why was Santa Claus wandering the East Side of Manhattan?

[“In the traditional manner”: by or à la my dad. He gets credit for the Autobahn, the elementary school, the Golden Retriever, Bela Lugosi, Samuel Clemens, the doctor, the plumber, the senior citizen, Oliver Hardy, and the ophthalmologist. Elaine gets credit for the Illinois town. Ben gets credit for the supervillains in winter. My dad was making such jokes long before anyone called them dad jokes.]

Dad, i.m.

My dad, James Leddy, died eight years ago today.

He showed up in a dream in July, a couple of days before what would have been his ninety-fifth birthday. He was in a van in our garage, about to back out. I was in the back seat. He asked, apropos of nothing, what “6A” meant.

I realized when I woke up that “6A” must mean August 6.

My dad appears in many OCA posts. Here’s a post with what I wrote after his death.

Dictée writ large

From NPR:

In France, the time-honored tradition of the dictée — or dictation — is alive and well. Recently, 1,700 desks were set up on the Champs Élysées in Paris for the world’s largest dictée session.

Here’s a brief clip of what it looked like.

[I added italics and accents to NPR’s words.]

Today’s Saturday Stumper

Today’s Newsday  Saturday Stumper, by “Lester Ruff” (Stan Newman) is supposed to be on the easy side, but it took me half an hour’s worth of effort. I’d say “May B. Ruff” might be a better name for today’s Stumper. Or “S. Purdy Ruff”? The clue that opened up much of the puzzle for me: 69-A, eight letters, “He said ‘Appreciation is a holy thing.’” Thank you, sir, and not for the first time.

Some clue-and-answer pairs of note:

1-D, six letters, “Check writing.” Always. But sometimes more than one check is needed.

8-D, fifteen letters, “Social media ancestor.” Eh, I’m not sure about this. Social media is for everyone.

11-D, six letters, “iPod ancestor.” A little strained.

12-D, eight letters, “Putting holes in, perhaps.” Getting this right made finishing the puzzle possible for me.

17-A, eight letters, “Imagined opponent of a drawn dog.” I smiled.

22-A, five letters, “Après-ski amenity.” I went for the obvious, and the obvious appeared right for a while.

27-A, five letters, “Training area.” Stumper-y.

29-D, four letters, “Level.” EVEN? FAIR? RAZE? TELL? So much indirection. I like it.

37-A, fifteen letters, “Not quite ‘Correct.’” And pretty bland. Somehow I immediately imagined someone in Hi and Lois saying it.

39-D, eight letters, “Lamb or kid.” I did not know the word.

43-A, five letters, “Be orally awesome, these days.” I dunno about this definition.

60-D, four letters, “Novelist Sinatra brawled with.” Yes, to brawl does not require that one resort to fisticuffs.

64-A, eight letters, “Verb related to ‘island.’” MAROONED?

My favorite in this puzzle: 51-D, six letters, “Homeric wise guy.”

No spoilers; the answers are in the comments.