What Are You Doing New Year's Eve? 2025!

The sublime songbird Ella sings the ultimate version of this lovely, classic song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun. And stay safe.

What Are You Doing New Year's Eve? 2024!

The sublime songbird Ella sings the ultimate version of this lovely, classic song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun. And stay safe.

Classic Christmas Animal Illustrations 2024

"The Carole of the Field Mice" by Inga Moore from WIND IN THE WILLOWS

"The Rabbit's Christmas Party - Roasting Apples" by Beatrix Potter

LGBT History Month: "Smalltown Boy" by Bronski Beat, Perfume Genius, and The Knocks

FOR LGBT HISTORY MONTH:

In honor of the 40th anniversary of synthpop trio Bronski Beat's landmark debut album "The Age of Consent," London Records will re-issue a special anniversary version on October 18, 2024, including this reworking of their classic 1984 gay rights anthem "Smalltown Boy" (previously here). It features the phenomenal Perfume Genius (the nom de musique of Mike Hadreas, previously here) on vocals, and additional music and production from The Knocks.

This song means a great deal to me and I admire this new take since it keeps true to the original source material while feeling updated. Perfume Genius' vocals are a nice reworking, honoring the beautiful falsetto of Jimmy Sommerville.

It is hard to exaggerate the historical importance of this song. Released in 1984, "Smalltown Boy" became an anthem for LGBT rights during that time. It addresses issues of homophobia, societal and familial rejection, bullying, and physical and emotional abuse. Although I was not rejected by my own family (thankfully), I was the target of years of bullying and physical assaults, so this song occupied and still occupies a special place in my heart. I remember the first time I heard it: I was at the Greek Theater in Berkeley waiting for Simple Minds to perform as the opening act for Eurythmics, and a roar of excitement and approval came up from the crowd when the first percolating notes of this song rang out. It really struck me, since I had never truly heard a song about me or my own experiences. It was a powerful moment. Bronski Beat recognized me, and validated the pain and confusion of having total strangers come at me with absolute hatred, neck veins bulging, screaming, sometimes wielding weapons, eyes popping as they spewed their own fear.

Thematically, it reminds me so much of the song "Flawless (Go To The City)" by George Michael in which he urges gay men and women to get out of their small towns and go to the city where a better life awaits (previously here). Or at least a more tolerant life, one that is not filled with daily hatred and attacks. There is a very long history indeed of gay men and women leaving small towns and small-minded areas for metropolitan areas where they are accepted. Gay ghettoes arose in cities precisely because of their proximity to centers of culture, literature, and the arts. It's a sad, heartbreaking reality for many men and women but often one must leave one's place of creation because it has turned into a place of destruction. For one's own safety, both mentally and physically, sometimes the best option is to escape.

Musically, the song is from a 1980s genre known as "synthpop," a term meaning music that was created solely or primarily by synthesizers or electronic keyboards, which in turn grew out of a 1970s electronic sound from Europe and groups like Kraftwerk. Groups like Depeche Mode, A Flock of Seagulls, and The Human League were part of this 80s sound. But despite the fact that "disco" had died a painful death just a few years earlier, Bronski Beat combined the synthpop sound with serious dance beats and a male falsetto, which was a direct and deliberate tribute to gay disco acts singing in falsetto, particularly the legendary Sylvester. Sadly, the only living member of the original Bronski Beat trio is Sommerville--Steve Bronski died in 2021 and Larry Steinbachek died in 2017.

But their music lives on. This new version holds all that history, paying homage to the original three members of the band, and is here to rally a new generation as we again face hatred, discrimination, and attacks. Thanks Perfume Genius, and The Knocks!

Run away, turn away, run away, turn away, run away.
Run away, turn away, run away, turn away, run away.

You leave in the morning
With everything you own
In a little black case
Alone on a platform
The wind and the rain
On a sad and lonely face

Mother will never understand
Why you have to leave
But the love that you seek
Will never be found at home
And the love that you need
Will never be found at home

Cry...

Run away, turn away, run away, turn away, run away.
Run away, turn away, run away, turn away, run away.

Pushed around and kicked around
Always a lonely boy
You were the one
They'd talk about around town
As they put you down
And as hard as they would try
They'd hurt to make you cry
But you never cried to them
Just to your soul
No you never cried to them
Just to your soul

Cry...

Run away, turn away, run away, turn away, run away.
Run away, turn away, run away, turn away, run away.

Cry, cry...to your soul, to your soul, to your soul, to your soul

Cry

Run away, turn away, run away, turn away, run away.
Run away, turn away, run away, turn away, run away.

https://perfumegenius.org/
https://www.theknocks.com/

And here is the original, classic song and video. It remains as powerful and heartbreaking now as it was then.

https://www.bronskibeat.co.uk/

BEAUTY: Painting--Laurence Jones

Painter Laurence Jones has been obsessed, like many people, with the incredibly famous (and rightly so) Stahl House. The house --or Case House Study #22 as it was known--was built in 1959 by Pierre Koenig in the Hollywood Hills area for the Stahl family. It is a masterpiece of Mid-Century Modern Architecture, showing up in films (Tim Allen's character lived there in the comedy sci-fi film "Galaxy Quest"), television shows (even an animated version showed up on "The Simpsons"!), and countless advertisements for things like food, kitchen appliances, and furniture. Jones is clearly entranced with the clean angularity of the cantilevered house and the equally important view of Los Angeles.

https://laurencejones.com/
https://stahlhouse.com/

"Stayin' Alive" by Chris

Chris from Christine and the Queens has recorded a cover of the classic Bee Gee's disco song "Stayin' Alive" and it is merely awesome.

https://www.christineandthequeens.com/

What Are You Doing New Year's Eve? 2023!

The sublime songbird Ella sings the ultimate version of this lovely, classic song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun. And stay safe.

R.I.P. Astrud Gilberto

A cultural touchstone moment...

R.I.P. Astrud, thanks for the music.

http://astrudgilberto.com/

What Are You Doing New Year's Eve? 2022!

The sublime songbird Ella sings the ultimate version of this lovely, classic song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun. And stay safe.

What Are You Doing New Year's Eve? 2021

The sublime songbird Ella sings the ultimate version of this lovely song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun. And stay safe.

BEAUTY: Man For Winter--Alexandr

Beautiful hunky ginger man Alexandr (@personalkrampus) looks just like Kris Kringle from the classic 1970 stop motion animated holiday classic television special "Santa Claus Is Comin' To Town!"

https://www.instagram.com/personalkrampus

What Are You Doing New Year's Eve? 2020

The sublime songbird Ella sings the ultimate version of this lovely song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun.

What Are You Doing New Year's Eve? 2019

The sublime songbird Ella sings the ultimate version of this lovely song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun.

What Are You Doing New Year's Eve? 2018

The sublime songbird Ella sings the ultimate version of this lovely song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun.

What Are You Doing New Year's Eve? 2017

The sublime songbird Ella sings the ultimate version of this lovely song..."What Are You Doing New Year's Eve?"

I hope whatever you do, you have fun.

"Rudolph The Red-Nosed Reindeer"

I grew up watching Rankin and Bass stop-motion animated holiday television shows and they hold a special place in my heart. "Frosty The Snowman" was narrated by Jimmy Durante, "Santa Claus is Comin' to Town" was narrated by Fred Astaire, and the classic special you see here, "Rudolph The Red-Nosed Reindeer" was narrated by Burl Ives! It airs tonight at 8PM...I'm glad it is still around (it first aired in 1964, the year I was born, so it is as old as me!).

http://www.rankinbass.com/

Just watched...

...a classic of world cinema, THE FANNY TRILOGY by Marcel Pagnol.

I always enjoy the holidays because it affords time off from my usually busy life to catch up on the ever-growing Netflix queue and to indulge in the avalanche of films and programs we have waiting for us on our DVR. And this season, I got to see a lot of interesting and special films.

For years I have been eating at the world famous restaurant Chez Panisse, ground zero for the food revolution, in Berkeley, California, and had not seen the films which feature the character who is the restaurant's namesake, Monsieur Panisse. And now I have.

Starting with the first installment, "Marius" made in 1931, we see love blossom between Marius, the young son of a barkeep, and Fanny, the young daughter of a fish monger in the picturesque city of Marseille on the French Riviera. But the union is not meant to be as Marius longs for a life on the sea. After a single night of passion (once is all it takes), Marius runs away on a ship headed out for a five-year journey without knowing his girlfriend was pregnant.

The second film made in 1932 is entitled "Fanny" and follows the birth of her child by Marius and her marriage to the sail maker Panisse, who knows and understands the love affair between Marius and Fanny, but loves her and more importantly, loves the child as his own.

And the third film, made in 1936 is "Cesar" named for Marius' father who has been a rock for Fanny throughout her life, and has been "god-father" to the boy who is in reality his grandson.

The story was based on Marcel Pagnol's 1926 stage play "Marius" and for the most part the trilogy feels, in a good way, like watching a play: the structure feels somehow very modern with a story cleverly spanning the length of three separate films. The films were made at an interesting time in acting and cinema history though: the performances walk the line between the kind of grand-gesturing, overacting that was the hallmark of silent and early sound films, with a more modern approach to portraying a character with more realism and subtlety. Pierre Fresnay as Marius walks that line and straddles the styles as does Orane Demazis as Fanny. Yet I feel for them, despite their often stylized approach to their roles. But for me, the one who stands out as not only an excellent and tireless comedian but also someone who was able to still himself and feel his character was the marvelous Raimu (the stage name of actor Jules Auguste Muraire) as Marius' hilariously excitable but sentimental father Cesar. Whenever he was on screen, I found myself totally engaged, either with laughter or with a feeling of heavy emotion. The three films taken together are actually a lovely arc for Raimu who did a splendid job.

Recommend? If you are interested in cinema history or just like a classic love story, watch these films. The newest Kino version is restored with clear subtitles.

R.I.P. Lauren Bacall

Today we lost a luminary from the golden age of film, Lauren Bacall.

I love this scene from one of the best noir films ever made, "The Big Sleep" starring Bacall and her husband, Humphrey Bogart.

It comes in threes, as the old saying goes. Who will be next?

What Are You Doing New Year's Eve?

The sublime songbird Ella singing the ultimate version of this lovely song...

Just watched...

...F.W. Murnau's classic silent film "Sunrise: A Song of Two Humans."


German director F.W. Murnau is most remembered for his 1922 silent horror classic “Nosferatu.” But he is probably best remembered for his film “Sunrise: A Song of Two Humans” from 1927.

A proponent of Expressionist cinema in Germany, Murnau was invited by William Fox of Fox Film Corporation (now 20th Century-Fox) to make an Expressionist film in Hollywood. Expressionist film was a style of film that used art direction and symbolism to express abstract ideas and inner psychological states of characters. It seemed to be a questionable venture, marrying a European, avant-garde film style with the more simple and commercial Hollywood style. But Murnau dove in and created one of the most highly regarded films of all time.

Adapted by Carl Mayer from the Hermann Sudermann short story “Der Reise nach Tilsit” (“A Trip To Tilsit”), “Sunrise” was made at the end of the silent film era when talkies were being introduced. Although it has no true synced sound, the film features a Fox Movietone sound track (the technology was bought the previous year by Fox Studios), utilizing music, sound effects and a few unsynchronized words. Along with cinematographers Charles Rosher and Karl Struss, Murnau created a film that was groundbreaking in many ways. He built sets, both interior and exterior, that used forced perspective to created depth; the buildings in a city street scene get smaller the farther back they go and Murnau used regular extras in the foreground but used midgets in the background to reinforce the illusion. Some shots use cleverly placed miniatures in the foreground to look like large objects. Interior sets feature raked floors and doors and windows cut at an extreme angle to, again, create depth. Impressive tracking shots, even by today’s standards, abound in this film and influenced many filmmakers for genrations to come (Orson Welles' breathtaking tracking shot at the opening of "A Touch Of Evil" springs to mind). For example, we follow a character through a moonlit marsh at night but the camera suddenly breaks away and takes a detour, gliding and floating around trees and grass, shifting our perspective of the one we were following, only to catch up to him moments later. Another lovely tracking shot is achieved by looking down on a boat as it is being rowed across a lake. Other effects such as unusual angles, pans, superimpositions, montages, and multiple exposures are used to good effect. Some scenes are lit unexpectedly, some are awash in a glorious dewy patina, others are crisp and clear. The end result is a visual poem, a well-defined and fully realized work of art that was surely ahead of its time. It was so ahead of its time that the movie-going public did not know what to make of it. Indeed, it was a commercial failure with audiences preferring instead to flock to hear Al Jolson sing “My Mammy” in “The Jazz Singer.”


The story itself is simple enough. A Man and his Wife (never named) live on an island that hosts visiting tourists from a nearby city for the summer. But one tourist, The Woman From The City lingers after the others have left. She and The Man begin an affair. The Woman From The City suggests to The Man that he come to the city to be with her after drowning his wife, making it look like an accident. The Man is initially upset at the idea but succumbs to The Woman From The City’s spell. Obediently, the Man takes his wife out on the lake, intending to drown her. To her horror, The Wife understands what is happening, but The Man cannot go through with it. He rows them to the other shore where she runs from him. He catches up to her as she boards a trolley car headed for the city. They both ride together, the knowledge of what he was planning to do weighing on them both. Once in the city, he begs for her forgiveness and breaks down crying. She forgives him and they spend the rest of the film rekindling their love, while they have many adventures in the city. But that night, as The Man rows his wife back to the island, a storm rises and threatens to capsize the boat. This simple story is a fable, almost a parable, about love, forgiveness, and fate.

As one would guess, the acting in this film is typical of silent films: broad, overacted, and indicating. But interestingly, there are glimmers here and there of a more realistic and complex acting style, one that would eventually take over the cinema (and theater as well), especially from George O'Brien who played The Man. Janet Gaynor as The Wife is fine, and Margaret Livingston does a good job of portraying the on-the-edge hysteria of The Woman From The City.

At the very first Academy Awards ceremony ever held, “Sunrise” took several honors: Best Film, Unique and Artistic Production (the first and last time this category was used); Janet Gaynor (The Wife) won for Best Actress; Charles Rosher and Karl Struss won for Best Cinematography; and Rochus Gliese won for Best Art Direction. In 1989, the United States Library of Congress selected it to be included in the National Film Registry. To be included, a film must be deemed "culturally, historically, or aesthetically significant." In a 2002 critics' poll for the British Film Institute, "Sunrise" was named the seventh-best film in the history of motion pictures. And in 2007, the film was #82 on the 10th anniversary update of the American Film Institute's “100 Years... 100 Movies list of great films” list.

Recommend? For film buffs and historians, it is a must see.