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Music, March 1971: Humble Pie

He saw himself as a budding black militant, but he thought of me as a hippy-dippy, flower-power type.

More random music recollections based on the book Never A Dull Moment.

It was Woodstock, the March 1970 movie, that was the greater watershed than the August 1969 concert, the author posits, and I tend to agree. If a third of a million people actually went to Max Yasgar’s farm in Bethel, NY, after seeing the Academy Award-winning documentary, millions would say they were there.

I recall going to the film with a bunch of my anti-war, socially activist friends – Holiday Unlimited: “a splendid time is guaranteed for all”- shortly after the film was released. We sat through it TWICE, back in the days when you could actually do that sort of thing, and it was LONG, about three hours.

My most specific recollection was looking back at the light stream that was projected image that was showing during Sly and the Family Stone’s performance and noticing how purple it was. And, seriously, I had never taken any drugs at the time.

The Woodstock soundtrack propelled my listening for at least the next half-decade, really introducing me, and much of the country, to Joe Cocker and Santana, and solidified my listening to Arlo Guthrie, CSN(&Y) and The Who, among others.

Unlike earlier live albums, such as The Who’s Live at Leeds, which captured the performance and nothing more, producers in 1971 realized the “sound of the crowd was a key element” in transferring the excitement to the listener who had not been present. I always had mixed feelings about live albums for that reason.

Bill Graham closed both Fillmore East in New York City and Fillmore West in San Francisco in 1971. Agents such as Frank Basalona realized that some bands, such as Led Zeppelin, would sell out the venues based on their names, and weren’t willing for the flat rate someone such as Graham would offer.

Basalona signed groups such as Humble Pie from London and J. Geils from Boston. I listened quite a bit to cuts from the live Humble Pie album Rocking the Fillmore on the radio, featuring Peter Frampton, who would go on to have even greater live album success.

The groups’ common manager was Dee Anthony, who, in addition to worrying about the money, instilled in the band a sense of showmanship. Producer Tom Dowd got the Allman Brothers to dump their out-of-tune horn section and made them a much better band.

The other live music album I recall from this period was the one by Grand Funk Railroad, which came out in November 1970. I received it for my birthday in March 1971 from my sister’s boyfriend George. He saw himself as a budding black militant, but he thought of me as a hippy-dippy, flower-power type, and thought, incorrectly, that this would have been “my” type of music. But I did listen to it a few times, and it’s probably still in the attic.

Listen to:
Black Dog – Led Zeppelin. It was first played live at Belfast’s Ulster Hall on 5 March 1971.
I Don’t Need No Doctor – Humble Pie
Aqualung – Jethro Tull
Rock and Roll, Hootchie Koo – Johnny Winter
Mean Mistreater – Grand Funk Railroad

Video review: Where To Invade Next

After the 2008–11 Icelandic financial crisis, bankers were actually prosecuted.

The movie Where To Invade Next appeared briefly in theaters in New York City and Los Angeles at the end of 2015, but was booked for general release in February 2016. Unfortunately, Michael Moore, the writer/director/star, caught pneumonia around that time, forcing him to cancel activities to promote the film.

Then in May 2016, he emailed MoveOn members, offering them a copy of the video for a donation to the organization, and “tens of thousands… responded.” I was one of them.

The premise of the film is that Moore would “invade” particular countries, and “steal” their best ideas. In Italy, for instance, he interviewed well-paid workers with guaranteed vacation and paid parental leave.

France had delicious-looking school meals and frank sex education. Finland’s education policy, according to the Minister of Education, involved almost no homework and no standardized testing. In Slovenia, the President note that students, including those from other countries, can get a tuition-free, and therefore debt-free higher education.

The Germans have labor rights and a work–life balance, while engaging in an honest national history education about its past, especially regarding the Nazis. Portugal has a rational drug policy and has abolished the death penalty. Norway’s humane prison system applies even to the maximum-security facilities.

Tunisia touts women’s rights, including reproductive health, and women were very important in the drafting of a new constitution in 2014. In Iceland, where women have been in power, the world’s first democratically elected female president came about after a general strike by women.

Of course, the kicker is, in each of these cases, the countries had originally “stolen” the ideas from the United States. For instance, after the 2008–11 Icelandic financial crisis, bankers were actually prosecuted. This came directly from the playbook of the United States after the savings and loan scandal of the 1980s, and in stark contrast with how the US dealt with its subsequent fiscal disaster.

I’ve seen several of Michael Moore’s documentaries. Where To Invade Next is more fun, and far less preachy, than some of his recent films, as he shows what other countries’ choices look like compared with the American dream that seems so difficult to achieve. Yet it doesn’t paint those other countries as total utopias.

Certainly, some will find his examples superficial – I find them even more compelling as the movie progresses – but given the way many Americans know so little about the world outside their borders, this would probably be helpful primer. Not incidentally, there’s a bit about tearing down the Berlin Wall. People from all political stripes may find the film intriguing, a source of conversation even more relevant in light of recent political events in the United States.

G is for “The Great One,” Jackie Gleason

Gleason’s first album, Music for Lovers Only, still holds the record for the album longest in the Billboard Top Ten Charts

I recently noticed that actor/comedian Jackie Gleason would have turned 100 on February 26, 2016, and will have been dead 30 years come June 24, 2017.

When I was growing up in the 1960s, I used to watch his Saturday night variety show on CBS fairly regularly. Gleason played a variety of characters, including the snobbish millionaire Reginald Van Gleason III, the put-upon character known as the Poor Soul, and Joe the Bartender, who always greeted the bug-eyed “Crazy” Guggenheim (Frank Fontaine) before the latter would break into mellifluous song.

The show featured Sammy Spear and his orchestra, and the June Taylor Dancers, who were often shown in aerial pattern kaleidoscope formations, probably my favorite part of the show.

Before that show aired, there was The Honeymooners. Gleason was Ralph Kramden, on a series also starring Audrey Meadows (pictured with Gleason) as his wife, and Art Carney and Joyce Randolph as the apartment building neighbors. It is a classic 1950s TV program, though I didn’t much like it when I saw it in reruns as a child. The bus driver really bugged me with his rants such as “to the moon, Alice,” as though he were going to punch out his spouse. The Honeymooners was reprised in the 1960s with Carney, but with different actresses.

My mother had several albums of music with Gleason’s name attached. He lent his imprimatur to “a series of best-selling ‘mood music’ albums with jazz overtones for Capitol Records… Gleason’s first album, Music for Lovers Only, still holds the record for the album longest in the Billboard Top Ten Charts (153 weeks), and his first 10 albums sold over a million copies each.

“Gleason could not read or write music; he was said to have conceived melodies in his head and described them vocally to assistants who transcribed them into musical notes. These included the well-remembered themes of both The Jackie Gleason Show (‘Melancholy Serenade‘) and The Honeymooners (‘You’re My Greatest Love‘).”

Jackie Gleason had a decent movie career. I watched him, much after the fact, in The Hustler (1961) as pool shark Minnesota Fats. I saw him in the first two Smokey and the Bandit films, but not the third one. I recall enjoying his last film, Nothing in Common (1986), with an upcoming actor named Tom Hanks.

But perhaps the strangest thing in his career took place January 20, 1961: “‘You’re in the Picture‘ was a… replacement game show. Contestants would stick their heads through a cut-out board and guess what character they were. The first installment was so much of a failure that on the second week of the time slot Jackie Gleason came out, sat in a chair, and talked about how horrible the first show had been. He was hilarious.”

Academy Awards 2017

“The idea was to redefine a 467-minute documentary as a cinematic experience and to be eligible for the end-of-year awards circuit.”

When the Academy Awards nominations were announced on January 24, I noted what I’d seen, and what I liked the most, and also who/what I thought would win. Link (only the first time) to any movie I saw and reviewed.

Picture

“Arrival” – I thought it was a nice meditation. It may have peaked too soon, and with no acting nominations, I don’t expect it to win.
“Fences” – I liked it a lot, with bravado performances. But perhaps it was too stagy.
“Hacksaw Ridge” – I had no real interest in seeing this. It was, per the R rating, “for intense prolonged realistically graphic sequences of war violence including grisly bloody images.”
“Hell or High Water” – I had considered seeing it, but reviews such as “The violence has speed, impact and follow-through — it’s a magnificent rebuke to all the hundreds of cute killings on screen in summer movies” made me wary
“Hidden Figures” -it is my favorite film of the ones nominated. Maybe not the best, but the one that made me the happiest when I left the theater
“La La Land” – I do like this movie too, and have defended it
“Lion” – great first part, OK second part
“Manchester by the Sea” – fine film, depressing as hell
*“Moonlight” – the best picture nominated
All the Best Picture noms in the first half of the alphabet!

Directing

Denis Villeneuve, “Arrival” – I love the way the story is put together in a nonlinear way, which I should credit to the editor, I suppose
Mel Gibson, “Hacksaw Ridge” – I had forgotten that Gibson was directing it; he’s come out of Hollywood purgatory, it would seem
Damien Chazelle, “La La Land” – paced well, I thought, though some I’ve talked with would disagree
Barry Jenkins, “Moonlight” – my rooting interest
Kenneth Lonergan, “Manchester by the Sea” – fine job

Actor in a leading role

Casey Affleck, “Manchester by the Sea” – I was distracted that a comic character he played in a Saturday Night Live piece is not dissimilar to this character
Andrew Garfield, “Hacksaw Ridge” – he’s in “Silence” too; haven’t seen that either
Ryan Gosling, “La La Land” – I think he might win because he learned to play piano for the role
Viggo Mortensen, “Captain Fantastic” – I would like to see this, suddenly
*Denzel Washington, “Fences” – I wonder if the limited venues chosen by the director (who was NOT nominated) will affect the actor’s chances; maybe not, as it was a tremendous performance

Actor in a supporting role

Mahershala Ali, “Moonlight” – not only is he great in this role, he’s fine in Hidden Figures; my rooting interest
Jeff Bridges, “Hell or High Water” – he’s well-liked, well-regarded
Lucas Hedges, “Manchester by the Sea” – really glad he was nominated
*Dev Patel, “Lion” – I thought it was a bit overwrought for a time, and it bugged me
Michael Shannon, “Nocturnal Animals” – I steered away from this film, so can’t say

Actress in a leading role:

I’m not much for “slights” but I thought Amy Adams would be here for Arrival, steadied by her performance in Nocturnal Animals. And I thought Taraji P. Henson had a real shot at a nomination for Hidden Figures.
Emma Stone, “La La Land” – more than with Gosling, she was criticized for not being able to sing. I don’t think she’ll win
Natalie Portman, “Jackie” – people loved or hated the movie; the weekend it left town, I had decided to see it. She may win
Ruth Negga, “Loving” – great performance, but quiet. I don’t think she wins
Meryl Streep, “Florence Foster Jenkins” – an honor to be nominated, again
Isabelle Huppert, “Elle” – I thought about seeing this, but a film of that’s “a game of cat and mouse as she tracks down the unknown man who raped her” just didn’t quite make the cut. Still, I wouldn’t bet against her winning

Actress in a supporting role

Viola Davis, “Fences” – this is not a supporting actress role. She won Best Actress for the same role on Broadway. Still, she’s as close to a lock as anyone.
Naomie Harris, “Moonlight” – after watching her interviewed by Charlie Rose, she’s become my favorite in a year without Viola Davis
Nicole Kidman, “Lion” – she’s good, had a really fine scene or two, but not blown away
Octavia Spencer, “Hidden Figures” – she was solid and dependable, and nothing wrong with that
*Michelle Williams, “Manchester by the Sea” – she’s very good, and in another year, she might win

Adapted Screenplay

“Lion,” by Luke Davis – the first part is great
“Arrival,” by Eric Heisserer – I enjoyed it, but it seemed to confuse more than a few
“Moonlight,” by Barry Jenkins – my rooting interest, the most important story being told
“Hidden Figures,” by Theodore Melfi and Allison Schroeder – this is quite a good synthesis of fact and near fact
*“Fences,” by August Wilson – August Wilson died in October 2005; how does he even get nominated in this category?

Original Screenplay

“Manchester by the Sea,” by Kenneth Lonergan – I think this will be the consolation prize for a fine film
“Hell or High Water,” by Taylor Sheridan – I heard good things
“La La Land,” by Damien Chazelle – maybe, but I’m not feeling it
*“20th Century Women,” Mike Mills – its only nomination; won’t win
“The Lobster,” by Efthymis Filippou and Yorgos Lanthimos – I heard all sorts of things about this movie, which I never had a chance to see. It sounds weird, which doesn’t mean I wouldn’t have liked it. But it won’t win here either.

Cinematography

“Arrival” – as an unconventional story, it pulls off the look of its elements convincingly
“La La Land” – bright and shiny when it’s positive; I suspect it could win
“Lion” – great contrast between the India and Australia sections
“Moonlight” – has the appropriate bleak look
“Silence” – looks good in the ads

Documentary feature

“Fire at Sea”
“I am Not Your Negro” – a story about James Baldwin that’s has appeared in trailers but hasn’t made it to town yet
“Life, Animated” – I liked it, but it’s a personal/family story, and will have trouble competing
“OJ: Made in America” – as the Boston Globe story explains: “Before putting it into heavy rotation on ESPN in June and July [where I saw it], ESPN Films released the documentary in two theaters in May: the small New York City indie stalwart Cinema Village and the similar Laemmle Monica Film Center in Los Angeles. Drawing crowds wasn’t the point. The idea was to redefine a 467-minute documentary as a cinematic experience and to be eligible for the end-of-year awards circuit.” This clever tactic is allowed. It is VERY good, but this feels like a bit of a cheat
“13th” – Ava DuVernay’s piece on the 13th Amendment to the Constitution and mass incarceration I would very much want to see; watch the trailer.

Documentary short:

“Extermis”
*“4.1 miles” There are 4.1 miles from Turkey to the Greek island of Lesbos, and thousands of people in recent years have made the perilous journey – as of this writing, you can see the film here.
“Joe’s Violins” – this was a Kickstarter project
“Watani: My Homeland”
“The White Helmets”

Foreign language film:

“Toni Erdmann,” Germany
“The Salesman,” Iran
“A Man Called Ove,” Sweden – this film played for weeks in Albany, and jut at the point we finally were going to see it, it left. Bummer.
“Tanna,” Australia
“Land of Mine,” Denmark

Sound editing – now we get to the technical categories where I have no idea

“Arrival”
“Deepwater Horizon”
“Hacksaw Ridge”
“La La Land”
*“Sully”

Sound mixing

“Arrival”
“Hacksaw Ridge”
“La La Land”
“Rogue One: A Star Wars Story”
“13 Hours”

Original song

“City of Stars” (“La La Land”)
“How Far I’ll Go” (“Moana”) – Lin-Manuel Miranda could get an EGOT (Emmy/Grammy/Oscar/Tony). In fact, since he won a Pulitzer, he could win a PEGOT, like Richard Rogers and Marvin Hamlisch. And with two songs from La La Land, he’s not throwing away his shot
*“Audition (The Fools Who Dream)” (“La La Land”) – this is the song that made me cry, so it’s my pick
“The Empty Chair” (“Jim: The James Foley Story”)
“Can’t Stop the Feeling!” (“Trolls”)

Visual effects:

“Deepwater Horizon”
“Doctor Strange”
*“The Jungle Book” – it did look good
“Kubo and the Two Strings”
“Rogue One: A Star Wars Story”

Makeup and hairstyling

*“A Man Called Ove”
“Star Trek Beyond”
“Suicide Squad”

Costume design

*Mary Zophres, “La La Land”
Madeline Fontaine, “Jackie”
Consolata Boyle, “Florence Foster Jenkins”
Colleen Atwood, “Fantastic Beasts and Where to Find Them”
Joanna Johnston, “Allied”

Film Editing

“Arrival”
“Hell or High Water”
“Hacksaw Ridge”
“La La Land”
*“Moonlight”

Animated Feature Film

“Kubo and the Two Strings” – here’s the soundtrack
“Moana”
“My Life as a Zucchini”
“The Red Turtle”
“Zootopia” – clearly my favorite of the two I’ve seen.

The Academy Awards will air on February 26.

MOVIE REVIEW: 20th Century Women

I feel as though, in real life, I actually had met characters like these once upon a time.,

If I were to say that 20th Century Women was a quirky film, which it is, that wouldn’t tell you much. So I’ll you what the woman sitting in front of me at the Spectrum Theatre in Albany told me when the lights came up: “You must really have liked the movie. You laughed a lot.” And I did.

The storyline is about a 55-year-old divorced woman named Dorothea (Annette Bening) trying to raise her 15-year-old son Jamie (Lucas Jade Zumann) and keep the boardinghouse she runs from falling apart in 1979 Santa Barbara, California. One tenant, the young photographer Abbie (Greta Gerwig), is dealing with a potentially devastating medical crisis, while another, the repairman William (Billy Crudup) is seemingly enigmatic to his landlady. Julie (Elle Fanning), the 17-year-old who lives down the road, is at this home more than her own.

While these are specific people, I feel as though, in real life, I actually had met characters like these once upon a time, or maybe I WAS a character like one or more of these, especially in that era. The film meanders at times, but the actors are universally solid, especially the Bening character, who tries to act as though she’s got it all together, unfazed, understanding almost to a fault.

Some stupid review in the National Review complains: “20th Century Women is really a politically correct emotional biography of that 21st-century anomaly: a non-gender-specific male.” In fact, Mike Mills, the writer-director who had made the lovely movie Beginners, was creating a film that was a reflection of his own growing up in a female-dominated household, as he noted on Charlie Rose in December 2016.

Some movies I can say, “I’m sure you’ll like it,” or not. This film I’m not that sure about for you, but I’m glad I went.