Sunday, January 1 1995
Niles applies her brilliant one-liners to play havoc with are our pop-culture silliness.
While it sure isn't beach reading, Georges Minois's 'History of Suicide' isn't nearly as dark nor depressing a book as one might think. Which isn't necessarily a good thing.
Even as Jews were earnestly absorbing American life, they were twisting popular culture to reflect their own fear of alienation.
Most of the people here in Madison are like everyone else in the state: Packer lovin', Milwaukee avoidin', fried cheese curd eatin' 'Sconsinites, and that's that.
Tim McLoughlin's 'Heart of the Old Country' exposes the soul inside the seamy underbelly of New York. It's a gritty slice of life drawn from McLoughlin's experiences, as he reveals in an interview with 'PopMatters'.
The central unifier involves a computer programmer who leaves the Novell basement of Unix realtime and attempts to blend into corporate culture, thinking the 1950s ideal man is what he needs to emulate. Knowing he is socially illiterate, he figures the only way to acquire a wife is by taking a woman hostage. [Review and interview with Lily James, author of 'High Drama in Fabulous Toledo'].
[T]he mystery becomes, really, two mysteries: how someone so apparently skilled and dedicated to a life of writing poetry can fall so far; and second, why?"
There are more painful pursuits of a week's time than sitting with a 200-channel television from the early rays of the morning to the dark crevices of twilight.
IIn the days of my callow youth in the early 1970s I spent more hours than I now care to admit hanging around newsstands and
The dialogue is fast-paced, the narrative engages the reader, and Mazza rarely dwells on minute details. She also gives the reader a chance to feel superior to her characters by creating a group that is as emotionally evolved as a concrete chicken.
Bondage is represented in many images, but as an adornment and an enhancement rather than as a means of subjection and degradation. Kenneth Tynan, the English theatre critic, and a lifelong devotee of bondage and sado-masochism, remarked that pain is not, as Freud assumed, the masochist's source of pleasure: it is the unpleasant but necessary side effect of fully embodying a masochistic fantasy.
How can a book about mental hospitals and wacky rock stars/geniuses be anything 'but' interesting?"
The story of computer languages is really the story of rock 'n' roll. It's the story of the exodus out from under the iron fist of early computing Rat Pack.
Next time Robert B. Parker decides to time-travel, especially when mucking about with mythology, he'd be well-advised to bring his 'old' shooting-irons with him.
Jimmy McDonough at one point describes Andy Milligan as 'one of those creatures who ride the midnight train, come from the land of the screaming skulls.' Even though we may not wish to take a journey on that vehicle or experience the territory from where it came, the ride is one I will not soon forget.
By the end of an absorbing piece, Goldman concludes that rock acts 'like a magnet, drawing into its field a host of heterogeneous materials that has fallen quickly into patterns. No other cultural force in modern times has possessed its power of synthesis'.
University of Illinois Press: French Film Guides [13 April 2006] At 128 pages a pop, these books burst with fascinating trivia (Clouzot used to physically abuse his actors;
Forrest J. (“Forry”) Ackerman is a legendary figure in the world of science fiction (or “sci-fi,” as Ackerman the coiner of the term prefers to
'Fear and Loathing in America' . . . helps distinguish the difference between a writer and the work, which has always been a source of aggravation for Thompson. . . the general assumption was that because he 'wrote' about being stoned, he always 'was'.