The new year started with a turn of foreign events, as I wrote last week. Capitalism Magazine’s editor and publisher, without whom this blog, site and many articles would not be possible, asked to reprint it. Read my commentary on the day America’s impeached president of the United States ordered a pre-emptive and proper retaliation against Islamic Iran, the first serious strike against this enemy of Western civilization, here.
Iran attacks America, November 1979
Since the strike that killed a general for Iran’s army of Islamic terrorist proxy gangs and regimented soldiers of Allah, Iran has attacked America and a Ukrainian passenger jet carrying 176 innocents with missiles. The American president pledged this morning that, while showing restraint by declining to hit back for the moment, he will prevent the state sponsor of terrorism from acquiring nuclear weapons. When his predecessor brokered a deal with Iran that returned billions of dollars which were withheld after Iran attacked America and seized our embassy, capturing 66 Americans as prisoners of war in Iran’s jihad (“holy war”) against the West, I called it Obama’s death pact. Horrifically, for the Americans and others, including 63 Canadians on board the Boeing 737 Iran shot down in Teheran, death or its imminent threat became real thanks to Obama’s Iran deal. Barack Obama continued U.S. selflessness in foreign policy which, for decades, appeased Iran.
May appeasement end with military defense ordered and enacted by President Trump.
Thirty-five years after it debuted in theaters, I watched a notorious movie by director Francis Ford Coppola (The Godfather, Apocalypse Now, One from the Heart). Read my new review of a restored version of Mr. Coppola’s 1984 motion picture, The Cotton Club, now available on Blu-ray, DVD and streaming for its 35th anniversary, here.
Though I never saw the original in either theatrical or home video release, I was not disappointed in The Cotton Club (encore edition). It isn’t perfect, as I write in the review. But its jazz and tap dance scenes offer rare and exquisite entertainment.
The Harlem-themed epic has an unusual history. This is Mr. Coppola’s first movie after a self-financed 1982 musical, One from the Heart, lost money. The Cotton Club was made and financed by a range of contentious principals, such as the late producer Robert Evans, and others, such as Orion Pictures, now owned by MGM, which Lionsgate purchased, acquiring its library years ago.
The nightclub, where in reality only Negroes were allowed to perform for an exclusively white audience, was a swank joint on Manhattan’s upper end. The film features a score by the late composer John Barry, leading performances by Richard Gere, Diane Lane, Lonette McKee (the 1976 original remade with Whitney Houston in Sparkle) and the late Gregory Hines. Also look for Mario Van Peebles, Gwen Verdon, James Remar, Maurice Hines, who appears in a home video segment with Mr. Coppola, Lawrence Fishburne (Boyz N the Hood) as a thug named Bumpy Rhodes, Jackee Harry (227), Jennifer Grey, Nicolas Cage, Bob Hoskins, Fred Gwynne and Woody Strode (Sergeant Rutledge) as a club doorman. Music by Fats Waller, Duke Ellington and Louis Armstrong is fabulous.
“This is the movie I meant you to see”, Mr. Coppola, referring to the additional 20 minutes, tells a New York audience in the Q&A feature in the bonus segments. The panel includes disclosures about lawsuits, attempts to steal the negative and a murder trial surrounding The Cotton Club, which debuted in the fall of 1984. Francis Ford Coppola also remembers reading and being influenced by Arthur C. Clarke’s science fiction novel, Childhood’s End, with a black character and Maurice Hines recalling his late brother, Gregory, and their grandmother being an original Cotton Club showgirl.
Read the article
Finally, my editor informed me this morning that my article about Pittsburgh and its connection to Ayn Rand (1905-1982) for the winter edition of the print publication Pittsburgh Quarterly, is featured on the online version’s cover. Read about Rand, who revered the Industrial Revolution, and the city of bridges, steel and progress, here.
Cameron Mackintosh’s slightly changed production of Alain Boublil and Claude-Michel Schönberg’s musical adaptation of Victor Hugo’s epic Les Misérables retains its glory. I decided to see the revised musical, after having seen the original 1989 production several times in Los Angeles. Les Misérables recently returned to Broadway with new staging, which is mixed, and scenery inspired by Hugo’s paintings, which adds a flair, in downtown Pittsburgh at the Benedum Center toward the end of its run there.
The 19th century France-themed Les Misérables is an unforgettable story. The musical version softens the villainy while keeping the plot’s redemptive theme for every character that does wrong to any degree. The songs “I Dreamed A Dream,” “On My Own,” “Stars,” “Bring Him Home,” “One Day More,” and a great favorite, “Red and Black”, make this beloved musical one of the most popular in theatrical history.
This great musical is unique for its idealism and seriousness and this version did not disappoint. Nick Cartell’s Jean Valjean had a commanding presence. His “Bring Him Home” was easily the show’s most emotional performance. Other cast standouts include an actress named Phoenix Best as Eponine, a conniving ghetto girl who falls in love with a French aristocrat enlisted in an anti-government rebellion; she turns romantic, defies her father and fights for her true love. Matt Shingledecker as Enjolras was captivating in every scene, especially leading “Red and Black”, stupidly renamed “The People’s Song” against the very core of its meaning in this version. The actors playing the Thenardier couple overacted. Gavroche was too precocious (there is such a thing for this character, which entirely relies upon innocence for its full impact) though I think the part and the boy’s lines were rewritten to pander to modern parents, families and audiences.
The best performance belongs to Josh Davis as Javert. I’ve never liked this character and I still do not. I’m planning to review a few recent TV and movie versions of Les Misérables, which I’ve recently seen, and gained a new appreciation for the rationalistic policeman character. But Davis, whose physical, vocal and acting ability added dimension to his portrayal, delivered what for me is the first performance that makes his suicide truly meaningful, organic and impactful to the plot. I’m not a fan of the new set, which dominates the stage, though I was surprised at how much I like the infusion of pieces suggested by Hugo’s art. The barricade remains central to the performance.
Overall, I was as moved as ever, possibly more so because I’m older. What strikes me now, as against 30 years ago, when I first saw Les Misérables on the stage, is that the world has grown darker, more perverse, more desperate. The show’s explicitly Catholic underpinnings resonate less with the audience than its searching themes of wanting to examine and know who am I, what am I doing here on earth and how can I be my best. It was impossible during the often pin-drop perfect performance not to think of those young rebels in Hong Kong, and now also in Teheran and in countless other silent and unknown rebellions from Saudi Arabia to Communist Cuba, China and North Korea. I’ve the sense that I was not alone. Couples, families with children, older and younger adults of all types were held by the power of “Red and Black” (I refuse to call this poetry by its mangled title the people’s song) with the soft yet searing plea by an idealist to his fellow men:
It is time for us all To decide who we are Do we fight for the right To a night at the opera now? Have you asked of yourselves What’s the price you might pay? Is it simply a game For rich young boys to play? The color of the world Is changing day by day…
Red – the blood of angry men! Black – the dark of ages past! Red – a world about to dawn! Black – the night that ends at last!
Les Misérables endures, especially in the streets, back alleys and hushed halls of Hong Kong, where the anti-Communist rebels, young and old as in Les Misérables, unite, gather and mobilize despite China’s barbarism, brutality and oppression to sing the 1989 musical’s triumphant final “song of angry men who will not be slaves again”. In Pittsburgh this Thanksgiving, its banner waved with wonder, power and inspiration still.
The 2,800-seat Benedum Center for the Performing Arts, formerly a movie palace called the Stanley Theater before a $42 million renovation in 1987, affords intimacy and grandeur. Named for Mike Benedum, the son of West Virginian farmers and merchants who became a self-made, wildcat oil tycoon who made a charity after his only child died in 1918, the Liberty Street theater is nearly perfectly proportioned. I plan to return.
Read my article “Bridging Ayn Rand and Pittsburgh” in the winter edition of Pittsburgh Quarterly, currently on sale at certain newsstands in the city of bridges. I bought a copy at a downtown Pittsburgh shop during a recent visit over Thanksgiving (more on the trip below). It’s an account, and I think perhaps the first in publication, of the philosopher who described herself as a radical for capitalism and what contends as the foremost city of the Industrial Revolution. I pitched a few ideas to my editor and publisher and this is the byproduct of the one he thought best serves the magazine’s readers.
In the piece, which may become available online, I focus on the Forties, when Rand wrote her observations of Pittsburgh in her journal, corresponded with an admiring book critic for a Pittsburgh newspaper and prepared for the movie adaptation of her 1943 novel The Fountainhead. All of these tie into each other and relate to an interesting comment by Objectivist scholar Greg Salmieri, whom I interviewed for the article. Dr. Salmieri, who’s editing the University of Pittsburgh Press series of books studying Rand’s philosophy, gives his opinions on Rand’s ideas and how they’ve been interpreted within the context of today’s false left-right political dichotomy.
I am delighted that publication of the first article about Rand and my hometown coincides with the first reprinting of my article about Andrew Carnegie in Capitalism Magazine (read it here). Carnegie is one of my first heroes. I became fascinated with him as a boy. As with Ayn Rand, the more I learn and know about this man, the more I admire him. I wrote this piece several years ago as a sidebar to an article I’d been asked to write for a magazine.
Having just visited the city of Carnegie Mellon University, Carnegie Library of Pittsburgh, Carnegie Museum of Natural History, and, yes, Carnegie Hall (not the one portrayed in Green Book), I can happily say that I think you’ll find this profile of Andrew Carnegie worth reading. I won’t be surprised if you discover that you’ve learned something new and admirable, even exciting, about this amazing man, whose birthday I celebrated while I was in Pittsburgh.
One of the things I love about Pittsburgh is that its residents have real awareness, knowledge and appreciation, even admiration, for capitalists and captains of industry. Wherever I went on Carnegie’s birthday while visiting Pittsburgh, everyone with whom I discussed the man was instantly interested, engaged and aware of his legacy, his stature, his greatness. I’ve written about Pittsburgh on this blog several times, and will write more soon about this year’s Thanksgiving trip, but I find that I am often surprised by this city’s unique ability to wall off the world’s spreading religion of hatred of moneymaking. There’s real reverence for it here, however unpolished or weary it may be. The city of steel, in this sense, can spark like that.
This is one reason it was wonderful to see the new movie about Pittsburgh’s pioneering child development host, Mr. Rogers, with my family in Pittsburgh. It’s a warm, thought-provoking film that holds your interest as an individual, challenging you to introspect, engaging you with silence, not screaming, blaring, sensory-driven assault. Yet it comes together as a whole, respecting the uniqueness of each individual and his choices, even when those choices deviate from traditional notions of family, holidays and what constitutes a proper gathering. See A Beautiful Day in the Neighborhood starring Tom Hanks as Fred Rogers by yourself, alone and in solitude or with a friend. Or with your chosen family as I did. Read my movie review on the cover of the New Romanticist here.
Look for more posts — on its theater, culture, hospitality, downtown and sports — about this fall’s trip to Pittsburgh soon.
This fall, I’m focused on writing new fiction as often as possible while working with my existing customers. I am also researching topics in sports, history and the arts for new magazine assignments, so stay tuned. I recently interviewed literature scholar Shoshana Milgram about Victor Hugo for an article which is coming soon. Also, stand by for a link to an article about Pittsburgh and Ayn Rand in this winter’s edition of Pittsburgh Quarterly.
Meanwhile, I’ve added a couple of movie-themed article links to the site archives. My review of John Ford’s 1960 motion picture about a Negro soldier accused of raping a white woman, Sergeant Rutledge, which is truly heroic unlike the heavily hyped Black Panther, can be read here. This week, the World Series ended, so I’ve included my 70th anniversary review of The Stratton Story, starring June Allyson and James Stewart. This inspiring, romantic movie is a simple and heroic baseball tale; read my review here.
My recent viewing of Joker starring Joaquin Phoenix moved me to finally see Martin Scorsese’s Taxi Driver (1976). While I notice certain similarities, it’s the differences with that year’s Best Picture Oscar winner, Rocky, that really caught my attention. My analysis found both a flaw and much to appreciate. Look for a new review soon. Meanwhile, read my newest classic movie breakdown of another Academy Award-winning Best Picture, David Lean’s Lawrence of Arabia (1962), which I recently watched in Hollywood’s historic Cinerama Dome, on The New Romanticist here and Aurora’s classic movie site, Once Upon a Screen, here. My theme about this exceptional movie is that its value lies in its depiction of one man’s intransigent pursuit of a heroic life.
New movies I’m planning to see and may review include the new Kasi Lemmons (Eve’s Bayou, Black Nativity) picture about one of my earliest heroes, Harriet Tubman, Harriet, featuring her husband Vondie Curtis-Hall (Chicago Hope) and son as well as Janelle Monae (Moonlight, Hidden Figures). I’m also planning to see the new movie about Fred Rogers starring Tom Hanks, probably while I’m on assignment in Pittsburgh among fellow Pittsburghers who knew Mr. Rogers best. Time permitting, I also want to see The Current War, Judy and Motherless Brooklyn. Later this year, I plan to preview my writing for the new year, including my adult educational media and writing courses and other new writings. Wishing you a happy Halloween until then.
OCON Cleveland, like OCON Pittsburgh and OCON Chicago, makes the most of its centrality of venue and location. I think today’s audiences are art-deprived, as I’ve written. So this year’s arts theme, pegged to the anniversary of a collection of Ayn Rand’s arts and literature essays, undoubtedly helps.
The best aspect of the conference is its venue, the Hilton Cleveland Downtown, which was built for the 2016 Republican National Convention (read my review here). Overall, the sponsoring Ayn Rand Institute’s best conferences in terms of the whole experience are the ones held in mid-American cities. OCON Cleveland squandered the opportunity to capitalize on the history of the location, unfortunately. There were no lectures on John D. Rockefeller and Standard Oil, for instance, or other obvious Objectivism tie-ins. Tours of Cleveland are another missed opportunity.
OCON increasingly tends to be oriented to a lighter, less intellectual and educational and more social experience, so this is not surprising. Gone are the deep dive courses of yesteryear, when I could delve into details, nuances and aspects of my favorite artists such as Hitchcock, Hugo and Hawks. In Chicago, I studied Aristotle with an Aristotelian scholar for several sessions. In Cleveland, the same scholar was reduced to a single session.
I’ve heard it said that “young people” are to blame. I don’t accept it. Certainly, I think it’s true that the incessant and ubiquitous technology glut often depletes or mitigates one’s ability to focus. But offering less is a self-fulfilling prophecy. OCON ought to offer deeper, longer and more serious studies with streamlined teaching. Not in fragments that often turn into advertisements for whatever the speaker’s selling. There were too many ads, or plugs disguised as something other than ads, for my money at this year’s OCON. Let the trader principle play out and have an Austen Heller room in which to showcase, mix and trade. Also, the full schedule ought to be announced and advertised in advance, not doled out in spurts as if prospective customers are inclined to act on a whim.
Here are other criticisms: no greeting, let alone orientation, at conference registration — an announcement of the death of a prominent Objectivist intellectual mentioned as an aside (which turned out to be false and was retracted without apology) — and the worst part: an intellectual who’d denounced Leonard Peikoff was admitted and is sanctioned by the ARI, which is unfortunate.
Visiting and making new friends is a top value. I gained the highest value at OCON Cleveland in the lessons on bacteriophages (with a nod to Arrowsmith by Sinclair Lewis), PrEP, the scourge of mosquitos, CAR-T, Rachel Carson and CRISPR by the brilliant if breathless Dr. Amesh Adalja — behaviorism and Ivan Pavlov — Christianity’s dubious origins — interesting advice with cogent thoughts on Bob Dylan and criticism of being “inquisitorial” within the context of what the speaker calls personal, as against optional, values — and a lecture on Aristotle with insight into Rand’s thoughts on his philosophy of art.
Though I was unable to attend several major lectures and courses, I enjoyed Shoshana Milgram’s newest work on the splendor of Victor Hugo and I would’ve liked to have seen Dr. Milgram, an English literature professor and Rand’s biographer, on the arts panels. My personal favorite presentation was Stephen Siek’s marvelous, two-part lecture about and biographical introduction to Sergei Rachmaninoff, whose struggle, work and life are as larger than life, passionate and inspiring as his music. This type of mini-course makes OCON uniquely enriching. OCON ought to let those who attend be greedy for more.
Twenty Nineteen topics I plan to write about on this blog include an app for the Church of Scientology, a newly revised book by Thomas Sowell and a song by Smashing Pumpkins. After 10 years of writing this informal forum for my thoughts on movies, culture and ideas, with today’s media market getting thinner and dimmer and more fragmented, it’s time to focus on other forms.
Proposals and copy for aviation and military defense technology as well as uncredited fiction and non-fiction for screen and publication are among assignments I wrote last year. I also develop projects for customers in construction, real estate, movies, journalism and literature.
I regard the blog as advertising. Readership has increased and I’ve kept it informal, but the blog takes effort to sustain. Accordingly, I started a PayPal donation campaign to support my writing, including this blog. Please consider making a donation.
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What’s to come includes new movie, television, book and stage reviews. I’m looking forward to attending local theater productions in Southern California. I look forward to seeing and writing about a new stage production starring Psych‘s Dule Hill as Nat “King” Cole. I plan to review a show at the Wallis Center for Performing Arts in Beverly Hills this month. Comedienne Julia Sweeney will be staging another one-woman show, which I’m excited to see. The same goes for a new production of a play by Sophocles which one of my mentors calls one of eight great plays.
I also aim to write about apps, TV shows and, of course, classic movies. I’ll be posting an exclusive interview soon with screenwriter and director Robert Benton, with whom I recently met for an interview again, this time in Hollywood, to honor the 40th anniversary of his underrated Oscar-winning Best Picture, Kramer vs. Kramer and the 35th anniversary of his seminal film Places in the Heart. I’ve received positive feedback to my classic movie writings. There are more analyses to come. I am exploring possibilities to publish books of my interviews, reviews and other writings.
A few of my short stories are in contest contention. I continue to teach media and writing to adults in Southern California. Last year, I hosted an alumni networking event in a small venue near Hollywood. Current and former students met, mixed and talked about first-look deals, options, events, readings and tips, resources and platforms. I announced a new partnership and had the privilege to encourage fellow writers and sole proprietors. I’ve added another mixer next month.
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Ventures and endeavors for new media, books, movies, TV series and stories (mine and work for others) are in the works. I’m often busiest during the summer, but I’d like to attend 2019’s OCON. This summer’s event celebrates 50 years of Ayn Rand’s The Romantic Manifesto in Cleveland, Ohio. So, I’m enthusiastic about prospects for the new year. Feel free to reach out, inquire and/or donate.