It’s taken me three or four weeks to get through Al Kooper‘s “Backstage Passes and Backstabbing Bastards.” Not because it’s a difficult or boring read, but because I tend to droop off if I read a book in the mid-to-late evening. It’s also a mild annoyance to read a dead-tree paperback. I’m pretty much a Kindle guy.

Kooper can write. His sentences are plain, unaffected, semi-humorous or sardonic. He conveys a confident, unpretentious, no-skin-off-my-ass attitude, which feels relaxing for the most part.

The first chapter I read covered the formation and break-up of Kooper’s version of Blood, Sweat & Tears (Nov. ‘67 to April ‘68). Kooper was the lead singer and designated artistic honcho, but he was soon ganged-up upon by drummer Bobby Colomby and guitarist Steve Katz for not having a strong enough voice. Which, if you listen to “Child Is Father To The Man,” was a fair criticism. Kooper was Odd Man Out-ed and and vocally replaced by David Clayton Thomas, and the second BS&T hit it big.

Kooper: “Like the monster who killed Dr. Frankenstein, they ousted me from a band I had envisioned and christened. I had lived my musical Camelot. [But] it only lasted eight months, shot down from a grassy knoll by ‘Lee Harvey’ Colomby.”

I’m sorry but “Bobby Colomby was a bad guy” is now and heretofore stuck in my mind.

@marmargrund @saginthesun #opinions ♬ original sound – Margoose

Because they’re all Region 2, which won’t play on my Sony 4K Bluray player.

Certain raving psychos who’ve commented from time to time in this space have insisted that there’s no such thing as Region 2 blockage or non-cooperation on domestic Bluray players. Aahh, but there is.

I’m especially taken with my Region 2 Blurays of A Kind of Loving, Deep End, The Conformist, For Whom The Bell Tolls and Women in Love

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I won’t be seeing Ben Affleck‘s Air until 7:30 pm this evening, but Will Mavity’s take is infuriating. Or the excerpted quote is. I love movies that represent the sensible end of the spectrum…movies that speak rationally, work their way through a logical, non-looney tunes narrative and wind up making practical sense — an almost disappeared genre. And Mavity is calling it a fucking “dad” movie? And yet, ironically, he likes it.

Here’s the most telling paragraph:

“This is no edge-of-your-seat type thriller like Gone Baby Gone or The Town.” HE reaction: Good!

“This is a cast of charismatic actors rattling off intelligent dialogue for two hours as they approach an inevitable conclusion.” HE reaction: And that’s bad?

“And yet Air manages to be effortlessly irresistible. Like Ben Affleck, it’s something that challenges the viewer to refrain from rooting for it, flaws and all. Strip away the overt corporate branding, and it’s the kind of movie that used to be Hollywood’s bread and butter and now feels increasingly like a rarity in today’s cinematic landscape.

“It doesn’t have any grand social themes of importance, looking to make a change in today’s world. It’s a simple, competently told, feel-good drama that will likely appeal to your dad, and there’s nothing wrong with that.”

A friend mentioned having an original vinyl copy of the 2001:A Space Odyssey soundtrack. I asked if it contains the weird-sounding overture, a Gyorgy Ligeti composition that precedes the “Also Spracht Zarathrusta” main title.

Now I’m not sure what the overture is called on the soundtrack, or if it’s even featured. I know there are three Ligeti tracks on the soundtrack album — “Atmospheres” (Ligeti, SUDWESTFUNK SYMPHONY ORCHESTRA, ERNEST BOUR), “Lux aeterna” (Ligeti, Chor des Norddeutschen Rundfunks, Helmut Franz) and “Aventures” (Ligeti, Ensemble Intercontemporain, Pierre Boulez, Jane Manning, Mary Thomas, William Pearson).

The music heard prior to the second-to-last scene (French Chateau interior, brightly illuminated floor)…the music heard as Dave Bowman‘s pod zooms along and above the topography of the planet Jupiter (which several HE readers have derisively insisted is not the planet Jupiter…ayeholes)…this music is called “Atmospheres”. And yet a voice is telling me that this music is different from the overture track. I’m somewhere between lost and confused — can anyone straighten this out in a calm and rational way?

From Glenn Erickson’s longish review of the new 4K Bluray of Damien Chazelle‘s Babylon, which streets today: “Babylon lives up to the crazy reports that accompanied its theatrical release last December — it’s a spectacular Hollywood history movie that ignores Hollywood history in favor of exaggerated orgies and drug use, as if Kenneth Anger’s bad gossip were just the tip of the scandal iceberg.

“In entertainment terms it’s a 188-minute gross-out that wants to be shocking but is mainly unpleasant. Anachronistic profanity is non-stop, but the dealbreaker comes in the very first scene with an enormous, diarrhetic elephant whose bodily eliminations rival Noah’s Flood. Margot Robbie is a dynamo and Brad Pitt as charming as ever, but the movie overall is ideal only for the curious and the masochistic.

“Babylon, in short, is oppressively off-putting, and no deep thought is required to explain why it wasn’t a hit. Word of mouth likely did the job, as most audiences would find it unpleasant at best and at worst intolerable. Personal tastes vary, but I know nobody who would think the movie’s excesses are entertaining. If I were to take a date to this picture, within three minutes I’d be telling the person, ‘it’s perfectly okay if you want to walk out right now.’ Babylon may do much better on disc and streaming than it did in theaters — a lot of moviegoers out there are curious.”

The HE community is encouraged to read Erickson’s entire essay.

Posted by yours truly on 11.17.22:

…and generally made to endure a lot of stress and anguish and emotional difficulty as a child, there wouldn’t be a movie. So we know what this doc will be going in. Then again Shields is allegedly worth between $20 and $40 million as we speak, probably closer to the higher figure. So it all balances out.

If your wife/partner/lover is a writer and you’re in the difficult if not impossible position of (a) not admiring her writing all that much but (b) unable to share your honest opinion for obvious reasons…what the hell do you do? I’ll tell you what you do. Never share your honest opinion with her or anyone else…ever. Never write it down, never record it…observe Moscow rules.

That doesn’t just mean “keep it hidden until you die”; it means “keep it hidden eternally.” It’s the only way to go. Life with a wife/partner/lover is hard enough; naked honesty will just send the relationship into a ditch.

From Owen Gleiberman’s 1.22.23 Sundance review of Nicole Holofcener’s You Hurt My Feelings: “For close to half an hour, we have no idea where You Hurt My Feelings is going, and we don’t care. We’re happy just to spend time watching Nicole Holofcener’s people reveal themselves with an alternating current of savagery and vulnerability. But then, out of the blue, the film coalesces into a situation.

“At the Paragon Sports store near Union Square, Beth (Julia Louis-Dreyfus) and her sister (Michaela Watkins) happen to walk in and see that Beth’s husband Don (Tobias Menzies) is there buying socks with Mark (Arian Moayed), his brother-in-law. They approach but stop short when they overhear what the two men are talking about. It’s Beth’s new novel. Don confesses that he didn’t actually like it. But he read so many drafts, and felt so committed to being encouraging, that he couldn’t bring himself to tell Beth what he really thought. Now he’s stuck in a lie he can’t get out of.

“This is not a matter of overpraising someone’s pot roast. Beth’s writing is part of her identity, her core. That Don didn’t like her book — and deceived her about it — cuts her to the quick. It’s almost as if he was being unfaithful, a point the film underscores by having Beth rush out of the store and come close to throwing up in the middle of a New York street, deliberately evoking Jill Clayburgh’s meltdown in An Unmarried Woman.