Depp, Dillinger, Lincoln Ave.

This blog's server, TypePad, has made it infinitely harder to post pictures to size (see test photo below) and I'd like to say their widespread makeover is a big loser all around. That out of the way, the radical transformation taking place on Lincoln Avenue between Fullerton and Lill streets is worth a look. Johnny Depp will play John Dillinger in the 2009 Michael Mann film Public Enemies, and I believe the filming begins here next month. The entire street is being rebuilt to look exactly as it did in the early 1930s and so far they've done a convincing job. They've even built a street car track down the center of the road. Favorite grad school hangouts like Lincoln Station and Fiesta Mexicana have virtually disappeared from sight; the amount of costly construction that's obscured the current businesses is eye opening. Hmm, is "method staging" a real term?

Biographcooled

Biograph







Suey

Kwiecien, et al.

KaratekidGetting my ducks in a row last week, I forgot to post some recent articles.  Several debuts in the movie department: a glibby take of the Mixed Martial Arts popcorn schmooze Never Back Down, which made the print edition of the Sun-Times but not the website.  The Detroit News syndicated it, although there's some egregious tampering on their half and some errant placing of commas. They took out my favorite lines. The other film was an IMAX nature doc called Wild Ocean 3D, which for the life of me I can't find on the web anywhere.  For Time Out, Bruno Monsaingeon's Red Baton, a two-part series featuring talks with Gennadi Rozhdestvesnky and others about music in Soviet Russia.  In music, a CD review of CSO and Silk Road from the CSO in-house label Resound. And lastly, just out today, a chat with baritone Mariusz Kwiecien for Time Out. He recently took over the lead role in Eugene Onegin, a production I'll be seeing for the second time this Friday.  Tonight Evgeny Kissin kicks off a pretty slow Easter weekend of classical action in this town, but NC2A madness should bide the time. We love the Drake.

Anyone can play

Paul Berger, who blogs at "Englishman in New York," made this video which looks surprisingly professional and is entertaining to boot. I say surprising because he claims this is his first video. He and a friend strolled around 14th St. and just quizzed a few locals about this and that. Like magic, they now have an intriguing little doc to call their own. (Though to his friend's credit, the editing is excellent and that would take some time and resources in its own right.)  The simplest ideas are the best.  During the audio commentary of Hard Eight, Paul Thomas Anderson said that if you ever run out of ideas, just shoot two people sitting in a diner and get them talking.  Berger's video reminded me of that. 

Hopper tribute

This week's New Yorker has a nice little 2-page article on Edward Hopper, which pleasantly reminded me how much I love his work. Spend hours browsing his oeuvre here. Here are my 3 favorite Hoppers that scream "America."  (For some reason, Hopper looks extra good in Mysteries Abysmal's color scheme)

Gas (1940)

Early Sunday Morning (1930)

New York Movie (1939)

...and who knew this was the inspiration for the house in Psycho?
House by the Railroad (1925)

I like the rain

It washes memories off the sidewalks of life. --Allan Felix (Play it Again Sam)

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Dillinger

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I took this photo 72 years to the day after John Dillinger's execution in a Lincoln Park alleyway. Dillinger was fleeing from the police while catching a movie at the Biograph theater way back in July 22, 1934. You can see the telephone poll in both pictures and that is supposedly the exact spot of his death. Many Chicago history books claim that if you walk down the alley on July 22nd, you'll feel a "cold chill" and might see an apparition. So I gave it a go, but experienced none of those; I did, however, get a whiff of chorizo from the neighboring Fiesta Mexicana.

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A short history of America

as seen through the eyes of R. Crumb.

Best time of the Year

Happy Halloween!  Scary music you should listen to: Shostakovich, 2nd Movement 15th Qt.  Check out Retro Crush's 100 Scariest Scenes of all time.  I caught The Shining last night on A&E, and the scene with the old caretaker Delbert Grady gets better and creepier each time I see it.  I don't care what they say, I won't stay in a world without fear. What are your votes for chilling scenes?

Your Derrida crash course

My dad's (Ab) business trip to New Orleans has brought him to Chicago twice in the past week on layovers.  We've had a good chance to catch up.  He's reading Alan Sokal's investigation into the questionable (Ab)use Postmodern intellectuals have made of science.  If you haven't heard of Sokal, he wrote a famous bogus lit. crit. piece that cited fashionable French critical theory in the late 60's. Not to the credit of English depts. around the country, it was published by Duke University under the false pretenses of any academic worth. My dad, once a Mathematics Ph.D candidate himself, has good reasons for inquiry into the validity of this jargon.  But seldom mentioned in Sokal's book is the man on the pedestal of all this talk: Jacques Derrida.  Why?  There is only one short reference to when Derrida, in a conference, cites an Einstein theory in passing.   But even Sokal gives Derrida a free pass and tears into Lacan. 

So why would a book that sets to dismantle postmodernism not extensively explore Derrida?  The name itself radically polarizes most prof's here in the DePaul English dept. And when Derrida died last October, I believe there was a tribute in the NY Times that pooped on his philosophy.  Regardless, there is something in Derrida that either offends people or greatly excites them.  I was never clear what that was. 

I've now had two courses on Derrida in Literary Criticism & Theory (one in undergrad and now one in grad school) and the lectures on him always fly over my head.  If you've tried reading his Dissemination on Plato's Pharmaka, then you might sympathize. 

Finally, in Monday night's lecture, there was a nice little analogy that poked its way in.  Think of a footnote in a text.  Why is a footnote significant?  Well, you might say it illustrates and further informs you about the text you're reading.  So why then is it left out in the first place?  If it's important information, then why doesn't the author include it to begin with?  Why do scholars have to go in and add it later?  For Derrida, this embodies a much larger philosophical term he calls the supplement. The supplement acts as secondary, and yet without it, the text changes and does not have its full value.  It may act as secondary, but it is indeed primary in nature.  Derrida applies this way of thinking to EVERY TEXT he reads.  You might call this deconstruction.  No text is without its important supplement.  Every word and every syllable of everything you read has a very external, referential and other meaning.  And to further complicate your readings, Derrida says that over the course of time, the context of the meaning changes

So, in under a paragraph, I've given you a very unsturdy base where Derrida stands.  But shit though, I could be wayyyy off. Your thoughts on Derrida are welcome. 

Well, I'm writing this at work and need to run.  Off to Iowa for the weekend and back with some photos. 

Recognition

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