For Film Comment: on Bombshell (2019)

I wrote a brief piece on Bombshell for the January/February 2020 issue of Film Comment.

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Review: Les Misérables (2019)

I reviewed the new French film Les Misérables for Ebert.

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For Rebeller: Myths, Archetypes, and MTV Mood: Costuming in Walter Hill’s Movies

For the brand-new site Rebeller (a subsidiary of Cinestate), I wrote about Walter Hill’s unique approach to costume design in his films. This was a really fun one. It’s behind a paywall (the site just launched), but there is an option where you can sign up for 3 articles a month for free, if you want to scroll around and figure out if you like what you see.

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R.I.P. Buck Henry

As someone whose family can (and does) recite What’s Up, Doc? from beginning to end – “What happened to Fritz?” “There is only me. Franz.” “Oh, what a SHAME.” – this is sad news! (My old friend Trav has written up a tribute on his site.)

Here’s a story I came across just recently, which illuminates perfectly Buck Henry’s genius. It comes from an interview with Peter Bogdanovich at the AFI back in the 70s. Bogdanovich said he had the idea for this kooky story, of a dizzy dame, an absent-minded professor, and a hot to trot old lady, all having the same style bag. Hijinx ensue when the bags get mixed up.

So Bogdanovich brings the script or treatment as is to Buck Henry. Buck Henry sits there and reads it all the way through. He thinks a little bit. Then he says, “I think there needs to be one more bag.”

One more bag in play. Means one more level of confusion. Means more utter anarchy.

To me, that one small anecdote shows Buck Henry’s genius. And he didn’t need weeks to come up with it. He read the premise. He knew something wasn’t quite right.

“There needs to be one more bag.”

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For Film Comment: On Used Cars (1980)

Ringing in the new year on my column at Film Comment with an article about Robert Zemeckis’ 1980 film Used Cars: hilarious, rambunctious, and heartless.

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Music Monday: A Monster at the Pixies, by Brendan O’Malley

My talented brother Brendan O’Malley is an amazing writer and actor. He’s wonderful in the recent You & Me, directed by Alexander Baack. (I interviewed Baack about the film here.) His most recent gig was story editor/writer on the hit series Survivor’s Remorse. Brendan hasn’t blogged in years, but the “content” (dreaded word) is so good I asked if I could import some of it to my blog. I just wrapped up posting his 50 Best Albums. But I figured I’d keep “Music Monday” going with more of the stuff Bren wrote about music.

His writing is part music-critique, part memoir, part cultural snapshot. A reminder that many of these pieces were written a decade ago, in some cases more. Melody is now my brother’s wife (and like a sister to me), and they have two sons, whom I love dearly. And Bren’s son Cashel is now a college student. WTF.

I have always loved Bren’s writing, so I am happy to share it with you!

A Monster at the Pixies

During my rock and roll years in Rhode Island, I had chance after chance to see The Pixies play. They shared a label with Throwing Muses, a great RI band, and they seemed to play together a lot. I wanted to see both. Well, I eventually did, but only years later and not together.


Throwing Muses

Throwing Muses played Summerfest in Central Park and I finally saw them. Great show, but somehow I don’t feel like rock and roll is served well outdoors. The very nature of the music calls for containment to rebel against, a context that conflicts with the chaos expressed. That being said, Throwing Muses were a force to be reckoned with. On a side note, their song “Hunkpapa” has somehow become associated with my own Dad, so they will always have a hallowed place in the O’Malley household.

The Pixies were another story. When I heard that they’d broken up, I was very upset. I’d passed up opportunity after opportunity because I always assumed that I’d see them one day. They were always playing, and even once I’d moved to New York, I felt as if it was even more likely that I’d see them there. But it wasn’t meant to be. The usual frictions split them up (drug use, creative control, etc.) and The Pixies were no more.


The Pixies

I continued to follow Frank Black. His solo records were chock full of awesome teeny rock songs, expansive anthems, and weird obsessions. The playing was tasty, the sound was crisp, the songs were great. There didn’t seem to be any of that “who is he without a band” hangover that most front men go through. He was instantly Frank Black and had a mystique all his own.

Meanwhile, his (and The Pixies) influence was EVERYWHERE on the radio. You walked out your door in the morning and tripped over a band ripping them off. Much like The Replacements, they had to watch other lesser lights buy mansions off the back of their style.

Time passed. I moved to L.A. in the fall of 2003. Life was strange. I catered to make ends meet in between auditions. I spent most of my time on the phone with my girlfriend or on iChat with my son who had moved to Maine. These dual separations led to perhaps my darkest hour. I don’t mean some emergency room stay, jail time, no, just your ordinary garden variety crisis of the soul.

By the fall of 2004, I had begun to unravel. A rage settled over me like an invisible net.

Oh, there were mitigating factors, of course. A whole slew of new friends, great creative projects (plays, music shows, etc.), the Red Sox…ah, the Red Sox! They fit into this story somehow too.

It was the night of the first game of the World Series. I was on an unbelievable high from their improbable/impossible comeback against the Yankees. They were playing Game 1 against the St. Louis Cardinals. I was catering in the morning. And what was I doing that night?

The Pixies had re-formed. And they were on tour. There was no way I was going to miss them this time. They were playing down in Anaheim in some outdoor stadium. I bought two tickets and wound up planning to attend with a new friend.

Then everything went wrong. The party I was working started late. I thought I’d have time to go home, shower off the booze I’d been slinging, pick up the tickets, pick up my friend, and head down together. Now, he’d have to pick up the tickets for me and meet me in Anaheim. I left the party as soon as I could.

Now, on any other day, this kind of thing would have sent me into a fury. For whatever reason, this night was a turning point. I met the setbacks with a sense of calm, even appreciation. “This means I’ll get to listen to the Sox on the way down!” “I’m still getting to see The Pixies!”

This kind of reaction is NOT the norm for me.

Traffic was insane on the way down to Anaheim. Why? Who knows? What should have taken me an hour took two. Did I lose my composure? Nope. I listened to the Sox and took it all in stride.

I got to the Stadium just in time to hear Bellhorn hit the homerun that put us up 11-9. I hadn’t let any of the obstacles ruin my mood. I was very proud of myself. My friend Andy was waiting in the parking lot with the tickets and the payoff was going to be seeing a legendary band reunite for people like me who had missed them the first time around.

They didn’t disappoint. Their sound expanded beautifully to fit the large space. It felt immediate and vital and part of the present. Not some trip down memory lane.

Then he showed up.

I sat in the front row of seats in a section right above one of those walkways that go from one side of the arena to the other. We were 8 to 10 feet above those who walked by and had a perfectly unobstructed view of the stage. On either side of us were empty seats. The place was packed but there was so much room to move around that many seats weren’t filled.

Andy sat on my left. A few seats away from him sat a couple of girls. Suddenly a force of nature rustled past them into the seats between. He sat fuming. He punched the concrete wall repeatedly. He leaned over the railing and screamed at the top of his lungs at passersby, startling them greatly. He yelled things like “I will kill Pixies!” Then he would fall silent with his head in his hands. Andy and I exchanged glances with the girls on his left. When he leaned forward to terrorize, one of them mouthed, “Don’t leave us!”

On any other night, I might have been furious with this violent intruder. But tonight? I felt one degree removed. Like this could be me without a support system and with one too many nights of partying. There but for the grace of God. I saw his knuckles become bloody with each successive punch. I wanted to help him but I knew that any interruption would be taken as a challenge, as aggression. He was pure agressive id.

The day had been a lesson for me already; this monster seemed like a message from God. At my core is a rabid beast seeking conflict. Left unchecked I am a wall-puncher of the first order.

Somehow, 15 years after I’d first had my chance to see The Pixies, I finally turned a corner. He eventually stormed off, screaming as he went. He’d never remember the music, he’d never know how many people he’d frightened. His life was a funnel of disdain.

Andy had to leave early. I sat in the crisp air alone and let The Pixies do their thing. I’d chosen to be there, after all.

— Brendan O’Malley

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December 2019 Viewing Diary

A Beautiful Day in the Neighborhood (2019; d. Marielle Heller)
This is a really good film. Thoughtful and deep. I love Marielle Heller’s work so much and so psyched to see whatever it is she chooses to do next.

The Farewell (2019; d. Lulu Wang)
A phenomenal film. Awkwafina gives one of my favorite performances of the year, and Zhao Shuzhen is equally excellent. They’re all good though. This is my kind of movie. A family ensemble. I was incredibly moved by this film.

Little Women (2019; d. Greta Gerwig)
I think it’s very strong. And I’m a Little Women snob. Katharine Hepburn is still the ultimate Jo, and Cukor’s vision of Jo is still the most subversive (as subversive as the book), but Gerwig has structured her version in a very interesting way, and it really really works. Best of all is the re-thinking of Amy March. Florence Pugh steals the film. Gerwig’s from California, and none of the actresses playing the March sisters are American, so … I miss the staunch upright New England feeling, so important to the book – the New England THING is very specific. Puritan roots. If this makes me sound provincial, then I’ll just throw this Thomas Hardy quote out there, which comes in handy: “A certain provincialism is invaluable. It is the essence of individuality, and is largely made up of that crude enthusiasm without which no great thoughts are thought, no great deeds done.” Katharine Hepburn had New England coursing through her veins. These things matter. Still. I thought the film was lovely and I loved Gerwig’s innovations! Her adaptation deserves all the praise it’s getting.

Supernatural, Season 15, episode 7 “Last Call” episode 7 (2019; d. Amyn Kaderali)
People were very upset about this one on Twitter. But I liked a lot of this. Yes, Dean suddenly singing is whatevs, very silly … but once upon a time in Hollywood, actors who could sing were given the chance to show their stuff in whatever vehicle they were in. (See: all of Elvis’ movies. See: Ricky Nelson in Rio Bravo). So I didn’t mind him bursting into song. The main thing I enjoyed in this episode was its sense of roominess. Lots of conversations. But … there’s always something “off” now. The “Eye of the Tiger” reference made me see RED. The way John is talked about. It’s lacking in ambiguity. They’ve let the power out of the father figure symbol. This team has no idea how to deal with symbols, how to mine them for drama, context, thematic significance. Also: Castiel bringing the Russian oligarch into the bunker. Castiel: STOP HELPING. That whole thing shows how lazy everyone is over there. Rowena’s gone. So now Castiel – an angel – can’t figure anything out on his own, and has to call in a skeezy Russian oligarch who has already proven himself untrustworthy. Like … do they think we’re stupid? Do they think Castiel fans are stupid? If I were a Castiel fan, I would be so pissed off. That whole plotline also showed the devastating effect Rowena has had on the show. As long as they had her on speed dial, they had a built in deus-ex-machina. Without her, they don’t know what to do. It’s also annoying that Sam is a damsel in distress. Here would be my fix: If they are going to develop this Eileen-Sam thing, which it seems like they are … then why not have Castiel “go find help” (in other words: leave the episode) … and have EILEEN be the one who has to try to save Sam, all on her own, using her own smarts and knowledge, but also deepening her connection to Sam? What if she made a “bad deal” to save Sam? Just like Dean once did? This would loop Eillen into the Winchester Belljar, and give the whole Arc some Oomph. I realize there are people who don’t want Eileen there at all, who resent her presence, but these tend to be the “the brothers always choose each other” people … people who hated Season 8 in other words (lol), whereas I see a lot of value in those moments where the brothers choose otherwise. It’s in those conflicts where we get some really rich relationship stuff. Anyway, if they’re trying to develop Eileen-Sam, then why not have HER be the one to try to save Sam? This would invest us in the two of them more, as opposed to having them say “we had too many margaritas last night” – and then not show us that scene?? Like … what the hell, amateur hour. They take WAY too much for granted.

Bombshell (2019; d. Jay Roach)
I don’t understand the choice to use such extreme prosthetics on Charlize Theron’s face. It’s so distracting. She has Megyn Kelly’s voice DOWN. There are things here I liked (Kate McKinnon is one) and things I didn’t. Like: these women were complicit in a system that abused them. This is a thing. This is what happens. The interrogation of the system itself isn’t really present, and it’s a strange choice. It’s a strange movie.

Knives Out (2019; d. Rian Johnson)
This is such a blast. See it!

Black Christmas (1974; d. Bob Clark)
The 1974 version is a classic. There’s a review out there of the new adaptation, which seems to miss how political the original is. Typical. The writer – a young woman – needs to pump up the new one as a “political” movie, a commentary on “how we live right now”, and so she needs to downgrade the original in order to make her case. Lazy. She somehow misses entirely that it came out in 1974, and one of its main plots has to do with abortion. Roe v. Wade was in 1973. The whole damn THING is political. What is going to happen to us if we don’t do our due diligence to understand even our most RECENT history? I love this movie. Margot Kidder! Andrea Martin!

Dark Waters (2019; d. Todd Haynes)
This is really good. I love “individual goes after a corrupt corporation” movies. And this is the SECOND movie Mark Ruffalo has made about the evil of Du Pont.

Black Christmas (2019; d. Sophia Takal)
I’m not crazy about the remake, although Sophia Takal’s visual style is always fascinating, beautiful and ominous simultaneously. I’ve been a fan of Takal’s for years. I wrote about her for Film Comment.

Green (2011; d. Sophia Takal)
Sophia Takal’s first film. It’s amazing. You should see it.

The Irishman (2019; d. Martin Scorsese)
My second time. I think it’s a masterpiece.

Supernatural, Season 15, episode 8 “Our Father, Who Aren’t in Heaven” (2019; d. Richard Speight Jr.)
I was blown away by Jake Abel’s work here. There are fans who are like “we don’t care about Adam, we hate Adam” … what’s this WE you’re talking about? I have always thought Adam had huge potential, and always thought the show should loop back around to deal with it. I was super happy with how they did it, and thrilled at the strength of Jake Abel’s work (not surprised, though: he’s been doing amazing work in the DECADE since he first appeared on Supernatural). This is (or was) a show about family, about the nightmare that is family, so I really loved the space given for this unfinished business. Abel acted Misha Collins off the damn screen.

Always Shine (2016; d. Sophia Takal)
God, I love this film. I originally reviewed it for Ebert, which started me on my Takal fascination. I wrote about the film at length in my column at Film Comment (link above).

The Great Escape (1962; d. John Sturges)
What a classic.

Eyes Wide Shut (1999; d. Stanley Kubrick)
Such a strange eerie movie. Like a dream. Kim Morgan’s piece on it is the one to read.

Reversal of Fortune (1990; d. Barbet Schroeder)
I haven’t seen this in years. I saw it during its original release with a group of friends, all of whom are Rhode Islanders, and we saw it IN Rhode Island. We knew this case inside and out. We were sick of our state being associated with it. There’s a line in the film – “Everyone knows Rhode Island is the most corrupt state in America” … and the audience burst into laughter and applause. These are my people. It was very weird, because the von Bulows weren’t “one of us” … they were “Newport people.” A whole different world. They brought infamy down upon us. It’s a hell of a film, really. As Mitchell says: “Stylized realism.” A bit of hagiography there with Alan Dershowitz, though, which is kind of gross in retrospect. He’s the man of the people, playing basketball with his students, even having an affair with one of them. Watching this movie makes me so ANGRY on Annabella Sciorra’s behalf. She’s so GOOD.

Cats (2019; d. Tom Hooper)
Oh dear. Listen, it’s ridiculous, but so was the source material. My review at Ebert.

Klute (1971; d. Alan Pakula)
Everyone is working at such a high and intuitive level here, it’s dazzling. A perfect movie. I took an acting workshop with Vivian Nathan, who plays the psychiatrist. Just FYI.

Christopher Strong (1933; d. Dorothy Arzner)
This helped cement Hepburn’s stardom. There was nothing else like her out there. She was a unique figure in cinema. Still is. She’s so …. strange. And Christopher Strong lets her be strange, even down to her costume as a moth. This makes me think of Camille Paglia’s thoughts on Hepburn as a “Diana” figure, an “Artemis” figure. It helps “place” her, but also helps show why she is so un-placeable, in general.

The Magnificent Seven (1960; d. John Sturges)
Poor Yul Brynner, having to endure Steve McQueen’s shameless scene-stealing! But Brynner is compelling all on his own. There’s something fascinating about watching all this unabashed peacocking male ego up onscreen!

Bullitt (1968; d. Peter Yates)
Interesting thing. I mentioned this at Christmas dinner. Ben, who saw the film in its initial release, and probably never once since then, said, “There’s that moment before the car chase where the guy puts on his seat belt …” It’s been 50 years since he saw the movie and he remembers a moment that specifically. THAT’S a good movie.

Used Cars (1980; d. Robert Zemeckis)
God, I love this heartless movie.

It’s a Wonderful Life (1947; d. Frank Capra)
This is a movie about a suicidal man. It’s amazing it has become a family holiday classic.

Cluny Brown (1946; d. Ernst Lubitsch)
Finally got around to watching the Criterion release of this classic Lubitsch film. Jennifer Jones! Turned on by plumbing! So wonderful! One of the “extras” on the DVD is a fascinating and fun conversation between Farran Nehme and Molly Haskell about Lubitsch’s films.

Sullivan’s Travels (1941; d. Preston Sturges)
Joel McCrea and Veronica Lake together … you kind of can’t beat it. It’s a perfect pairing. She’s so wonderful. Her look is so specific, but if you only saw what she LOOKED like, you might not guess the earthy quality of her acting. She’s very very real.

Dance, Girl, Dance (1940; d. Dorothy Arzner)
Wonderful. Lucille Ball kills it.

The Bride Wore Red (1937; d. Dorothy Arzner)
Joan Crawford is Julia Roberts in Pretty Woman. Even down to the waiter giving her tips on which silverware to use. This is classic Joan Crawford: girl from wrong side of the tracks, making her way up into another level. And I love the relationship between her and the hotel maid. It’s very real. Complex.

Get Your Man (1927; d. Dorothy Arzner)
There’s a very funny scene at the end where Clara Bow kicks up a total racket, tossing furniture around, jumping on the bed, pulling down lamps, all to cause a scene on purpose, to draw people to the room, to create a scandal. It’s such a funny sequence. She’s a MANIAC! People talk about a ‘generation gap’ now … I don’t think anything can compare to the break in tradition that was the 1920s flapper girl. There’s a reason the rise of the flapper coincided with the rise of the Snooty Dowager Archetype. The horror must have been unbelievable. No way to bridge that gap.

The Thomas Crown Affair (1968; d. Norman Jewison)
This is a very weird movie. It can only be seen in the context of its time, which is: Steve McQueen is the biggest star in the world, let’s create a movie where we revel in him, in his parts, his eyes, his mouth, his chest, let’s isolate those parts, and then freeze-frame those parts, so everyone gets the point that that IS the point. Listen. I’m not complaining.

Craig’s Wife (1936; d. Dorothy Arzner)
This is apparently based on a novel – and it was re-made again the 1950s, with Joan Crawford (it’s terrific). Although one could look at this and see it as misogynistic … I actually think it’s a fairly biting critique on what happens when women have limited options. They can become tyrants of domesticity. Listen, I’ve seen it in real life, and you probably have too. Women who treat their husbands like children, and then are shocked – SHOCKED, I tell you – when he strays. Rosalind Russell plays the role here and it’s a fearlessly unlikable performance. John Boles plays “Craig” and he’s a willing dupe, a completely emasculated man, pussy-whipped, if you will. This is the only power she can wield. It’s psychotic, yes, in a Sleeping with the Enemy kind of way, where “cleanliness” becomes a weapon, a symbol of madness. Anyway, I think it’s all very interesting.

The Mindy Project Season 2 binge-watch
Siobhan and I have been continuing our binge-watch! It’s so much fun! I love the writing, the characters, the madcap-screwball vibe. It’s really really good. Season 2 brings Adam Pally to the fold. I love him!

Last Train from Gun Hill (1959; d. John Sturges)
I had never seen this before. It’s really REALLY good.

Never So Few (1959; d. John Sturges)
Notable because it’s Steve McQueen’s first big moment in the sun. He plays a small-ish role so he can’t really steal it – but the film misses him whenever he’s not onscreen. The love story here stinks.

The Cincinnati Kid (1965; d. Norman Jewison)
Co-stars include Tuesday Weld, Ann-Margaret and Joan Blondell, all of whom appeared opposite Elvis at one point. This is a really fun movie. And there’s something really moving about seeing Joan Blondell and Edward G. Robinson acting together … old Warner Brothers colleagues, together again.

The Blob (1958; d. Irvin Yeaworth)
It’s so good. The theme song! The gleam of those cars. The inky-black backgrounds. All those bright colors and shadows.

The End of the World Cult (2007; d. Ben Anthony)
I feel so bad for these people, especially the children. They are so unbelievably brainwashed. There’s a closeup of the face of one of his “witnesses” … this comes early on, and she looks completely insane, as she stares up at him. She looks, like, Sandra Good insane. She believes totally. When the end of the world doesn’t come, the whole cult walks around at midnight calling out, “Liberty!” and it’s such a crock of shit, but they buy it because they have to. It’s textbook. I’ve been trying to figure out what happened to some of those kids. They haunt me. It’s amazing the access the filmmaker was given!

Junior Bonner (1972; d. Sam Peckinpah)
A weird movie, but not in a bad way. Nothing really happens. There’s some rodeo scenes. There’s a romance, but barely. There’s an extended fight scene in a bar which is very funny. Peckinpah slows things down, intercuts the action, freeze-frames, etc., for no discernible reason – it’s a pretty straightforward story. It’s filled with great actors – McQueen, Robert Preston, Ida Lupino – and it’s amazing to watch Steve McQueen – that most isolated of men – appear in a family drama. Like, he has parents. A brother. Most of his characters seem like they’re foundlings. McQueen and Lupino are completely believable as mother and son, if you can believe that. She’s got the same steely toughness.

Gun Fight at the OK Corral (1957; d. John Sturges)
It’s a story told over and over and over again. Who knows why these legends sink into the collective psyche, why a gunfight over a little unimportant feud takes on such enormous significance – especially when said gunfight lasted only 30 seconds! It has to do with the outsized characters involved, I’m sure. Wyatt Earp, Doc Holliday, etc. Here, in John Sturges’ version, the myth is de-mythologized. Burt Lancaster as Earp and Kirk Douglas as Holliday. Two men teaming up, men different from one another. There’s a hard edge here that I really like. We’re moving into the era of de-mythologization in Westerns, with the Spaghetti Western and everything else … Sturges’ films are important precursors.

The Source Family (2012; d. Jodi Wille, Maria Demopoulos)
I would not have fit in in the 1960s and 70s. I like my individuality too much. This “let’s all be one” thing is a recipe for mind-control, predators, grifters. Many of these people are still true believers. Fascinating. Weirdly – with all my Steve McQueen viewing this month – McQueen and Jim Baker were buddies.

Leaving Bountiful (2002; CBC’s The Fifth Estate)
A documentary about the polygamous sect in Canada, and Debbie Palmer’s escape and advocacy for other victims. I feel so bad for everyone involved. Well, not the perpetrators. This doc was years ago, and the chickens are coming home to roost now. There have been some convictions for child trafficking, etc. Sick disgusting people.

Don’t F**k with Cats: Hunting an Internet Killer (2019; d. Mark Lewis)
This is unbelievably messed up. The only part I remember is body parts being delivered to members of Canadian political parties. Then I stopped paying attention. Looking at the year involved – 2012-13, I know why I stopped paying attention. My life was falling apart. So here’s a documentary telling the full story. It blew my mind. I almost didn’t get past the first episode. I stopped watching multiple times. Cruelty to animals is involved. And although they don’t SHOW it, they show enough, and I wish I had not seen it. Glad that motherfucker was caught. Sick weirdo.

Hunting Luka Magnotta (2014; CBC’s The Fifth Estate)
After binging the Netflix doc, of course I went down the rabbit hole with this awful awful person. There’s so much footage of him!! Came across this documentary from, again, The Fifth Estate. What a cheery way to close out this dumpster fire of a year.

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Graceland Detail of the Day #9

The door in the downstairs corridor leading to the stairway up to the Jungle Room. Green shag carpet on the walls of the stairway give a strange effect.

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2019 Books Read

It’s been such a busy year for me as a writer. The busiest. I’ve had to “make time” for reading stuff that has nothing to do with anything writing-wise. I need to read for pleasure. Many of the books I read this year took me months to complete, I’d chip away at them a couple pages at a time (the Plath correspondence, Infinite Jest, the Gerard Manley Hopkins collection). All in all, a pretty good and diverse showing.

1. Sounder, by William H. Armstrong
I read this book as a child, after my parents let us stay up and see Sounder on television. I remember vividly during the “reunion scene,” turning around to look at my parents, and seeing my mother in tears. I was probably 7 or 8 years old. It made a huge impression on me: how art can move people. My mother was an adult. She was moved to tears. I hadn’t read the book in a long time, so decided to re-read it. Then I wrote about the film for Film Comment.

2. Among the Living and the Dead: A Tale of Exile and Homecoming, by Inara Verzemnieks
This book is about the experience of the Latvian diaspora, anchored by the author’s own piecing together of the past of her grandmother and other family members, in the home country, basically a freeway for marauding armies and conquerors. It’s gorgeously written, poignant, evocative. I highly recommend it.

3. Generation of Swine: Tales of Shame and Degradation in the ’80’s, by Hunter S. Thompson
I was on a Hunter tear late last year and early this year. I couldn’t stop. Once you pick him up, you can’t put him down. Reading his stuff from the 80s gave me queasy flashbacks. I was like, oh Jesus, Oliver North. And that asshole is STILL in the news. I miss you, Hunter, damn you.

4. Gonzo Papers, Volume 3: Songs of the Doomed, by Hunter S. Thompson
Reagan era Hunter. In rare form. But then, he was always in rare form.

5. Hollywood Jim Crow, by Maryann Erigha
I wrote about this fascinating and very well-researched book for Film Comment. It should be required reading.

6. Movie Love: Complete Reviews, 1988-1991, by Pauline Kael
I’ve read this before. Read it again just for the hell of it.

7. White Fang, by Jack London
Another re-read, although it’s been a very long time. The opening sequences, with the poor guys carrying a dead man in a box across the Yukon, pursued by a pack of wolves – and how the wolves come in closer … closer … closer … is thrilling and terrifying. Brilliant writing. Suspenseful, poetic, with his peculiar blend of empathy and practicality. He doesn’t anthropomorphize, but he does understand that animals have a wide range of emotions. They form attachments. They feel sorrow. They feel fear. London is so good at getting inside their experience without condescension.

8. Milkman: A Novel, by Anna Burns
Holy shit, this novel. It’s as good as everyone said. My favorite new novel I’ve read in years. Maybe since Wolf Hall. Best part is: Milkman isn’t like anything else. Anna Burns has found a completely unique way to tell her story. You’ll know what I mean when you read it. The VOICE … it’s the paranoid cagey voice of someone who’s been in a police interrogation room for 48 hours straight, with no sleep. And the word “Ireland” is never spoken. It doesn’t need to be. Quite brilliant.

9. The Art of American Screen Acting 1960 to Today, by Dan Callahan
Volume two! My friend Dan Callahan amazes me. I interviewed him about this book on my site. (I interviewed him about Volume 1 for Slant.)

10. Bad Blood: Secrets and Lies in a Silicon Valley Startup, by John Carreyrou
My God, I got so sucked into this shitshow. I watched the documentary. I went down Youtube rabbit holes. I read all the articles. Her voice makes me GUFFAW. She honestly thought it sounded good. The whole thing is a nightmare. This is a very good book.

11. Nine Stories, by J.D. Salinger
I’ve read these many many times over the course of my life. As you’ll see, I kind of got into re-reading short story collections this year.

12. Free Women, Free Men: Sex, Gender, Feminism, by Camille Paglia
Ah, Camille, ever the crowd-pleaser.

13. The Matisse Stories, by A.S. Byatt
Each of these three stories was inspired by a Matisse painting or sketch. It’s kind of like a “writing exercise” and Byatt is so inventive the stories are wildly diverse. It’s fun to see how she jumps off creatively, “using” art of one medium to create her own art (always a big thing with her. I don’t sense much “anxiety of influence” with her. She uses it.) I’m a fan for life of Byatt. I’ve read it all. Thank you, Possession. The gateway drug.

14. Picture, by Lillian Ross
Re-released by the New York Review of Books publisher, Lillian Ross’ story of following John Huston around as he shot Red Badge of Courage is a classic!

15. Elementals: Stories of Fire and Ice, by A.S. Byatt
Another short story collection by Byatt. Similar to the Matisse stories, these stories are also inspired by works of art, somehow invoking either heat or cold. I look forward to the “times in-between” in Byatt’s career – she comes out with a gigantic novel, which obviously took years of time, and then in between these huge novels comes a spate of smaller things, critical essays, short stories. She’s such a favorite of mine, I dread her passing. I am grateful she is prolific. Her stories are very moving to me.

16. On Photography, by Susan Sontag
The Sontag classic. She’s kind of intimidating. I like reading writers who intimidate me. Helps me sharpen my own critical skills.

17. The Letters of Sylvia Plath Volume 1: 1940-1956
Extraordinary. A publishing EVENT. As a Plath fan since I was 16, I kind of can’t believe I’ve lived to see the day that Plath’s full correspondence would be published. I immediately noticed, with awe, how often Plath babbles about movies in her letters. This was news to me. I wrote a column about it.

18. Dreyer’s English: An Utterly Correct Guide to Clarity and Style, by Benjamin Dreyer
I mean, come on. A new modern classic. Benjamin Dreyer’s book is so good, so funny, so smart: he’s “good company”, as a writer. His “voice” is also fun, as well as his advice (I love grammar books), but his style of writing is what has made this a bestseller. You can’t put it down.

19. Tales of the Jazz Age, by F. Scott Fitzgerald
It’s been a long time since I’ve read these. I went through a big “Jazz Age” phase in high school, which, naturally, led me to Fitzgerald. Maybe it was reading The Great Gatsby that brought it on, although, honestly, I think Bugsy Malone had more to do with it than anything else. At any rate, these are fun. The story about the “diamond as big as the Ritz” is pretty tough-going, though. Snooze-ville.

20. Sharp: The Women Who Made an Art of Having an Opinion, by Michelle Dean
Michelle Dean is so awesome. I was looking forward to reading this book long before it was published. Her “profiles” of people like Mary McCarthy and Susan Sontag and Pauline Kael and Rebecca West (!!!) just made my heart sing. Many of these writers – like West and Didion and Kael – I know like the back of my hand. I have all their works. But others – like (shamefully) Nora Ephron – I am not as familiar with (outside her film work, that is). 2020 is the year I rectify that. I’ve got a couple of Nora Ephron essay collections on the shelf, which I look forward to reading. This is a fantastic book. Congratulations, Michelle!

21. The Silent Woman: Sylvia Plath and Ted Hughes, by Janet Malcolm
I re-read this basically because of the Janet Malcolm chapter in Sharp. I’m a huge Malcolm fan as well (a new collection of essays is coming out in February – can’t wait!). I’ve read this book maybe 5 or 6 times, who’s counting. There’s really nothing else like it. And only Malcolm could pull off what she does here.

22. Provocations: Collected Essays on Art, Feminism, Politics, Sex, and Education, by Camille Paglia
Speaking of essay collections … There’s lotsa flotsam and jetsam here – she includes everything, even silly QAs she does for rando web sites that no longer exist. She’s always done that in her other collections, and I know it’s part of her “brand.” But a little culling would be in order. On the flipside, there’s also, like, a 30-page essay about Theodore Roethke in here too. Who else is writing 30-page essays about Roethke? I mean, scholars here and there, but someone with her platform? I value this part of Camille very much. As well as her “art survey course” type pieces. There’s a bunch of HUGE articles in here about statues and relics and Greco Roman blah blah blah and I really get into that aspect of her. I know people despise her. So it’s lucky this is MY book list, not yours, right? Phew!

23. Then We Came to the End: A Novel, by Joshua Ferris
This is one of my favorite first novels. I can’t even believe it’s a first novel. I read it when it first came out, on my sister Siobhan’s recommendation. The first couple of pages made me laugh so hard tears literally streamed down my face. I couldn’t believe he got away with the plural narrator. It’s so BOLD and so RIGHT. I haven’t read it since that first reading and was almost afraid to pick it up again. What if it didn’t live up to the joyful and intense memory of the first time? But it did. It’s a classic. One of the few books that really GETS white-collar office-drone work. The Office Space of literature. But with an elegiac whiff to it … the approach of 9/11 … shadowing the book. I’m just so admiring of what Ferris pulled off here.

24. Little Black Book of Stories, by A.S. Byatt
Another re-read. These stories are haunting and strange. Byatt is so inventive. Dazzling, really.

25. The Journalist and the Murderer, by Janet Malcolm
Another re-read. Just as much of a classic as The Silent Women, but even more controversial. She really goes AFTER McGuinness – and (it seems) rightly so. I had read Fatal Vision, of course. I’m a true crime buff. It’s a hell of a read. Janet Malcolm’s book snapped me into awareness of what was wrong with it.

26. Better Than Sex: Confessions of a Political Junkie (Gonzo Papers, vol. 4), by Hunter S. Thompson
A wild collection. Drawings. Hand-drawn Faxes. Things getting kind of spooky, although things are always a little bit spooky with Hunter.

27. Elvis Presley Calls His Mother After The Ed Sullivan Show, by Samuel Charters
A re-read. What a haunting little book. And very insightful.

28. The Portable Dorothy Parker
This was another one that took me months to finish. A huge volume of her poetry, book/theatre reviews, humor pieces, short stories. I had started it before I read Michelle Dean’s Sharp, so it was fun to follow along. I know Dorothy Parker, at the end, felt she had wasted much of her talent on writing these humorous pieces and being known for her wit. But when you read her work in its entire, the accomplishment of the short stories seems rather staggering to me. The majority of them are not in the least funny. The majority of them are as bleak as an Edward Hopper. All the lonely people, where do they all come from? She’s also, of course, very funny, particularly about men and women. There are a couple of stories told only in dialogue, with what is basically stage directions. And the dialogue is so strong you hear the subtext. Not easy to do.

29. Tomboys: A Literary and Cultural History, by Michelle Ann Abate
I will admit this was tough, at times. I’m not an academic person, and the “theory” talk is really impenetrable to me. HOWEVER: her research into the topic is exhaustive, and I learned so much about the tomboy archetype through American history. I really needed all this context for the piece I was working on about tomboy films. As a lady who loves teh menz, my “way in” to these characters as a kid was not about queer subtext, although I can of course perceive said subtext. But these figures are freeing to straight girls like myself, those of us who didn’t fit in, who found accepted womanhood not just difficult but impossible. This is what I’m interested in, tomboy as liberation figures. Anyway, I am very grateful for Abate’s work here!

30. In Defense of Women, by H.L. Mencken
To go from the tomboys book to this is hilarious. I didn’t do it deliberately. I just had this little book lying around and decided to read it for the first time on a whim. Mencken is such a crank, and sexist, of course, but honestly he’s way harder on men. He thinks men are AWFUL. Irredeemable, really. He feels sorry for us women having to put up with them. He’s so much fun to read. Just the writing ITSELF is fun to read, aside from any subject matter.

31. Last One Out, by Ernest Hilbert
I reviewed my friend Ernie’s new volume of poetry here. I highly recommend Ernie’s work!

32. The Trespasser: A Novel, by Tana French
I’ve fallen behind in keeping up with Tana French’s output. How is she so consistently excellent? How is she so damn good?? I fluctuate on which one is my favorite. I still think it might be The Likeness, although Secret Place is also superb. But they’re ALL good.

33. Franny and Zooey, by J.D. Salinger
I approach this book with something like awe, and more than a little hesitation. After reading it on a cold Chicago day years ago, I decided to move to New York. It was that clear. I had a life-altering experience reading the book. Half a year later, I moved. And I regret it. I regret moving here. It was an impulsive choice, coming out of a restless kind of heartbreak. Cooler heads should have prevailed. I blame Franny and Zooey and “the sands are running out on the hourglass” speech. What if I read the book and decided to uproot myself again? What kind of dreadful power did this book hold?? It still holds power, to be honest. But I’ve been wondering if my time in this neck of the woods is coming to a close for a couple of years now. So no surprises there.

34. It’s Too Late to Stop Now: A Rock and Roll Journal, by Jon Landau
I had to buy this one second-hand. I have been racking up in-real-time commentary on 1970s Elvis. It’s not that easy to come by. “Rock critics” weren’t paying attention. Nobody was writing about him anymore. And they never really wrote about him with care. They took him for granted. Lester Bangs’ obituary was a game-changer, and still is. Ellen Willis wrote a couple of great things about seeing Elvis live in the 70s – once at Madison Square Garden and once in Vegas – and Jon Landau did as well. They’re great pieces. Interestingly enough, I finally read Springsteen’s memoir this year, and Landau – of course – is a huge character in it.

35. Betrayal: The Life and Lies of Bernie Madoff, by Andrew Kirtzman
I re-read this one. I think I was feeling stressed out and over-tapped. I mean, the book came out recently so it’s not like a lot of time has gone by. Sometimes fiction is too much for me to absorb. I get over-stimulated. The Madoff story has a dark fascination, and the book is a reliable escape. Also, if you ever feel like you’re overwhelmed, or fucking up, just think of Madoff and realize you’re probably doing just fine.

36. The Letters of Sylvia Plath Vol 2: 1956-1963
Blown away that this exists now. So grateful and happy. Had a profoundly upsetting time, though, particularly with the ending of this second volume. As I’ve said, Plath and me … we go way WAY back. I know everything about her. Or … I thought I did. There was always this sense that a fuller picture was there, but I just couldn’t GET to it, because of the ham-fisted estate. (This is what Janet Malcolm’s book is about, essentially.) So now I know more. And it was like I re-discovered Plath all over again. Only this time, in her own words, in this correspondence. The fall and winter of 1962 – so legendary in her mythos – now seem very different. It seems like it could have been avoided. I remember thinking, as I lost myself in these letters, “I think she might make it…” and then remembered. It was devastating all over again. If only the winter hadn’t been so brutal … if only her friend came to visit in early February as opposed to the planned March … if only … if only … It was a brutal read.

37. Slouching Towards Bethlehem: Essays, by Joan Didion
Thank you Michelle Dean, for inspiring a full-on Didion re-read! I’m a huge Didion person and sometimes I feel like I’ve read her too much, too often. Like, I might get “tapped out.” Or like I might become immune to Didion through over-exposure. Re-reading this in full was such a pleasure. It was nice to see that she still packs the same punch, even with some of her most famous pieces, here, some of which I know practically by heart.

38. The White Album: Essays, by Joan Didion
See above.

39. Infinite Jest, by David Foster Wallace
This took me half a year to finish and it was worth every damn second. I love this book so much.

40. After Henry, by Joan Didion
See above. I was on a roll.

41. Earning the Rockies: How Geography Shapes America’s Role in the World, by Robert Kaplan
Robert Kaplan is one of my favorite writers. I’ve been reading him for 20+ years now, even through some of his stranger phases. Listen, if you can write like Robert Kaplan, I’ll follow you anywhere. To “the ends of the earth.” I brought his Balkan Ghosts to Croatia with me. It starts in the cathedral in Zagreb. His description of it … really resonated with me during my very intense visit to the place. More to come. I must go back. Anyway, Kaplan’s only written a couple of times about the United States (Empire Wilderness, and then his books about the different branches of the military) … and this has a memoir aspect to it which I found fascinating. Robert Kaplan is a journalist, although he’s really more like a travel writer – Rebecca West is his idol and guiding star. But still, I don’t know much about him personally. I know he’s married. I know he has lots of thoughts/feelings about the “elite” but I wasn’t sure where that all came from, since he seems pretty damn elite now, perched in think tanks, etc. Earning the Rockies starts with a memoir of his father, a truck driver, unreliable, on the road always. It’s a somewhat pained portrait, but Kaplan – an older man now – struggles to understand this man, this man who gave him a love of maps, the maps that would take Kaplan round the world many times over. I love his writing so much. And he’s honest about his mistakes in judgment over his career, which I appreciate.

42. Country Soul: Making Music and Making Race in the American South, by Charles L. Hughes
What a fantastic and important book! About the musicians who work the “country-soul triangle” – Nashville to Memphis to Muscle Shoals – white and black musicians, and all of the cross-pollination that results. It’s fantastic.

43. The Collected Poems of Frank O’Hara, by Frank O’Hara
I started off my column on Film Comment with an article about Frank O’Hara’s “movie poems”, which launched me into a re-read of his complete works. I like reading poetry in the morning. It’s a tradition now. I find it meditative. It’s slow-going. I only read a couple of poems a day. I don’t want to get over-saturated. Frank O’Hara is a wonder. I’ve loved his work since high school and re-reading it feels like hanging out with an old friend.

44. Shining Glory: Theological Reflections on Terrence Malick’s Tree of Life, by Peter J. Leithart
What an interesting book about all of the Christian themes in Tree of Life. He’s a lovely writer.

45. Birthday Letters: Poems, by Ted Hughes
Inspired by all the Plath stuff going on. A re-read. Of course I read this when it came out. Maria and I read it together, cross-referencing it with Plath’s poetry and journals. Because what ELSE are ya gonna do. It’s such a painful book. He sounds 100% haunted. Addressing her throughout: “You.” It brought me to tears multiple times.

46. The Paris Review Interviews, I: 16 Celebrated Interviews
My cousin Mike, years ago, sent me this box set of Paris Review Interviews. I dip into them all the time, for inspiration, for quotes, to use in my own research in my own writing. A gold mine. I decided to read each one cover to cover, a little bit each day. So. That’s what I did. From Dorothy Parker to Chinua Achebe … these interviews are a must-have.

47. The Paris Review Interviews, II: Wisdom from the World’s Literary Masters
Ibid.

48. The Paris Review Interviews, III: The Indispensable Collection of Literary Wisdom
Ibid.

49. The Paris Review Interviews, IV
Idem.

50. The Best of Everything, by Rona Jaffe
What a page-turner. I had never read it before, although I have seen and love the movie. It’s fantastic. Matthew Weiner knew this book like the back of his hand. Rich source material.

51. The Men in My Life: A Memoir of Love and Art in 1950s Manhattan, by Patricia Bosworth
I had been meaning to read this. I love Bosworth’s biographies (her little book on Marlon Brando is indispensable), and I am, of course, familiar with her through the Actors Studio. This was an interesting companion piece to Rona Jaffe’s novel. The in-the-moment experiences of women and love and sex in 1950s New York City. It sounds great, it sounds awful.

52. Crime and Punishment, by Fyodor Dostoevsky
One of my favorite novels of all time. It’s been some years since I’ve read it. It always works. It’s so upsetting. Raskolnikov’s delirium is so well-done, so deeply inhabited you yourself feel like you’re going crazy reading the book. And his best friend Razmuhin! What a funny and lovable character. When I think of the book, I only think of Raskolnikov. He LOOMS in my head. Then I read the book, and it’s filled with so many characters, so many memorable characters, all of them kooks to a certain degree … it’s like I don’t remember the book right. It’s not just the Raskolnikov show. He’s surrounded at all times by a jostling jabbering CROWD of characters. Masterpiece.

53. The Revolt of the Masses, by José Ortega y Gasset
This was a gift from Ben. It’s a slim volume, but so dense it took me a while to get through it. Published in the late 1920s – in between the wars – it’s a harbinger of things to come, not just in the rise of fascism in the 30s, with Hitler and Mussolini – but now. I thought of Bill Buford’s book Among the Thugs. Written so many years ago. But it predicts Brexit. There are always “signs.” Gasset was horrified at the rise of the “mass man,” as embodied in dictatorial figures like Mussolini. 45 is a “mass man.” I’m sure this book still ruffles feathers! He was NOT having ANY of it. I’m glad I read it. It’s always good to read things that remind you there is nothing new, not really, under the sun. We humans just keep making the same mistakes over and over again.

54. Gerard Manley Hopkins: Poems and Prose, by Gerard Manley Hopkins
He is very difficult. I love him so much. “God’s Grandeur” is one of my favorite poems of all time. But you can’t just plow through his stuff. It’s too dense. And you really have to read it out loud because of the complicated rhythm. I must admit I can’t get a grasp on his theories of “sprung rhythm” – and I’ve read all of his descriptions of it. He had a very mathematical brain. Very very structured. He knew how his poems should sound. Rhythm was paramount. His stuff is extremely emotional. Like I said, best taken in small doses. His “dark sonnets” or “sonnets of desolation” are almost frightening in their accuracy. To put those wordless emotions into stark words … he has given us a huge gift. He had so much agony in his life. I can’t even imagine. And yet he was like an Aeolian harp, too … so sensitive to nature he basically vibrated with pleasure. Such an interesting man and such a beautiful writer. This volume took me months to get through, a little bit every day, and it was a beautiful and enriching experience.

55. The Real Lolita: The Kidnapping of Sally Horner and the Novel That Scandalized the World, by Sarah Weinman
I had been meaning to read this. I was somewhat hesitant, because I’m not (to put it mildly) into the current commentary on Lolita, much of it coming from people who haven’t read the book and probably wouldn’t on principle. “If I wanted to read about a pedophile I’d just open today’s newspapers.” Okay, fine. DON’T read a masterpiece. Suit yourself. But you won’t mind if I don’t listen to what you have to say about art, then, of course. And all the confusion about representation being endorsement. Where has this nonsense COME from? These people consider themselves progressive and yet they sound like Victorian-era Sunday School teachers. “Unless there is a clear moral of what is Good and what is Bad, then this is a Bad story, and Dangerous for the General Public.” I mean … I do my best not to listen to these people, but it’s hard because they are very LOUD. Lolita is so extreme because of Humbert Humbert’s unreliability. It’s a belljar. If you YEARN for a moral compass in Lolita, an outside eye to come in and say this is all WRONG … then that means, congratulations, you’re not a psycho pedophile like Humbert. But in the meantime, we’re “stuck with” Humbert’s POV. Sarah Weinman has done some amazing original reporting here, into the kidnapping case which (partially) inspired Nabokov. Poor Sally Horner. Ugh. It’s a tragedy.

56. Guests of the Ayatollah: The Iran Hostage Crisis, by Mark Bowden
I had been meaning to read this for a while! I picked it up, not even realizing that this year is the 40th anniversary of the hostage crisis! Mark Bowden’s Black Hawk Down made me a fan forever. He has done an extraordinary job here of interviewing, both hostages and hostage takers, and placing us inside that compound as the days stretched into months into years. It’s a fantastic book.

57. Dubliners, by James Joyce
A re-read. It’s so brilliant it emits a blinding light. He was in his early 20s when he wrote these stories. I just don’t know how that is possible (particularly “The Dead”). He imagined himself into everyone: a little “old maid,” a stuffy office worker, a lonely housewife, children, a snooty mother, an Irish nationalist-bore, everyone. His empathy was titanic. He could “be” anyone.

58. Born to Run, by Bruce Springsteen
This has been on my must-read list ever since it came out. It’s extraordinary. He’s such an incredible writer. The brief chapter on his first child being born … you can’t even believe he gets away with it, the high-flung prose, the ecstasy and transcendence of his writing – but it’s so real, so truthful, so HIM. (Side note: he devotes an entire chapter to Elvis, and I don’t think he even says Elvis’ name. At least not for a good long while. You don’t need to know his name. You know exactly who he is talking about.) I was also very moved by his descriptions of despair (one particularly unnerving moment he had in a random Texas town during a drove cross-country) and agitated depression – what I would call a “mixed state” – which I would not wish on my worst enemy, and I mean that. It’s a wonderful wonderful book.

59. The True Story of the Great Escape: Stalag Luft III, March 1944, by Jonathan F. Vance
This isn’t particularly well-written – “He was a happy lad” or “A carefree lighthearted chap” or “like most boys, he loved airplanes” – a bit corny – but the story carries you along. It’s mind-blowing what these guys did. I read it in like 3 days.

60. Conversations at the American Film Institute with the Great Moviemakers: The Next Generation, by George Stevens, Jr.
A marvelous archive of interviews given at the AFI. This is the second volume, with more current directors like James Mangold – Spielberg – Truffaut – plus actors, too – Streep and Poitier and Heston. The first volume is Golden Age-focused.

61. Escape Artist: The Life and Films of John Sturges, by Glenn Lovell
I’ve been watching all of John Sturges’ films (hence The Great Escape book), and it was fun to get to know him a little bit. There’s much I hadn’t seen. I’ve seen The Magnificent Seven and The Great Escape, of course, but wasn’t aware of the trajectory of his career. A new discovery is his film Last Train from Gun Hill, which I thought was fantastic. It stars Kirk Douglas, Anthony Quinn, and Carolyn Jones. It’s really really good.

2019 tally
25 books by women
32 books by men
17 fiction books
41 non-fiction
5 poetry

Previously

2018 books read
2017 books read
2016 books read
2015 books read
2014 books read
2013 books read
2012 books read
2011 books read
2010 books read
2009 books read
2008 books read
2007 books read
2006 books read
2005 books read

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Music Monday: Beatles Vs. The Stones, by Brendan O’Malley

My talented brother Brendan O’Malley is an amazing writer and actor. He’s wonderful in the recent You & Me, directed by Alexander Baack. (I interviewed Baack about the film here.) His most recent gig was story editor/writer on the hit series Survivor’s Remorse. Brendan hasn’t blogged in years, but the “content” (dreaded word) is so good I asked if I could import some of it to my blog. I just wrapped up posting his 50 Best Albums. But I figured I’d keep “Music Monday” going with more of the stuff Bren wrote about music.

His writing is part music-critique, part memoir, part cultural snapshot. A reminder that many of these pieces were written a decade ago, in some cases more. Melody is now my brother’s wife (and like a sister to me), and they have two amazing little sons, who slay me with their cuteness. And Bren’s son Cashel is now a college student. WTF.

I have always loved Bren’s writing, so I am happy to share it with you!

Beatles Vs. The Stones

I figure I will just get this one out of the way. Otherwise it will hang over this whole blog silently, the White Elephant that none of us will acknowledge.

In many ways, there is no comparison between these two bands. I have childhood memories of The Beatles. They were important to me as a cultural lighthouse before I went to kindergarten. My mother is a wonderful guitar player and I thought she’d written “When I’m Sixty Four” until an embarassingly late age. A large canon of songs were mistakenly attributed to my mother by me early on, old folk songs and new standards alike.

So there is something primal about The Beatles to me, something that goes back so far in my consciousness that it coincides with my infancy and the sense of being totally provided for and catered to. I was listening to The Beatles and crapping my pants, ok? I didn’t hear The Stones til much later.

I vividly remember being in my cousin Ken’s basement listening to Sgt. Pepper’s Lonely Hearts Club Band. This would have been the late 1970’s. Somehow the idea came up that The Beatles had broken up. I don’t think I’d ever even thought of The Beatles as being real people, they were more like the air, or the mountains, or God. They simply WERE. This being so, they couldn’t simply STOP being. But they had “broken up”. I heard that term applied to The Beatles before I ever heard it applied to a romantic couple.

A gulf of sadness enveloped me as this realization hit me. They’d broken up??? Huh? How could this music happen and then be rejected? What they hell were they thinking? It was at this moment that I first understood that being a grown-up was going to suck. And then they started scaring the hell out of me. If The Beatles couldn’t be happy, how the hell was I going to manage it?

The moment passed and Ken and I probably went outside to pretend The Red Sox were finally winning the World Series.

Aside from The Beatles, I was primarily listening to Oliver!, Oklahoma, Don McLean, and The Raunch Hands, a vocal group from Yale. This wasn’t really music fandom yet as it was imaginary play. I was IN Oliver, I was IN Oklahoma, the story songs of Don McLean and The Raunch Hands were platforms for play. The Beatles were the first band that I was a fan of, that weren’t means to an imaginary end.

Strange connection to The Stones in there. While listening to Don McLean’s “American Pie”, we were somehow aware that the whole Devil portion was a metaphor for Mick Jagger of The Rolling Stones at Altamont. I’ve come to hate the conservative “things were more authentic way back then” bullshit attitude of this song in spite of its undeniable melody, but this song was so powerful to me as a youngster that I had a built-in distaste for The Rolling Stones.

Flash forward to high school. I’ve now become a dyed-in-the-wool punk rock aficionado. I have disdain for all things classic rock. Led Zeppelin are bloated bullshit artists. The Stones are hopelessly passe. The only songs I really know are “Satisfaction”, “Jumpin’ Jack Flash”, etc. I’m still not crazy about either of these songs to tell you the truth.

But then I heard “Sympathy for the Devil” on the radio.

I find it hard to believe that there was a first time that I heard that song, but there was and it was during my adolescence. Now, I know this song has almost become a cliche itself with the falsetto background and all, but I remember the specific bit that first caught my interest. I remember the DJ saying, “The Stones! ‘Sympathy for the Devil’!” The title alone was more interesting than any of the music I’d heard from them up to that point. All of a sudden Mick Jagger is singing about driving a tank during the Blitzkrieg? About making sure that Pontius Pilate washed his hands?? What’s more, it was as if this was an answer song to Don McLean. Oh, you think I’m evil??? Take this!

My definition of punk rock expanded to include The Rolling Stones.

Flash forward to 1999. I am doing a play in North Carolina. Since high school, my taste has become almost pathologically eclectic. I can’t stand not having the best of any genre, even if I don’t particularly care for the genre itself. Hence the Miles Davis and John Coltrane albums. I’ve continued to dig The Stones, buying Beggars Banquet to get “Sympathy for the Devil”, and Exile on Main Street to get the inside scoop on the madness.

But I would still not really characterize myself as a FAN. They are dinosaurs that I can enjoy, that continue to be alive in spite of the meteor shower of modernity.

And then I met Melody. Someday I’ll write a music post about that first meeting. Suffice it to say that her name doesn’t feel like an accident to me. The first few weeks of knowing Melody barely feel real to me, they feel like a great romantic comedy that had to have happened to some other lucky guy.

At one point in these early days, we pulled out of a restaurant we’d just eaten at. She was driving off in her car, I in mine, and we were at a light waiting to go our separate ways. She was blasting “Beast of Burden” and she yelled that it was her favorite song at the moment.

Needless to say, The Stones grew in my estimation along with my exploding heart.

She appreciates The Beatles, but for her The Stones are more real, more fun. The Beatles just make her sad. And when you think about it, she’s right. The Beatles were destroyed by their union, The Stones are still making music almost 50 years after they started.

In an amazing footnote, we were lucky enough to score free tickets to The Rolling Stones’ 2006 concert at Dodger Stadium. There they were, teeeeeny tiny action figures blasting an ungodly noise that they’d begun honing in the 1950’s. Sure The Beatles recorded Sgt. Pepper’s, The White Album, Revolver, etc. etc. But The Rolling Stones are continuing to gather no moss in their own unparalleled fashion.

If I was stuck on an island by myself, I’d take The Beatles. If I was lucky enough to have Melody with me, I’d happily take The Stones and dance away in beautiful isolated unity.

— Brendan O’Malley

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