Oscar Wrapup

I suppose I should say a few words about the Oscars, since I went to the trouble of posting my predictions. I finished 16/24, which in our family contest was only good enough for 2nd place. The difference between me and the winner (my mom, natch) was the Actor and Actress categories. She correctly picked the winners, whereas I went with Viola Davis and George Clooney.

I've read some very funny criticism of the show, but I thought it was alright. Sure, Billy Crystal is old-fashioned and he did the same shtick he's always done, but I laughed enough to label it a success.

Maybe I wasn't paying close enough attention, but I can't even think of a speech memorable enough to comment on. Angelina Jolie's thing with her leg was pretty funny, and it was cool to see 1/2 of Flight of the Conchords take home an Oscar.

I voted for "The Artist," but I would have been happier to see "Hugo" win. But it's not often that my favorite movie of the year takes home the big prize.

So, next year...Neil Patrick Harris and Justin Timberlake as co-hosts? Anyone with me on that one?

Downtown Fun

It was an interesting day at and around the State Capitol today - Tea Partiers, Occupiers, skinheads, white supremacists, we had it all. Around 3 p.m. the noise level around my office increased significantly, and when I looked down there were a number of people down on the ground, apparently after being tased.

This was taken about ten minutes after that. It's difficult to tell exactly what was going on, but suffice to say there were a lot of police, and the block was still closed when I was heading home around 5:45.

It's A Wonderful Night for Oscar!

For what it's worth, here are my picks. And please be warned that I bring no particular expertise to any of these categories.

Of the major categories, there isn't a lot of drama this year, except for Best Actor. I'm going with Clooney, even though I haven't seen the film yet, because I'd like something to break up the "Artist" dominance. And that's not because I dislike "The Artist" - haven't seen it yet either!

Best Picture: The Artist
Best Director: Michel Hazanavicius for The Artist
Best Actor: George Clooney for The Descendants
Best Actress: Viola Davis for The Help
Best Supporting Actor: Christopher Plummer for Beginners
Best Supporting Actress: Octavia Spencer for The Help
Best Original Screenplay: Midnight in Paris: Woody Allen
Best Adapted Screenplay: The Descendants: Alexander Payne, Nat Faxon, Jim Rash
Best Animated Feature Film: Rango
Best Foreign Language Film: In Darkness (Poland)
Cinematography: Hugo: Robert Richardson
Editing: Hugo: Thelma Schoonmaker
Art Direction: Hugo: Dante Ferretti, Francesca Lo Schiavo
Costume Design: The Artist: Mark Bridges
Best Makeup: The Iron Lady: Mark Coulier, J. Roy Helland
Original Score: The Artist: Ludovic Bource
Original Song: The Muppets: Bret McKenzie ("Man or Muppet")
Best Sound Mixing: Hugo: Tom Fleischman, John Midgley
Best Sound Editing: Hugo: Philip Stockton, Eugene Gearty
Best Visual Effects: Rise of the Planet of the Apes: Joe Letteri, Dan Lemmon, R. Christopher White, Daniel Barrett
Best Documentary Feature: If a Tree Falls: A Story of the Earth Liberation Front: Marshall Curry, Sam Cullman
Best Documentary Short: God Is the Bigger Elvis: Rebecca Cammisa, Julie Anderson
Best Animated Short: The Fantastic Flying Books of Mr. Morris Lessmore: William Joyce, Brandon Oldenburg
Best Live Action Short: Tuba Atlantic: Hallvar Witz

American Top 40 Flashback - Harry Nilsson

Harry Nilsson is probably known by some people more for his drunken and drugged exploits with John Lennon during Lennon's "lost weekend" phase than he is for his music. Which is a shame, because Nilsson was a very entertaining, albeit quirky artist. And he made the great "Nilsson Schmilsson" album, on which this song appeared.

"Without You" doesn't really sound like anything else on the album, but it's one of those rare bits of saturated pop that works from start to finish.

And no, I have no idea what these dancers are doing in this video - auditioning for "The Walking Dead," perhaps?

"Without You," Harry Nilsson, the #1 song this week in 1972.

Top 50 Albums, #33 - "Horses," Patti Smith

The needle hits vinyl, and for a brief moment, you hear a stately piano introduction. And then, you hear the first, startling, words.

Jesus died for somebody’s sins but not mine.

That piano introduction and those words represent what is certainly among the most striking album openers in the history of rock music. The song from which they come, “Gloria,” is a perfect example of Patti Smith at her absolute best. In fact, it is perhaps the best example of what Smith, at her best, does so well – a fusion of music, poetry and spoken word performance that when done poorly can be embarrassing, but when done well is nothing short of breathtaking.

On the album cover, Patti Smith – in a photograph taken by her great friend and muse Robert Mapplethorpe – looks as if she is ready to take over the entire world. The way that her hands are framed around her slight body suggests vulnerability. But then you see the look on her face, you gaze into those eyes, and you see nothing but absolute confidence. A look that says, “yeah, I know it – I’m not like anything you’ve seen before, but even though I might look like a waif, I am going to change the way that you look at the world.”

I remember my first exposure to Patti Smith almost as if it were yesterday. Saturday Night Live, April 1976, with Ron Nessen –at that time, the White House Press Secretary for President Gerald Ford – as the host. She was introduced, and ripped into a version of “Gloria” that must have had the President’s pollsters wondering if the election was lost right there. I’d never seen anything quite like it, and neither had my mother – she was alternatively amused and horrified, so naturally I kept my opinion to myself.

It could be argued – and I think it has been argued – that other Patti Smith albums are “better,” or “more consistent,” or “express more accomplished musicianship” than “Horses.” And while all those things may be true, it doesn’t really matter. There have been two times in the career of Patti Smith that she has created transcendent art – “Horses,” and “Gone Again” – the latter being the first album released following the untimely deaths of her husband, her brother, and her great friend Mapplethorpe. But as great as “Gone Again” is, and as good as many of the other albums are, she achieved a pinnacle with “Horses.” I’ve never heard anything quite like it. It’s exciting like few other albums I’ve ever heard, and if anything, I’ve probably underrated it.

As good as “Redondo Beach,” “Free Money,” Kimberly,” “Break It Up,” and “Elegie” are, the heart of “Horses” lies with its three epics – the aforementioned “Gloria,” “Birdland,” and “Land” – the latter two clocking in at over 9 minutes each. I go back and forth on which of those latter two I prefer; sometimes the beautiful juxtaposition between Patti’s vocals and Richard Sohl’s piano sells me on the former, and other times the sheer drama and tension of the latter win me over. And what’s great is that it doesn’t really matter – they’re both amazing.

What “Horses” has that sets it apart from all of Smith’s other albums, and about 99% of albums ever released, is the emotional connection it achieves – a direct line straight through the heart.

Horses, Patti Smith (1975) Produced by John Cale

Gloria/Redondo Beach/Birdland/Free Money/Kimberly/Break It Up/Land/Elegie

Oscar Worthy

In recent weeks, we've caught up a bit on our viewing of Oscar contenders. Capsule reviews follow.

Hugo. Anyone who's ever watched Martin Scorsese talk about movies knows that he is absolutely in love with the art form. And "Hugo" shows that love in almost every frame. It is a story that stars children in the most key roles, but it is not a children's film (which is not the same thing as saying that children won't like it). Most of all, it is his love letter to the cinema, and everything about it works. Even the 3D enhances the viewing experience, rather than detracting from it - or seeming like a gimmick intended to do little more than to add to the box office.

I really can't think of anything to criticize about "Hugo" - Asa Butterfield and Chloe Moretz are wonderful as the children, Ben Kingsley is terrific as the mysterious merchant, and even Sacha Baron Cohen is effective as the train station magistrate. The story is magical, and it all works. A triumph of the most unlikely type for Scorsese.

Moneyball. Well, of course I loved it. I love baseball, and I've been reading Bill James for almost 30 years now. This would have to have been a horrible adaptation for me not to like it. And it was far from horrible; in fact, it is outstanding. Brad Pitt is perfect as Billy Beane, and even though his character is a composite, Jonah Hill does just fine as the egghead who has the temerity to think that hard data actually has value in the determination of what makes a good, productive baseball player.

It's hard for me to say whether a non-baseball fan can enjoy "Moneyball." All I know is that a rabid baseball fan can enjoy it just fine.

The Help. This is not a great movie, but given a choice between it and something like "Mississippi Burning," I'll take this any day of the week. I would argue that it is a very good movie, one that overcomes the flaws of its story with the power of three amazing performances - Viola Davis, Octavia Spencer, and Jessica Chastain. I really can't praise them enough, and I'm just sorry that all three can't take home a golden statue. I suspect that two of them will.

And after these, we watched "Drive" for a second time, and all I can say it "it wuz robbed!" I can understand why Ryan Gosling wasn't nominated, since the Academy just doesn't seem to go for that kind of performance, but there's no excuse at all for not nominating the film and Albert Brooks for Best Supporting Actor. Not for everyone, certainly - but great, great stuff nonetheless.

Stand By Me

25 years ago today, this was the first song at our wedding reception.

And I'd like to think that we danced a little better than the crazy young kids in this video.

Happy anniversary!

Top 50 Albums, #34 - "The Joshua Tree"

U2 is quite likely the most annoying great band in the history of rock and roll. And it's not entirely Bono's fault. There's no question in my mind that "The Joshua Tree" is their best album - a great album. And yet, for years the band seemed to regard the album as an albatross hanging around its neck, spending more than a decade doing everything it could to sound unlike the band that recorded it. On one occasion, that worked - "Achtung Baby" was very good. "Rattle and Hum" was OK. But "Zooropa" and "Pop," hailed by some as bold and adventurous, were really quite crappy. It was only when the band returned to its strengths in 2000 on the excellent "All That You Can't Leave Behind" that U2 once again sounded like U2.

And then, of course, there is Bono. Most of the time, it's hard to take the guy too seriously. One moment, he's hanging out with Frank Sinatra, in an apparent effort to establish himself as an avatar of cool. The next, he's doing good works (fanfare, please) in third world countries. But before you know it, there he is at the Republican Convention, having a chummy ol' chat with none other than Bill O'Reilly. After all these years, I really have no idea what the guy stands for.

There's a song on "Rattle and Hum" where Bono is engaging in a political monologue about something, and then suddenly he's openly baiting the audience, bellowing "Am I buggin' ya? Wouldn't want to BUG ya." First time I heard it, I laughed out loud, but not quite as loud as when I read the Village Voice review of "Achtung Baby," where the writer began his piece by stating, "Yeah, Bono - as a matter of fact, you're buggin' the living sh*t out of us."

So there you have it - U2 goes onto the dustbin of history, in the section devoted to bands who take themselves too seriously, and singers whose estimation of their own importance far exceeds their actual importance.

And yet, every time I hear the opening chords of "Where the Streets Have No Name," I'm reminded that U2 at its best is a band that can take you to levels that few bands have reached. It's an epic, sweeping song, and it sets the tone for an entire album that you could easily describe in those terms. Producers Daniel Lanois and Brian Eno create a magnificent soundscape for the songs, and the players - The Edge, Adam Clayton and Larry Mullen Jr. - respond with their very best work. So what if Bono emotes a little bit too much on some tunes? Here, that kind of performance is justified, and it adds to the power of the overall work.

It's their most consistent album, and their best album - one that, for all the band's faults, deserves its place on this list.

The Joshua Tree (1987) Produced by Daniel Lanois and Brian Eno

Where the Streets Have No Name/I Still Haven't Found What I'm Looking For/With or Without You/Bullet the Blue Sky/Running to Stand Still/Red Hill Mining Town/In God's Country/Trip Through Your Wires/One Tree Hill/Exit/Mothers of the Disappeared

What the?

For some reason that no one, including the staff who work there, can seem to explain, someone has decided to completely move everything around at the market where we buy our groceries.

At first I thought this was no big deal, until I dropped in on the way home from work in search of a bottle of wine. And not just any wine; tonight I felt like chilled white wine. Which, for the past 10 years, has always been in the same place.

Naturally, it was moved to the last place I would expect it to be - which seems to have been the driving factor in all the moving decisions that have taken place so far.

I was so frustrated, I bought two. So, I suppose the story has a happy ending.

Add One More

After the last 10 days or so, I think it's fair to add Jeremy Lin to the top sports stories of 2012. Now the only question is how long it will take for people to lay off the silly puns involving his name. Probably forever.

Declawing A Tiger

Yesterday, I noted the possibility that the Phil vs. Tiger duel could end up on the list of 2012 memorable sports moments. And it did, although not for the reason that I (or anyone else, probably) had imagined.

It was a massacre of epic proportions, with Phil playing one of the best rounds of his career on a storied course and Tiger displaying the inconsistency that has plagued him since right around the PGA Championship in 2009. Actually, Tiger was worse than inconsistent - he was downright putrid, especially on the greens. And here I was all set to predict that he would win a major this year. It could still happen, but first he'll have to learn again how to string four strong rounds together (sing that to the tune of "Four Strong Winds").

The stat of the day was provided by Nick Faldo, who brought to our attention the fact that, had yesterday been match play, Mickelson would have defeated Woods 7 and 5. And that, folks, is pretty darn embarrassing.

Monday Morning Wrapup

There were two performances I should have noted last night - Jennifer Hudson's very nice tribute to Whitney Houston (it struck just the right chord), and Nicky Minaj's epic...well, I don't really know what it was, but it was epic. That doesn't mean I thought it was great (or even good), but if nothing else it was an interesting spectacle.

And I'm still trying to figure out how Bon Iver qualified for Best New Artist. That first album came out a LONG time ago.

And given that Alison Krauss has won more Grammys than any other artist, I wish they had found a way to work her and Union Station into the show. I know it's the wrong demographic, but still...

Nice Close

That's what we want to see - Paul up there with Bruce, Dave, Joe and others ripping the shreds out of a Beatles song.

Rock on.

Record of the Year

Well, of course it was "Rolling in the Deep." When art merges with commerce, that can be a very powerful thing.

What the...?

Ok, the Foo Fighters / DeadMau5 thing...I have no idea what it was, but it was very entertaining.

Oh Well

Sometimes the mashup doesn't quite work. It wasn't terrible, but it was hardly the best performance that either Tony Bennett or Carrie Underwood ever gave.

And how does Bon Iver win Best New Artist when he/they released an album over two years ago?