Round Up

31 12 2005

Cinema
Good – Just Friends
Bad – Fantastic Four
Fugly – The Safety of Objects

Cellar
Red – Ross Estate 2002 Estate Shiraz, Barossa Valley, Australia
White – HAwley Wines 1999 Viognier, Dry Creek Valley, CA
Sparkling – Veuve Clicquot La Grande Dame Brut 1995

Cocktail:
Cinnamon Apple Martini
2 oz apple vodka
1 oz apple juice
0.5 oz apple barrel schnapps
0.5 oz pomegranate juice
Mix!

Cheese:

  • Vermont Shepard:
    • sheep, Putney, VT
    • 4-6 months old, raw milk
  • Great Hill Blue
    • cow, Marion, MA
    • 10 months, raw, nonhomogenized, creamy blue
  • Maroilles
    • cow, 4 months, raw milk
    • rind cheese, Calais, northen France (Maroilles)
  • Montgomery Cheddar
    • 1-2 yrs, raw
    • clothbound so crumbly, nutty, rich flavor
  • Humboldt fog
    • perennial favorite I know! McKinleyville, CA
    • goat, pasteruized, 1-2 months, snowy white, ash in center
  • Roaring 40s
    • cow, blue cheese, pasteruized
    • Tasmania
  • Pecorino Sardo
    • sheep, raw milk, sweet
    • Sardinia, hard cheese
  • Brillat-Savarin
    • cow, pasteurized, ice cream cheese (hot cream added to curd) to raise fat content to 78% (75% is limit for triple creme)
    • Normandy
  • Durrus
    • cow, washed rind, raw milk, sweet and salty, pairs well with red wine
    • West Cork, Ireland
  • Affidelice du Chablis

    • cow, washed rind, raw milk, sweet
    • Burgundy
  • Morbier
    • cow, raw milk, 1-2 months
    • ash in center
  • Herbiette
    • goat, raw, juniper and fennel flavor, semisoft
    • Nantes, Frances
  • Garrotxa
    • 6 months, goat, pasteurized, semihard, dry
    • Catalonia, Spain
  • Mimolette
    • cow, raw, 2 years, hard waxy and smoky
  • Pleasant Ridge Gruyere
    • cow, raw milk, 1 yaear
    • super creamy

Bay Area Food

  • Adagia
    • 2700 Bancroft (@College), Berkeley
    • 510.647-2300 URL pending
    • Mediterranean
  • Olivia
    • 1453 Dwight Way (@Sacramento), Berkeley
    • 510.548-2322
    • French
  • Sea Salt
    • 2512 San Pablo Ave, Berkeley
    • 510.883-1720
    • Seafood. Disclaimer: nothing for me to eat but the others enjoyed it
  • Pizzaiolo
    • 5008 Telegraph (@51st)
    • 510.642-4888
    • Wood burning pizza

San Francisco:

  • Zuppa
    • 564 Fourth Street (@Brannan, off Freelon Alley)
    • 415.777-5900
    • Southern Italian
  • Myth
    • 470 Pacific (@ Montgomery)
    • 415.677-8986
    • small plates
  • Canteen
    • 817 Sutter Street (@ James)
    • 415.928-8870
    • American
  • Citizen Thai and the Monkey
    • 1268 Grant (@ Vallejo)
    • Thai
    • 415.364-000
  • Coco500
    • 500 Brannan (@ Fourth)
    • French
    • 415.543-2222
  • Range
    • 842 Valencia (@20th street)
    • 415.282-8283
    • California

North Bay

  • Picco
    • 320 Magnolia (@King street), Larkspur
    • 415.924-0300 (945-8900 for the pizzeria)
    • Eclectic
  • Cyrus
    • 29 North Street (@ Healdsburg Ave), Healdsburg
    • 707.433-3311
    • Prix fixe
  • Budo
    • 1650 Suscol Ave (@ Randeen Way), Napa
    • 707.224-2330
    • Japanese

Londontown:

  • Chowki
    • 2-3 Denman Street (@ Shaftesbury; tube: Piccadilly)
    • 020.7439 1330
    • Indian

Roma:

  • Popi Popi
    • Via delle Fratte di Trastevere 45
    • 06-58-95-167
    • Pizza

Chicago:

  • Green Zebra
    • 1460 West Chicago Ave
    • 312.243-7100
    • Vegetarian
  • Osteria Via Stato
    • 620 N State (Red LIne: Grand stop)
    • 312.642-8450
    • Italian
  • Alinea
    • 1723 Northalstead (between North and Willow)
    • 312-867-0100
    • Fusion

New York:

  • Gobo
    • 401 Ave of the Americas (between Waverly place and 8th)
    • 212.255-3902
    • vegan




Theater Chairs

30 12 2005

I hate choosing furniture. After a few visits, everything looks the same to me. However, multiple showroom visits have foregone conclusions: (i) showroom concierges are braindead and want to sell you Scotchgard plans; (ii) leather is evil because it kills unsuspecting cows; (iii) microfiber rules.

Choosing the chair is critical to my sonic interaction with the room. Chair height determines the position of your ears and eyes relative to the speakers and screen. Fortunately, this is adjustable as speaker positions are now fixed. The chair’s width dictates how many people may fit side by side or in row (allow for leg room) and where they will be in the room. Some locations need to be avoided so the chair’s dimensions determine position. Luckily, if you design a room from scratch, it is infinitely easier to design the room, and then determine what chair you are going to use or your options become limited to specific and uncomfortable choices.

Chairs should be comfortable but not so much that you will fall asleep. Chairs with high backs will support your head but will also reflect sound bounce from the back of the room back at your ears immediately after you hear the first compression. No wing backs. This will blur sound and change in timber results. High backs also block surround sound from the rear speakers; however, so do plush pillows which I always use while watching cinema – which makes it mandarory to have ceiling flush mounted speakers to shower you with sonics parabolically inclined to propel to the primary listening position. Some designers can shorten a chairs back, if the rest of the design works for you. Do not use reclining chairs as reclination changes the position of your head, which changes the acoustics. Technically, an ottoman is a sonically better choice as your head position stays relatively fixed.

If you want to be compulsive, calculate axial modes. Start with half the speed of sound (the full speed is 1130 fps) and divide it by each of the room’s three dimensions. You are already better off if no single dimension is a multiple of the other (eg. 10 by 20 feet rooms are inherently unsound). The resulting fraction is the three fundamental resonances in the x, y and z axes. Take each fundamental resonance and multiply it by integers from 1 to 9, depending on which integer you need to get each dimension’s resonance to about 300 Hz. You can often acoustically treat frequencies above 150 Hz.

The principal position of listening (PPL) is the best sound trap. This should be where you sit. Concentrate on the speakers. Most people think the best “seat in the house” is halfway between the front left and front right speakers, centering the listener between the room’s side walls. Being halfway permits the best stereo imagery, the impression that musical and sonic events are happening at some point between the two speakers. Acoustic theory i ndicates that the room’s midpoint has numerous low freuqency response problems.

Room resonances create peaks (areas of excess sound pressure) and nulls (areas of little pressure) which can be calculated with a single speaker, a test disc, a calculator and an SPL meter. After calculating the first resonant frequency (dividing 565 by the length, width or height), place your subwoofer in the corner so you can emphasize all the room modes. Play the resonant or an adjacent frequency off of the test disc. Your room’s construction will shift the resonant frequency slightly but should be near the point you canculated. Walk around the room with the SPL meter and notice how that particular frequency gets louder and softer as you move.

The first resonance peaks for any dimension occur at room boundaries. For my 14 ft wide room, a 40.3 Hz peak occurs at each side wall. The null for this frequency is halfway between the side walls. If you sit dead center, you will hear a dip in frequency response at 40.3Hz. This spot will have a peak at the resonant frequency’s second harmonic (80.6 Hz) which will have nulls a quarter of the way from the walls. The center spot will have another dip at 120.9 Hz, the third esonance (which has nulls at one third the distance from the walls). Move your speaker along the front wall to the first reonance’s null (the middle of the room’s width). When you energize the sonic room with the resonance frequency of the width (in my case, 40.3 Hz), from the null of that frequency (the middle of the room’s width), the response is less boomy. But the speaker is also playing at the peak of the second harmonic which means when I play 80.6 Hz, the response will be even louder. Adjusting the crossover point between the subwoofer and the main speakers allows me to single out the first resonance. In general, placing the speakers (or chairs) becomes a balancing act between resonances. And I thought the physics boards was it!

The best PPL is that where there are few, if any, peaks or nulls. Place the center speaker off center always (it should be called the off-center speaker so as not to confuse the ingenue; my heart bleeds when I see off-center speakers placed in the geometric center of a room – so faux pas!). It serves to correspond with the center of the screen and allows off center listeners to hear a good soundtage. Positions at thirds or fifths of the room’s dimensions provide the fewest peaks and dips, and offer an equal amount of sound pressure for the majority of resonances. If I place the PPL at the third or two third width position, there is still a peak for the width’s third resonance (120 Hz) so the front speakers are placed in a position at one sixth of the room’s width from the wall and not at the edge. This is very key.

Lighting has nothing to do with acoustics but merely sets the mood for the screening room. It should be functional and attractive. For a theatrical effect, you can hoist wall sconces ($13 apiece from Home Depot) or down-firng track lights over the PPL and secondary listening positions. Use hanging wire lights that will not rattle. Unfortunately, the free glass and stainless steel will reflect both light and sound so I am not in favor of track lighting. A Lutron Grafik Eye will control the lighting system if you intend to use the screening room as a multipurpose room and need preset lighting conditions. I have two lighting conditions in my requirements for the screening room: OFF and ON.

To make the room sonically perfect (it cannot be, it can only be sonically near perfect), stuff the space behind the dry wall with acoustic foam or dress the walls with acoustic bars and panels. For the floor, you can use 3/4″ oriented strand board (OSB) which, I discovered was the only type available at Home Depot and is three times as expensive as 7/16″ OSB, which is recommended. All acoustic panels and bars are ugly: if you have never upholstered before, you cannot possibly imagine making beautiful acoustic treatments out of cloth, bats of Fiberglass and absorbing fiber. Pay a professional and work a weekend instead. Soundsuede makes fabric wrapped wall panels, acoustic clips, sound barriers to conceal under the dry wall and isolation clips to float the room.

Traditional movie room chairs are terrbly uncomfortable. I do not recall not squirming (and constantly readjusting) in the cinema hall. Some of the commercial ones resemble airline seating. It is ironic that they sell large volumes of these chairs. The video game rocker chairs now available are good solutions but they are not stackable and are of really poor quality (check the seams). JC Penneys sells an advanced Gamepod Virtual sensory chair which has speakers built into the wingback and a rumble zone to amplify vibrations into your ass. I shudder to think of the hassles I would undergo if it should conk out. The chair itself is extremely tedious and uncomfortable.





Quote Unquote

30 12 2005
  • “No Froot Loops!” –Saddam Hussein, getting upset at his guards when offered a substitute for his breakfast cereal of choice, Raisin Bran Crunch
  • “I sometimes feel that Alfred E. Newman is in charge in Washington. ” –Sen. Hillary Clinton, describing President Bush’s attitude toward tough issues with Newman’s catchphrase “What, me worry?”
  • “Sen. Hillary Clinton called for President Bush to begin pulling troops out of Iraq next year. And let me tell you something, when it comes to telling a president when to pull out, no one has more experience than Hillary Clinton.” –Jay Leno




D Railing

29 12 2005

D railing is the equivalent of drinking and driving. Of course, this is emailing or blogging when you’re drunk. Emailing and texting others is a further step towards anonymity in social relationships.

Some blogs I watch are:
Bitter with Baggage
Waiter Rant
Wonkette
Gizmodo
Daily Kos
Andrew Sullivan
Davezilla
Apartment Therapy
New York Times Wedding Announcements
Shocks and Stares





Push Fast

28 12 2005

New CPR guidelines released by the American Heart Association urges us to give 30 chest compressions instead of fifteen for every two (2) rescue breaths. Push ahrd, push fast is the new mantra for the new simpler guidelines. Guidelines are now the same for children and adults. This should keep the blood (flowing and the heart) pumping. Sudden heart arrest occurs when the heart stops after a heart attack or enar drowning, usually from an abnormal heart rhythm. More than 300,000 Americans die from it each year, 75-80% at home, and effective CPR can double a victim’s chance of survival. The main danger is inaction.

Gifts that are being returned today:





Roundup DVD

27 12 2005

The screening room is nearly complete. I estimate that I will no longer be attending the cineplex. For a couple, including popcorn, some junk snack, parking, dinner and the inconvenience of listening to crying neonates just freshly disconnected (but as yet unwashed) from the umbiilcal cord, I am not in a mood of taking out a second mortgage. The documented reasons for diminishing cinema revenue are, ironically, the same for diminished attendance:

  1. social factors eroding the cinemagoing environment (talking, cell phones, crying babies)
  2. sacrificing long term relationships with cinema goers for short term profitability (no ushers, too many commercials, endless previews). It must be noted that in Londontown you could have up to 45 minutes of commercials before the feature begins.
  3. higher quality theater experience at home
  4. declining quality of mainstream motion pictures
  5. easily available long tail content alternatives (Netflix, Amazon)
  6. price
  7. demographics (aging babyboomers simply go out to the cinema less; children more interested in the video game world, which can be accommodated in the home theater setting)
  8. Hollywood’s death spiral
  9. poor marketing

The screening room needs to have optimised light and sound, for which testing is needed.

COLOR QUALITY

  • Finding Nemo: perfect digital transfer
    • Scene: First Day of School
    • Bonus: surround sound works
    • if not available, Ice Age (for whites) and Shark Tales (for blue)
  • Amelie: bright red, bright green, richly monochromatic
    • blue lamp in her all red apartment
  • Pleasantville: isolate individual colors on the wheel for fine tuning
    • first half of movie is in black and white but when the color arrives, there is no bleeding
  • Girl With a Pearl Earring: warm colors
    • soft ruddy glow for entire spectrum with good light/shadow in indoor candlelit scenes
  • Singin’ in the Rain: restoration with Warner Bros’ UltraResolution
    • scene: Broadway Melody dream dance sequence

BLACK AND WHITE

  • Citizen Kane
    • sharp contrasts with sharp focus in background and foreground
  • Casablanca (Special Edition Release)
    • digital transfer with black and white contrast standards
  • Touch of Evil (Restored edition)
    • best mono soundtrack but also dynamic lighting and good composition
  • The Third Man (Criterion Collection)
    • 22000 digital repairs to 35mm fine grain master
    • scene: final chase in sewers with shafts of light jutting through the passageways
  • Sunset Boulevard
    • subtle grays, sharp print, balanced vivid whites, gleaming detail
    • also one of only 2 movies I own (the other is Moulin Rouge!), scheduled for opening night
  • Village of the Damned/Children of the Damned (one one dual layer disc)
    • jet blacks, bright whites; detail in children’s fine blonde hair and gleam in eyes
  • Down by Law (Criterion Collection)
    • perfect contrast, sharp focus, vivid grayscale

PICTURE DETAIL

  • Alien (Collectors’ Edition)
    • scene: discovery of crashed alien vessel – walls of ship glistening with slime and dead alien detail (also the silence, first use in cinema)
  • Underworld (reference quality transfer to DVD)
    • dark damp scenes (also LOUDEST DVD in the world)
  • Crouching Tiger, Hidden Dragon
    • very sharp picture with night scenes to tune shadow detail
    • blue skies, white sands, rich flesh tones, burning sun detail
  • North by Northwest
    • superb color saturation, great widescreen detail
    • scene: hotel room where Eva-Marie Saint wears black dress with red flowers (no bleeding)
  • Seabiscuit
    • fine details with close up of any horse (hairs on back)
    • scene: Sebiscuit races War Admiral; dirt flying in slow motion. Yep, I’m anal
  • Hidalgo
    • caution: slow plot. Most of these movies are not good other than technically
    • brilliant daytime scenes (pick up grains of sand)
    • great sound in horse racing scenes
  • O Brother Where Art Thou?
    • hideous film but saturated suinlight and deep shadow, obviously digitally manipulated
    • scene: cons meet scantily clad sirens by the river bank (clear foliage, flowing river currents)
    • also surround channel works wonder in the outdoor scene
  • Hulk (reference quality picture)
    • best looking live action movie on DVD
  • Starship Troopers (Superbit Edition)
    • higher bit rate with higher quality print
    • colors pop and crisp blacks

SURROUND SOUND

  • Saving Private Ryan (true reference DVD)
    • accurate sound steering with bullets and explosion
    • scene: beach storming opening (POV is head bobbing in and out of water)
  • Master and Commander
    • battle and storm sequences aural and visual treat
    • cannonballs and shrapnel steering are period correct
    • tearing sails and crashing waves
  • Das Boot (Superbit edition)
    • sounds like the inside of a submarine – it does feel claustrophoibic
    • calibrates front and rear speakers
  • Terminator 2: Judgment Day (THX version)
    • aggressive surround usage especially with DTS ES over 6.1 channel system
    • scene: truck chase (similar acoustic for 6.1 and 7.1 as The Perfect Storm)
  • House of Flying Daggers
    • best soundtrackon DVD. Period
    • scene: big fight in bamboo grove: immersive rustling of leaves
    • scene: drum and pellets
  • The World is Not Enough
    • pre-credits teaser is a motorboat chase down the Thames with perfect sound steering of water splashes
  • Apollo 13 (IMAX edition)
    • single best showcase for subwoofer
    • scene: launch for deepest bass
  • Jurassic Park (Superbit Edition)
    • anytime the dinosaurs stomp
    • best multichannel demo disc – classic water rippling in glass
  • The Fast and the Furious (DTS version)
    • aggressive surround sound tracking

MUSIC REPRODUCTION

BEST IN SHOW (for all round tuning)

  • Kill Bill Volume 1
    • aurally immersive
    • scene: Uma Thurman purchases ticket to Japan
    • scene: Crazy BBs fight
    • scene: final fight with Lucy Liu
    • audio: Uma’s motorbike in center channel (with rear directional sounds)
  • Spider man 2 (Superbit edition)
    • bright comic book colors (opening credits)
    • scene: Spidey and Doc Ock on the runaway El train (subwoofer alert)
  • The Matrix (Ultimate Matrix Collection)
    • stunning sound with ample use of channels
    • left/right targeted information
    • scene: final shoot out between Neo and Agent Smith
    • scene: helicopter crash
    • scene: Neo propeling out of the window (detailed glass shatter)
  • The Lord of the Rings: Return of the King
    • sharp picture
    • any big battle scene
  • Star Wars Episode Two: The Attack of the Clones
    • space fighters, lightsabers, explosions
    • music score
  • Sky Captain and the World of Tomorrow
    • scene: giant robots in Manhattan
    • scene: Jude Law’s fighter plane veering
  • Super Speedway (IMAX edition)
    • scene: mario Andretti racing in the rain

ONE DVD TO TUNE THEM ALL

  • Days of Heaven
    • subtle realistic crickets and gentle breezes
    • exceptional picture quality
    • restrained DVD but great test for optimization
  • Apocalypse Now
    • scene: Ride of the Valkyries helicopter attack is the original sound tuner :)
    • no restraint whatsoever

Enjoy tuning your system. The following are my favored releases from FY 2005 -

OUT THERE

BLACK AND WHITES

MUSIC

  • Talking Heads – Sand in the Vaseline #14 “Once in a Lifetime”
  • David Bowie – Let’s Dance #3 “Let’s Dance”
  • Culture Club – Kissing to Be Clever #3 “I’ll Tumble 4 Ya”
  • Peter Gabriel – Security #1 “The Rhythm of the Heat”
  • Crowded House – Crowded House #6 “Something so Strong”

SONIC BOOMERS

MOVIES RECOMMENDED
January: Infernal Affairs
February: The Incredibles
March: Being Julia
April: The Interpreter
May: Team America: World Police
June: Wedding Crashers
July: Beautiful Boxer
August: The Constant Gardener
September: Big Fish
October: Millions
November: Just Friends
December: Pretty Persuasion





Christmas Londontown

26 12 2005

It’s Boxing Day! This is known in America as the “Day to Get Store Credit After Returning Unwanted Gifts”. It is known in the East Bay as “Day When Crazy People forget to Drive in the Rain and end up in the ER”. The day after Christmas is the Feast of St. Stephen, the first Christian martyr. The term comes from the opening of the church poor boxes today – earthenware boxes with which boy apprentices collected money at the doors of their masters’ clients. We have adopted this to give gifts (in boxes) to service providers (no, not SBC) who work for us throughtout the year – the post carrier, the garbage woman, the gardener and the pool boy.The best place to be on Boxing Day is, of course, Londontown!
Lights

Holiday Fun

Tour





Santa Clause

25 12 2005




Christmas NYC

24 12 2005

Trees

Lights

  • Bronx Zoo (Bronx River Pky @ Fordham)
  • ESB (Fifth @ 34th)
  • Giant Snowflake (57th @ Fifth)
  • GCT Holiday LASER light Show (42nd @ Lexington): every half hour 1100 until 2100

Holiday Markets

Broadway Top Sales

Not much edgy stuff as the tourists are in. Ugh.





Feather Trees

23 12 2005

B & D were most gracious enough to have me over for champagne so I might take a dekko at their collection of feather trees. This tradition was begun in Germany in the mid 19th century when tree cutting was banned to save German woodlands. German immigrants brought the feather trees across the Atlantic, and many models were made exclusively for the overseas (American) market. President Roosevelt responded to the diminishing supply of evergreens by ordering no live trees be used in the White House holiday decor. This made them very popular.

The original feather trees, now collectible, are correctly known as Nuernberg Trees and were the first alternative to live trees. Unassembled, they were a series of wires wrapped with feathers, a wooden trunk and a painted wood block base, round or square. They were easy to assemble and ship, and soon became available in the Sear RoebuckWishbook” catalogue in 1920. Sizes varied from two inches to eight feet in height. Lavender and gold versions from the 1930s never became as popular as the white versions. Greens are classic. Decorations included millimeter thin hand blow glass ornaments, homemade tallow candles and fresh garland. Later, Sears offered electric lights. In 1950, a feather tree appeared in the Peanuts comic strip and some enthusiasts also refer to them as Charlie Brown trees (they are sold out for this year!). There has been a recent revival in interest among enthusiasts and crafters alike, combining folk art with heirlooms. It can be quite obsessive.





Week in Wine

22 12 2005

BLANC DE NOIRS
Blanc de noirs are “white of blacks,” meaning white wines made from black-skinned grapes, typically Pinot Noir and Pinot Meunier. The juice inside the grape is clear; any pinkish color found in a blanc de noirs is there because the winemaker allowed some of the colored skins to remain in contact with the clear juice for a period of time.
NV Domaine Ste. Michelle Columbia Valley Blanc de Noirs ($12)
NV Mumm Napa Napa Valley Blanc de Noirs ($18)
2002 Schramsberg Napa-Mendocino-Sonoma-Marin Counties Blanc de Noirs ($32)

BRUT ROSÉ
Domestic rosés are made predominantly from Pinot Noir and with longer contact with the black skins than blancs de noirs, giving the wines more vivid color. Some rosés are made using a small amount of red wine that’s added before the second fermentation.
NV Domaine Carneros Cuvee de la Pompadour Carneros Brut Rosé ($34)
2000 Domaine Chandon Etoile Mendocino-Napa-Sonoma Counties Brut Rosé ($45)
NV Korbel California Brut Rosé ($11)
J Russian River Valley Brut Rosé ($30)
NV Roederer Estate Anderson Valley Brut Rosé ($27)
2002 Schramsberg Napa-Mendocino-Sonoma-Marin Counties Brut Rosé ($36)
1999 Soter Vineyards Beacon Hill Yamhill County Brut Rosé ($40)

Cabernet Sauvignons under $10
2003 Beringer Founders’ Estate California Cabernet Sauvignon ($9)
2003 Castle Rock Alexander Valley Cabernet Sauvignon ($10)
2002 Castle Rock Sonoma County Cabernet Sauvignon ($10)
2002 Chateau Julien Monterey County Barrel Aged Cabernet Sauvignon ($10)
2003 Concannon Central Coast Cabernet Sauvignon ($10)
2002 Forest Glen California Cabernet Sauvignon ($10)
2003 Fusee California Cabernet Sauvignon ($6)
2004 McManis Family Vineyards California Cabernet Sauvignon ($10)
2004 McWilliam’s Hanwood Estate South Eastern Australia Cabernet Sauvignon ($8)
2003 Twin Fin California Cabernet Sauvignon ($10)





Travel Gifts

21 12 2005

I am possibly the only person I know who does not travel between Thanksgiving and New Year’s but these are some gifts for the traveler on your stocking list.

PLANNING GIFTS

JOURNEY GIFTS

DESTINATION GIFTS

TOP TRAVEL DESTINATIONS for those you really really love and want to gift a weekend

TRAVEL TIPS
Flights

  • Don’t panic about fare hikes of 5-6%. They are coming.
  • But if you see a good fare, buy it.
  • Busy routes are bargain routes
  • Metasearch for fares (farechase, kayak, mobissimo, sidestep)
  • Check the airline site to save $10
  • Avoid troubled bankrupt carriers (Independence Air much, P?)
  • Pack lunch (Pillow on Air Canada was $2. Seriously)
  • Pack light or you end up paying $150 if you go over 50 pounds
  • Online agents like expedia, Orbitz and Travelocity charge a $5 booking but guarantee
  • Burn your frequent flier miles
  • Mileageprobook.com
  • Kids fly free (2-11 years) on Alaska Airlines Vacations

Hire cars

  • Ringing for hire care rentals is cheaper than online booking. Try Orbitz for speed
  • Don’t overinsure your hire car (check with your credit card)
  • Pump your gas yourself
  • Go for hot wheels for a small upgrade fee (Hertz’ fun collection – Mazda Miata, Ford Escape XLT Sport)

Cruise

  • Pay for a cruise in full ASAP (fuel surcharges can add up to $10 per day per person)
  • Repositioned ships change itinerary because of weather and cuts its price. Find one.
  • Buy cancelation insurance
  • Check EasyCruise for low rates on cruises
  • High end ships are full for FY 2006. Book now for ‘007

Hotels

  • Occupancy and rates are rising. Book when you can.
  • Rooms are perishable so check priceline. com and hotwire.com for last minute rates. Ring hotels for the same
  • Beware of new fees like internet connection fee or early arrival fee
  • Westin will ban smoking effective January 2005. Hallelujah!
  • Conrad London has inroom Bose SoundDock Digitial Music System for your iPod. iPod stations are standard in W hotels

Rail

  • Buy two tickets on Amtrak in the Northeast and get four more free (well, 90% off)
  • Amtrak offers free companion fare for parents and college hunting teams
  • Amtrak rents portable DVD players
  • Raileurope.com covers two country combos (France + Germany, for exmaple). Nation #18 on board is Romania. Finally!

In General

  • Get the $3 Tide to Go stain remover pen
  • Join Neiman Marcus CouTour for cystom luxury trips
  • Rainforest alliance.org has a guide
  • Hook up the $249 Slingbox to your home telly and watch LOST anywhere you are
  • Occidental hotels in Aruba invite you to wed on their dime (but you pay the room rate of only $1436 per night)
  • 25000 Zagat reviews downloadable to your BlackBerry with a $25 subscription
  • Sidewinder ($25) lets you recharge your phone by cranking a handle (2 minutes of churning for 6 minutes of yapping)
  • Drive 35 to 65 mph. Acceleration, deceleration and higher speeds guzzle gas




Last Minute

20 12 2005

Stuff does not make you happy. People make you happy. I do not think that the value of wealth is the things you acquire but what you can dow ith those things: it is the memories and experiences associated with objects. It works like songs. I like 80s music and certain arias, but nearly all of them are more owing to an exact experience I associated with them or what happened at the time I first heard them. So it is not the toys, but the playing, to put it bluntly. I think it is similar to seeing kids under the Christmas tree (no, I will not call it a Holiday Bush) unwrapping gifts. Mostly, the excitement of unwrapping and even playing with the boxes (cartons, packages, whatever) distills so much joy that the actual gift within may be quite the afterthought. When did we lose that perspective that every kid today needs an XBox 360? Who needs a 350HP car when the speed limit is 55? How many watches can a metrosexual wear? Why do my collection of Zegna ties cost more than the GDP of a small country? I am not holier than thou but equally guilty but the holidays are a time to reflect. In California, more so than in Illinois, we feel the need to accumulate stuff (just enter your garage, or a mall store: why do we need Illuminations?) but how we spend our time – relationships are key – will determine how happy your life is. But you know you will still be out there shopping for others (and yourself, on the side)

For women

For Women, Men and those Questioning

For the Digital Man in your life

For the Restless Man in your Gym

For the Bookish Man on your Block





Going Postal

19 12 2005

USPS deadlines for Christmas are very tight in order to get the package delivered by Christmas

  • Global Priority Mail (4-6 days in 51 countries, $4) Dec 14
  • Global Express Mail (3-5 days anywhere, $16) Dec 15
  • Global Express Guaranteed (1-2 days in 190 countries, $24) Dec 19
  • Priority Mail (3 business days, $3.85) Dec 21/22: National/Local
  • Express Mail (overnight, $14) Dec 23/24: National/Local

FedEx deadlines are already past.

Some deadline tips:

  • check the address and include the ZIP+4 so you can zip in and out
  • there will be no surfaces left so don’t head to the post office with gift wrap, scissors and tape
  • do NOT pack in a box that once held flammable contents
  • shipping wine is illegal; if asked (they will), say olive oil and lie through your teeth




Pruned Up

18 12 2005

It is time to give my trees their winter haircut.

Had lunch with B and learnt about an entity known as the Foundation for Excellence. Set up as a non-government not for profit organization in 1994 and sited in Santa Clara, CA, during the heyday of the silicon boom, this tax exempt organization defrays the cost of higher education which the government of India cannot sustain. 81.65% of donation is directly funnelled into the scholarship program (most of the rest is for payroll and other operational expense).

Eligible courses are served in the country of India for Indian scholars and include high school, undergraduate studies, diploma courses in engineering or technology, general degree courses in the arts, commerce and science, and professional degree courses in engineering, technology, medicine, allied health sciences and other professional fields, while excluding part0tiem, vocational, distance learning or correspondence (online) courses. Selections are based purely on merit with no restrictive equal employment opportunity stratification. Eligible candidates need to secure a minimum of 85% of the score of the highest ranking individual in the admissions test for that particular discipline in that geographical region while also documenting financial need (gros family income not to exceed $1320 annually. No, that is not a typographical error. This is another avenue to make your annual donation even as we are in the ironic season of gifting and conspicuous consumption.

If you still have not posted those last minute holiday cards (you know, from persons whose entries you deleted from your Blackberry and now all of a sudden, they have pre-empted you with – gasp! – a card), here are some suggestions-

  • CRY (Children’s Relief and You)
  • National Audubon Society cards feature birds, wildlife and nature scenes, and proceeds support conservation
  • Courage Foundation proceeds benefit persons with physical disabilities, brain injuries, speech or visual impairment, or hearing loss.
  • In Defense of Animals is dedicated to ending the abuse and exploitation on non-human animals by defending their rights, welfare and habitats.
  • Drawbridge provides art programs for homeless children in an environment that fosters their sense of childhood joy, creativity and exuberance
  • Children’s Defense Fund is a strong effective voice for the children of America who cannot vote, lobby or speak for themselves
  • Marine Mammal Center rescues and treats sick or abandoned animals to the wild, and increases the appreciation and protection of marine animals.
  • Farm Sanctuary protects animals around the world subjected to intolerable cruelty when exploited for food. Work is through investigation, pubilc education, legislation, and legal campaigns.
  • City Meals on Wheels: Each card ($5) represents 100% of the cost of sending a holiday meal to a frail elderly neighbor if you live in New York City.
  • Special Olympics Holiday Cards provides sports training and athletic competition opportunities for persons with intellectual disabilities
  • Heartfelt Charity Cards

My cards are always from UNICEF as I believe the children are our future as those who are lucky enough to have them ought to know. The CD included is always from WNUA (the smooth jazz station in Chicago) which sponsors the WNUA Cares for Kids Charities. This year (Volume 18), the selected charities included are Chicago Children’s Advocacy Center, Horizon Hospice and Palliative Care, Chicago Youth Centers, Children’s Oncology Services, RAINBOWS, SEDOL, Gads Hill Center, Sit Stay Read! (which is not yet tax-exempt) and The Harbour, Inc.; If you know of a deserving cause, encourage them to review WNUA guidelins and submit an application to WNUA in the month of July each year.





B Happy

17 12 2005

To my utter horror, I was nearly served a Barolo without decanting. I narrowly avoided the faux pas by gently requesting one and waiting the requisite awkward half hour as D insisted on some tasting so I had to do the swirlygig move in his non-lint-free-cleaned standard goblet.

Barolo and Barbaresco (B&B to me) are the Burgundy of the Piemonte region of northwest Italy. They are made from a single varietal, the Nebbiolo grape (“fog” which crosses the Apennines every fall to settle in Piemonte just as the grapes are ripening and in time for harvest. Both B&B are made in geographic delimited areas specified under Italian law. They must both be 100% Nebbiolo, no exception.

Besides the geographic location (what you call terroir), the massive tannins, high acidity and high alcohol content renders Barolo the wine of kings, and the king of wine. Ripe Barolo is hugely fragrant and deeply massive in the mouth. There is no finesse. Barbaresco is more elegant. A good vintage will thrive for more than 20 years beyond bottling. Nebbiolo for Barolo grown in the communes of Castiglione-Falleto, Monforte d’Alba and Serralunga d’Alba are exception. Barolo from Barolo and La Morra are more graceful. Nebiollo for Barberesco is grown in and around Barbaresco, Neive and Treiso (north east of Alba).

Producers that are reliable -
Traditionalists: Bartolo Mascarello Conterno, G Mascarello, Vietti, Pio Cesare, G Cortese, Bruno Gioacosa, Produttori del Barbaresco, Aldo Conterno
Middle Ground: Domenico Clerico, Aldo Conterno, Pio Cesare, Prunotto, Corino, Batasiolo, Marchesi di Gresy, Ceretto, Gancia, Contenro-Fantino and Angelo Gaja
New Wave: Marc de Grazia, Moccagatta, Sandrone, Altare, Sottimano, Paitin, Manzone, Corino, Azelia, Scavino, Batasiolo, Domenico Clerico, Germano Ettore

No matter. The evening was rescued by a lovely holiday party at A and S’s fancy clubby pad in the city where I was cautious enough to get in early to drink the Miner Family Cab Sauv that I missed last month. We had Rachel Ray inspired dips!





Port a Party

16 12 2005

Annual Port tasting evening this Friday which makes me unreasonably excited. Some Port facts:

  • vintage Ports often ignored for more familiar single-malt Scotches, brandies and Cognacs as choice of after dinner drink
  • just as Cognac can only come from that region of France, and tequila can only be distilled in Jalisco, Mexico, true Port must be made in the Douro region of Portugal and not sold at the local Costco; D buys a lot of Fonseca from Coscto so I do not know about this
  • in California, “port” is often used as a generic term for any fortified sweet wine. “Fortified” means the wines used for Port have a high-proof brandy added during fermentation. Although barrel-aged brandies were used during the 19th century, they have evolved into a specially distilled, 100-plus proof, clear, neutral spirit that is no longer a libation you would want to sip from a snifter. Addition of this brandy boosts the wines’ alcoholic content to about 20 percent, killing the yeasts that ferment grape sugar into alcohol. This halts further fermentation, leaving some sugar in the wine, which gives Port its distinctive sweetness.
  • Vintage Port means simply that all the grapes were harvested in that year. It takes an exceptional harvest for a Port to qualify as a vintage. That means a cold and rainy winter to set the stage for soil and vines, a dry, warm spring to nurture the roots and stimulate growth, and finally, a long, hot summer that lingers into fall, resulting in grapes plump with natural sugar and juice and bursting with pent-up flavors. It is hard for vineyards struggling to sink their roots 30 to 40 feet down into the steep, sun-bleached granite slopes that trace the Douro River as it snakes across Portugal, from the Atlantic Ocean to the Spanish border. Because the Douro is broken up into numerous microclimates, Port makers may declare any year to be a vintage, independent of other growing areas around them. Samples of their proposed vintage Port must pass a rigid evaluation by the government-controlled Port Wine Institute. In the second year after harvest, the color, aroma, structure and taste are all analyzed by both scientific tests and human tasters.
    When the majority of Port houses experience optimum growing and harvesting conditions, as happened in 2003, that vintage is “universally declared” by the Institute. Each individual vintage Port must still pass the tests. Only 2 (two) percent of Port’s total production meets all the requirements for vintage designation. During the past 100 years, only 26 vintages have been universally declared.
  • Once approved, the vintage is barrel-aged in Portugal for two years before being bottled.
    Vintage Ports possess the richest flavors, greatest complexity and longest aging potential of any wine. In the past century, some of the greatest vintage years have been 1931, 1945, 1950, 1963, 1970, 1977, 1985, 1994, 1997 and 2000. Recently, 1963 was the benchmark for all others to beat. Then came the 2000 vintage, with more body, complexity, sophistication and intensity.
  • A current bottle of vintage Port costs as much as a good bottle of wine, but with older vintages, prices can escalate well into three-digit categories.
  • Some 1970 and 1985 vintages, including Fonseca and Warre’s, have run their course and should be drunk now. That is why many vintages from these years are starting to appear on restaurant menus. Avoid buying them
  • Like any wine, Port should be stored on its side, and kept in a cool, dark place.
  • Air is the enemy of vintage Port. Once a bottle is opened, it should be consumed within 24 hours. Consequently, it’s best enjoyed with friends.
  • Vintage Port is unfiltered. That means even young ones will throw a sediment. Before opening a bottle, stand it upright for 24 hours so the sediment will settle to the bottom.
  • To separate the sediment from the wine, vintage Port should be decanted using a strainer, cheesecloth or coffee filter. As an alternative, pour the Port into each glass (or a decanter) slowly, with a strong light behind the bottle (traditionally a candle is used) to see the sediment as it is captured in the shoulder of the bottle, just before it reaches the neck. Stop pouring just before the sediment travels into the neck.
  • Port is a heavy wine and in the absence of traditional Port glasses (which are typically too small anyway), use a Bordeaux or Cabernet glass.
  • classic years: 2000, 1994, 1985, 1977, 1970, 1963, 1948, 1945, 1935, 1931, 1927, 1912
  • drink years: 1978, 1975, 1967, 1965, 1964, 1960, 1955, 1954, 1950, 1947, 1942, 1920, 1917
  • years to hold: 1997, 1995
  • years to hold or drink: 1992, 1991, 1987, 1986, 1984, 1983, 1982, 1980

Portiquette (for serious porticianados only; D, do NOT give me a hard time about this):

  • Passing the port originated by British naval officers who meticulously passed the port from “port to port” — that is clockwise. Traditionally, the decanter of port is placed in front of the host who then serves the guest to his right and then passes the decanter to the guest on his left. The port is then passed to the left all the way back to the host.
  • In the event that the decanter does not come full circle, back to the host, a proper means of getting it there. As it is bad “port-iquette” to ask directly for the decanter, the host instead is to ask the individual closest to the decanter, if he knows the bishop of Norwich or other village in England. The question is not meant to get an answer but action – namely the immediate passing of the port. If however, the unfortunate offender should answer the question by saying “No,” he should be told that “the bishop is an awfully good fellow, but he never passes the port!”
  • The custom of “naming the vintage” requires luck. Only the host knows what port is in the decanter. Once the port has made a round, the host asks the guests to name the vintage and the shipper. A modest wager may be placed on which vintage and shipper it turns out to be.
  • Connoisseurs never recork a bottle. The words, “No heel-taps!” exhort another to drink the last of the wine so that a second bottle might be opened. Women almost never drank port but are expected to drink the lighter Sherry so be sure you have it in attendance. Of course, M, R and M will roundly drink you down some Port.
  • Port is quite often served too warm — 70 degrees and more. This makes the wine too volatile and difficult to taste. It should be served between 65 and 68 degrees Fahrenheit — or 18°C. I chill upright in my fridge the night before I plan to serve it. Tonight, there is no perishable food in the fridge. There is simply no space left.
  • A Proper Port Glass should at the minimum be a standard INAO-type tasting glass but of course there are glasses specifically designed for port on the market. It should be filled no more than halfway, so that the wine may show off its aroma and be fully appreciated.
  • With the exception of Vintage, Traditional LBV and possibly Garrafeira, you may open the bottle and enjoy it immediately.
  • Vintage port requires decanting. Before opening, the port should be stood upright for at least 24 hours up to a week (depending on the age of the port) to allow time for the sediment to settle on the bottom.
  • Pulling the cork is the most difficult part of this process. The older the bottle, the harder it is. The old corks inevitably break up in the neck and fall inside. If this should happen, please do not panic (I inevitably do: I need to center myself) simply strain the wine when decanting. Usually the funnel (if you happen to be using one) has a wire screen just for this purpose. Otherwise, a piece of muslin or nylon will do the trick. Paper coffee filters are not recommended as they can add flavors to the port that were not intended.
  • I prefer to use traditional Port tongs. The tongs must be heated until they are red-hot, then clamped around the neck of the bottle below the cork and above the shoulder of the bottle for about 1 to 2 minutes. Then remove the tongs and apply a small wet towel to the same spot. The rapid change in temperature should cause the glass to break cleanly, thus “removing” the cork. From the cork you can verify the authenticity of a vintage port — the year and the house will be branded on the cork.
  • Decanting the port is not difficult. It just requires a steady hand and a good eye. In one continuous motion, slowly pour the wine into a decanter. When the sediment begins to appear in the neck of the bottle, stop pouring and discard the rest of the port. It is helpful to use a funnel since the sediment (crust) can be easily seen on the its sides. If you don’t have a funnel you might try placing a candle or a flashlight under the neck of the of the bottle to illuminate the sediment as it comes into the neck.
  • Other than white port which is most always served chilled as an apéritif, port is traditionally served at the end of a meal, for port creates it own leisurely pace. It has a warm, calming effect. It has been called the “wine of philosophy.” This velvet-rich wine is not for fast drinking, but demands contemplative sips that stimulate great conversation among a company of friends.
  • Port is traditionally served with Stilton cheese. Stilton and other blue cheeses set up a counterpoint of complementary textures and flavors, but cheeses like Cheddar and Glouster are also good. In addition, walnuts, chestnuts, cashews, and hazelnuts help bring out the best in port. Many variations on this theme are worth trying. Desserts based on strawberries, raspberries, cherries, currants or similarly full-flavored fruits, are a natural ally of port.
  • Port should be treated as with other fine wines. The bottles should be stored at 55 to 65 degrees Fahrenheit and at 65% humidity and on their sides so the cork doesn’t dry out. This also aids in the development of the crust. Most vintage port bottles have a white mark painted on the side. This mark should be kept facing up. If you should have to move the bottle, you can then return it to the same position. Nothing annoys me more than agitated Port: guests who have stirred up Port all the way across the Bay Bridge and then they lay it sideways upon arrival at home. Please. As soon as you enter, leave it upright and let it sediment naturally. In another six (6) hours, when dinner is done, it will be good to drink

What we are tasting -

De Lormier Late Harvest Semillion $22.50

Rosenblum Late Harvest Viognier $16.00

Cossart Gordon Bual ‘Medium Rich’ Madiera $23.00

Smith Woodhouse LBV Port 1992 $28.00

Quinta Do Vesuvio Vintage Port 1997 $79.99





Week in Wine

15 12 2005

Holiday season requires buying a surplus of sparkling wine as there are too many parties to attend, and this gift is nicer than a McDonald’s food card.

BRUT
1995 Argyle Extended Tirage Willamette Valley Brut ($35)
2002 Domaine Carneros Carneros Brut ($25)
1999 Domaine Chandon Etoile Napa and Sonoma Counties Sur Lees Brut ($37)
1996 Gloria Ferrer Carneros Cuvee Brut ($50)
2000 Handley Cellars Anderson Valley Brut ($32)
2000 J Russian River Valley Brut ($30)
NV Mumm Napa Reserve Brut ($25)
NV Roederer Estate Anderson Valley ($23)
1999 Roederer Estate Anderson Valley L’Ermitage Brut ($47)
1999 Schramsberg J. Schram Napa-Mendocino-Monterey-Sonoma Counties ($80)

BLANC DE BLANCS
1996 Iron Horse Sonoma County-Green Valley LD Blanc de Blancs ($60)
2001 Mumm Napa Napa Valley Blanc de Blancs ($25)
2001 Schramsberg California Blanc de Blancs ($33)

AFFORDABLE BUBBLES
Sparkling
NV Codorniu Pinot Noir Cava Brut ($13)
NVCodorniu Raventos Reserva Cava Brut ($13)
NV Lindauer New Zealand Brut ($9 for three 187-ml bottles)
NV Segura Viudas Reserva Cava Brut ($10)

White
2004 Raimat Costers del Segre Chardonnay ($8)
2004 Trinity Oaks California Chardonnay ($7)
2004 Virgin Vines California Chardonnay ($10)

Red
2003 Calina Reserva Valle del Maule Carmenere ($9)
2003 Rosemount Estate Diamond Label South Eastern Australia Shiraz ($10)
2004 Virgin Vines California Shiraz ($10)

I predicted in February 2005 that sparkling shiraz would be the next big thing but it is so scarcely available I should be imminently proven wrong. Worrisome. I hate being wrong. I did find a little wine shop in Chelsea that stocked some good ones.

Here is what we’re tasting at this Saturday’s bubbles tasting party. Looking forward to meeting D and K after nearly eight (8) weeks of absentia:

  • Seguras Viudas Cava $9.99
  • J Vineyards Sparkling Wine 2000 $31.00
  • Nicolas Feuillatte Brut NV $33.00
  • Nicolas Feuillatte Brut Rose NV $44.99
  • Laurent Perrier Brut 1996 $49.99
  • Paul Roger Blanc de Blanc 1996 $89.99




Tree Tips

14 12 2005

This is sloppy but I’ve strained (not sprained) my Achilles, had an ornament shattered into inifinitesimal pieces and got a pine splinter, and I have not even started getting the tree organized. Of course, you know people like M do not like it when guys “rush the tree” For some reason, it is not just a spherical blown glass object, it is an ornament with meaning and each one has its own tier on the tree. Of course, when I see the tree I see a fire hazard. So not Christmassy you say? Annually more than 400 residential fires involve Christmas trees and tragically nearly 40 deaths and 100 injuries result from those fires.

  • Select a fresh tree by looking for one that is green. The needles of pines and spruces should bend and not break and should be hard to pull off the branches. On fir species, a needle pulled from a fresh tree will snap when bent, much like a fresh carrot. Look for a trunk sticky with sap.
  • Cut off about two inches of the trunk and put the tree in a sturdy, water-holding stand.
  • Keep the stand filled with water so the tree does not dry out quickly.
  • Stand your tree away from fireplaces, radiators and other heat sources. Make sure the tree does not block foot traffic or doorways. You need to have a big house for a big tree. It does seem logical.
  • If you use an artificial tree, choose one that tested and labeled as fire resistant. Artificial trees with built-in electrical systems should have the Underwriters Laboratory (UL) label.

Tree lights

  • Only use indoor lights indoors (and outdoor lights only outdoors). Look for the UL label.
  • Check lights for broken or cracked sockets, frayed or bare wires, or loose connections. Replace or repair any damaged light sets.
  • Use no more than three light sets on any one extension cord. Extension cords should be placed against the wall to avoid tripping hazards, but do not run cords under rugs.
  • Turn off all lights on trees and decorations when you go to bed or leave the house.

Tree ornaments

  • Always use the proper step stool or ladder to reach high places.
  • Read labels before you use materials that come in jars, cans and spray cans.
  • Never place lighted candles on a tree or near any flammable materials.
  • Avoid placing breakable tree ornaments or ones with small, detachable parts on lower branches where small children or pets can reach them.
  • Do not hang popcorn chains and candy canes on the tree when small children are present. They may think that other tree ornaments are also edible.




Sow Reap

13 12 2005

Considerations while planning for the next nice holiday include but are not limited to Siam Reap, Hong Kong, Singapore and Ayutthaya.

I don’t know about this obsession about going to the same geography twice in quick succession but I have no complaints. Pusan, Seoul and Koji will be my Spring break. My Korean is not that good so lecturing at Seoul National University will be in the Queen’s English.





Wants You

12 12 2005

This is the recruitment poster of the Archdiocese of Indianapolis. C works there, and is a lovely person but this is beyond post-ironic. On November 29, 2005, the Vatican formally released its document banning gay men from entering the priesthood today. The church, while profoundly respecting the persons in questions cannot admit to the semianry and to holy orders those who practise homosexuality, present deeply rooted homosexual tendencies or support the so-called culture of homosexuality. Senior officials at the vatican drew up the document in response to the spate of child abuse scandals that rocked it in America as they have been slammed for drawing links between pedophilia and sexuality. This policy will likely encourage dishonesty, fuel homophobia and lead to Vatican sex spies snooping on trainee priests instead of rooting out child sex offenders. So the logical step is to use a very Keanu Reeves looking hottie to recruit. Trick poster?





Human Stain

11 12 2005

Great site for cleaning and stain removal.
Stain guide
Yet another useful resource
I am not sure how Scotchgard works but its fabric cleanere product can be used on upholstery marked with W or W/S.





Sun Circus

10 12 2005

In the early 80s, some young public entertainers created the High Heels club, walking on stilts. There were also fire blowers and jugglers in Quebec, a region with no circus tradition. They set up a estival and performed every show in the big top (grand chapiteau), giving birth to Cirque du Soleil in 1984, on the 450th anniversary of Jacques Cartier in Canada. There are no animals so this is not a traditional circus. It travels around Quebec while offering theater misxing arts of the circus and street performance with original live music, state of the art light effects and wonderful trippy costumes. In 1986, this spread to Ontario and Vancouver. In 1987, california. The big top grew from 800 people to 2500 (in 19). Now it offers shows in Europe (New Experience, Circus) and Japan (Fascination, 1992). It has settled in Vegas (New Experience) and new shoes are born (Mystere, saltimbanco, Allegria, Quidam, O, Varekai, Corteo). All new shows are created in Montreal, in the Studio. This is a huge building with practice rooms, decoration and costume workshops and items that defy traditional limits, some elements dating back to the middle ages.

Alegria (joy in Spanish, not the pharmaceutical Allegra) – clowns resist to the change of time, to political crisis and social transformations. A dome around the ring protects the artists as the castle protects the town. Forty international artistes from Canada, China, Belgium, Russia

Saltimbanco (the taste when salt is taken in the mouth; Italian) – actors are born naked as worms but have to dress to adapt ttheir new environment with the ultimate goal as the baroque cast. 110 costumes from different materials (velvet, leather, crystal, denim) were created for the show

Mystere (mystery in French) – celebrates music, dance, acrobatics and comedy with a metaphorical journey starting at the beginning of times with art in perpetual transfer using Korean boards, Chinese mast, Russian trapeze. 72 artistes from 18 countries, this is permanently performed at the Treasure Island hotel and casino in Las Vegas.

O (short for eau, water in French) – honors theater through the ages. 74 artistes perform on an aquatic stage, performed exclusively at the Bellagio in Las Vegas.

Quidam
(streetwalker) – a more scripted show integrates performance and theatricality with high caliber acrobatics, aerial, high flying, balancing and manipulation acts. It is the story of a little girl who regrets having seen it all already and makes her little insignificant world explode by rage, and then finds herself in the quidam (ordinary person) universe joined by cheerful and mysterious people who attempt to woo her.

La Nouba: 65 artistes from different countries, this is revealed in the Walt Disney World resort in Orlando where it is performed permanently.

Dralion
: a mixture of occidental and oriental circuses, horoscopes and symbols from both worlds, a fusion of the dragon and the lion. 35 Chinese artistes and clowns create chaos during the whole show.

Varekai: the name of the world where everything is possible. A solitary traveler arrives deep within a forest at the summit of a volcano, this pays tribute to the nomadic soul, the essence of the theater

Corteo (from cortege funebrae): a funeral procession for Mauro the clown evolves into a celebration of his life by his many cohorts in the circus. Different from the other productions, this delves into the Venetian tradition of comedia dell’arte but uses French costumes and some Spanish moves. We thoroughly enjoyed this in the SBC Park parking lot.

Shows I have not seen include Delirium, KA and Zumanity. You can also view some of these in theatrical release or on DVD. BravoTV has them on a lot.





Movie Roma

9 12 2005

For movie night this month, an Italian theme to recall fond memories of my lovely trip with M & R. Of course, the tomatoes will not taste that sweet and the boconcini cannot be sliced quite that thin by my Wusthof, regardless of the number of knife skills classes I serve. The more challenging task is finding an appropriate film to screen.

Piazza Navona
Peter Greenaway turned the Pantheon in Belly of an Architect (Il ventre dell’architetto), into the alter ego of American architect Kracklite (Brian Dennehy). While in Rome to organize an exhibition in honour of a colleague of the past, Etienne-Louis Boulèe, Kracklite participates in a dinner in Piazza della Rotonda, to inaugurate this exhibit.

Again in Piazza della Rotonda, Vittoro De Sica shot Umberto D. (1952). Umberto (Carlo Battisti), alone and desperate, can no longer survive on his meager pension and has to beg. He is begging in the Pantheon colonnade and here, per chance, meets an old colleague and feels ashamed of what he is doing. So he pretends he happened to be there casually. crudely realistic in describing the solitude of old age.

Across Via dei Pastini, you hit Piazza di Pietra with the Adrian Temple (Tempio di Adriano), the historic seat of the Roman Stock Exchange. Here, Vittoria (Monica Vitta), meets Piero (Alain Delon), for the first time in Michelangelo Antonioni’s film The Eclipse (1962). Piero is the broker of Vittoria’s mother, a rich bourgeoise lady who gambles on the stock market. This first meeting, amidst the chaotic trade of stock and bonds, is not love at first sight.

Walking along via Giustiniani and passing the Pantheon, you see the best-known Roman squares in motion pictures: Piazza Navona – where Romolo (Maurizio Arena), and Salvatore (Renato Salvatore) live, the two friends of Poor But Beautiful (Poveri ma belli), directed by Dino Risi in 1956. That two poor young men should live on Piazza Navona in the fifties is not surprising. In those days Rome’s city center was still generally working-class, as it had been in its past history. So it was normal that a lifeguard, a sales clerk in a music shop and a young dressmaker, Giovanna, should be living there. The two boys fall in love with the girl at the start, competing for her favors. It was equally normal that a prostitute should be living in the attic of a palace between Piazza Navona and Piazza di Tor Sanguigna, as it is seen in the third episode of Vittorio De Sica’s Yesterday Today and Tomorrow (Ieri, oggi e domani) (1963). Mara (Sofia Loren) entertains clients of high standing in her apartment. A seminarian, the nephew of an ancient couple of neighbors, falls in love with Mara and watches her from the nearby terrace. His grandmother wants to save her nephew from perdition and steps in, interrupting more than once, the encounters between Mara and Rusconi (Marcello Mastroianni).

Piazza Navona again, in the Fifties, is the first Roman scene of Anthony Mingella’s The Talented Mr. Ripley (Il talento di Mr. Ripley) (1999). Tom Ripley (Matt Damon) has been charged by an American millionaire with the task of convincing the millionaire’s son Dickie Greenleaf (Jude Law) to return but he is fascinated by the life-style of the playboy and ends up by falling in love with him. But on Piazza Navona enters Freddy Miles (Philip Seymour Hoffman) in his red roadster and immediately exerts such an influence on Dickie to worry Tom. Palazzo Taverna, a majestic Cinquecento palace near Piazza Navona, situated between via di Monte Giordano and via dei Coronari, is the Roman home of Isabel Archer (Nicole Kidman) in The Portrait of a Lady (Ritratto di signora), directed by Jane Campion in 1996. Here, Henry James’s heroine lives unhappily married to Gilbert Osmond (John Malkovich), the man she fell in love with and who turned out to be a shrewd fortune hunter.

Crossing Corso Vittorio Emanuele, you reach Piazza Farnese. Here, in the building number 44, Pietro Germi located his film The Facts of Murder (Un maledetto imbroglio, 1959), which is an adaptation of Carlo Emilio Gadda’s novel Quer pasticciaccio brutto de via Merulana (That Horrible Mess in via Merulana), probably the best Italian thriller on the screen. In the book, the story takes place during Fascism, but in the film it is during the Fifties. However, this does not change much in the novel’s general set-up. Police inspector Ingravallo (Pietro Germi) is investigating two crimes committed on the same floor of the building: a theft in the apartment of a bachelor and the murder of a young woman.

Walking down all of the via dei Giubbonari and crossing via Arenula, you get to the Jewish Ghetto. In the center of Piazza Mattei a picturesque fountain, called the Turtle Fountain (Fontana delle Tartarughe), faces Palazzo Costaguti. In The Talented Mr. Ripley, Tom Ripley, back in Rome after murdering his friend Dickie in a boat off the coast of Sanremo, settles down and tries to conceal the murder he committed by taking the identity of his friend. This way, he also manages to receive Dickie’s huge income and can afford an apartment in Palazzo Costaguti. But Freddy discovers Tom’s crime.

Via Veneto
Starting out from Porta Pinciana, crossing the wide, square-like space named after Federico Fellini, and proceeding down Via Veneto, one feels like La Dolce Vita (1960). Fellini’s unique representation of a society no longer believing in traditional values, tells the story of a journalist (Marcello Mastroianni) and his restless zigzagging in life, his superficial encounters in the fascinating world of glamour in the Roman of those years. In Cinecittà Fellini reconstructed exact copies of Via Veneto, its restaurants and nightclubs, where all the famous film and theater stars met, where bored aristocrats spent their nights and where “Paparazzi” were kings. The word paparazzo, now used in many languages, was coined precisely in that film. If you continue down the via della dolce vita, you cannot miss the hotel Excelsior on the left. Here Anita Ekberg returned around Rome with Marcello. In the film, the real Veneto appears empty and silent.

A little further down, at number 66, the back door of the Grand Hotel Palace opens. In the The Nights of Cabiria (Le notti di Cabiria, 1957), the film star Alberto Lazzari (Amedeo Nazzari) takes Cabiria (Giulietta Masina), a prostitute, to a night club which was in those days situated exactly here. Cabria goes wild on the scene and dances a frenzied mambo. In a way, a Fellinian prelude to the atmosphere of La Dolce Vita.

At the end of Via Veneto, on Piazza Barberini, the homonymous palace was the Embassy in which Anna lived in Roman Holiday (Vacanze Romane, 1953), as a naive princess in Rome on a State visit. In William Wyler’s picture Audrey Hepburn and Gregory Peck are the heroes of a variation on the Cinderella tale. The princess slips out of the palace at night to escape from her boring official duties. He, the hero, is Joe Bradley, a cynical American journalist who reports on the princesses’ escape writing the scandal gossip that could help save his career. Naturally, Joe ends by falling in love with the princess.Walking on down, on the right sidewalk of Piazza Barberini, you reach Via del Traforo (where the tunnel opens on the left).

In 1948, Vittorio De Sica chose this spot for a crucial scene of his The Bicycle Thief (Ladri di Bicicette), the picture for which he was awarded the Oscar for the second time. Here, Antonio Ricci’s (Lamberto Maggiorani) bicycle is stolen on the first day he goes to work. His bicycle is essential in his new long-awaited job as a poster-sticker. Antonio’s desperate chase after the thief all the way into the tunnel (Traforo Umberto I) proves hopeless. In the dramatic consequences that follow, De Sica analyzes effectively and clearly what the post war Italian reality was like.

Closer to the city center, short Via della Stamperia leads to the Fontana de Trevi, the most spectacular and celebrated fountain of Rome, known the world over for La Dolce Vita. Sylvia (Anita Eckberg), escorted by Marcello (Marcello Mastroianni) in her nocturnal whims, insists on looking for some milk for the kitten she just picket up from the street. The two young people lose their way in the meanders of the narrow streets around Piazza di Trevi. Then, after much wandering, they realize that they are standing in font of the marvelous fountain. Instantly, the young women rushes into the water of the fountain and calls Marcello to join her. He does but also tries, adoringly, to touch her as if she were a remote, inaccessible goddess. But in vain. Suddenly, as if by magic, the water stops flowing, everything turns silent, the day is breaking and the couple’s crazy night has ended.

This sequence has become so famous as to be used in an endless number of publicity spots, photographic series and films, to the point of being included in another film, namely in Ettore Scola’s We All Loved Each Other so Much (C’eravamo tanto amati, 1974). Here, Antonio (Nino Manfredi) and Luciana (Stefania Sandrelli), meet after years in front of this very fountain during the night in which Fellini and Mastroianni (who played the role themselves), are at work on their own film La Dolce Vita.

The Fontana is also background to Three Coins in the Fountain (Tre soldi nella fontana), Jean Negulesco’s film of 1954. Three American girls have been traveling through Italy and their trip ends here in Rome. Together they throw a coin in the waters of the Trevi Fountain, hoping this will bring them back to Rome where they fear having to leave behind the boys they fallen in love with.

Still on the same square of the fountain, Princess Anne (Audrey Hepburn), furtively followed by Joe Bradley (Gregory Peck), decides to enter a small hairdresser shop and have her long hair cut, as she wants a more stylish hair-do. This scene is a part of Roman Holiday, with a final scene filmed in Palazzo Colonna on Piazza Santa Apostoli, a short distance away from the Trevi Fountain. In the imposing Mirror Gallery (Galleria degli Specchi), the princess, back at the Embassy, meets the foreign press of which Joe is a member. In the course of the ceremony, the two heroes say an unspoken, yearning farewell to each other.

Back in Via del Tritone and turning right into Via Due Macelli, Piazza di Spagna is a short way off. Ettore Scola chose this place to film one of the most touching scenes of We All loved Each Other so Much. While Luciana (Stefania Sandrelli) is being courted by Nicola (Stefano Satta Flores) who simulates the famous pram scene from The Battleship Potëmkin, Antonio (Nino Manfredi) sits dejected on the steps. He is angry because Luciana does not return his love and walks away down Via Condotti, followed by Nicola who tries to calm him down. In the meantime Luciana has her picture taken in one of the automatic booths on the Square. Nicola comes back to look for Luciana.

Of recent, Piazza di Spagna, the Spanish staircase and the nearby Vicolo del Bottino have been the site of Bernardo Bertolucci’s dramatic intimate conflict Besieged (L’assedio, 1998). This picture tells of Shandurai’s (Thadie Newtown’s) escape from her native country in Africa for political reasons. The heroine lives as a servant in the palace of Mr, Kinsky who, very soon, falls in love with her.

In The Talented Mr. Ripley, Tom Ripley dates Marge, the fiancée of Dickie Grenleaf, in a bar in Piazza di Spagna, but also, at the same time and place, the rich heiress Meredith (Cate Blanchett), whom he makes believe to be Dickie. By not showing up himself at the appointment, the Machiavellian boy succeeds in having Marge think Dickie is still alive.

Finally, on the Trinità dei Monti stairs, Gregory Peck and Audrey Hepburn meet, in Roman Holiday, after an adventurous but chaste night spent together. She is enjoying an ice cream cone sitting on the steps when he, after having followed her the whole morning approaches her pretending to be there chance. They both decide to spend the entire day, a vacation, together, along Via del Babuino, which leads to Piazza del Popolo. The first Roman scene of Gus Van Sant’s My Own Private Idaho (Belli e Dannati, 1991) was filmed here. It is the story of Mike (River Phoenix), a young male prostitute from Portland, who comes to Rome in search of his mother. A victim of one of his narcoleptic attacks in the prairies of Idaho, Mike wakes up, and by a daring elliptical effect, finds himself to be at the foot of the Obelisk in Piazza del Popolo, surrounded by Roman street boys who yell at him in a language that he does not understand.

In We All Loved Each Other so Much, director Ettore Scola is back in Piazza del Popolo. Antonio meets his friend Gianni after twenty-five years and mistakes him for an unlicensed car-park attendant. Actually Gianni has made a lot of money and has become very rich by betraying the ideals of his young years, but he is ashamed to tell his old-time friend the truth.

Colosseum
The Colosseo is the most representative building of archaeological Rome, the one best known generally. Here Bernardo Bertolucci situated the last scene of his The Conformist (Il conformista, 1970), the film that brought him fame. The story, taken from Alberto Moravia’s novel, is directed with exceptional elegance and modern sophistication and was due to influence an entire generation of American filmmakers. The Conformist of the title is Marcello Clerici (Jean Louis Trintignant), a man unable to face the facts of being gay. He offers his services to the Fascist secret police and is charged with the task of killing his tutor at the university, Professor Quadri, an intellectual exile in Paris. At the end of the film, during the days of liberation, Marcello is seen, against the background of the Colosseo, as he recognizes the man who had tried to seduce him when he was a child. Having changed political sides, the Conformist denounces the man accusing him of the murder he himself has committed in Paris.

In Un americano a Roma (1947), a classic comedy, Italian style, directed by Steno. Alberto Sordi is Mericoni Nando, one of the characters most loved by the public. Nando, a simple-minded lad from Trastevere, would much rather be called Santi Bailor, obsessed as he is with all the things American.

Via dei Fori Imperiali leads straight to Piazza Venezia with one of the most controversial monuments of Rome, the towering Vittoriano. Erected in honor of king Vittorio Emanuele II, between 1885 and 1911, it was therefore called iI Vittoriano. The way Peter Greenaway uses it in his film The Belly of an Architect (1987), undoubtedly shows how scenographic this monument is, though it has often been malignantly defined a “Wedding cake”, for its color and a “typewriter” for its shape. In Greenaway’s film, this monument, actually the tomb of the Unknown Soldier, is where Kracklite prepares the exhibition on Boulée.

Climbing up the steep stairway in Piazza Venezia, called Cordonata, you land on Piazza del Campidoglio, one of Michelangelo’s architectural masterpieces in the film Nostalgia (Nostalghia, 1983). Accompanied by the Beethovenian Hymm of Joy, Domenico, the insane friend of the hero, sets fire to himself in the center of the square, on the equestrian statue of Marco Aurelio, in the name of simplicity forever lost in modern life.
Palazzo dei Conservatori is adjacent to Piazza del Campidoglio.

In Portrait of a Lady. American heiress Isabel Archer faces ambiguous Madame Merle (Barbara Hershey), the woman who has ruined her life by pushing her into her arms of Gilbert Osmond, a cruel and scheming man. In this scene, Isabel finally begins to realize she is a victim of a terrible intrigue, which aims at depriving her of her huge fortune. The disquieting scenery showing gigantic marble fragments of the Constantinian head, hand, arm, leg, and feet accentuate the young woman’s sinking into an open-eyed nightmare.

While Rome is on the stage of a nightmare for this young, Jamesian American at the end of the Nineteenth Century, for millions of Isabel’s compatriots, the Eternal City is a dream come true, a dream of walking on the footsteps of a Hollywood romantic classic: Roman Holiday. There are no less than three, among the most famous scenes, that take place in the archaeological area. The first encounter between Anna and Joe, based on a misunderstanding, occurs near the Arch of Settimio Severo with all of the Foro Romano in the background. Here, the journalist fails to recognize the princess and mistakes her for a drunkard. He does not know that her strange behavior is due to a strong sedative. The second is a short visit of the two heroes who are touring the city on a Vespa motorcycle. But the most famous is close to the Campidoglio, near the church of Santa Maria in Cosmedin. A well-known sculptured monumental stone representing a fluvial divinity with wide-open mouth, called La bocca della verità (The Mouth of the Truth), is placed under the porch of the church. Here Joe tells Anna the legend according to which, in Roman times, anyone lying while sticking his hand in that mouth would be bitten by it. The princess is a bit scared and just pretends to try to stick in her hand. But when it is Joe’s turn, the film-director skillfully thrills the audience for a second: suddenly the journalist’s hand is sucked into the stone mouth, and when he draws his arm back there is nothing left but a stump.

Proceeding along Via della Greca, you reach the vast, flat space of Circo Massimo Park. Here, Nanni Moretti filmed the end of The Red Wood Pigeon (Palombella Rossa, 1989).

Via Santa Melania and Via Sant’Anselmo appeared on the big screen in Gabriele Muccino’s The Last Kiss (L’ultimo bacio, 2001). The scene has the hero Carlo (Stefano Accorsi) breaking up with Francesca (Martina Stella), with whom he had a short affair. Many have identified with Carlo.

Another illusion of love is contained in Nights of Cabiria (Le notti di Cabiria, 1957). The heroine of Federico Fellini’s film is a prostitute, hopelessly romantic and sentimental, uniquely interpreted by Giulietta Masina. She is courted by a man, Oscar, who seems, unfortunately only seems, to be the right man. Part of this Courtship takes place in the most panoramic spot of Aventino, the Giardino degli aranci (Orange Garden).

Across Viale Aventino, one reaches Terme di Caracella, the imposing, partially ruined monumental III-Century Roman Baths. For years this architectural complex has been a hideout of prostitutes and, during the summer, a stage for open-air Opera. Precisely here, again in Nights of Cabiria, Cabiria, her friend Wanda and all the other colleagues meet every night to see if they can pick up clients.

Bernardo Bertolucci used the operatic aspect of the Terme to locate the last sequences of this psychological drama Luna (La Luna, 1979). The story tells of an American soprano who settles down in Rome with her son, after her husband’s death. The rehearsals of the Verdi opera Un ballo in maschera, of which Caterina (Jill Clayburgh) is the star, are held here.

Trastevere
Before the existence of the typically Roman township units called borgate, Trastevere and Testaccio were considered working class suburbs of Rome. Today things are very different, and the two urban sections compete compete with one another in offering the best quality of a Rome-by-night life. However in neither of the two places has the genuinely characteristic Roman quality gone lost.

Piazza Santa Maria in Trastevere is the central square of this Quarter which is named after the homonymous, beautiful church situated on one of its sides. In Nurse Betty, the Trastevere scene appears only at the end. Betty (Renee Zellwegger) arrives in Rome, object of her dreams, after a series of incredible adventures crossing the United States. A provincial American is in love with a soap opera star. In Hudson Hawk, to the contrary, ample use is made of Roman sceneries wherein Bruce Willis, a wizard in stealing, is seen in action. After a crazy chase on the roofs of the Vatican, the hero finds himself catapulted into a restaurant dining romantically with Anna (Andie MacDowell,), a mysterious woman who changes identity, alternating between an art expert, a secret agent and a nun. Finally, in Only You, Piazza Santa Maria is the setting where the two heroes Faith (Marisa Tomei) and Peter (Robert Downey Jr.) first meet. The story is about the vicissitudes of a young American girl to whom it had been predicted she would find her true love in a boy named Damon Bradley. Having discovered that a Damon Bradley actually exists, Faith starts looking for him all over Italy. In the Trastevere scene, Peter who has fallen in love with the girl while slipping a shoe on her foot, pretends his name is Damon Bradley, so as to conquer her. This is a chick flick but I quite liked it as it is very relaxing and my favorite Bonnie Hunt (Kevin’s sister!) has the usual droll lines.

A famous classic scene is Pasolini’s in a Trastevere restaurant in Mamma Roma (1962). Anna Magnani plays the part of an ex-prostitute, now desperately trying to become respectable. To avoid the bad influence of her good-for-nothing suburban friends on her son Ettore, she finds a job for him as a waiter in a restaurant on Piazza de’ Rienzi. At night, proudly watching him from a side of the street, she hardly imagines how brief her happiness will be.

Another is The Bicycle Thief which takes place on Lungotevere Ripa, between Isola Tiberina and Porta Portese. In de Sica’s and Zavattini’s film, a poster-sticker and his son go through an odyssey in the hostile and desperate Rome of the immediate post-war years. The two are after the stolen bicycle, which the man absolutely needs for his work.

Behind Porta Portese, new housings were built in the Sixties. In one of them lives the hero of I Knew Her Well (Io la conoscevo bene, 1965). Stefania Sandrelli plays Adriana, a girl who falls victim to the vulgar world of show-business, but, who herself totally lacks ambitions, passion, ethics. She lets life happen without realizing how empty her existence is. The building in which she lives and dies on Lungotevere Portuense 158, is cold, modern, anonymous, a perfect Reflection of Adriana’s condition and mood.

Ponte Testaccio faces Adriana’s building. The last scene of Accattone! (1961) was shot here, on the corner with Lungotevere Portuense. In one of his first experiences as film director, Pier Paolo Pasolini expresses in motion picture the same underdog world of the Roman suburbs he describes in novels such as Ragazzi di vita and Una vita violenta. The film is interpreted by Franco Citti, Accatone, a pimp who dies in a motorbicycle accident trying to escape after having stolen a chunk of ham. Accatone’s life is fated never to go beyond the dereliction he was born in.

Ferza Ozpetek’s The Ignorant Fairies (Le fate ignoranti, 2001), shows the Ostiense Quarter, the streets between the Tiber and the Gazometro (Via dei Magazzini Generali, Via Acerbi and Via Caboto). The Turkish director has a very original, catching idea: Antonia (Margherita Buy) discovers, after her husband’s death, that he was leading a double life, had a homosexual lover, Michele (Stefano Accorsi) and a second family consisting of a heterogeneous group of people far remote from the bourgeois life her husband usually led.

Taking Via Ostiense from here, you reach Piazza di Parco San Paolo. The dinner scene on the banks of the river in Luchino Visconti’s Bellissima (1951) shows a famous Tavern facing the Tiber. Also Pasolini and Moravia used to come here at the same time. Anna Magnani, directed by Visconti, plays in another of her great roles, Madalena Cecconi, a plain Roman working-class woman, bedazzled by the myth of motion pictures. She is ready to do almost anything to have her daughter Maria enter the golden world of the “movies.” She goes to the extent of paying big money to Alberto Annovazzi (Walter Chiari), a shady dealer of Cinecittà, who promises to pull some strings in favour of Maria.

Walking up Via Rocco, in front of the Bellisima restaurant, you reach Garbatella, Nanni Moretti’s favourite quarter. In Dear Diary (Caro diario, 1993) the Roman director, on his Vespa, roams around the streets of the quarter between Via Passino, Via Cesinale and Via Cavazzi. Moretti, fascinated by the popular buildings of the ‘Twenties, cannot resist the temptation to enter one of the houses.

The Vatican and the surrounding area are utmost expressions of Baroque architecture and of the scenographic taste of those days. Ponte Sant’Angelo is an ideal access to take a walk in this area. The bridge was used as a springboard for a vertiginous dive into the Tiber in Pasolini’s Accattone! Vittorio, a Roman suburb good-for-nothing, known by all as Accattone, bets with his friends that he will survive his diving in the river, right after a large meal. The location was chosen by Federico Fellini for The White Sheik (Lo sceicco bianco, 1952). This is his first film and his extremely original taste for things fantastic, which has made him famous in whole world, is already perceptible. A young bride by the name of Wanda (Brunella Bovo), on her honeymoon in the Eternal City, loses her way while looking for the White Sheik (Alberto Sordi), the hero of a serial who stole her heart. When she finally succeeds in finding him, she is disappointed and hurt by the mediocrity of her idol. Tormented by a sense of guilt for having betrayed her husband, Wanda decides to put an end to it all. At night, on the banks of the Tiber, under that very Ponte Sant’Angelo, impressed by the Bernini angels on the bridge who remind her of her sin, she throws herself into the river.

Under this same bridge Princess Anna goes dancing with Joe on a barge in Roman Holiday. A group of clumsy secret agents try to bring back Her Highness to the Palace. Audrey Hepburn, though a beginner as an actress, is already unforgettable in this role, which in fact brought her an Oscar. A fight starts on the barge and Joe rescues the princess and swims till he reaches Ponte Vittorio Emanuele II.

Crossing Ponte Sant’Anglo and circling the castle, you reach Piazza Cavour. Here, unhappy Joe (Matthew Barry), hero of Luna, takes his friend Arianna to the Adriano Theatre, such as it was before it was made into a multiplex cinema, to see a picture.

Walking back towards the Vatican and all the way along Via della Conciliazione, you land on Piazza San Pietro and its surrounding, majestic Bernini colonnade. In The White Sheik, Wanda meets the relatives of her husband here, for the first time. They have lost patience with her: throughout the whole story, Ivan (Leopoldo Trieste) had to invert thousands of excuses to justify his young wife’s disappearance. Finally, when all its members have gathered, the family crosses Piazza San Pietro to attend a papal audience. All Fellini needs to show the tender reconciliation of the two young people is the expression on their faces. Wanda shyly tries to be considered innocent and declares to her husband that only he is her true White Sheik.

More recently, across Piazza San Pietro, Michael Corleone (Al Pacino) in Frances Ford Coppola’s The Godfather, Part III (1990) passes an imaginary customs to gain access to mysterious places of the mighty Vatican, in a free interpretation of the real Banco Ambrosiano incident. We see the Vatican places populated by unscrupulous cardinals and ruthless businessmen who unscrupulously compete with the American Mafia.

L’udienza (The Audience, 1971) by director Marco Ferreri is a scorching satire on the Catholic hierarchy and on the power. The set is almost exclusively the area around San Pietro. We see Amedeo (Enzo Jannacci) trying desperately to speak with the Pope in his attempt to fight both clerical burocracy and commissar Aureliano Diaz (Ugo Tognazzi).

The entrance to the stairway to the Michelangelo cupola is on the left side of St. Peter’s Basilica. Going up is no ordinary matter: dizziness, claustrophobic and breathtaking sights alternate. Fellini reconstructed the sequence in Cinecittà for La Dolce Vita, in which Marcello chases Sylvia up the narrow stairway to the cupola.

Flaminio
Motion pictures have rather neglected a large part of Rome, north of Porta del Popolo. The area is considered residential and usually associated with the wealthier section of the native population. The hero of De Sica’s Umberto D certainly cannot been considered wealthy. The old retired man lives in a flat on Via Flaminia, between Piazzale Flaminio and Piazza della Marina. The owner of the apartment is a woman with whom the poor man is heavily indebted. She is about to get married, wants her apartment back and intends to evict Umberto D. This preliminary situation develops into one of the most intense portraits of old age that has appeared in the cinema worldwide.

Flaminio

The Flaminio Quarter, stretching at the foot of Parioli Heights, is unanimously considered the residential section of the wealthier Romans. This feature is brought out by Roberto Rossellini in The Greatest Love (Europa ’51, 1952). Ingrid Bergman is a rich American who lives with her husband and son in Via Caroncini. Her world, remote from all unpleasantness, is one of social engagements and high society friends. But the suicide of her son upsets her life: she now visits the slums, sees proletarian reality and tries to help the needy, lavishing the love she feels having denied her son.

In the midst of the Salario Quarter, beyond an imposing archway leading to Via Tagliamento, the Coppedé Quarter is a true Roman excentricity. A group of buildings around Via Brenta, named after the architect who created this original style, seems a haywire Art Nouveau variation generated by some bloodcurdling literature. No wonder Dario Argento used this place as a setting for one of his most visionary films, Inferno (1980). Three houses of divinities, of guardians of Hades: Mater Lacrimarum, Mater Sospiriorum and Mater Taenebrarum, are present in the Eternal City, as well as in New York and Fribourg.

Villa Maria Luisa, also known as Mirafiori, is named after countess Rosa di Mirafiori, morganatic wife of king Vittorio Emanuele III who lived and consumed her passion for the monarch here. Today the department of language and philosophy of the University La Sapienza lodges in the building. But the surroundings are still a perfect setting for adventures of adultery, such as those in D’Annunzio’s novel L’innocente. The story, in turn, inspired director Luchino Visconti in his last, homonymous film The Innocent (L’innocente, 1976).

Sophia Loren and Marcello Mastroianni steal the scene in Ettore Scola’s A Special Day (Una giornata particolare, 1977). Scola’s film is shot entirely in the building of Via Enrico Stevenson n° 24 and represents life during the twenty years of Fascism as no other has done. A huge central courtyard is typical of fascist architecture. The two main characters live across from each other on the opposite sides of the building and also in life they stand on opposite sides. She, a housewife, is completely overwhelmed by Mussolini’s personality whom she worships; he, her neighbor, is a homosexual radio announcer who expects to be sent to confinement. The gradual closeness of these two persons to another is handled with great sensitivity and much attention is paid to psychological subtleness. Everything happens in one day only, on May 6 1938, when Hitler visited Rome.

Pigneto
The area of Rome, east of the city, from San Giovanni to the foot of the Castelli Romani has been exploited by Italian motion pictures in the description of the new proletarian suburb life.
Rossellini did the greater part of the masterpiece Open City (Roma città aperta, 1945). Pina (Anna Magnani), the heroine, lives in the housing in Via Montecuccoli 17, in the Pigneto Quarter. Rome is still under German occupation and Pina is one of the many women who suffers from the consequences of the war. Widowed with a son, Marcello, Pina tries to manage as well as she can in every day life and also to fight for a better world, in which Marcello and the child she is expecting from Francesco (Francesco Grand-jacquet), can grow up and develop their capacities. But on the very day of her wedding to Francesco, in a round-up of the Germans, all the men living in the same building, including the bridegroom, are taken prisoners.

Accattone! takes place in Pigneto. In his first film, Pasolini is nonrealistic as description goes but not as style is concerned. He tells Vittorio’s (Franco Citti) story, the story of a suburban character from Via dei Gordiani, called Accattone (Cheapskate) and the world that surrounds him: the friends who meet at the bar, Maddalena the prostitute whose pimp he is, his ex-wife who no longer wants to hear from him, the son he is not allowed to see.

Crossing Via Casilina from Via del Pigneto, you reach Via Tuscolana, a big road leading to Cinecittà. Pasolini’s second film Mamma Roma was done here, a part of the city called Quadraro. Anna Magnani is Roma, the prostitute who wants to start a new life with Ettore (Ettore Garofalo) as her pimp is getting married. Ettore is Roma’s adolescent son who has grown up without her and with whom she is now having trouble getting along. Roma, now a mother, opens a fruit stand on the market in Via del Quadraro, while Ettore gets a job as a waiter. The restless adolescence of the boy as opposed to the imposing maternal figure of Magnani are central features of the film.

Crossing Via Tuscolana, on the opposite side of the Quadraro, on nearby piazza San Giovanni Bosco, Federico Fellini directed some scenes of La Dolce Vita. Professor Steiner (Alian Cluny), a friend of Marcello, lives on this square. The film starts with a long sequence of the Christ statue flown by a helicopter over the metal cupola of the San Giovanni Bosco church and on, over all of Roma. But the scene to remember is the one in which Steiner’s wife is informed of her husband’s suicide.

Cinecittà proper is situated at the end of Via Tuscolana, before you reach the Raccordo Anulare. In its studios numberless Italian and American films were made, but Cinecittà is also the location of three important films on the world of motion picture: Luchino Visconti’s Bellissima, Vincent Minelli’s Two Weeks in Another Town (1962), and Jean-Luc Goddard’s Contempt (Il disprezzo, 1963). In Bellissima, Magnani is Maddalena, a Roman proletarian housewife who dreams of her daughter becoming a film star. The child has to submit to endless auditions for a film in which a little girl was needed. From hiding, Maddalena watches the showing of the auditions and only then realizes that the world of the cinema is a world of broken dreams. In the projection booth, director Blasetti (enacting himself) and his collaborators laugh and ridicule the performance of Maddalena’s girl who cries desperately in front of the camera.

In Two Weeks in Another Town, Minelli draws a bitter balance of Hollywood’s creative decline in the beginning of the ‘Sixties. Jack Andrews (Kirk Douglas), an actor on the sunset boulevard, finds energy when he becomes a director of a film he is interpreting in Cinecittà. The film is the disenchanted portrait of American motion pictures unable to regenerate, even after having moved to Hollywood on the Tiber.

Contempt tells about a French scriptwriter, interpreted by Michel Piccoli, who comes to Rome with his beautiful wife, Brigitte Bardot, to try and rescue a disastrous film directed by Fritz Lang (impersonated by Piccoli). The story of love and jealousy develops in this context, between the scriptwriter and his wife who is being chased by the American producer of the film Jack Palance. Initially, the writer tolerates the producer courting his wife, thus causing the latter to despise him, but when he finally objects, it is too late.

The legendary Roman studios that have been operating for almost seventy years are related to an era of American motion pictures, an era in which films seen worldwide recreated in Hollywood on the Tiber ancient Rome and its glories: William Wyler’s Ben Hur (1959), Mervyn LeRoy’s Quo Vadis (1951), Joseph L. Mankiewicz’s Cleopatra (1963) and Anthony Mann’s The Fall of the Roman Empire (1964). But Federico Fellini’s contribution was essential to the fame of Cinecittà’. In famous Studio 5, the largest one in Europe, Fellini produced great part of his masterpieces. After many years of partial decline, Cinecittà has recently welcomed important international productions. Suffice it to mention films like Jonathan Mostow’s U-571 (2000), Terry Gilliam’s The Adventures of Baron Münchhausen (1989) and Renny Harlin’s Cliffhanger (1993). Martin Scorsese’s film Gangs of New York was done entirely here. Visiting Cinecittà is not exactly easy, except when there are special summer exhibitions or initiatives. But a more recent project of the Rome Municipality plans to open a Museum of the Cinema that will permit access to the famous Studios.

EUR – Ostia
On a large square called Quadrato della Concordia, the Palazzo della Civiltà del Lavoro is probably the one most frequently seen in motion pictures. The natives call it Colosseo quadrato (Square Coliseum). Like most other monumental EUR buildings, it was built during Fascism.

Bruce Willis made his appearance as Hudson Hawk (1991), in Palazzo della Civiltà del Lavoro, transformed for the occasion into headquarters of the multinational corporation of vicious billionaires Darwin and Minerva Mayflower. The two super-crooks blackmail Hudson into stealing in the Vatican Museum the Leonardo Codex containing the instructions to turn lead into gold. For once the building is not only a background to an outdoor scene, but is seen inside in the large conference room where the Mayflowers meet.

Palazzo della Civiltà del Lavoro has been suggestively shown in Julie Taymor’s Titus (1999). This adaptation from Shakespeare’s Titus Andronicus is especially interesting in its scenography. The Square Coliseum is transformed into the palace of Emperor Saturnino (Alain Cummings) and of his wife Tamora, queen of the Goths, interpreted by Jessica Lange. The woman has sworn Roman general Titus Andronicus (Anthony Hopkins) vengeance for having killed her first-born under her very eyes. The meeting of the two pretenders to the throne, Saturnino and Bassiano, is the oddest scene in the beginning of the film. The two brothers reach the Palazzo della Civiltà del Lavoro separately, heading two troops, each with the colour of his soccer team: the Saturnino supporters waving the red-and-yellow flags, while the Bassiano crowd waved the white-and-blue ones.

But Eur does not only mean Palazzo della Civiltà del Lavoro. Moving along Viale Pasteur and crossing Viale Europa, you reach Viale America and a little lake, the Laghetto dell’Eur. Here, in Gabriele Muccino’s The Last Kiss (L’ultimo bacio, 2001), Carlo (Stefano Accorsi) and his friends meet at night: standing on a little waterfall coming down the hill of Palazzo dello Sport, they cheer their future, trying to remove all fears of a life to come so different from the one desired. And again here, the film ends with Giulia (Giovanna Mezzogiorno).

TwoItalian films were made in the area around the panoramic restaurant, known as the Fungo (mushroom), on Piazza Pakistan and around Palazzo della Sport, between Viale dell’Umanesimo and Viale della Tecnica, in the ‘Sixties: Michelangelo Antonioni’s The Eclipse (L’eclisse, 1962) and Federico Fellini’s La Dolce Vita. These two directors used to the best the geometric layout and the spaces of EUR’s residential section, built in the ‘Fifties, to express metropolitan anxiety. Both Fellini and Antonioni, in fact, in a landscape of lakes and deserted alleys, show couples at a crucial point. Vittoria (Monica Vitti), in the long and very slow initial scene of The Eclipse, taken in a apartment overlooking the Fungo, leaves her boyfriend Riccardo as they no longer have anything to say to each other, love is over. When Vittoria meets Piero (Alain Delon), she begins a new affair with him, but is unable to abandon herself totally, held back by the cynicism of the young man, a broker.

In La Dolce Vita, EUR is the section where Marcello and his fiancée Emma (Yvonne Founeaux) live. She is in a perennial crisis due to the social life her man is leading and to his Don Giovanni ways.

The same Palazzo, in Bernardo Bertolucci’s The Conformist, is now an office of the Fascist secret police. Here the hero of the film, Marcello Clerici, is hired as killer of professor Quadri.

Ostia is Rome’s beach and is part of the city. Here, Antionio Pietrangeli’s I Knew Her Well begins. Adriana (Stefania Sandrelli) is sunbathing one summer afternoon. She wakes up to the sound of a radio’s time signal, gets up, picks up her towel and walks along the shore in a bikini. She must open up her hairdresser shop where she works.

Out of Ostia, you head for Fiumicino and go through the suburban part coasting Via dell’Idroscalo. This is the road taken by Nanni Moretti at the end of the first episode of Dear Diary. On his Vespa, Moretti goes on a pilgrimage to the spot where Pasolini was murdered: an untilled meadow, two hundred meters from the seaside with a central strange and shapeless memorial statue.

Insofar as I know, I have tried hard to conceal crucial plot points and delete spoilers that I thought might exist. If you feel otherwise, tough.





Week in Wine

8 12 2005

Washington Syrahs

2004 Barnard Griffin Columbia Valley Syrah: $17
2003 Chatter Creek Clifton Hill Columbia Valley Syrah: $40
2003 Chatter Creek Lonesome Spring Ranch Yakima Valley Syrah: $30
2003 Coeur d’Alene Cellars Washington Syrah: $28
2003 Columbia Crest Two Vines Columbia Valley Shiraz: $8
2003 Covey Run Columbia Valley Syrah: $9
2003 Dunham Cellars Columbia Valley Syrah: $45
2004 Dusted Valley Vintners Stained Tooth Columbia Valley Syrah: $24
2003 Gamache Vintners Columbia Valley Syrah: $28
2002 Gordon Brothers Family Vineyards Columbia Valley Syrah: $18
2003 K Vintners Cougar Hills Walla Walla Valley Syrah: $40
2003 K Vintners Phil Lane Walla Walla Valley Syrah: $70
2003 L’Ecole No 41 Columbia Valley Syrah: $25
2003 Reininger Walla Walla Valley Syrah: $32
2003 Sequel Columbia Valley Syrah: $55
2003 Three Rivers Winery Boushey Vineyards Yakima Valley Syrah: $50





Bareback Mountain

7 12 2005

Ennis Del Mar wakes before five, wind rocking the trailer, hissing in around the aluminum door and window frames. The shirts hanging on a nail shudder slightly in the draft. He gets up, scratching the grey wedge of belly and pubic hair, shuffles to the gas burner, pours leftover coffee in a chipped enamel pan; the flame swathes it in blue. He turns on the tap and urinates in the sink, pulls on his shirt and jeans, his worn boots, stamping the heels against the floor to get them full on. The wind booms down the curved length of the trailer and under its roaring passage he can hear the scratching of fine gravel and sand. It could be bad on the highway with the horse trailer. He has to be packed and away from the place that morning. Again the ranch is on the market and they’ve shipped out the last of the horses, paid everybody off the day before, the owner saying, “Give em to the real estate shark, I’m out a here,” dropping the keys in Ennis’s hand. He might have to stay with his married daughter until he picks up another job, yet he is suffused with a sense of pleasure because Jack Twist was in his dream.

The stale coffee is boiling up but he catches it before it goes over the side, pours it into a stained cup and blows on the black liquid, lets a panel of the dream slide forward. If he does not force his attention on it, it might stoke the day, rewarm that old, cold time on the mountain when they owned the world and nothing seemed wrong. The wind strikes the trailer like a load of dirt coming off a dump truck, eases, dies, leaves a temporary silence.

They were raised on small, poor ranches in opposite corners of the state, Jack Twist in Lightning Flat, up on the Montana border, Ennis del Mar from around Sage, near the Utah line, both high-school drop-out country boys with no prospects, brought up to hard work and privation, both rough-mannered, rough-spoken, inured to the stoic life. Ennis, reared by his older brother and sister after their parents drove off the only curve on Dead Horse Road, leaving them twenty-four dollars in cash and a two-mortgage ranch, applied at age fourteen for a hardship license that let him make the hour-long trip from the ranch to the high school. The pickup was old, no heater, one windshield wiper, and bad tires; when the transmission went, there was no money to fix it. He had wanted to be a sophomore, felt the word carried a kind of distinction, but the truck broke down short of it, pitching him directly into ranch work.

In 1963, when he met Jack Twist, Ennis was engaged to Alma Beers. Both Jack and Ennis claimed to be saving money for a small spread; in Ennis’s case that meant a tobacco can with two five-dollar bills inside. That spring, hungry for any job, each had signed up with Farm and Ranch Employment—they came together on paper as herder and camp tender for the same sheep operation north of Signal. The summer range lay above the tree line on Forest Service land on Brokeback Mountain. It would be Jack Twist’s second summer on the mountain, Ennis’s first. Neither of them was twenty.

They shook hands in the choky little trailer office in front of a table littered with scribbled papers, a Bakelite ashtray brimming with stubs. The venetian blinds hung askew and admitted a triangle of white light, the shadow of the foreman’s hand moving into it. Joe Aguirre, wavy hair the color of cigarette ash and parted down the middle, gave them his point of view.

“Forest Service got designated camp-sites on the allotments. Them camps can be a couple a miles from where we pasture the sheep. Bad predator loss, nobody near lookin after em at night. What I want—camp tender in the main camp where the Forest Service says, but the herder”—pointing at Jack with a chop of his hand—“pitch a pup tent on the Q.T. with the sheep, out a sight, and he’s goin a sleep there. Eat supper, breakfast in camp, but sleep with the sheep, hundred per cent, no fire, don’t leave no sign. Roll up that tent every mornin case Forest Service snoops around. Got the dogs, your .30-.30, sleep there. Last summer had goddam near twenty-five-per-cent loss. I don’t want that again. You,” he said to Ennis, taking in the ragged hair, the big nicked hands, the jeans torn, button-gaping shirt, “Fridays twelve noon be down at the bridge with your next-week list and mules. Somebody with supplies’ll be there in a pickup.” He didn’t ask if Ennis had a watch but took a cheap round ticker on a braided cord from a box on a high shelf, wound and set it, tossed it to him as if he weren’t worth the reach. “Tomorrow mornin we’ll truck you up the jump-off.” Pair of deuces going nowhere.

They found a bar and drank beer through the afternoon, Jack telling Ennis about a lightning storm on the mountain the year before that killed forty-two sheep, the peculiar stink of them and the way they bloated, the need for plenty of whiskey up there. At first glance Jack seemed fair enough, with his curly hair and quick laugh, but for a small man he carried some weight in the haunch and his smile disclosed buckteeth, not pronounced enough to let him eat popcorn out of the neck of a jug, but noticeable. He was infatuated with the rodeo life and fastened his belt with a minor bull-riding buckle, but his boots were worn to the quick, holed beyond repair, and he was crazy to be somewhere, anywhere, else than Lightning Flat.

Ennis, high-arched nose and narrow face, was scruffy and a little cave-chested, balanced a small torso on long, caliper legs, and possessed a muscular and supple body made for the horse and for fighting. His reflexes were uncommonly quick, and he was farsighted enough to dislike reading anything except Hamley’s saddle catalogue.

The sheep trucks and horse trailers unloaded at the trailhead, and a bandy-legged Basque showed Ennis how to pack the mules—two packs and a riding load on each animal, ring-lashed with double diamonds and secured with half hitches—telling him, “Don’t never order soup. Them boxes a soup are real bad to pack.” Three puppies belonging to one of the blue heelers went in a pack basket, the runt inside Jack’s coat, for he loved a little dog. Ennis picked out a big chestnut called Cigar Butt to ride, Jack a bay mare that turned out to have a low startle point. The string of spare horses included a mouse-colored grullo whose looks Ennis liked. Ennis and Jack, the dogs, the horses and mules, a thousand ewes and their lambs flowed up the trail like dirty water through the timber and out above the tree line into the great flowery meadows and the coursing, endless wind.

They got the big tent up on the Forest Service’s platform, the kitchen and grub boxes secured. Both slept in camp that first night, Jack already bitching about Joe Aguirre’s sleep-with-the-sheep-and-no-fire order, though he saddled the bay mare in the dark morning without saying much. Dawn came glassy-orange, stained from below by a gelatinous band of pale green. The sooty bulk of the mountain paled slowly until it was the same color as the smoke from Ennis’s breakfast fire. The cold air sweetened, banded pebbles and crumbs of soil cast sudden pencil-long shadows, and the rearing lodgepole pines below them massed in slabs of somber malachite.

During the day Ennis looked across a great gulf and sometimes saw Jack, a small dot moving across a high meadow, as an insect moves across a tablecloth; Jack, in his dark camp, saw Ennis as night fire, a red spark on the huge black mass of mountain.

Jack came lagging in late one afternoon, drank his two bottles of beer cooled in a wet sack on the shady side of the tent, ate two bowls of stew, four of Ennis’s stone biscuits, a can of peaches, rolled a smoke, watched the sun drop.

“I’m commutin four hours a day,” he said morosely. “Come in for breakfast, go back to the sheep, evenin get embedded down, come in for supper, go back to the sheep, spend half the night jumpin up and checkin for coyotes. By rights I should be spendin the night here. Aguirre got no right a make me do this.”

“You want a switch?” said Ennis. “I wouldn’t mind herdin. I wouldn’t mind sleepin out there.”

“That ain’t the point. Point is, we both should be in this camp. And that goddam pup tent smells like cat piss or worse.”

“Wouldn’t mind bein out there.Tell you what, you got a get up a dozen times in the night out there over them coyotes. Happy to switch but give you warnin I can’t cook worth a shit. Pretty good with a can opener.”

“Can’t be no worse than me, then. Sure, I wouldn’t mind a do it.”

They fended off the night for an hour with the yellow kerosene lamp, and around ten Ennis rode Cigar Butt, a good night horse, through the glimmering frost back to the sheep, carrying left-over biscuits, a jar of jam, and a jar of coffee with him for the next day, saying he’d save a trip, stay out until supper.

“Shot a coyote just first light,” he told Jack the next evening, sloshing his face with hot water, lathering up soap, and hoping his razor had some cut left in it, while Jack peeled potatoes. “Big son of a bitch. Balls on him size a apples. I bet he’d took a few lambs. Looked like he could a eat a camel. You want some a this hot water? There’s plenty.”

“It’s all yours.”

“Well, I’m goin a warsh everthing I can reach,” he said, pulling off his boots and jeans (no drawers, no socks, Jack noticed), slopping the green washcloth around until the fire spat.

They had a high-time supper by the fire, a can of beans each, fried potatoes, and a quart of whiskey on shares, sat with their backs against a log, boot soles and copper jeans rivets hot, swapping the bottle while the lavender sky emptied of color and the chill air drained down, drinking, smoking cigarettes, getting up every now and then to piss, firelight throwing a sparkle in the arched stream, tossing sticks on the fire to keep the talk going, talking horses and rodeo, rough-stock events, wrecks and injuries sustained, the submarine Thresher lost two months earlier with all hands and how it must have been in the last doomed minutes, dogs each had owned and known, the military service, Jack’s home ranch, where his father and mother held on, Ennis’s family place, folded years ago after his folks died, the older brother in Signal and a married sister in Casper. Jack said his father had been a pretty well-known bull rider years back but kept his secrets to himself, never gave Jack a word of advice, never came once to see Jack ride, though he had put him on the woollies when he was a little kid. Ennis said the kind of riding that interested him lasted longer than eight seconds and had some point to it. Money’s a good point, said Jack, and Ennis had to agree. They were respectful of each other’s opinions, each glad to have a companion where none had been expected. Ennis, riding against the wind back to the sheep in the treacherous, drunken light, thought he’d never had such a good time, felt he could paw the white out of the moon.

The summer went on and they moved the herd to new pasture, shifted the camp; the distance between the sheep and the new camp was greater and the night ride longer. Ennis rode easy, sleeping with his eyes open, but the hours he was away from the sheep stretched out and out. Jack pulled a squalling burr out of the harmonica, flattened a little from a fall off the skittish bay mare, and Ennis had a good raspy voice; a few nights they mangled their way through some songs. Ennis knew the salty words to “Strawberry Roan.” Jack tried a Carl Perkins song, bawling “What I say-ay-ay,” but he favored a sad hymn, “Water-Walking Jesus,” learned from his mother, who believed in the Pentecost, and that he sang at dirge slowness, setting off distant coyote yips.

“Too late to go out to them damn sheep,” said Ennis, dizzy drunk on all fours one cold hour when the moon had notched past two. The meadow stones glowed white-green and a flinty wind worked over the meadow, scraped the fire low, then ruffled it into yellow silk sashes. “Got you a extra blanket I’ll roll up out here and grab forty winks, ride out at first light.”

“Freeze your ass off when that fire dies down. Better off sleepin in the tent.”

“Doubt I’ll feel nothin.” But he staggered under canvas, pulled his boots off, snored on the ground cloth for a while, woke Jack with the clacking of his jaw.

“Jesus Christ, quit hammerin and get over here. Bedroll’s big enough,” said Jack in an irritable sleep-clogged voice. It was big enough, warm enough, and in a little while they deepened their intimacy considerably. Ennis ran full throttle on all roads whether fence mending or money spending, and he wanted none of it when Jack seized his left hand and brought it to his erect cock. Ennis jerked his hand away as though he’d touched fire, got to his knees, unbuckled his belt, shoved his pants down, hauled Jack onto all fours, and, with the help of the clear slick and a little spit, entered him, nothing he’d done before but no instruction manual needed. They went at it in silence except for a few sharp intakes of breath and Jack’s choked “Gun’s goin off,” then out, down, and asleep.

Ennis woke in red dawn with his pants around his knees, a top-grade headache, and Jack butted against him; without saying anything about it, both knew how it would go for the rest of the summer, sheep be damned.

As it did go. They never talked about the sex, let it happen, at first only in the tent at night, then in the full daylight with the hot sun striking down, and at evening in the fire glow, quick, rough, laughing and snorting, no lack of noises, but saying not a goddam word except once Ennis said, “I’m not no queer,” and Jack jumped in with “Me neither. A one-shot thing. Nobody’s business but ours.” There were only the two of them on the mountain, flying in the euphoric, bitter air, looking down on the hawk’s back and the crawling lights of vehicles on the plain below, suspended above ordinary affairs and distant from tame ranch dogs barking in the dark hours. They believed themselves invisible, not knowing Joe Aguirre had watched them through his 10×42 binoculars for ten minutes one day, waiting until they’d buttoned up their jeans, waiting until Ennis rode back to the sheep, before bringing up the message that Jack’s people had sent word that his uncle Harold was in the hospital with pneumonia and expected not to make it. Though he did, and Aguirre came up again to say so, fixing Jack with his bold stare, not bothering to dismount.

In August Ennis spent the whole night with Jack in the main camp, and in a blowy hailstorm the sheep took off west and got among a herd in another allotment. There was a damn miserable time for five days, Ennis and a Chilean herder with no English trying to sort them out, the task almost impossible as the paint brands were worn and faint at this late season. Even when the numbers were right Ennis knew the sheep were mixed. In a disquieting way everything seemed mixed.

The first snow came early, on August 13th, piling up a foot, but was followed by a quick melt. The next week Joe Aguirre sent word to bring them down, another, bigger storm was moving in from the Pacific, and they packed in the game and moved off the mountain with the sheep, stones rolling at their heels, purple cloud crowding in from the west and the metal smell of coming snow pressing them on. The mountain boiled with demonic energy, glazed with flickering broken-cloud light; the wind combed the grass and drew from the damaged krummholz and slit rock a bestial drone. As they descended the slope Ennis felt he was in a slow-motion, but headlong, irreversible fall.

Joe Aguirre paid them, said little. He had looked at the milling sheep with a sour expression, said, “Some a these never went up there with you.” The count was not what he’d hoped for, either. Ranch stiffs never did much of a job.

“You goin a do this next summer?” said Jack to Ennis in the street, one leg already up in his green pickup. The wind was gusting hard and cold.

“Maybe not.” A dust plume rose and hazed the air with fine grit and he squinted against it. “Like I said, Alma and me’s gettin married in December. Try to get somethin on a ranch. You?” He looked away from Jack’s jaw, bruised blue from the hard punch Ennis had thrown him on the last day.

“If nothin better comes along. Thought some about going back up to my daddy’s place, give him a hand over the winter, then maybe head out for Texas in the spring. If the draft don’t get me.”

“Well, see you around, I guess.” The wind tumbled an empty feed bag down the street until it fetched up under the truck.

“Right,” said Jack, and they shook hands, hit each other on the shoulder; then there was forty feet of distance between them and nothing to do but drive away in opposite directions. Within a mile Ennis felt like someone was pulling his guts out hand over hand a yard at a time. He stopped at the side of the road and, in the whirling new snow, tried to puke but nothing came up. He felt about as bad as he ever had and it took a long time for the feeling to wear off.

In December Ennis married Alma Beers and had her pregnant by mid-January. He picked up a few short-lived ranch jobs, then settled in as a wrangler on the old Elwood Hi-Top place, north of Lost Cabin, in Washakie County. He was still working there in September when Alma, Jr., as he called his daughter, was born and their bedroom was full of the smell of old blood and milk and baby shit, and the sounds were of squalling and sucking and Alma’s sleepy groans, all reassuring of fecundity and life’s continuance to one who worked with livestock.

When the Hi-Top folded they moved to a small apartment in Riverton, up over a laundry. Ennis got on the highway crew, tolerating it but working weekends at the Rafter B in exchange for keeping his horses out there. A second girl was born and Alma wanted to stay in town near the clinic because the child had an asthmatic wheeze.

“Ennis, please, no more damn lonesome ranches for us,” she said, sitting on his lap, wrapping her thin, freckled arms around him. “Let’s get a place here in town.”

“I guess,” said Ennis, slipping his hand up her blouse sleeve and stirring the silky armpit hair, fingers moving down her ribs to the jelly breast, the round belly and knee and up into the wet gap all the way to the north pole or the equator depending which way you thought you were sailing, working at it until she shuddered and bucked against his hand and he rolled her over, did quickly what she hated. They stayed in the little apartment, which he favored because it could be left at any time.

The fourth summer since Brokeback Mountain came on and in June Ennis had a general-delivery letter from Jack Twist, the first sign of life in all that time.

Friend this letter is a long time over due. Hope you get it. Heard you was in Riverton. I’m coming thru on the 24th, thought I’d stop and buy you a beer. Drop me a line if you can, say if your there.

The return address was Childress, Texas. Ennis wrote back, “You bet,” gave the Riverton address.

The day was hot and clear in the morning, but by noon the clouds had pushed up out of the west rolling a little sultry air before them. Ennis, wearing his best shirt, white with wide black stripes, didn’t know what time Jack would get there and so had taken the day off, paced back and forth, looking down into a street pale with dust. Alma was saying something about taking his friend to the Knife & Fork for supper instead of cooking it was so hot, if they could get a babysitter, but Ennis said more likely he’d just go out with Jack and get drunk. Jack was not a restaurant type, he said, thinking of the dirty spoons sticking out of the cans of cold beans balanced on the log.

Late in the afternoon, thunder growling, that same old green pickup rolled in and he saw Jack get out of the truck, beat-up Resistol tilted back. A hot jolt scalded Ennis and he was out on the landing pulling the door closed behind him. Jack took the stairs two and two. They seized each other by the shoulders, hugged mightily, squeezing the breath out of each other, saying son of a bitch, son of a bitch; then, and as easily as the right key turns the lock tumblers, their mouths came together, and hard, Jack’s big teeth bringing blood, his hat falling to the floor, stubble rasping, wet saliva welling, and the door opening and Alma looking out for a few seconds at Ennis’s straining shoulders and shutting the door again and still they clinched, pressing chest and groin and thigh and leg together, treading on each other’s toes until they pulled apart to breathe and Ennis, not big on endearments, said what he said to his horses and daughters, “Little darlin.”

The door opened again a few inches and Alma stood in the narrow light.

What could he say? “Alma, this is Jack Twist. Jack, my wife, Alma.” His chest was heaving. He could smell Jack—the intensely familiar odor of cigarettes, musky sweat, and a faint sweetness like grass, and with it the rushing cold of the mountain. “Alma,” he said, “Jack and me ain’t seen each other in four years.” As if it were a reason. He was glad the light was dim on the landing but did not turn away from her.

“Sure enough,” said Alma in a low voice. She had seen what she had seen. Behind her in the room, lightning lit the window like a white sheet waving and the baby cried.

“You got a kid?” said Jack. His shaking hand grazed Ennis’s hand, electrical current snapped between them.

“Two little girls,” Ennis said. “Alma, Jr., and Francine. Love them to pieces.” Alma’s mouth twitched.

“I got a boy,” said Jack. “Eight months old. Tell you what, I married a cute little old Texas girl down in Childress—Lureen.” From the vibration of the floorboard on which they both stood Ennis could feel how hard Jack was shaking.

“Alma,” he said. “Jack and me is goin out and get a drink. Might not get back tonight, we get drinkin and talkin.”

“Sure enough,” Alma said, taking a dollar bill from her pocket. Ennis guessed she was going to ask him to get her a pack of cigarettes, bring him back sooner.

“Please to meet you,” said Jack, trembling like a run-out horse.

“Ennis—” said Alma in her misery voice, but that didn’t slow him down on the stairs and he called back, “Alma, you want smokes there’s some in the pocket a my blue shirt in the bedroom.”

They went off in Jack’s truck, bought a bottle of whiskey, and within twenty minutes were in the Motel Siesta jouncing a bed. A few handfuls of hail rattled against the window, followed by rain and a slippery wind banging the unsecured door of the next room then and through the night.

The room stank of semen and smoke and sweat and whiskey, of old carpet and sour hay, saddle leather, shit and cheap soap. Ennis lay spread-eagled, spent and wet, breathing deep, still half tumescent; Jack blew forceful cigarette clouds like whale spouts, and said, “Christ, it got to be all that time a yours a-horseback makes it so goddam good. We got to talk about this. Swear to God I didn’t know we was goin a get into this again—yeah, I did. Why I’m here. I fuckin knew it. Red-lined all the way, couldn’t get here fast enough.”

“I didn’t know where in the hell you was,” said Ennis. “Four years. I about give up on you. I figured you was sore about that punch.”

“Friend,” said Jack, “I was in Texas rodeoin. How I met Lureen. Look over on that chair.”

On the back of a soiled orange chair he saw the shine of a buckle. “Bull ridin?”

“Yeah. I made three fuckin thousand dollars that year. Fuckin starved. Had to borrow everthing but a toothbrush from other guys. Drove grooves across Texas. Half the time under that cunt truck fixin it. Anyway, I didn’t never think about losin. Lureen? There’s some serious money there. Her old man’s got it. Got this farm-machinery business. Course he don’t let her have none a the money, and he hates my fuckin guts, so it’s a hard go now but one a these days—”

“Well, you’re goin a go where you look. Army didn’t get you?” The thunder sounded far to the east, moving from them in its red wreaths of light.

“They can’t get no use out a me. Got some crushed vertebrates. And a stress fracture, the arm bone here, you know how bull ridin you’re always leverin it off your thigh?—she gives a little ever time you do it. Even if you tape it good you break it a little goddam bit at a time. Tell you what, hurts like a bitch afterward. Had a busted leg. Busted in three places. Come off the bull and it was a big bull with a lot a drop, he got rid a me in about three flat and he come after me and he was sure faster. Lucky enough. Friend a mine got his oil checked with a horn dipstick and that was all she wrote. Bunch a other things, fuckin busted ribs, sprains and pains, torn ligaments. See, it ain’t like it was in my daddy’s time. It’s guys with money go to college, trained athaletes. You got to have some money to rodeo now. Lureen’s old man wouldn’t give me a dime if I dropped it, except one way. And I know enough about the game now so I see that I ain’t never goin a be on the bubble. Other reasons. I’m gettin out while I still can walk.”

Ennis pulled Jack’s hand to his mouth, took a hit from the cigarette, exhaled. “Sure as hell seem in one piece to me. You know, I was sittin up here all that time tryin to figure out if I was—? I know I ain’t. I mean, here we both got wives and kids, right? I like doin it with women, yeah, but Jesus H., ain’t nothin like this. I never had no thoughts a doin it with another guy except I sure wrang it out a hunderd times thinkin about you. You do it with other guys, Jack?”

“Shit no,” said Jack, who had been riding more than bulls, not rolling his own. “You know that. Old Brokeback got us good and it sure ain’t over. We got to work out what the fuck we’re goin a do now.”

“That summer,” said Ennis. “When we split up after we got paid out I had gut cramps so bad I pulled over and tried to puke, thought I ate somethin bad at that place in Dubois. Took me about a year to figure out it was that I shouldn’t a let you out a my sights. Too late then by a long, long while.”

“Friend,” said Jack. “We got us a fuckin situation here. Got a figure out what to do.”

“I doubt there’s nothin now we can do,” said Ennis. “What I’m sayin, Jack, I built a life up in them years. Love my little girls. Alma? It ain’t her fault. You got your baby and wife, that place in Texas. You and me can’t hardly be decent together if what happened back there”—he jerked his head in the direction of the apartment—“grabs on us like that. We do that in the wrong place we’ll be dead. There’s no reins on this one. It scares the piss out a me.”

“Got to tell you, friend, maybe somebody seen us that summer. I was back there the next June, thinkin about goin back—I didn’t, lit out for Texas instead—and Joe Aguirre’s in the office and he says to me, he says, ‘You boys found a way to make the time pass up there, didn’t you,’ and I gave him a look but when I went out I seen he had a big-ass pair a binoculars hangin off his rearview.” He neglected to add that the foreman had leaned back in his squeaky wooden tilt chair and said, “Twist, you guys wasn’t gettin paid to leave the dogs baby-sit the sheep while you stemmed the rose,” and declined to rehire him. Jack went on, “Yeah, that little punch a yours surprised me. I never figured you to throw a dirty punch.”

“I come up under my brother K.E., three years older’n me, slugged me silly ever day. Dad got tired a me come bawlin in the house and when I was about six he set me down and says, Ennis, you got a problem and you got a fix it or it’s goin a be with you until you’re ninety and K.E.’s ninety-three. Well, I says, he’s bigger’n me. Dad says, You got a take him unawares, don’t say nothin to him, make him feel some pain, get out fast and keep doin it until he takes the message. Nothin like hurtin somebody to make him hear good. So I did. I got him in the outhouse, jumped him on the stairs, come over to his pillow in the night while he was sleepin and pasted him damn good. Took about two days. Never had trouble with K.E. since. The lesson was, Don’t say nothin and get it over with quick.” A telephone rang in the next room, rang on and on, stopped abruptly in mid-peal.

“You won’t catch me again,” said Jack. “Listen. I’m thinkin, tell you what, if you and me had a little ranch together, little cow-and-calf operation, your horses, it’d be some sweet life. Like I said, I’m gettin out a rodeo. I ain’t no broke dick rider but I don’t got the bucks a ride out this slump I’m in and I don’t got the bones a keep gettin wrecked. I got it figured, got this plan Ennis, how we can do it, you and me. Lureen’s old man, you bet he’d give me a bunch if I’d get lost. Already more or less said it—”

“Whoa, whoa, whoa. It ain’t goin a be that way. We can’t. I’m stuck with what I got, caught in my own loop. Can’t get out of it. Jack, I don’t want a be like them guys you see around sometimes. And I don’t want a be dead. There was these two old guys ranched together down home, Earl and Rich—Dad would pass a remark when he seen them. They was a joke even though they was pretty tough old birds. I was what, nine years old, and they found Earl dead in a irrigation ditch. They’d took a tire iron to him, spurred him up, drug him around by his dick until it pulled off, just bloody pulp. What the tire iron done looked like pieces a burned tomatoes all over him, nose tore down from skiddin on gravel.”

“You seen that?”

“Dad made sure I seen it. Took me to see it. Me and K.E. Dad laughed about it. Hell, for all I know he done the job. If he was alive and was to put his head in that door right now you bet he’d go get his tire iron. Two guys livin together? No. All I can see is we get together once in a while way the hell out in the back a nowhere—”

“How much is once in a while?” said Jack. “Once in a while ever four fuckin years?”

“No,” said Ennis, forbearing to ask whose fault that was. “I goddam hate it that you’re goin a drive away in the mornin and I’m goin back to work. But if you can’t fix it you got a stand it,” he said. “Shit. I been lookin at people on the street. This happen a other people? What the hell do they do?”

“It don’t happen in Wyomin and if it does I don’t know what they do, maybe go to Denver,” said Jack, sitting up, turning away from him, “and I don’t give a flyin fuck. Son of a bitch, Ennis, take a couple days off. Right now. Get us out a here. Throw your stuff in the back a my truck and let’s get up in the mountains. Couple a days. Call Alma up and tell her you’re goin. Come on, Ennis, you just shot my airplane out a the sky—give me somethin a go on. This ain’t no little thing that’s happenin here.”

The hollow ringing began again in the next room, and as if he were answering it Ennis picked up the phone on the bedside table, dialled his own number.

A slow corrosion worked between Ennis and Alma, no real trouble, just widening water. She was working at a grocery-store clerk job, saw she’d always have to work to keep ahead of the bills on what Ennis made. Alma asked Ennis to use rubbers because she dreaded another pregnancy. He said no to that, said he would be happy to leave her alone if she didn’t want any more of his kids. Under her breath she said, “I’d have em if you’d support em.” And under that thought, Anyway, what you like to do don’t make too many babies.

Her resentment opened out a little every year: the embrace she had glimpsed, Ennis’s fishing trips once or twice a year with Jack Twist and never a vacation with her and the girls, his disinclination to step out and have any fun, his yearning for low-paid, long-houred ranch work, his propensity to roll to the wall and sleep as soon as he hit the bed, his failure to look for a decent permanent job with the county or the power company put her in a long, slow dive, and when Alma, Jr., was nine and Francine seven she said, What am I doin, hangin around with him, divorced Ennis, and married the Riverton grocer.

Ennis went back to ranch work, hired on here and there, not getting much ahead but glad enough to be around stock again, free to drop things, quit if he had to, and go into the mountains at short notice. He had no serious hard feelings, just a vague sense of getting short-changed, and showed it was all right by taking Thanksgiving dinner with Alma and her grocer and the kids, sitting between his girls and talking horses to them, telling jokes, trying not to be a sad daddy. After the pie Alma got him off in the kitchen, scraped the plates and said she worried about him and he ought to get married again. He saw she was pregnant, about four, five months, he guessed.

“Once burned,” he said, leaning against the counter, feeling too big for the room.

“You still go fishin with that Jack Twist?”

“Some.” He thought she’d take the pattern off the plate with the scraping.

“You know,” she said, and from her tone he knew something was coming, “I used to wonder how come you never brought any trouts home. Always said you caught plenty. So one time I got your creel case open the night before you went on one a your little trips—price tag still on it after five years—and I tied a note on the end of the line. It said, ‘Hello, Ennis, bring some fish home, love, Alma.’ And then you come back and said you’d caught a bunch a browns and ate them up. Remember? I looked in the case when I got a chance and there was my note still tied there and that line hadn’t touched water in its life.” As though the word “water” had called out its domestic cousin, she twisted the faucet, sluiced the plates.

“That don’t mean nothin.”

“Don’t lie, don’t try to fool me, Ennis. I know what it means. Jack Twist? Jack Nasty. You and him—”

She’d overstepped his line. He seized her wrist and twisted; tears sprang and rolled, a dish clattered.

“Shut up,” he said. “Mind your own business. You don’t know nothin about it.”

“I’m goin a yell for Bill.”

“You fuckin go right ahead. Go on and fuckin yell. I’ll make him eat the fuckin floor and you too.” He gave another wrench that left her with a burning bracelet, shoved his hat on backward and slammed out. He went to the Black and Blue Eagle bar that night, got drunk, had a short dirty fight, and left. He didn’t try to see his girls for a long time, figuring they would look him up when they got the sense and years to move out from Alma.

They were no longer young men with all of it before them. Jack had filled out through the shoulders and hams; Ennis stayed as lean as a clothespole, stepped around in worn boots, jeans, and shirts summer and winter, added a canvas coat in cold weather. A benign growth appeared on his eyelid and gave it a drooping appearance; a broken nose healed crooked.

Years on years they worked their way through the high meadows and mountain drainages, horse-packing into the Big Horns, the Medicine Bows, the south end of the Gallatins, the Absarokas, the Granites, the Owl Creeks, the Bridger-Teton Range, the Freezeouts and the Shirleys, the Ferrises and the Rattlesnakes, the Salt River range, into the Wind Rivers over and again, the Sierra Madres, the Gros Ventres, the Washakies, the Laramies, but never returning to Brokeback.

Down in Texas Jack’s father-in-law died and Lureen, who inherited the farm-equipment business, showed a skill for management and hard deals. Jack found himself with a vague managerial title, travelling to stock and agricultural-machinery shows. He had some money now and found ways to spend it on his buying trips. A little Texas accent flavored his sentences, “cow” twisted into “kyow” and “wife” coming out as “waf.” He’d had his front teeth filed down, set with steel plugs, and capped, said he’d felt no pain, wore Texas suits and a tall white hat.

In May of 1983 they spent a few cold days at a series of little icebound, no-name high lakes, then worked across into the Hail Strew River drainage.

Going up, the day was fine, but the trail deep-drifted and slopping wet at the margins. They left it to wind through a slashy cut, leading the horses through brittle branch wood, Jack lifting his head in the heated noon to take the air scented with resinous lodgepole, the dry needle duff and hot rock, bitter juniper crushed beneath the horses’ hooves. Ennis, weather-eyed, looked west for the heated cumulus that might come up on such a day, but the boneless blue was so deep, said Jack, that he might drown looking up.

Around three they swung through a narrow pass to a southeast slope where the strong spring sun had had a chance to work, dropped down to the trail again, which lay snowless below them. They could hear the river muttering and making a distant train sound a long way off. Twenty minutes on they surprised a black bear on the bank above them rolling a log over for grubs, and Jack’s horse shied and reared, Jack saying “Wo! Wo!” and Ennis’s bay dancing and snorting but holding. Jack reached for the .30-.06 but there was no need; the startled bear galloped into the trees with the lumpish gait that made it seem it was falling apart.

The tea-colored river ran fast with snowmelt, a scarf of bubbles at every high rock, pools and setbacks streaming. The ochre-branched willows swayed stiffly, pollened catkins like yellow thumbprints. The horses drank and Jack dismounted, scooped icy water up in his hand, crystalline drops falling from his fingers, his mouth and chin glistening with wet.

“Get beaver fever doin that,” said Ennis, then, “Good enough place,” looking at the level bench above the river, two or three fire rings from old hunting camps. A sloping meadow rose behind the bench, protected by a stand of lodgepole. There was plenty of dry wood. They set up camp without saying much, picketed the horses in the meadow. Jack broke the seal on a bottle of whiskey, took a long, hot swallow, exhaled forcefully, said, “That’s one a the two things I need right now,” capped it and tossed it to Ennis.

On the third morning there were the clouds Ennis had expected, a gray racer out of the West, a bar of darkness driving wind before it and small flakes. It faded after an hour into tender spring snow that heaped wet and heavy. By nightfall it had turned colder. Jack and Ennis passed a joint back and forth, the fire burning late, Jack restless and bitching about the cold, poking the flames with a stick, twisting the dial of the transistor radio until the batteries died.

Ennis said he’d been putting the blocks to a woman who worked part-time at the Wolf Ears bar in Signal where he was working now for Car Scrope’s cow-and-calf outfit, but it wasn’t going anywhere and she had some problems he didn’t want. Jack said he’d had a thing going with the wife of a rancher down the road in Childress and for the last few months he’d slank around expecting to get shot by Lureen or the husband, one. Ennis laughed a little and said he probably deserved it. Jack said he was doing all right but he missed Ennis bad enough sometimes to make him whip babies.

The horses nickered in the darkness beyond the fire’s circle of light. Ennis put his arm around Jack, pulled him close, said he saw his girls about once a month, Alma, Jr., a shy seventeen-year-old with his beanpole length, Francine a little live wire. Jack slid his cold hand between Ennis’s legs, said he was worried about his boy who was, no doubt about it, dyslexic or something, couldn’t get anything right, fifteen years old and couldn’t hardly read, he could see it though goddam Lureen wouldn’t admit to it and pretended the kid was O.K., refused to get any bitchin kind a help about it. He didn’t know what the fuck the answer was. Lureen had the money and called the shots.

“I used a want a boy for a kid,” said Ennis, undoing buttons, “but just got little girls.”

“I didn’t want none a either kind,” said Jack. “But fuck-all has worked the way I wanted. Nothin never come to my hand the right way.” Without getting up he threw deadwood on the fire, the sparks flying up with their truths and lies, a few hot points of fire landing on their hands and faces, not for the first time, and they rolled down into the dirt. One thing never changed: the brilliant charge of their infrequent couplings was darkened by the sense of time flying, never enough time, never enough.

A day or two later in the trailhead parking lot, horses loaded into the trailer, Ennis was ready to head back to Signal, Jack up to Lightning Flat to see the old man. Ennis leaned into Jack’s window, said what he’d been putting off the whole week, that likely he couldn’t get away again until November, after they’d shipped stock and before winter feeding started.

“November. What in hell happened a August? Tell you what, we said August, nine, ten days. Christ, Ennis! Whyn’t you tell me this before? You had a fuckin week to say some little word about it. And why’s it we’re always in the friggin cold weather? We ought a do somethin. We ought a go South. We ought a go to Mexico one day.”

“Mexico? Jack, you know me. All the travellin I ever done is goin around the coffeepot lookin for the handle. And I’ll be runnin the baler all August, that’s what’s the matter with August. Lighten up, Jack. We can hunt in November, kill a nice elk. Try if I can get Don Wroe’s cabin again. We had a good time that year.”

“You know, friend, this is a goddam bitch of a unsatisfactory situation. You used a come away easy. It’s like seein the Pope now.”

“Jack, I got a work. Them earlier days I used a quit the jobs. You got a wife with money, a good job. You forget how it is bein broke all the time. You ever hear a child support? I been payin out for years and got more to go. Let me tell you, I can’t quit this one. And I can’t get the time off. It was tough gettin this time—some a them late heifers is still calvin. You don’t leave then. You don’t. Scrope is a hell-raiser and he raised hell about me takin the week. I don’t blame him. He probly ain’t got a night’s sleep since I left. The trade-off was August. You got a better idea?”

“I did once.” The tone was bitter and accusatory.

Ennis said nothing, straightened up slowly, rubbed at his forehead; a horse stamped inside the trailer. He walked to his truck, put his hand on the trailer, said something that only the horses could hear, turned and walked back at a deliberate pace.

“You been a Mexico, Jack?” Mexico was the place. He’d heard. He was cutting fence now, trespassing in the shoot-em zone.

“Hell yes, I been. Where’s the fuckin problem?” Braced for it all these years and here it came, late and unexpected.

“I got a say this to you one time, Jack, and I ain’t foolin. What I don’t know,” said Ennis, “all them things I don’t know could get you killed if I should come to know them.”

“Try this one,” said Jack, “and I’ll say it just one time. Tell you what, we could a had a good life together, a fuckin real good life. You wouldn’t do it, Ennis, so what we got now is Brokeback Mountain. Everthing built on that. It’s all we got, boy, fuckin all, so I hope you know that if you don’t never know the rest. Count the damn few times we been together in twenty years. Measure the fuckin short leash you keep me on, then ask me about Mexico and then tell me you’ll kill me for needin it and not hardly never gettin it. You got no fuckin idea how bad it gets. I’m not you. I can’t make it on a couple a high-altitude fucks once or twice a year. You’re too much for me, Ennis, you son of a whoreson bitch. I wish I knew how to quit you.”

Like vast clouds of steam from thermal springs in winter the years of things unsaid and now unsayable—admissions, declarations, shames, guilts, fears—rose around them. Ennis stood as if heart-shot, face gray and deep-lined, grimacing, eyes screwed shut, fists clenched, legs caving, hit the ground on his knees.

“Jesus,” said Jack. “Ennis?” But before he was out of the truck, trying to guess if it was a heart attack or the overflow of an incendiary rage, Ennis was back on his feet, and somehow, as a coat hanger is straightened to open a locked car and then bent again to its original shape, they torqued things almost to where they had been, for what they’d said was no news. Nothing ended, nothing begun, nothing resolved.

What Jack remembered and craved in a way he could neither help nor understand was the time that distant summer on Brokeback when Ennis had come up behind him and pulled him close, the silent embrace satisfying some shared and sexless hunger.

They had stood that way for a long time in front of the fire, its burning tossing ruddy chunks of light, the shadow of their bodies a single column against the rock. The minutes ticked by from the round watch in Ennis’s pocket, from the sticks in the fire settling into coals. Stars bit through the wavy heat layers above the fire. Ennis’s breath came slow and quiet, he hummed, rocked a little in the sparklight, and Jack leaned against the steady heartbeat, the vibrations of the humming like faint electricity and, standing, he fell into sleep that was not sleep but something else drowsy and tranced until Ennis, dredging up a rusty but still usable phrase from the childhood time before his mother died, said, “Time to hit the hay, cowboy. I got a go. Come on, you’re sleepin on your feet like a horse,” and gave Jack a shake, a push, and went off in the darkness. Jack heard his spurs tremble as he mounted, the words “See you tomorrow,” and the horse’s shuddering snort, grind of hoof on stone.

Later, that dozy embrace solidified in his memory as the single moment of artless, charmed happiness in their separate and difficult lives. Nothing marred it, even the knowledge that Ennis would not then embrace him face to face because he did not want to see or feel that it was Jack he held. And maybe, he thought, they’d never got much farther than that. Let be, let be.

Ennis didn’t know about the accident for months until his postcard to Jack saying that November still looked like the first chance came back stamped “deceased.” He called Jack’s number in Childress, something he had done only once before, when Alma divorced him, and Jack had misunderstood the reason for the call, had driven twelve hundred miles north for nothing. This would be all right; Jack would answer, had to answer. But he did not. It was Lureen and she said who? who is this? and when he told her again she said in a level voice yes, Jack was pumping up a flat on the truck out on a back road when the tire blew up. The bead was damaged somehow and the force of the explosion slammed the rim into his face, broke his nose and jaw and knocked him unconscious on his back. By the time someone came along he had drowned in his own blood.

No, he thought, they got him with the tire iron.

“Jack used to mention you,” she said. “You’re the fishing buddy or the hunting buddy, I know that. Would have let you know,” she said, “but I wasn’t sure about your name and address. Jack kept most a his friends’ addresses in his head. It was a terrible thing. He was only thirty-nine years old.”

The huge sadness of the Northern plains rolled down on him. He didn’t know which way it was, the tire iron or a real accident, blood choking down Jack’s throat and nobody to turn him over. Under the wind drone he heard steel slamming off bone, the hollow chatter of a settling tire rim.

“He buried down there?” He wanted to curse her for letting Jack die on the dirt road.

The little Texas voice came slip-sliding down the wire, “We put a stone up. He use to say he wanted to be cremated, ashes scattered on Brokeback Mountain. I didn’t know where that was. So he was cremated, like he wanted, and, like I say, half his ashes was interred here, and the rest I sent up to his folks. I thought Brokeback Mountain was around where he grew up. But knowing Jack, it might be some pretend place where the bluebirds sing and there’s a whiskey spring.”

“We herded sheep on Brokeback one summer,” said Ennis. He could hardly speak.

“Well, he said it was his place. I thought he meant to get drunk. Drink whiskey up there. He drank a lot.”

“His folks still up in Lightnin Flat?”

“Oh yeah. They’ll be there until they die. I never met them. They didn’t come down for the funeral. You get in touch with them. I suppose they’d appreciate it if his wishes was carried out.”

No doubt about it, she was polite but the little voice was as cold as snow.

The road to Lightning Flat went through desolate country past a dozen abandoned ranches distributed over the plain at eight- and ten-mile intervals, houses sitting blank-eyed in the weeds, corral fences down. The mailbox read “John C. Twist.” The ranch was a meagre little place, leafy spurge taking over. The stock was too far distant for him to see their condition, only that they were black baldies. A porch stretched across the front of the tiny brown stucco house, four rooms, two down, two up.

Ennis sat at the kitchen table with Jack’s father. Jack’s mother, stout and careful in her movements as though recovering from an operation, said, “Want some coffee, don’t you? Piece a cherry cake?”

“Thank you, Ma’am, I’ll take a cup a coffee but I can’t eat no cake just now.”

The old man sat silent, his hands folded on the plastic tablecloth, staring at Ennis with an angry, knowing expression. Ennis recognized in him a not uncommon type with the hard need to be the stud duck in the pond. He couldn’t see much of Jack in either one of them, took a breath.

“I feel awful bad about Jack. Can’t begin to say how bad I feel. I knew him a long time. I come by to tell you that if you want me to take his ashes up there on Brokeback like his wife says he wanted I’d be proud to.”

There was a silence. Ennis cleared his throat but said nothing more.

The old man said, “Tell you what, I know where Brokeback Mountain is. He thought he was too goddam special to be buried in the family plot.”

Jack’s mother ignored this, said, “He used a come home every year, even after he was married and down in Texas, and help his daddy on the ranch for a week, fix the gates and mow and all. I kept his room like it was when he was a boy and I think he appreciated that. You are welcome to go up in his room if you want.”

The old man spoke angrily. “I can’t get no help out here. Jack used a say, ‘Ennis del Mar,’ he used a say, ‘I’m goin a bring him up here one a these days and we’ll lick this damn ranch into shape.’ He had some half-baked idea the two a you was goin a move up here, build a log cabin, and help me run this ranch and bring it up. Then this spring he’s got another one’s goin a come up here with him and build a place and help run the ranch, some ranch neighbor a his from down in Texas. He’s goin a split up with his wife and come back here. So he says. But like most a Jack’s ideas it never come to pass.”

So now he knew it had been the tire iron. He stood up, said you bet he’d like to see Jack’s room, recalled one of Jack’s stories about this old man. Jack was dick-clipped and the old man was not; it bothered the son, who had discovered the anatomical disconformity during a hard scene. He had been about three or four, he said, always late getting to the toilet, struggling with buttons, the seat, the height of the thing, and often as not left the surroundings sprinkled down. The old man blew up about it and this one time worked into a crazy rage. “Christ, he licked the stuffin out a me, knocked me down on the bathroom floor, whipped me with his belt. I thought he was killin me. Then he says, ‘You want a know what it’s like with piss all over the place? I’ll learn you,’ and he pulls it out and lets go all over me, soaked me, then he throws a towel at me and makes me mop up the floor, take my clothes off and warsh them in the bathtub, warsh out the towel, I’m bawlin and blubberin. But while he was hosin me down I seen he had some extra material that I was missin. I seen they’d cut me different like you’d crop a ear or scorch a brand. No way to get it right with him after that.”

The bedroom, at the top of a steep stair that had its own climbing rhythm, was tiny and hot, afternoon sun pounding through the west window, hitting the narrow boy’s bed against the wall, an ink-stained desk and wooden chair, a B.B. gun in a hand-whittled rack over the bed. The window looked down on the gravel road stretching south and it occurred to him that for Jack’s growing-up years that was the only road he knew. An ancient magazine photograph of some dark-haired movie star was taped to the wall beside the bed, the skin tone gone magenta. He could hear Jack’s mother downstairs running water, filling the kettle and setting it back on the stove, asking the old man a muffled question.

The closet was a shallow cavity with a wooden rod braced across, a faded cretonne curtain on a string closing it off from the rest of the room. In the closet hung two pairs of jeans crease-ironed and folded neatly over wire hangers, on the floor a pair of worn packer boots he thought he remembered. At the north end of the closet a tiny jog in the wall made a slight hiding place and here, stiff with long suspension from a nail, hung a shirt. He lifted it off the nail. Jack’s old shirt from Brokeback days. The dried blood on the sleeve was his own blood, a gushing nosebleed on the last afternoon on the mountain when Jack, in their contortionistic grappling and wrestling, had slammed Ennis’s nose hard with his knee. He had stanched the blood, which was everywhere, all over both of them, with his shirtsleeve, but the stanching hadn’t held, because Ennis had suddenly swung from the deck and laid the ministering angel out in the wild columbine, wings folded.

The shirt seemed heavy until he saw there was another shirt inside it, the sleeves carefully worked down inside Jack’s sleeves. It was his own plaid shirt, lost, he’d thought, long ago in some damn laundry, his dirty shirt, the pocket ripped, buttons missing, stolen by Jack and hidden here inside Jack’s own shirt, the pair like two skins, one inside the other, two in one. He pressed his face into the fabric and breathed in slowly through his mouth and nose, hoping for the faintest smoke and mountain sage and salty sweet stink of Jack, but there was no real scent, only the memory of it, the imagined power of Brokeback Mountain of which nothing was left but what he held in his hands.

In the end the stud duck refused to let Jack’s ashes go. “Tell you what, we got a family plot and he’s goin in it.” Jack’s mother stood at the table coring apples with a sharp, serrated instrument. “You come again,” she said.

Bumping down the washboard road Ennis passed the country cemetery fenced with sagging sheep wire, a tiny fenced square on the welling prairie, a few graves bright with plastic flowers, and didn’t want to know Jack was going in there, to be buried on the grieving plain.

A few weeks later, on the Saturday, he threw all the Coffeepot’s dirty horse blankets into the back of his pickup and took them down to the Quik Stop Car Wash to turn the high-pressure spray on them. When the wet clean blankets were stowed in the truck bed he stepped into Higgins’ gift shop and busied himself with the postcard rack.

“Ennis, what are you lookin for, rootin through them postcards?” said Linda Higgins, throwing a sopping brown coffee filter into the garbage can.

“Scene a Brokeback Mountain.”

“Over in Fremont County?”

“No, north a here.”

“I didn’t order none a them. Let me get the order list. They got it I can get you a hunderd. I got a order some more cards anyway.”

“One’s enough,” said Ennis.

When it came—thirty cents—he pinned it up in his trailer, brass-headed tack in each corner. Below it he drove a nail and on the nail he hung a wire hanger and the two old shirts suspended from it. He stepped back and looked at the ensemble through a few stinging tears.

“Jack, I swear—” he said, though Jack had never asked him to swear anything and was himself not the swearing kind.

Around that time Jack began to appear in his dreams, Jack as he had first seen him, curly-headed and smiling and buck-toothed, talking about getting up off his pockets and into the control zone, but the can of beans with the spoon handle jutting out and balanced on the log was there as well, in a cartoon shape and lurid colors that gave the dreams a flavor of comic obscenity. The spoon handle was the kind that could be used as a tire iron. And he would wake sometimes in grief, sometimes with the old sense of joy and release; the pillow sometimes wet, sometimes the sheets.

There was some open space between what he knew and what he tried to believe, but nothing could be done about it, and if you can’t fix it you’ve got to stand it.

Brokeback Mountain

by ANNIE PROULX

Issue of 1997-10-13

The movie was released with the usual fanfare in the city. Anthony Lane’s review sums up the boredom. It’s just a movie

It has been challenging to get straight men (18-54) to watch this film. Think of it as a challenge (like getting a stripper’s phone number). Some tips -

  1. Accept your shortcomings. Your skittishness has to do a lot with the degree to which society has failed you. You were brought up in an era of intolerance but there is still some good in you.
  2. There is safety in numbers. Go with your friends, coworkers and the guys from the sports bar. This is how women went to see The Vagina Monologues and Christians went to see Passion of the Christ, a snuff film I could not sit through.
  3. Don’t sit next to each other. Seating is crucial. Sit in every other (every third?) seat. You will have a checkerboard effect with no two men able to touch each other without getting out of your seat. Safe!
  4. Observe the Tent Rule. Every time the Ennis Del Mar character crawls into a tent, no good will follow. You should crawl into the restroom or concession stand. That will make the film pretty much like watching an episode of Will and Grace, for those who still watch that drivel
  5. Watch gay porn the night before. It is like cross training so a level playing field on the actual day (think Jerry Rice) seems like nothing by comparison.
  6. Discuss the film with your friends.





Roald Gold

6 12 2005

Saw the current iteration of Charlie and the Chocolate Factory (as opposed to the hallucinogenic one from my childhood). Some favorite quotations -

“Mr Willy Wonka can make marshmallows that taste of violets, and rich caramels that change colour every ten seconds as you suck them, and little feathery sweets that melt away deliciously the moment you put them between your lips. He can make chewing-gum that never loses its taste, and sugar balloons that you can blow up to enormous sizes before you pop them with a pin and gobble them up. And, by a most secret method, he can make lovely blue birds’ eggs with black spots on them, and when you put one of these in your mouth, it gradually gets smaller and smaller until suddenly there is nothing left except a tiny little DARKRED sugary baby bird sitting on the tip of your tongue.”

Grandpa Joe
2, Mr Willy Wonka’s Factory, 22

I’m afraid that simply isn’t true. The kids who are going to find the Golden Tickets are the ones who can afford to buy bars of chocolate every day. Our Charlie gets only one a year. There isn’t a hope.”

Grandpa George
5, The Golden Tickets, 32

The picture showed a nine-year-old boy [Augustus Gloop] who was so enormously fat he looked as though he had been blown up with a powerful pump. Great flabby folds of fat bulged out from every part of his body, and his face was like a monstrous ball of dough with two small greedy curranty eyes peering out upon the world.

6, The First Two FInders, 33

And now the whole country, indeed, the whole world, seemed suddenly to be caught up in a mad chocolate-buying spree, everybody searching frantically for those precious remaining tickets. Fully grown women were seen going into sweet shops and buying ten Wonka bars at a time, then tearing off the wrappers on the spot and peering eagerly underneath for a glint of golden paper. Children were taking hammers and smashing their piggy banks and running out to the shops with handfuls of money. In one city, a famous gangster robbed a bank of a thousand pounds and spent the whole lot on Wonka bars that same afternoon. And when the police entered his house to arrest him, they found him sitting on the floor amids mountains of chocolate, ripping off the wrappers with the blade of a long dagger…

6, The First Two Finders, 34

“I can’t do without it [gum]. I munch it all day long except for a few minutes at mealtimes when I take it out and stick it behind my ear for safekeeping. To tell you the truth, I simply wouldn’t feel comfortable if I didn’t have that little wedge of gum to chew on every moment of the day, I really wouldn’t. My mother says it’s not ladylike and it looks ugly to see a girl’s jaws going up and down like mine do all the time, but I don’t agree. And who’s she to criticize, anyway, because if you ask me, I’d say that her jaws are going up and down almost as much as mine are just from yelling at me every minute of the day.”

Violet Beauregarde
8, Two More Golden Tickets Found, 42

“And now it may interest you to know that this piece of gum I’m chewing right at this moment is one I’ve been working on for over three months solid. That’s a record, that is. It’s beaten the record held by my best friend, Miss Corneli Prinzmetel. And was she furious! It’s my most treaured possession now, this piece of gum is. At night-time, I just stick it on the end of the bedpost, and it’s as good as ever in the mornings – a bit hard at first, maybe, but it soon softens up again after I’ve given it a few good chews. Before I started chewing for the world record, I used to change my piece of gum once a day. I used to do it in our lift on the way home from school. Why the lift? Because I liked sticking the gooey piece that I’d just finished with on to one of the control buttons. Then the next person who came along and pressed the button got my old gum on the end of his or her finger.”

Violet Beauregarde
8, Two More Golden TIckets Found, 43

Mother! Look! I’ve got it! Look, Mother, look! The last Golden Ticket! It’s mine! I found some money in the street and I bought two bars of chocolate and the second one had the Golden Ticket and there were crowds of people all around me wanting to see it and the shopkeeper rescued me and I ran all the way home and here I am! IT’S THE FIFTH GOLDEN TICKET, MOTHER, AND I’VE FOUND IT!

Charlie Bucket
12, What It Said on the Ticket, 58

Greetings to you, the lucky finder of this Golden Ticket, from Mr Willy Wonka! I shake you warmly by the hand! Tremendous things are in store for you! Many wonderful surprises await you! For now, I do invite you to come to my factory and be my guest for one whole day – you and all others who are lucky enough to find my Golden Tickets. I, Willy Wonka, will conduct you around the factory myself showing you everything that there is to see, and afterwards, when it is time to leave, you will be escorted home by a procession of large trucks. These trucks, I can promise you, will be loaded with enough delicious eatables to last you and your entire household for many years. If, at any time thereafter, you should run out of supplies, you have only to come back to the factory and show this Golden Ticket, and I shall be happy to refill your cupboard with whatever you want.”

(signed) Willy Wonka
12, What It Said on the Ticket, 60

“My dear Veruca! How do you do? What a pleasure this is! You do have an interesting name, don’t you? I always thought that a veruca was a sort of wart that you got on the sole of your foot! But I must be wrong, musn’t I?”

Willy Wonka
14, Mr Willy Wonka, 69

“The waterfall is most important! It mixes the chocolate! It churn it up! It pounds it and beats it! It makes it light and frothy! No other factory in the world mixes its chocolate by waterfall! But it’s the only was to do it properly! The only way!”

Willy Wonka
15, The Chocolate Room, 74

“Of course they’re real people. They’re Oompa-Loompas… Imported direct from Loompaland… And oh what a terrible country it is! Nothing but thick jungles infested by the most dangerous beasts in the world – hornswogglers and snozzwangers and those terrible wicked whangdoodles. A whangdoodle would eat ten Oompa-Loompas for breakfast and come galloping back for a second helping.”

Willy Wonka
16, The Oompa-Loompas, 78

“Now listen to me!” said Mr Wonka, looking down at the tiny man. “I want you to take Mr and Mrs Gloop up to the Fudge Room and help them to find their son, Augustus. He’s just gone up the pipe.”

The Oompa-Loompa took one look at Mrs Gloop and expoded into peals of laughter.


17, Augustus Goes up the Pipe, 85

“Daddy, I want a boat like this! I want you to buy me a big pink boiled-sweet boat exactly like Mr Wonka’s! And I want lots of Oompa-Loompas to row me about, and I want a chocolate river and I want… I want…”

Veruca Salt
18, Down the Chocolate River, 91

“How can you whip cream without whips? Whipped cream isn’t whipped cream at all unless it’s been whipped with whips. Just as a poached egg isn’t a poached egg unless it’s been stolen from the woods in the dead of night!”

Willy Wonka
18, Down the Chocolate River, 94

“Everlasting Gobstoppers! They’re completely new! I am inventing them for children who are given very little pocket money. You can put an Everlasting Gobstopper in your mouth and you can suck it and suck it and suck it and suck it and it will never get any smaller!… There’s one of them being tested this very moment in the Testing Room next door. An Oompa-Loompa is sucking it. He’s been sucking it for very nearly a year now without stopping, and it’s still just as good as ever!”

Willy Wonka
19, The Inventing Room – Everlasting Gobstoppers and Hair Toffee, 97

EATABLE MARSHMALLOW PILLOWS

LICKABLE WALLPAPER FOR NURSERIES

HOT ICE CREAMS FOR COLD DAYS

COW THAT GIVE CHOCOLATE MILK

FIZZY LIFTING DRINKS

SQUARE SWEETS THAT LOOK ROUND

22, Along the Corridor, 113

“I don’t care about that! I want one. All I’ve got at home is two dogs and four cats and six bunny rabbits and two parakeets and three canaries and a green parrot and a turtle and a bowl of goldfish and a cage of white mice and a silly old hamster! I want a squirrel!”

Veruca Salt
24, Veruca in the Nut Room, 120

“This isn’t just an ordinary up-and-down lift! This lift can go sideways and longways and slantways and any other way you can think of! It can visit any single room in the whole factory, no matter where it is! You simply press the button… and zing!… you’re off!”

Willy Wonka
25, The Great Glass Lift

THE ROCK-CANDY MINE – 10,000 FEET DEEP

COKERNUT-ICE SKATING RINKS

TOFFEE-APPLE TREES FOR PLANTING OUT IN YOUR GARDEN – ALL SIZES

EXPLODING SWEETS FOR YOUR ENEMIES

LUMINOUS LOLLIES FOR EATING IN BED AT NIGHT

MINT JUJUBES FOR THE BOYS NEXT DOOR – THEY’LL GIVE HIM GREEN TEETH FOR A MONTH

CAVITY-FILLING CARAMELS – NO MORE DENTISTS

STICKJAW FOR TALKATIVE PARENTS

WRIGGLE-SWEETS THAT WRIGGLE DELIGHTFULLY IN YOUR TUMMY AFTER SWALLOWING

INVISIBLE CHOCOLATE BARS FOR EATING IN CLASS

SUGAR-COATED PENCILS FOR SUCKING

FIZZY LEMONADE SWIMMING POOLS

MAGIC HAND-FUDGE – WHEN YOU HOLD IT IN YOUR HAND, YOU TASTE IT IN YOUR MOUTH

RAINBOW DROPS – SUCK THEM AND YOU CAN SPIT IN SIX DIFFERENT COLOURS

25, The Great Glass Lift, 129

“… do you know how ordinary television works? It is very simple. At one end, where the picture is being taken, you have a large ciné camera and you start photographing something. The photographs are then split up into millions of tiny little pieces which are so small that you can’t see them, and these little pieces are shot out into the sky by electricity. In the sky, they go whizzing around all over the place until suddenly they hit the antenna on the roof of somebody’s house. They then go flashing down the wire that leads right into the back of the television set, and in there they get jiggled and joggled around until at last every single one of those millions of tiny pieces is fitted back into its right place, and presto! – the photograph appears on the screen…

“… The very first time I saw ordinary television working, I was struck by a tremendous idea. “Look here!” I shouted, “if these people can break up a photograph into millions of pieces and send the pieces whizzing through the air and then put them together again at the other end, why can’t I do the same with a bar of chocolate?”

Willy Wonka
26, The Television-Chocolate Room, 136

“Oh, my sainted aunt! Don’t mention that disgusting stuff in front of me! Do you know what breakfast cereal is made of? It’s made of all those little curly wooden shavings you find in pencil sharpeners!”

Willy Wonka
27, Mike Teavee is Sent by Television, 139

“And it doesn’t really matter, anyway, because we’ll soon fatten him up again. All we’ll have to do is give him a triple dosage of my wonderful Supervitamin Chocolate. Supervitamin Chocolate contains huge amounts of vitamin A and vitamin B. It also contains vitamin C, vitamin D, vitamin E, vitamin F, vitamin G, vitamin I, vitamin J, vitamin K, vitamin L, vitamin M, vitamin N, vitamin O, vitamin P, vitamin Q, vitamin R, vitamin T, vitamin U, vitamin V, vitamin W, vitamin X, vitamin Y, and, believe it or not, vitamin Z! The only two vitamins it doesn’t have in it are vitamin S, because it makes you sick, and vitamin H, because it makes you grow horns on the top of your head, like a bull. But it does have a very small amount of the rarest and most magical vitamin of them all – vitamin Wonka…

“It’s most useful. He’ll be able to play the piano with his feet.”

Willy Wonka
27, Mike Teavee is Sent by Television, 144

In almost every we’ve been,
We’ve watched them gaping at the screen.
They loll and slop and lounge about,
And stare until their eyes pop out.
(Last week in someone’s place we saw
A dozen eyeballs on the floor.)

IT ROTS THE SENSE IN THE HEAD!
IT KILLS IMAGINATION DEAD!
IT CLOGS AND CLUTTERS UP THE MIND!
IT MAKES A CHILD SO DULL AND BLIND
HE CAN NO LONGER UNDERSTAND
A FANTASY, A FAIRYLAND!
HIS BRAIN BECOMES AS SOFT AS CHEESE!
HIS POWERS OF THINKING RUST AND FREEZE!
HE CANNOT THINK – HE ONLY SEES!

Oompa-Loompas
27, Mike Teavee is Sent by Television, 146

“Listen, I’m an old man. I’m much older than you think. I can’t go on for ever. I’ve got no children of my own, no family at all. So who is going to run the factory when I get too old to do it myself? Someone’s got to keep it going – if only for the sake of the Oompa-Loompas. Mind you, there are thousands of clever men who would give anything for the chance to come in and take over from me, but I don’t want that sort of person. I don’t want a grown-up person at all. A grown-up won’t listen to me; he won’t learn. He will try to do things his own way and not mine. So I have to have a child. I want a good sensible loving child, one to whom I can tell all my most precious sweet-making secrets – while I am still alive.”

Willy Wonker
30, Charlie’s Chocolate Factory, 156





Cheese Whiz

5 12 2005

Time to pair those cheeses as the next six (6) weeks is nonstop entertaining. I wish it does not rain too much. Some complementary pairings.

ITALY
Rich and creamy with prosecco or pinot bianco
* La Tur (Piedmont)
* Robiola (Piedmont)
* Mozzarella di Bufala (Campania)

Semi-hard with dolcetto
* Fontina Val d’Aosta (valle d’Aosta)
* Pecorino di Pienza (Tuscany)
* Toma Piemontese (Piedmont)

Hard with Prosecco or Vin Santo
* Piave (Veneto)
* Parmigiano-Reggiano (Emilia-Romagna)
* Pecorino di Sardo Staggionata (Sicilia)

PROSECCO
* NV Zardetto Brut $13
* NV Ruggeri Prosecco di Valdobbiadene $13

PINOT BIANCO E GRIGIO
* 2004 Alois Legeder Pinot Bianco Weissburgunder, Alto Adieg $11
* 2004 Zenato Pinot Grigio delle Venezi IGT $10

DOLCETTO
* 2003 Marchesi di Barolo Dolcetto d’Alba Madonna di Como $17
2003 Bruno Giacosa Dolcetto d’Alba $23

FRANCE
Soft and creamy with sparkling wine or champagne
* Explorateur or Pierre Robert (Ile de France)
* Vacherin Mont D’or (Franche-Comte)
* Saint Marcellin (Dauphne)
* Roquefort (Averyon)

Semi hard with Cotes-du-Rhone
* Abbye de Bellocq (Acquitaine)
* Mimolette (Nord Pas-de-Calais)
* Cantal (Auvergne)

Goat cheese with Sancere or Pouilly Fume
* Crottin de Chavignol (Loire berry region)
* Selles-sur-Cher (Loire berry region)
* Bucheron (Poitou)

CHAMPAGNE
* Piper Heidseick NV Brut $25
* Laurent Perrier NV Brut Rose $50

COTES DU RHONE
* 2003 CDR Rouge, Guigal $10
* 2003 Crozes Hermitage, Domaine du Colombier Cuvee Gaby $22
* 2003 CDR VIllage, Domaine Sainte-Anne $13

SPAIN
Light cheeses with verdejo
* Mahon (Menorca island)
* Monte Enebro (Valle del Tietar, Madrid)
* Garroxta (Catalonia)

Semi-hard with amontillado sherry or tempranillo from Rioja, Ribera del Duero or Toro
* Manchego (La Mancha)
* La Serena (Extremedura)
* Queso Iberico (Non regional)

Hard with cava or oloroso sherry
* Zamorano (Zamora)
* Cabrales (Asturias)
* Roncal (Navarre)

VERDEJO
* 2004 Naia, Rueda $9
* 2004 Palacio de Bornos Verdejo FErmentado en Barrica Rueda $13
* 2004 Buil e Gine Nosis, Rueda $18

TEMPRANILLO
* 2003 Buil e Gine Buil, Toro $38
* 2002 Tinto de Pesquera, Ribera del Duero $20
* 2001 Bodegas Muga Reserva Rioja, RIoja $23

CAVA
* 2000 Marques de Gelida Brut, Penedes $12
* Montsarra NV Cava Brut $15

AMERICA
Soft and creamy with sparkling wine
* Bittersweet Plantation Dairy FLeur de Lis (Gonzales, LA)
* Cowgirl Creamery Mt Tam (Point Reyes)
* Redwood Hill Camellia (Sebastopol)

Semi-hard with pinot noir or riesling
* Vella Cheese Company Vella Dry Jack (Sonoma)
* Major Farm Vermont Shepherd (Putney, VT)
* Roth Kase Gruyere (Monroe, WI)
* Fiscalini Cheese Company San Joaquin Gold (Modesto, CA)

Cheddars and Blue cheeses with a dessert wine
* Grafton Village Cheese Company 4 Star Cow’s Milk Cheddar (Grafton, VT)
* Cabot Creamery Vintage Choice (Cabot Village, VT)
* Point Reyes Farmstead Cheese Co. Original Blue (Point Reyes)
* Great Hill Blue (Marion, Mass)
* Rogue Creamery Rogue River Blue (Central POint, OR)

SPARKLING WINE
* Gruet NV Blanc de Noir $15
* 1999 Domaine Carneros La Reve $50

RIESLING
* 2004 Chateau Ste Michelle Eroica $20
* 2004 Hogue Riesling $9

PINOT NOIR
* 2003 Pey Marin Pinot Noir $33
* 2004 Saintsbury Pinot Noir $16

DESSERT WINE
* 2004 St Supery Moscato $20 full bottle
* 2004 Robert Mondavi Mostao d’Oro $15 half bottle





Green Gas

4 12 2005

The Kyoto Initiative aims to provide increasingly integrated environmental support focusing on assisting developing countries in the fight against global warming. Japan is the world’s top provider of official development assistence (ODA) bt is unfortunately moving in the opposite direction by committing developing countries to more fossil fuel dependency. Fossil fuel burning power plants funded by the Overseas Economic Cooperation Fund (OCEF) in the five years since it was initiated in 1992 will emit 1.3 gigatons of carbon dioxide during their twenty year operating lifetimes.

The Kyoto Protocol (officially the Kyoto Protocol to the United Nations Framework Convention on Climate Change) is an international treaty on climate change, and an amendment. Countries that ratify this protocol commit to reduce their emissions of carbon dioxide and five (5) other greenhouse gases (methane, nitrous oxide, sulfur hexafluoride, HFCs and PFCs), or engage in emissions trading if they maintain or increase emissions of these gases. The objective is to stabilize greenhouse gas concentrations in the atmosphere at a level that would prevent dangerous anthropogenic interference with the climate system. An average temperature rise (global) of between 2.5 to 1o*F is predicted between 1990 and 2100. Even if successfully implemented, the Kyoto Protocol will reduce that increase by somewhere between 0.02 and 0.28*C by 2050, which has caused many to question the value of the Protocol, should subsequent measures fail to produce deeper cuts in the future. There are permitted increases of 8% for Australia and 10% for Iceland.

As of September 2005, 156 countries have ratified the agreement (the US and Australia are notable exceptions), representing over 61% of global emissions. The Protocol reaffirms that developing countries have to pay, and supply technology to, other countries for climate-related studies and projects, as originally agreed to in the UNFCCC.

While we are a signatory to the Protocol, we have neither ratified nor withdrawn from it, which makes it non-binding upon us until ratified. On June 25, 1997 (before the Kyoto Protocol was to be negotiated), the Senate unanimously passed SR 98 (Byrd Hagel Resolution, 95-0) that the US would not be signatory to any protocol that did not include binding targets and timetables for developing and industrialized nations or would result in serious harm to our economy. Great point. On November 12, 1998, Mr Al Gore, then Vice President, symbolically signed the protocol. Aware of the Senatorial sense of the protocol, Mr Clinton’s administration never submitted the protocol for ratification. Mr Bush does not intend to submit the treaty for ratification, not because he does not support the general idea but because of the strain that the treay would be put on our economy and he is not happy with the details of the treaty. This treay requires 100% effort from everybody in order to work. The second largest emitter of greenhouse gases is China and yet it, like India and Germany (the top emitters), is exempt from the requirements of the Protocol. Mr. Bush is gradually accepting that global warming is a problem, partly caused by human activity. We have signed the Asia Pacific Partnership on Clean Development and Climate, a pact allowing countries to set their goals for reducing greenhouse gas emissions individually, but with no enforcement mechanism.





Line reading

3 12 2005

As my annual film marathon weekend comes to a close, including a very spirited few rounds of Scene It, fueled by much Zonin, it is painfully obvious that non-cineastes screw up their film quotes with alarming regularity.

  1. from James Bond
  2. from Casablanca
  3. from I’m No Angel
  4. from Terminator
  5. from Hell’s Angels
  6. from Forrest Gump
  7. from Duck Soup
  8. from Gone with the Wind
  9. from taxi Driver
  10. from Anna Christie


The most common scripted line in all Hollywood productions, used at least once 84% of the time from the late 30s to the mid 70s was first used in the Wizard of Oz 91939)

Some misquotations:

  • In The Virginian (1929), one of the earliest Western talkies, Gary Cooper’s taunting line was not: “Smile when you call me that!”, or “When ya call me that, smile!”, but “If you wanna call me that, smile.
  • The legendary blood-sucking Count Dracula (Hungarian-born Bela Lugosi) never said “I want to suck your blood” in the Universal horror classic, Dracula (1931). However, the line was used in a humorous context by Dr. Tom Mason (Ned Bellamy) practicing his Bela Lugosi (Martin Landau) impersonation in director Tim Burton’s Ed Wood (1994).
  • Often misquoted is Dr. Henry Frankenstein (Colin Clive) – yes, Frankenstein was the name of the mad scientist – and his shout of “It’s alive” with the stirring of life within his non-human Monster (Boris Karloff), in Frankenstein (1931). Frankenstein has often been quoted as saying instead: “He’s alive! Alive!” Mel Brooks’ irreverent spoof Young Frankenstein (1974) featured grandson Frederick Frankenstein (Gene Wilder) resuming his late grandfather’s experiments, and his loud exclamation of: “Alive. It’s alive! IT’S ALIVE!”
  • The mobster refrain, “You dirty rat!” – was never said verbatim by James Cagney, although he did say something similar, “Mmm, that dirty, double-crossin’ rat,” in Blonde Crazy (1931). [In Home Alone (1990), Macauley Culkin's character watched a scene from a fictional B/W gangster film videotape titled, "Angels With Filthy Souls" (a take-off on the Cagney film Angels With Dirty Faces (1938)), in which a gangster shoots his girlfriend, while saying, "Take that, you dirty rat!"]
  • Greta Garbo’s most famous quote of all, “I want to be alone,” was often thought to be non-existent or merely a statement of her reclusive nature in private life. However, it prominently appeared, with her famous accent spoken by the character Grusinskaya in Grand Hotel (1932)
  • “Me Tarzan, you Jane” – was a catchphrase inaccurately-quoted from Tarzan, the Ape Man (1932)

    Jane: (pointing to herself) Jane.
    Tarzan: (he points at her) Jane.
    Jane: And you? (she points at him) You?
    Tarzan: (stabbing himself proudly in the chest) Tarzan, Tarzan.
    Jane: (emphasizing his correct response) Tarzan.
    Tarzan: (poking back and forth each time) Jane. Tarzan. Jane. Tarzan…

  • “You’re going out (there) a youngster, but you’re coming back a star!”, “You’re going out (on that stage) a nobody, (kid), but you’re coming back a star!”, or “You’re going out a chorus girl, but you’re coming back a star!” – all misquotes of the original line in 42nd Street (1933): “But you keep your feet on the ground and your head on those shoulders of yours and go out, and, Sawyer, you’re going out a youngster, but you’ve got to come back a star!”

  • “Is that a gun in your pocket, or are you just glad to see me?” – was not spoken by Mae West in She Done Him Wrong (1933) – but she did restate the line in her final film Sextette (1978) to co-star George Hamilton. In the 1933 film, the bawdy actress did say, “Why don’t you come up sometime ‘n see me?,” often misquoted as “Why, don’t you come up and see me sometime?” or “Come up and see me sometime.”

  • In the Laurel and Hardy classic comedy, Sons of the Desert (1933), Oliver Hardy exclaimed to partner Stan Laurel: “Well, here’s another nice mess you’ve gotten me into!” He did NOT say: “Well, here’s another fine mess you’ve gotten us into”?

  • “Mirror, mirror on the wall, who is the fairest of them all?” – is actually an incorrect quote. In Disney’s animated film Snow White and the Seven Dwarfs (1937), the wicked Queen asked: “Magic Mirror on the Wall, who is the Fairest one of all?

  • “Come with me to the Casbah,” followed by “we’ll make beautiful music together” – was not said by Charles Boyer to co-star Hedy Lamarr in Algiers (1938); it was said by cartoon characters Yosemite Sam and Pepe LePew in subsequent Looney Tunes cartoons, among others; in fact, animator Chuck Jones based the Warner Brothers cartoon character Pepe LePew on Charles Boyer’s Pepe Le Moko.

  • “Elementary, my dear Watson!” – was a phrase never spoken by the lead character in the many Sherlock Holmes novels from Sir Arthur Conan Doyle. This quote was rather found in a film review in the New York Times on October 19, 1929. It became popularized only after its trademark use in The Return of Sherlock Holmes (1929) (the first Holmes film with sound), with Clive Brook and H. Reeves-Smith. It was also stated by Basil Rathbone’s Sherlock Holmes character in Twentieth Century Fox’s The Adventures of Sherlock Holmes (1939). The closest phrases in Doyle’s writings were in The Crooked Man (“Excellent!” I cried. “Elementary!”, said he), and in The Adventure of the Cardboard Box (“It was very superficial, my dear Watson, I assure you”).

  • Rhett Butler’s (Clark Gable) scandalous, swear-word farewell to Scarlett (Vivien Leigh) was NOT: “Frankly, Scarlett, I don’t give a damn,” but: “Frankly, my dear, I don’t give a damn” in Gone With the Wind (1939).

  • “Judy…Judy…Judy” – was falsely attributed to Cary Grant. In Only Angels Have Wings (1939), Grant said the name ‘Judy’ numerous times to costar Rita Hayworth (playing a character named Judith McPherson), but never repeated her name in rapid succession.

  • The most beloved family film, The Wizard of Oz (1939) has had problems with one of its most famous lines spoken by Judy Garland (as Dorothy Gale) to her dog: “Toto, I’ve a feeling we’re not in Kansas anymore.” It’s generally misquoted as: “Toto, I’ve got a feeling we’re not in Kansas anymore.”

  • Quite often, this actual quote has been adapted or abbreviated. The original lengthy line was from Knute Rockne: All-American (1940), spoken by team coach Knute Rockne (Pat O’Brien) as a pep-talk to his losing team during half-time: “And the last thing he said to me, ‘Rock,’ he said, ’sometime when the team is up against it and the breaks are beating the boys, tell them to go out there with all they got and win just one for the Gipper.” It has often just been stated as “Win one for the Gipper,” or “Win this one for the Gipper.” Rockne’s most famous player, George Gipp (Ronald Reagan), was a real-life football star who died young of pneumonia and provided an inspiring anecdote to his coach.





Gift Horse

2 12 2005

‘Tis the season of gifting

Charitable Remainder Trust pays an income to the grantor or a beneficiary for some years; the remainder goes to charity
PRO: you get a tax deduction in current year for money left after death; an income stream that lasts for a set number of years or life
CON: charity does not often get donation for several years

Charitable Lead Trust pays a set annual income to charity, leaving the rest to heirs
PRO: helps limit estate-tax bills with large estates since gift to heirs is discounted
CON: only sensible for big investments, often more than $1 million; unpredictable

Donor-Advised Fund held by a community foundation or brokerage that lets you make recommendations on where your charitable dollars go
PRO: tax deduction in current year; access to research and advice
CON: your recommendations can be turned down

Private Foundation: organization set up for charitable purposes by person or family
PRO: lots of control over how charitable dollars are used; can build a family legacy tied to philanthropy
CON: expensive to administer; less favorable tax treatment than public charity, many regulations

Supporting Organization has an independent board set up to support a public charity
PRO: greater control than donor-advised funds; fewer restrictions and better tax treatment than foundations
CON: less control over donations and less cachet than private foundations