On May 24, 2017, Montana's newest congressman, Greg “The Body-Slammer” Gianforte, followed suit with President Donald Trump's campaign trail boast to do with the willingness of Republican voters to shrug off his vulgar, even thuggish manner – “I could stand in the middle of 5th Avenue and shoot somebody and I wouldn’t lose voters.”
Ever the Trump loyalist, it seems Gianforte was also following through on Trump's Feb. 24, 2017, comment labeling the press in the USA as the “enemy of the people.” At this desk it isn't known how many votes Gianforte won, or lost, by roughing up a reporter and then lying about the incident ... before offering up a tepid apology after he won the election.
Given his many other over-the-top statements deriding and threatening the fourth estate in the USA, it has become clear to me that Trump's "enemy of the people" quip was tantamount to declaring war on the working press, itself.
More importantly, I've no doubt Trump plans to win this war. Furthermore, I see no reason to hope he's merely trying to manipulate the news media – tame them, so to speak. No. When it comes to any kind of battle, or contest of any kind, there's just no way Trump means to come out of it as less than the greatest winner, ever!
Biggest ever! A conqueror.
On the other hand, if freedom of the press continues on as we've known it to be, as guaranteed by the Constitution, President Trump probably can't become emperor of all he surveys. Thus, the free press has to go. Truth goes with it.
Trump may not win the war on the truth, but he probably won't fail because he didn't give it his best effort. Of course many people will disagree with my analysis, because they like Trump. Or maybe they can't imagine he could covet more power than he already has. Well, I can.
Whether the focus groups that guided Trump's campaign were run by propagandists from Madison Avenue or the Kremlin, or both, perish the notion that he was doing all of it on the fly. Trump and his PR team may not understand how governments work, but they know plenty about propaganda.
Trump sees a time in which the mainstream media are cowed. Some well-known publishers and journalists will be in jail. Marshall law will be in effect to prevent terrorist attacks. The resistance will have become an outlaw underground movement. In that environment the social media will be dominant and zillions of the nation's adverting dollars will be spent there.
In other words, I'm imagining that the legit press can't lose this war.
Monday, May 29, 2017
Thursday, May 25, 2017
Propaganda in Bronze
Lee Monument on Monument Avenue (2007).
Note: "Propaganda in Bronze" (as edited) by STYLE Weekly can be seen here. It was the Mar. 16, 2016, issue's Back Page. What appears below is the copy I submitted. (The differences are small but real.)
*
Officials in New Orleans, Baltimore and Austin recently came to the realization that monuments glorifying the Confederate States of America (1861-65) may no longer have a proper place on public property. Consequently, in those three cities a few statues honoring the Confederacy are in the process of being removed.
On Mar. 7, by passing HB587, a proactive group of legislators in the General Assembly moved to prevent that trend from spreading to Virginia. The bill empowered the state government to seize control over the fate of war-related monuments standing on public property. It wasn't immediately clear whether the bill's language would also block historically accurate signage from being placed near the statues of Confederate heroes on Monument Ave, as has been suggested by some Richmonders as a way of providing a context for the memorials.
Given what had happened in the three aforementioned cities, it seems Virginia's lawmakers decided it was time to take the “public” out of public art. Anyway, whatever their intentions were, for the immediate future that won't matter. Gov. Terry McAuliffe vetoed HB587 on Mar. 10.
Nonetheless, going forward, the discussion over what to do about Confederate memorials on public property is hardly going away. Virginians still tethered to yesterday's thinking about the Civil War might not like it, but times have changed. The propriety of making heroes out of men who are now seen by many as having been traitors in their day is being questioned like never before.
What was once unthinkable in Central Virginia is now possible. Want proof?
Henrico County just decided to take Sen. Harry F. Byrd's name off the front of a public school. Some people will surely squawk, saying the renaming of the middle school amounts to rewriting history. But given Byrd's association with the Massive Resistance movement of the 1950s and '60s, that move may have been long overdue.
Most of the monuments honoring the Confederacy that stand today in at least 20 states were put in place during the late-1800s/early-1900s. It was an era in which Lost Cause misinformation was being promulgated by stubborn sympathizers of the Confederacy. Plainly, they sought to paint over the haunting politics of the Civil War. Which was a propaganda campaign, if there ever was one.
Fast-forward to 2016: Whether it's in Richmond or New Orleans, propaganda cast in bronze is still propaganda. Today that propaganda's useful life as a political tool has faded into the mists. Now Monument Avenue's row of statues have to stand on their own as worthwhile art that has outlived its original purpose. That's one of the differences between the statues of Robert E. Lee and Jefferson F. Davis.
The solemn Lee Monument passes the art test, even for many who have no warm regard for the sentiments of Lost Cause thinking. Whereas, for me, the awkward assemblage that is the Davis Monument represents bad medicine.
It should be remembered that the three Confederate generals with statues on Monument Avenue – Lee, Stuart and Jackson – were Virginians. Say what you will about the Civil War, they served their home state. However, since Davis was not a Virginian, the main reason to honor him in Richmond is that he served as the president of the Confederacy. More than anything else, doesn't the Davis Monument celebrate the Confederate States of America, itself?
Speaking of public art and politics, the simmering brouhaha over removing a beloved live oak tree from its home at the triangular intersection of Adams St., Brook Rd. and Broad St., in order to place a statue of Maggie L. Walker there, is another example of how public art can get entangled with politics. Mayor Dwight Jones apparently wants it done, pronto, but there are plenty of locals who oppose him.
Some want to protect the tree. Others would like to see a Walker memorial created, but placed elsewhere. Which leads me to ask: How about where the Davis Monument sits today?
Maybe putting a Walker statue on the fringe of Jackson Ward is best. Still, I'm not the only one who thinks new monuments should be added to Monument Avenue. Moreover, if putting a Walker Monument on Richmond's most famous street would feel like a righteous step toward atonement for Richmond's role in a war to protect the slave market business that once thrived here, what's wrong with that?
The story of the unveiling of such a statue on Monument Avenue would make worldwide news. It would be good news about how Richmond is changing. And, why stop with Maggie Walker? Surely there are other Virginians who deserve to be considered. How about Justice F. Lewis Powell?
Finally, let's stiff-arm the absurd notion that dismantling an old statue, to ship to it off to a museum, amounts to rewriting history. No one is suggesting that Jefferson Davis should be banished from history books. Davis was a key player in an important period of American history. Still, the public's view of his worthiness to be elevated to the status of a hero is just not the same in 2016 as it was when the Davis Monument was unveiled in 1907.
New Orleans already did the right thing. So did Baltimore and Austin. How long will Richmond's City Council members wait to face the music? In the meantime, thank you, Gov. McAuliffe.
-- My words and photo.
Saturday, May 20, 2017
After-hours screening of 'The Harder They Come'
Ed.
Note: What follows is an episode of Biograph Times, which is a
work-in-progress that hopes to one day become a book. The Biograph (1972-87) was an independent repertory cinema, located at
814 West Grace Street in Richmond, Virginia. It opened in an era that
seemed ready to give the baby boomers, who were becoming adults,
whatever they wanted.
In the fall of 1973, David Levy, then the most active
managing partner/owner of the Biograph Theatres in Georgetown and
Richmond, asked me to look at a film to evaluate its potential. From
time to time he did that for various reasons. In this case he had a new
35mm print of “The Harder They Come” shipped to me. I managed the
Biograph in Richmond.
In those days we had frequent after-hours screenings of films we came by, one way or another. Usually on short notice, the word would go out that we would be watching a movie at a certain time. These gatherings were essentially impromptu movie parties. A couple of times it was 1940s and '50s 16mm boxing films from a private collection.
Sometimes prints of films that were in town to play at another venue, say a film society, would mysteriously appear in our booth. In such cases the borrowed flicks were always returned before they were missed ... so I was told.
Although I don’t remember any moments, in particular, from that first screening of “The Harder They Come”, I do recall the gist of my telephone conversation with Levy the next day. After telling him how much I liked the Jamaican movie, he asked me how I would promote it.
Well, I was ready for that question. I had smoked it over thoroughly with a few friends during and after the screening. So, I told David we ought to have a free, open-to-the-public, sneak preview of the movie. Most importantly, we should use radio exclusively to promote the screening. Because of the significance of the radio campaigns for the Biograph's midnight shows, over the last year, he liked the idea right away.
In this time, long before the era of giant corporations owning hundreds of stations, a locally-programmed daytime radio station with a weak signal played a significant role in what success was enjoyed at the Biograph. For a while we had a sweet deal -- a dollar-a-holler -- with WGOE-AM, the most popular station for the under-35 set in the Fan District and environs. In the first half of the 1970s, the station at the top of the dial, 1590, owned the hippie market.
Subsequently, on a Friday morning in November the DJs at WGOE began reading announcements of a free showing of “The Harder They Come” that would take place at the Biograph that afternoon at 3 p.m. Then they would play a cut by Jimmy Cliff, the film’s star, from the soundtrack. This pattern was continued maybe three times an hour, leading up to the time of the screening.
Ed. Note: “The Harder They Come” (1972): 120 minutes. Color. Directed by Perry Henzell; Cast: Jimmy Cliff, Janet Bartley, Carl Bradshaw. In this Jamaican production, Cliff plays Ivan, a pop star/criminal on the lam. The music of Cliff, The Maytals, The Melodians and Desmond Dekker is featured.
Of course, Reggae music was being heard in Richmond before our free screening, but it was still on the periphery of popular culture. As I recall, some 300 people showed up for the screening and the movie was extremely well received.
In previous runs in other markets, “The Harder They Come” had been treated more or less as an underground movie. As it was shot in 16mm and blown up to 35mm for its American distribution, it had a grainy, documentary look to it that added to its allure. Upon hearing about the test-audience's approval, Levy got excited and wanted to book it to run as a regular feature, rather than as a midnight show.
While it didn’t set any records for attendance, “The Harder They Come” did fairly well and returned to play several more dates at the Biograph, at regular hours and as a midnight show.
Levy became a sub-distributor for “The Harder They Come.” When he rented it to theaters in other cities within his region, he advised them to use the same radio-promoted, free-screening tactic.
Forty-four years ago, watching a virtually unknown low-budget Jamaican film after hours in the Biograph had seemed edgy, almost exotic. That night we had no idea how popular Reggae music was about to become.
Over the next few years Reggae music smoothly crossed over from niche to mainstream to ubiquitous. Bob Marley (1945-81), dead for over 30 years, still has a huge following to this day. Reggae's acceptance opened the door for the popularity of the still-fresh fusion sound of the 2 Tone bands, like The Selecter, The Specials, the (English) Beat, Madness, and so forth, in the early-1980s.
*
![]() |
Still of Jimmy Cliff as Ivan. |
In those days we had frequent after-hours screenings of films we came by, one way or another. Usually on short notice, the word would go out that we would be watching a movie at a certain time. These gatherings were essentially impromptu movie parties. A couple of times it was 1940s and '50s 16mm boxing films from a private collection.
Sometimes prints of films that were in town to play at another venue, say a film society, would mysteriously appear in our booth. In such cases the borrowed flicks were always returned before they were missed ... so I was told.
Although I don’t remember any moments, in particular, from that first screening of “The Harder They Come”, I do recall the gist of my telephone conversation with Levy the next day. After telling him how much I liked the Jamaican movie, he asked me how I would promote it.
Well, I was ready for that question. I had smoked it over thoroughly with a few friends during and after the screening. So, I told David we ought to have a free, open-to-the-public, sneak preview of the movie. Most importantly, we should use radio exclusively to promote the screening. Because of the significance of the radio campaigns for the Biograph's midnight shows, over the last year, he liked the idea right away.
In this time, long before the era of giant corporations owning hundreds of stations, a locally-programmed daytime radio station with a weak signal played a significant role in what success was enjoyed at the Biograph. For a while we had a sweet deal -- a dollar-a-holler -- with WGOE-AM, the most popular station for the under-35 set in the Fan District and environs. In the first half of the 1970s, the station at the top of the dial, 1590, owned the hippie market.
Subsequently, on a Friday morning in November the DJs at WGOE began reading announcements of a free showing of “The Harder They Come” that would take place at the Biograph that afternoon at 3 p.m. Then they would play a cut by Jimmy Cliff, the film’s star, from the soundtrack. This pattern was continued maybe three times an hour, leading up to the time of the screening.
Ed. Note: “The Harder They Come” (1972): 120 minutes. Color. Directed by Perry Henzell; Cast: Jimmy Cliff, Janet Bartley, Carl Bradshaw. In this Jamaican production, Cliff plays Ivan, a pop star/criminal on the lam. The music of Cliff, The Maytals, The Melodians and Desmond Dekker is featured.
Of course, Reggae music was being heard in Richmond before our free screening, but it was still on the periphery of popular culture. As I recall, some 300 people showed up for the screening and the movie was extremely well received.
In previous runs in other markets, “The Harder They Come” had been treated more or less as an underground movie. As it was shot in 16mm and blown up to 35mm for its American distribution, it had a grainy, documentary look to it that added to its allure. Upon hearing about the test-audience's approval, Levy got excited and wanted to book it to run as a regular feature, rather than as a midnight show.
While it didn’t set any records for attendance, “The Harder They Come” did fairly well and returned to play several more dates at the Biograph, at regular hours and as a midnight show.
Levy became a sub-distributor for “The Harder They Come.” When he rented it to theaters in other cities within his region, he advised them to use the same radio-promoted, free-screening tactic.
Forty-four years ago, watching a virtually unknown low-budget Jamaican film after hours in the Biograph had seemed edgy, almost exotic. That night we had no idea how popular Reggae music was about to become.
Over the next few years Reggae music smoothly crossed over from niche to mainstream to ubiquitous. Bob Marley (1945-81), dead for over 30 years, still has a huge following to this day. Reggae's acceptance opened the door for the popularity of the still-fresh fusion sound of the 2 Tone bands, like The Selecter, The Specials, the (English) Beat, Madness, and so forth, in the early-1980s.
* * *
Thursday, April 20, 2017
Five Film Favorites: Cartoons
What will fill up this list will be my five favorite cartoons today. Still, before I get to that I want to give the reader some sense of what I liked best, back when I was a cartoon-loving kid. My favorite 'toons featured these characters: Betty Boop, Bugs Bunny, Daffy Duck, Heckle and Jeckle, Mr. Magoo, Popeye, Woody Woodpecker and so forth. Rather than go on, I'll stop there. You get the picture.
In the late-1950s I still very much enjoyed the smooth animation styles of the old cartoons that were originally made to play in movie theaters. The early cartoons made for television, like Mighty Mouse, had imitated them. Then the Hanna-Barbera style came to TV. It was everywhere suddenly and I didn't like it all that much.
The drawings were flatter. Their entertainment value relied more on the dialogue than the art. Although I watched Huckleberry Hound and Yogi Bear, even liked them, I was put off by the animation style. The same was true for Rocky and Bullwinkle, although I liked the cartoons on that program more, because the writing was much funnier.
For this list of five favorites I'm talking mostly about cartoons that are about seven minutes long, which was standard in the time before television. So no feature length animated films are on this list. Neither are made-for-TV shows like The Simpsons, etc.
Here are my five favorite short (all less than 10 minutes) cartoons, with one added special mention of an unusual animated segment of a feature-length film.
"The Critic" (1963): 4 minutes. Color. Directed by Ernest Pintoff. Voice by Mel Brooks. Click here to watch it.
"Duck Amuck" (1953): 7 minutes. Color. Directed by Chuck Jones. Voices by Mel Blanc. Click here to watch it.
"Minnie the Moocher" (1932). 8 minutes. B&W. Directed by Dave Fleischer. Voices by Mae Questel, Cab Calloway. Click here to watch it.
"Rooty Toot Toot" (1951): 7 minutes. Color. Directed by John Hubley. Voices by Thurl Ravenscroft, Annette Warren. Click here to watch it.
"Thank You Masked Man" (1971): 8 minutes. Color. Directed by John Magnuson. Voices by Lenny Bruce. Click here to watch it.
Bonus pick: This is a segment from "Allegro non Troppo" (1976). It was an Italian take off of Disney's "Fantasia." Both films used pieces of classical music as their sound. Click here to watch it.
-- 30 --
Five Favorite Films: Movies About Television

Eventually, one by one, the major studios sold off the rights to their old features to television. To lure audiences into aging downtown movie palaces the most panicked producers in Hollywood reached out to eye candy like CinemaScope and 3-D. Soon the studios decided they had to stop making movies in black and white. Eventually, the businessmen of Hollywood saw they had to throw off the Hays Code, adopted in the early-’30s to keep the smut out of American movies.
A national trend moved the movie theater business to multiplexes in the suburbs. Downtown single-auditorium movie houses fell onto hard times. So, Richmond is fortunate to have an authentic old movie palace still in operation as a cinema: The Byrd Theatre, which opened in 1928, is now owned and operated by a non-profit foundation.
Yet, some 60 years after the doom of big-budget movie-making was being predicted, while the old studio system that thrived in the ‘30s and ‘40s is history, it seems no matter how much it costs to make feature films, determined producers will always figure out ways to keep doing it.
Of course, one of the things that Hollywood has relished doing that television couldn’t do, or wouldn’t do, for a long time, was to tell unflattering, inside stories about how the people who rule the television industry operate ... to expose their real priorities. As a medium, TV was too uptight to pull back the curtain to reveal its inner works. In other words, "The Dick Van Dyke Show" wasn’t a realistic look at the job of producing a weekly sitcom.
However circuitous, that introduction leads us to this week’s list of five film favorites -- movies about television. All of them were made in the 20th century, one of them, just barely:
- “Broadcast News” (1987): Color. 133 minutes. Directed by James L. Brooks. Cast: William Hurt, Albert Brooks, Holly Hunter, Jack Nicholson. Note: The inevitable rivalries that color the relationships of the news producer, writer/reporter and presenter/anchorman are explored. Being overly self-absorbed is an industry requirement. Roger Ebert said: “[As] knowledgeable about the TV news-gathering process as any movie ever made.”
- “The China Syndrome” (1979): Color. 122 minutes. Directed by James Bridges. Cast: Jane Fonda, Jack Lemmon, Michael Douglas, Scott Brady. Note: A reporter discovers a cover-up of an accident at a nuclear power plant and all hell breaks loose. Her determination to tell the story becomes dangerous to her and anyone close by. Ironically, the infamous Three Mile Island partial meltdown incident in Pennsylvania happened 12 days after this film was released in 1979.
- “A Face in the Crowd” (1957): B&W. 126 minutes. Directed by Elia Kazan. Cast: Andy Griffith, Patricia Neal, Walter Matthau, Anthony Franciosa, Lee Remick. Note: An early warning about television’s potential to boost a charismatic personality into real power. As corny as this film is, in ways, most of it holds up well. Although Andy Griffith doesn’t play a heavy often, he sure knocks it out of the park in this one.
- “Magnolia” (1999): Color. 188 minutes. Directed by Paul Thomas Anderson. Cast: Jason Robards, Julianne Moore, John C. Reilly, Philip Seymour Hoffman, William H. Macy, Tom Cruise, Philip Baker Hall. Note: A dark but whimsical story about fate and luck, told from several angles that overlap. The scene that unites all the characters, to sing the same Aimee Mann song is about as risky AND as satisfying as it gets on the big screen.
- “Network” (1976): Color. 121 minutes. Directed by Sydney Lumet. Cast: Peter Finch, Faye Dunaway, William Holden, Robert Duvall. Note: The future of cable television’s soon-to-be-seen excesses in bad taste is anticipated with chilling accuracy by writer Paddy Chayefsky. Finch’s unhinged anchorman character, Howard “I’m Mad as Hell” Beale, is unforgettable. It won him an Oscar.
Next Thursday another Five Film Favorites episode with a different category will be offered.

Wednesday, April 19, 2017
Five Film Favorites: Movies About Making Movies

The people who write the screenplays and direct the movies we see on screens, large and small, sometimes appear to know a lot about cowboys, or modern teenagers in love, or lathered up serial killers, or life in the fast lane, or whatever. Still, what most successful filmmakers actually do know about, firsthand and in-depth, is what goes on behind the camera in the business of producing popular motion pictures.
Consequently, plenty of movies about making movies have been made; some of those inside looks at filmmaking are among the best features ever produced. After all, there’s no business like show business!
Which means narrowing the list down to just five titles this week wasn’t easy, but that’s my job.
Yes, “Sullivan’s Travels” (1941) is still a cool flick and it’s sort of about making movies. Yes, I always enjoy watching “Singin' in the Rain” (1952), even though most of the old studio system musicals from the 1940s and ’50s aren’t likely to ever appear on any favorites list of mine. Yes, “Wag the Dog” (1997) deserves more praise than it has received. And, most recently, I enjoyed “The Artist” (2011) quite a bit, although I‘ve only seen it once. Yes, more films could be cited in this paragraph, but today none of them have made the cut.
Today my five favorite movies about making movies are:
- “8½” (1963): B&W. 138 minutes. Directed by Federico Fellini. Cast: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée. Note: While this is a film about making a film, don’t stew over trying to make sense of it. Just watch as Fellini dazzles you with unforgettable characters and images, as he shrugs and admits to his own confusion.
- “Day for Night” (1973): Color. 115 minutes. Directed by François Truffaut. Cast: Jacqueline Bisset, Valentina Cortese, François Truffaut. Note: An engaging look at the process of crafting a movie's plot, with the soap-opera-like private lives of the cast and crew intermingling with the production. It could be seen as a director’s bittersweet confession.
- “The Day of the Locust” (1975): Color. 144 minutes. Directed by John Schlesinger. Cast: Donald Sutherland, Karen Black, William Atherton, Burgess Meredith. Note: This foreboding story was adapted from the Nathanael West novel about the fresh lure of stardom in Hollywood and the same old road to hell.
- “The Player” (1992): Color. 124 minutes. Directed by Robert Altman. Cast: Tim Robbins, Greta Scacchi, Fred Ward. Note: Dealing out some payback to Hollywood, Altman pulls back the curtain to show us the blackmailing, back-stabbing side of how stories -- reduced to pitches -- get processed into movies. No doubt, Altman and his accomplices had fun making this one.
- “Sunset Blvd.” (1950): B&W. 110 minutes. Directed by Billy Wilder. Cast: William Holden, Gloria Swanson, Erich von Stroheim. Note: For a young struggling writer, down on his luck, why not coast for a while? Why not facilitate the batty fantasies of a rich, has-been movie star? What could go wrong?
No, we movie-lovers should just enjoy the best of these filmmakers’ efforts and take them for what they are, for the most part -- made-up stories, created to tell us a larger truth.
-- 30 --
Five Film Favorites: War Movies

Note: This piece was originally published on Sept. 5, 2013. All rights are reserved.
Yes, like it or not, the drumbeat for war is sounding again and stirring passions. The debate inside the beltway over whether to bomb Syria is taking place as these words are being written. Justifications, warnings and predictions are in the air. With uncertainty swirling about, one thing is for sure -- filmmakers are paying attention to what’s happening. They are taking notes for the movies to be made about what’s happening … and what will follow.
As a setting for compelling stories the extremes of war have been useful to filmmakers throughout the history of movies. The first American feature-length motion picture to receive widespread distribution was D.W. Griffith’s rather warped melodrama about the American Civil War and its aftermath, “The Birth of a Nation” (1915).
Depending on what might be called a “war movie,” at least 20 such feature films have won the Academy Award for Best Picture. The problem with arriving at an exact number is that while some movies are set during wars, not all of them seem like traditional “war movies.” Which opens the door to the problem of defining that term.
Well, for today’s purpose “war movies” are going to be divided into two categories: heroic and anti-war. Still, most of the best war movies, at least in my book, have at least a hint of anti-war sentiment in them. Some might call it sanity. After all, war isn’t just hell, it’s crazy hell.
For this list of favorites a “heroic war film” is about the quest to bravely fight through that crazy hell as part of a larger purpose. Such films are usually about losing oneself in the pursuit of that quest. Whereas, an “anti-war film” is more about the toll of war, or the sheer folly of it.
Thus, I have to cheat for this favorites list, in that two different sets of five favorites are needed to cover the war front.
Heroic War Films
- “Attack” (1956): B&W. 107 minutes. Directed by Robert Aldrich. Cast: Jack Palance, Eddie Albert, Lee Marvin. Note: This gritty WWII yarn pits extremes against one another with cynicism as the referee. Cooney is the hated officer who owes his rank to political pull. Caught in the throes of a fit of cowardice he fails to support his men when it counts most. One of them, Costa, survives and wants Cooney to pay.
- “The Deer Hunter” (1978): Color. 182 minutes. Directed by Michael Cimino. Cast: Robert De Niro, Christopher Walken, Meryl Streep, John Savage, John Cazale. Note: This tense story pulls three pals loose from their familiar blue collar moorings. It drops them into unimagined horrors in another world -- Vietnam. Then it explores the nature of heroism staring into the madness of a dilemma with no good options.
- “The Great Escape” (1963): Color. 172 minutes. Directed by John Sturges. Cast: Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, Donald Pleasence. Note: McQueen is at his antihero best in this somewhat true WWII story about captured Americans and Brits in a German prisoner of war camp, plotting a massive escape. Their ingenuity and dedication are the stuff of a great adventure … whether they get away with it or not.
- “The Thin Red Line” (1998): Color. 170 minutes. Directed by Terrence Malick. Cast: Sean Penn, Nick Nolte, Adrien Brody, James Caviezel, Woody Harrelson. Note: When Malick makes a WWII movie it’s going to be different from most war movies. This one lingers on the soldiers’ dreams and boredom, then explodes into action most of them have extreme difficulty handling. Of course, there are those charmed individuals who somehow thrive in combat.
- “The Train” (1964): Color. 133 minutes. Directed by John Frankenheimer. Cast: Burt Lancaster, Paul Scofield, Jeanne Moreau. Note: In 1944 a German colonel wants to grab a bunch of important art and take it out of France, to Germany, before the approaching Allied troops can liberate Paris. The French resistance wants to prevent the Nazis on the train from completing their thieving mission.
Anti-War Films
- “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964): B&W. 95 minutes. Directed by Stanley Kubrick. Cast: Peter Sellers, George C. Scott, Sterling Hayden, Slim Pickens, Keenan Wynn. Note: Coming just after the Cuban Missile Crisis this outrageous, nuke-mocking black comedy worked like a charm. Poof! The fallout shelter-building-craze began to go out of style in the suburbs. Trivia: owing to the assassination of JFK in November of 1963 this film's release was delayed two months.
- “Forbidden Games” (1952): B&W. 86 minutes. Directed by René Clément. Cast: Brigitte Fossey, Georges Poujouly, Amédée. Note: An orphaned and confused little girl is taken in by a family. In this subtle anti-war classic the devastating toll of mechanized war, as seen by children -- who can hardly grasp what’s happening around them -- is stunning. Don’t look for a lot of battle scenes in this one.
- “King of Hearts” (1966): Color. Directed by Philippe de Broca. Cast: Alan Bates, Geneviève Bujold, Pierre Brasseur. Note: The first movie to play at Richmond’s long-lost Biograph Theatre (in 1972) was a zany French comedy; Bujold was dazzling opposite the droll Bates. The story is set amid the harsh but absurd realities of way too much war (WWI). Hey, when the world goes crazy, why shouldn’t the crazy people take over the town?
- “Paths of Glory” (1957): B&W. 88 minutes. Directed by Stanley Kubrick. Cast: Kirk Douglas, Ralph Meeker, Adolphe Menjou. Note: In the trench warfare stalemate of WWI, the search for glory becomes a fool’s errand. Living in mud with dead bodies piling up, blame-shifting begins to obscure the mission. What is the mission? Honest men start to look like enemies to their corrupt superior officers.
- “Seven Beauties” (1975): Color. 115 minutes. Directed by Lina Wertmüller. Cast: Giancarlo Giannini, Fernando Rey, Shirley Stoler. Note: This film is a unique combination of comedy and tragedy. Caught in a war, if they want to survive, what -- if anything! -- will captive soldiers refuse to do? What will their families at home, facing starvation, refuse to do? This unforgettable look at Italy in WWII takes you there.
-- 30 --
Five Film Favorites: Westerns
Jack
Burns and Whisky pass through a junkyard
in
"Lonely
Are the Brave," which was adapted from the
Edward
Abbey novel, "Brave Cowboy."
Regardless of the overall quality of the movie, the stark landscape of most Westerns is the prefect backdrop for tall tales of men, and sometimes women, driven to extremes.
Listed below are my five favorite Westerns, presented in alphabetical order:
- “High Noon” (1952): B&W. 85 Minutes. Directed by Fred Zinnemann; Cast: Gary Cooper, Grace Kelly, Thomas Mitchell, Lloyd Bridges. Note: The contrasts are vivid. Shadow or light? Happiness or duty? Community or self interest? Honor or whatever is the opposite? Life or death?
- “Lonely Are the Brave” (1962): B&W. 107 minutes. Directed by David Miller; Cast: Kirk Douglas, Gena Rowlands, Walter Matthau, George Kennedy. Note: To help his friend, a free-spirited cowboy flings himself recklessly at the hobbling effects of social and cultural changes … then tries desperately to escape.
- “Stagecoach” (1939): B&W. 96 minutes. Directed by John Ford; Cast: John Wayne, Claire Trevor, Andy Devine, John Carridine. Note: With this saga that throws disparate travelers together, to face peril, Ford made a star of Wayne. And, Ford created a template for all such movies to follow.
- “The Treasure of the Sierra Madre” (1948): B&W. 126 minutes. Directed by John Huston; Cast: Humphrey Bogart, Walter Huston, Tim Holt. Note: Three down-on-their-luck drifters, almost strangers, throw in together to prospect for gold in Mexico. Problems ensue and personalities clash.
- “Unforgiven” (1992): Color. 131 Minutes. Directed by Clint Eastwood; Cast: Clint Eastwood, Gene Hackman, Morgan Freeman, Richard Harris. Note: A grizzled pair of former gunfighters/murderers team up to try to collect a $1,000 reward by killing two cowboys who deliberately disfigured a prostitute. Naturally, the corrupt sheriff must throw his weight around.
The films on the list above all have plots that can be boiled down to one word. “High Noon” is about honor. “Lonely Are the Brave” is about freedom. “Stagecoach” is about survival. “The Treasure of the Sierra Madre” is about greed. “Unforgiven” is about revenge. Decisions by the characters drive the action.
“Lonely Are the Brave” is probably the least known movie on that list. If you aren’t familiar with it, do yourself a favor and see it soon. It’s sort of a beat treatment to the cowboy-verses-modernity angle. It was produced to be a Hollywood answer to the French New Wave films that were becoming popular in America in the early-1960s.
My peers grew up watching Western feature films in movie houses and weekly Western series on television. And, whether we knew it or not, some portion of the baby boomer generation’s collective sense of right and wrong was being shaped by all those heroes and villains wearing cowboy hats and boots.
Speaking of fashion, when I was six or seven years old there was a spell in which any shirts with a collar that I wore had to resemble the trademark checkered cowboy shirt Roy Rogers wore on his weekly TV show.
The five films on my list represent my favorites today. Another day’s list of favorite Westerns might be different. Moreover, this list doesn’t represent my ideas about important or great movies. Just favorites.
-- 30 --
Thursday, April 06, 2017
The Cheaters

The story below is about my grandfather. It's set in the summer of 1959. I wrote it some 27 years ago for SLANT. A version of it was later published in STYLE Weekly in 2000.
The Cheaters
by F.T. Rea
Having devoted countless hours to competitive sports and games of all sorts, nothing in that realm is quite as galling to this grizzled scribbler as the cheater’s averted eye of denial, or the practiced tones of his shameless spiel.
In the middle of a pick-up basketball game, or a friendly Frisbee-golf round, too often, my barbed outspokenness over what I have perceived as deliberate cheating has ruffled feathers. Alas, it's my nature. I can't help it any more than a watchful blue jay can resist dive-bombing an alley cat.
The reader might wonder about whether I'm overcompensating for dishonest aspects of myself, or if I could be dwelling on memories of feeling cheated out of something dear.
OK, fair enough, I don't deny any of that. Still, truth be told, it mostly goes back to a particular afternoon's mischief gone wrong.
*
A blue-collar architect with the Chesapeake & Ohio Railway for decades, my maternal grandfather, Frank Wingo Owen was a natural entertainer. Blessed with a resonant baritone/bass voice, he began singing professionally in his teens and continued performing, as a soloist and with barbershop quartets, into his mid-60s.
Shortly after his retirement, at 65, the lifelong grip on good health he had enjoyed failed; an infection he picked up during a routine hernia surgery at a VA hospital nearly killed him. It left him with no sense of touch in his extremities. Once he got some of his strength back, he found comfort in returning to his role as umpire of the baseball games played in his yard by the neighborhood's boys. He couldn't stand up behind home plate, anymore, but he did alright sitting in the shade of the plum tree, some 25 feet away.
This was the summer he taught me, along with a few of my friends, the fundamentals of poker. To learn the game we didn’t play for real money. Each player got so many poker chips. If his chips ran out, he became a spectator.
The poker professor said he’d never let us beat him, claiming he owed it to the game itself to win if he could, which he always did. Woven throughout his lessons on betting strategy were stories about poker hands and football games from his cavalry days, serving with the Richmond Blues during World War I.
As likely as not, the stories he told would end up underlining points he saw as standards: He challenged us to expose the true coward at the heart of every bully. "Punch him in the nose," he'd chuckle, "and even if you get whipped he'll never bother you again." In team sports, the success of the team trumped all else. Moreover, withholding one’s best effort in any game, no matter the score, was beyond the pale.
Such lazy afternoons came and went so easily that summer there was no way then, at 11, I could have appreciated how precious they would seem looking back on them.
On the other hand, there were occasions he would make it tough on me. Especially when he spotted a boy breaking the yard's rules or playing dirty. It was more than a little embarrassing when he would wave his cane and bellow his rulings. For flagrant violations, or protesting his call too much, he barred the guilty boy from the yard for a day or two.
F. W. Owen’s hard-edged opinions about fair play, and looking directly in the eye at whatever comes along, were not particularly modern. Nor were they always easy for know-it-all adolescent boys to swallow.
Predictably, the day came when a plot was hatched. We decided to see if artful subterfuge could beat him at poker just once. The conspirators practiced in secret for hours, passing cards under the table with bare feet and developing signals. It was accepted that we would not get away with it for long, but to pull it off for a few hands would be pure fun.
Following baseball, with the post-game watermelon consumed, I fetched the cards and chips. Then the four card sharks moved in to put the caper in play.
To our amazement, the plan went off smoothly. After hands of what we saw as sly tricks we went blatant, expecting/needing to get caught, so we could gloat over having tricked the great master. Later, as he told the boys' favorite story -- the one about a Spanish women who bit him on the arm at a train station in France -- one-eyed jacks tucked between dirty toes were being passed under the table.
Then the joy began to drain out of the adventure. With semi-secret gestures I called the ruse off. A couple of hands were played with no shenanigans but he ran out of chips, anyway.
Head bowed, he sighed, “Today I can’t win for loosing; you boys are just too good for me.” Utterly dependent on his cane for balance he slowly walked into the shadows toward the back porch. It was agonizing.
The game was over; we were no longer pranksters. We were cheaters.
As he carefully negotiated the steps, my last chance to save the day came and went without a syllable out of me to set the record straight. It was hard to believe that he hadn’t seen what we were doing, but my guilt burned so deeply I didn't wonder enough about that, then.
*
My grandfather didn’t play poker with us again. He went on umpiring, and telling his salty stories afterwards over watermelon. We tried playing poker the same way without him, but it didn’t work; the value the chips had magically represented was gone. The boys had outgrown poker without real money on the line.
Although I thought about that afternoon's shame many times before he died nine years later, neither of us ever mentioned it. For my part, when I tried to bring it up, to clear the air, the words always stuck in my throat.
Eventually, I grew to become as intolerant of petty cheating as F.W. Owen was in his day, maybe even more so. And, as it was for him, the blue jay has always been my favorite bird.
-- 30 --
Tuesday, April 04, 2017
Does Neil Gorsuch Still Have Better Angels?
Imagine Gorsuch issuing a press release on Thursday morning saying that upon reflection he has decided to decline the appointment to the Supreme Court and go back home to Colorado. In a Frank Capra film Gorsuch would announce he's stepping aside out of respect for Merrick Garland and the Supreme Court, itself.
If that could happen in real life, what would John Q. Public say if Gorsuch ended his confirmation quest by claiming his abiding hope is that what happened to Garland will never happen again?
Well, of course, extremists on the left and on the right would find something snarky to say. Some wags would feel obligated to find fault with such a selfless move. But to a lot of people, by sacrificing himself for the sake of not wanting to be part of setting a bad precedent, Gorsuch would likely become an instant hero. I think it would be uplifting to Americans who still believe that above all else, judges should be fair-minded.
Furthermore, if Gorsuch is really the wise head some of his boosters in the Senate are saying he is, he would have to grasp that the unprecedented and convoluted manner in which he's getting this job is stained in a way that will never fade away.
Gorsuch should be smart enough to know that if he takes the job, as it's being offered, he's going to go down in history as the opportunist who wanted too much. The guy who sold his soul to participate in a shameless episode of cheating – meaning he'll always have an asterisk after his name.
Which will make him the Barry Bonds of Supreme Court justices. Although I don't know how many there are, I'm sure there are still some judges in this country who are wise enough to play the long game and avoid any chance of becoming the Barry Bonds of anything, whenever they can.
Last question: By closing the door to the Supreme Court, wouldn't some other doors open for such an honorable man?
-- 30 --
-- Art and words by F.T. Rea
Saturday, April 01, 2017
The Strange Case of Gus the Cat
Note:
In an effort to be funny in an off-beat way, I wrote this piece in
2000. The people quoted were told the scenario and given the freedom to
write their own lines, in character. It was first published by
Richmond.com.
Though cynical people like to say, “All cats are gray in the dark,” the difference between this and that counts with me. Thus, if for no other purpose than to satisfy my own curiosity, I set out to find the truth about Gus, the cat that had long presided over lower Carytown from his plush basket in a bookstore display window facing the street.
The mystery began in the course of a casual conversation about re-makes
of old movies. Film aficionado Ted Salins, a regular among the society of
conversationalists who gather at the tables on the sidewalk in front of
Coffee & Co., tossed out that the cat living next door in Carytown
Books is not the “original” Gus.
Since I’ve known Salins, a writer/filmmaker/house-painter, for a long time, I suspected his charge was a setup for a weak joke. To give him room to operate I asked, “So, this Gus is an impostor?”
“Just like Lassie, several cats have played the role of Gus over the years,” Salins said matter-of-factly.
Until that moment it hadn’t occurred to me that Gus, someone else’s cat, had slowly become important to me over the years. In the past I’ve been told that he’s over 15, maybe pushing 20. Who can say what that is in cat years? He still has a few teeth left.
“You see, in ‘91 I had lost my beloved Skinkywinkydinky in a separation,” Salins went on, as if revealing a dark conspiracy. “When I first saw Gus, I took to him because he reminded me of Skinky. That Gus wouldn't let you touch him. But, this Gus…”
“Ted, this is absolutely the most off-the-wall nonsense you’ve come up with yet,” I accused.
“The place has changed hands a few times since then,” Salins smugly offered. “The problem is each owner falls in love with the cat and keeps it. But since Gus has become an institution in Carytown, each set of new owners has to find another cat that looks like Gus. The switch is made at night in order to preserve the secret. I’ve seen it.”
Before I could say “horsefeathers,” another member of the Carytown intelligentsia, who had just walked up, spoke: “Salins, as usual you’re all wet,” said artist Jay Bohannan. “That is not only the same cat, but Gus is, let’s see, yes, he’s nearly 70. That particular cat is probably the oldest cat this side of the island of Lamu.”
I laughed at Bohannan’s crack and excused myself from the table to let them hash it out. The two of them have been arguing good-naturedly since their VCU art school days in the early ‘70s.
Walking toward my car, Ted’s suggestion of a fraud having been perpetrated on the public bothered me. I felt certain that if somebody had actually installed a faux Gus in the bookstore it would have been all over the street the next day. As I tried to imagine people spiriting nearly identical cats in and out of the back door, in the dead of night, the matter wouldn’t rest.
So I turned around and went into Carytown Books. The shop’s manager, Kelly Justice, who has worked there for six years under three editions of ownership, scoffed at Salins’ charge.
“Anyone who knows Ted, knows he’s a nitwit,” said Ms. Justice with a wry smile. “More likely than not, this is an attempt to raise funds for another one of his documentaries.”
When I told her about Bohannan’s equally outrageous suggestion that Gus was almost a septuagenarian, Justice laughed out loud. “Perhaps Jay and Ted are both trying to hitch their wagons to Gus’ star,” she suggested playfully.
Back outside, Salins and Bohannan were both gone. So I walked east on the block to Bygones, the collectable clothing and memorabilia store known for its artful window displays. Since Maynee Cayton, the shop’s proprietor, is an unofficial historian for the neighborhood, I decided to see what she knew about Gus.
Cayton, who has been at that location for 16 years, said she had some pictures of the block from the ’30s and ‘40s, but she didn’t think she had any shots of a bookstore cat. However, she did remember that when she was a child she saw a gray and white cat in the window of what was then the Beacon Bookstore.
“It was in the late ’60s, I think it was 1967,” she said, raising an eyebrow. “And I’d say it was a young cat. Either way, I can’t believe the feline impersonator story, so maybe it was Gus.”
The next day, Bohannan called on the phone to tell me he had something I needed to see right away. He was mysterious about it and wouldn’t explain what he was talking about, except to say that it was proof of his claim about Gus the Cat.
Unable to let it go, I told him I’d stop by his place to see what proof he had.
Bohannan’s apartment, located between Carytown and the Virginia Museum of Fine Arts, was an escape from the modern world altogether. It’s furnished in a pleasant mix of practical artifacts and curiosities from yesteryear. The heavy black telephone on his desk was almost as old as Jay. Next to the desk was a turn-of-the-century gramophone. Bohannan, himself, dressed like a character who just stepped out of a Depression-era RKO film, reached into a dog-eared manila folder and pulled out a photograph. When I asked him where he had gotten the picture, purportedly from about 1930, he shrugged.
In such a setting, his evidence of Gus’ longevity took on an eerie authenticity. Sitting in one of Bohannan’s ancient oak chairs, surrounded by his own paintings of scenes from Virginia’s past, I thought I could see the cat he claimed was depicted in the storefront’s window. Why, it even looked like Gus.
Jay told me I could keep the photo, it was just a Xerox copy. What a scoop!
Later, when I looked at the grainy picture at home, I could hardly even see a cat. The next day, back in Carytown, I spoke with several people who hang out or work in the neighborhood. A few actually thought Bohannan’s bizarre contention could be true. Others agreed with Salins.
One man, who refused to be quoted with attribution, said he was sure the original Gus was an orange cat. A woman looked up from her crossword puzzle to note that Bohannan's evidence was at least as good as what she'd seen on the Loch Ness Monster.
Then the whole group of chatty know-it-alls went off on the general topic of conspiracy theories and hoaxes. At the next table a woman in a straw hat started sketching the sidewalk scene.
A few days later, I saw Ted Salins holding court in front of the coffee shop. I told him what Kelly had said about his claim and I showed him Jay’s so-called proof that Gus is ancient.
“The next thing you’re going to tell me is Shakespeare actually wrote all those plays," Ted said mockingly. "Look, it’s not the same cat. Live with it. This Gus is a ringer, maybe three years old.”
Turning around, I looked through the storefront’s glass at good old Gus in his usual spot. He looked comfortable with a new electric heater under the blanket in his basket. It dawned on me that there was a time when Gus used to avoid me, as well. Now he seems happy for me to pet him, briefly.
Pulled back into the spell of the mystery, I wondered, had Gus changed or had I? Gus stared back at me and blinked. Like one of his favorite authors, J. D. Salinger, Gus wasn’t talking.
Gus was smiling as only a cat can; a smile that suggests equal parts of wisdom-of-the-ages and dumb-as-a-bag-of-hammers. One obvious truth about Gus the Cat was that he had grown quite accustomed to having a public.
Note: On June 19, 2001 a cat alleged to have been the authentic Gus the Cat was found dead in Carytown Books; he was estimated by the bookstore's spokesperson to have been about 18 years old.
*
Though cynical people like to say, “All cats are gray in the dark,” the difference between this and that counts with me. Thus, if for no other purpose than to satisfy my own curiosity, I set out to find the truth about Gus, the cat that had long presided over lower Carytown from his plush basket in a bookstore display window facing the street.
![]() |
This
photo of Gus was taken by
Stacy
Warner for Richmond.com.
|
Since I’ve known Salins, a writer/filmmaker/house-painter, for a long time, I suspected his charge was a setup for a weak joke. To give him room to operate I asked, “So, this Gus is an impostor?”
“Just like Lassie, several cats have played the role of Gus over the years,” Salins said matter-of-factly.
Until that moment it hadn’t occurred to me that Gus, someone else’s cat, had slowly become important to me over the years. In the past I’ve been told that he’s over 15, maybe pushing 20. Who can say what that is in cat years? He still has a few teeth left.
“You see, in ‘91 I had lost my beloved Skinkywinkydinky in a separation,” Salins went on, as if revealing a dark conspiracy. “When I first saw Gus, I took to him because he reminded me of Skinky. That Gus wouldn't let you touch him. But, this Gus…”
“Ted, this is absolutely the most off-the-wall nonsense you’ve come up with yet,” I accused.
“The place has changed hands a few times since then,” Salins smugly offered. “The problem is each owner falls in love with the cat and keeps it. But since Gus has become an institution in Carytown, each set of new owners has to find another cat that looks like Gus. The switch is made at night in order to preserve the secret. I’ve seen it.”
Before I could say “horsefeathers,” another member of the Carytown intelligentsia, who had just walked up, spoke: “Salins, as usual you’re all wet,” said artist Jay Bohannan. “That is not only the same cat, but Gus is, let’s see, yes, he’s nearly 70. That particular cat is probably the oldest cat this side of the island of Lamu.”
I laughed at Bohannan’s crack and excused myself from the table to let them hash it out. The two of them have been arguing good-naturedly since their VCU art school days in the early ‘70s.
Walking toward my car, Ted’s suggestion of a fraud having been perpetrated on the public bothered me. I felt certain that if somebody had actually installed a faux Gus in the bookstore it would have been all over the street the next day. As I tried to imagine people spiriting nearly identical cats in and out of the back door, in the dead of night, the matter wouldn’t rest.
So I turned around and went into Carytown Books. The shop’s manager, Kelly Justice, who has worked there for six years under three editions of ownership, scoffed at Salins’ charge.
“Anyone who knows Ted, knows he’s a nitwit,” said Ms. Justice with a wry smile. “More likely than not, this is an attempt to raise funds for another one of his documentaries.”
When I told her about Bohannan’s equally outrageous suggestion that Gus was almost a septuagenarian, Justice laughed out loud. “Perhaps Jay and Ted are both trying to hitch their wagons to Gus’ star,” she suggested playfully.
Back outside, Salins and Bohannan were both gone. So I walked east on the block to Bygones, the collectable clothing and memorabilia store known for its artful window displays. Since Maynee Cayton, the shop’s proprietor, is an unofficial historian for the neighborhood, I decided to see what she knew about Gus.
Cayton, who has been at that location for 16 years, said she had some pictures of the block from the ’30s and ‘40s, but she didn’t think she had any shots of a bookstore cat. However, she did remember that when she was a child she saw a gray and white cat in the window of what was then the Beacon Bookstore.
“It was in the late ’60s, I think it was 1967,” she said, raising an eyebrow. “And I’d say it was a young cat. Either way, I can’t believe the feline impersonator story, so maybe it was Gus.”
The next day, Bohannan called on the phone to tell me he had something I needed to see right away. He was mysterious about it and wouldn’t explain what he was talking about, except to say that it was proof of his claim about Gus the Cat.
Unable to let it go, I told him I’d stop by his place to see what proof he had.
Bohannan’s apartment, located between Carytown and the Virginia Museum of Fine Arts, was an escape from the modern world altogether. It’s furnished in a pleasant mix of practical artifacts and curiosities from yesteryear. The heavy black telephone on his desk was almost as old as Jay. Next to the desk was a turn-of-the-century gramophone. Bohannan, himself, dressed like a character who just stepped out of a Depression-era RKO film, reached into a dog-eared manila folder and pulled out a photograph. When I asked him where he had gotten the picture, purportedly from about 1930, he shrugged.
In such a setting, his evidence of Gus’ longevity took on an eerie authenticity. Sitting in one of Bohannan’s ancient oak chairs, surrounded by his own paintings of scenes from Virginia’s past, I thought I could see the cat he claimed was depicted in the storefront’s window. Why, it even looked like Gus.
Jay told me I could keep the photo, it was just a Xerox copy. What a scoop!
Later, when I looked at the grainy picture at home, I could hardly even see a cat. The next day, back in Carytown, I spoke with several people who hang out or work in the neighborhood. A few actually thought Bohannan’s bizarre contention could be true. Others agreed with Salins.
One man, who refused to be quoted with attribution, said he was sure the original Gus was an orange cat. A woman looked up from her crossword puzzle to note that Bohannan's evidence was at least as good as what she'd seen on the Loch Ness Monster.
Then the whole group of chatty know-it-alls went off on the general topic of conspiracy theories and hoaxes. At the next table a woman in a straw hat started sketching the sidewalk scene.
A few days later, I saw Ted Salins holding court in front of the coffee shop. I told him what Kelly had said about his claim and I showed him Jay’s so-called proof that Gus is ancient.
“The next thing you’re going to tell me is Shakespeare actually wrote all those plays," Ted said mockingly. "Look, it’s not the same cat. Live with it. This Gus is a ringer, maybe three years old.”
Turning around, I looked through the storefront’s glass at good old Gus in his usual spot. He looked comfortable with a new electric heater under the blanket in his basket. It dawned on me that there was a time when Gus used to avoid me, as well. Now he seems happy for me to pet him, briefly.
Pulled back into the spell of the mystery, I wondered, had Gus changed or had I? Gus stared back at me and blinked. Like one of his favorite authors, J. D. Salinger, Gus wasn’t talking.
Gus was smiling as only a cat can; a smile that suggests equal parts of wisdom-of-the-ages and dumb-as-a-bag-of-hammers. One obvious truth about Gus the Cat was that he had grown quite accustomed to having a public.
*
Note: On June 19, 2001 a cat alleged to have been the authentic Gus the Cat was found dead in Carytown Books; he was estimated by the bookstore's spokesperson to have been about 18 years old.
Tuesday, March 28, 2017
Ghost Spider
Some 19 years ago, a spider bit me on the temple next to my right
eye. The first symptom was an itchiness that got steadily worse.
Initially, I thought it was poison ivy.
It was my then-girlfriend, Jackie, who first suggested, “Spider bite.”
Since I hadn't seen or felt the little culprit poisoning my face, I doubted her call. By the end of the first day there was some swelling and redness. Over the next couple of days the swelling increased dramatically until my eye was completely closed by it. Usually, I don't go see doctors much, but the swelling and body aches were alarming. So, this time was different.
The doctor confirmed the spider bite diagnosis. He guessed it was a brown recluse and told me he didn’t know all that much about spider bites. Said most doctors don’t. He told me it was just a matter of how my body would react. The doc said the venom's tricks would run their course in my body no matter what he did. An antibiotic was prescribed to deal with the infection problem that sometimes comes along with any sort of bite
Once I started taking the medicine, some of how I felt for the next week probably had something to do with a reaction to the pills, too. In general, I wasn’t as sick as the worst day of a full blown flu. The ordeal was similar to the flu, but it was much more disorienting.
As the swelling went down, the seven spots that had formed in the middle of it gradually turned from reddish-purple to bluish-black. Naturally, I looked at them every few minutes, to see what would happen next.
To understand my problem better I read about brown recluse bites online. That only scared me more. I came to understand the spots I was seeing on my face, grouped within an area the size of a penny, were necrotic flesh. It was a sobering thought -- my flesh was dying.
After looking at gross photographs of people with huge tissue losses from brown recluse bites, I swore off my research. The sick feeling gradually went away. The swelling disappeared. The dark spots, most of them the size of a piece of rice, rotted away and dropped off ... leaving seven little holes.
Today the scars are mixed in with the crows feet lines extending from the corner of my eye, so mostly they are only noticed by someone who remembers the episode and wants to look for them.
Like other healing wounds there was an itching problem that was a distraction at times. That went on for months. What was the strangest aspect of it all came later, after I had stopped worrying about the spider bite all the time. You see, every so often, there was a feathery, fluttering sensation that felt just like a spider was skittering across my eyelid, or the eyeball itself.
Each time it happened I flinched, believing -- at least for a fraction of a second -- that it could be a spider on my eye. It was torture. It was nearly a year before that last spooky effect faded away, too. I've since believed that meant the healing was over.
Never worried about spiders much before this experience. Live and let live was my approach. After that ghost spider thing, if I see a spider indoors these days, its biting days are over.
Were there seven separate bites, or was it one big bite and seven reactions?
The doc couldn't help with that question, either. But no doubt, I was lucky it wasn't worse.
It was my then-girlfriend, Jackie, who first suggested, “Spider bite.”
Since I hadn't seen or felt the little culprit poisoning my face, I doubted her call. By the end of the first day there was some swelling and redness. Over the next couple of days the swelling increased dramatically until my eye was completely closed by it. Usually, I don't go see doctors much, but the swelling and body aches were alarming. So, this time was different.
The doctor confirmed the spider bite diagnosis. He guessed it was a brown recluse and told me he didn’t know all that much about spider bites. Said most doctors don’t. He told me it was just a matter of how my body would react. The doc said the venom's tricks would run their course in my body no matter what he did. An antibiotic was prescribed to deal with the infection problem that sometimes comes along with any sort of bite
Once I started taking the medicine, some of how I felt for the next week probably had something to do with a reaction to the pills, too. In general, I wasn’t as sick as the worst day of a full blown flu. The ordeal was similar to the flu, but it was much more disorienting.
As the swelling went down, the seven spots that had formed in the middle of it gradually turned from reddish-purple to bluish-black. Naturally, I looked at them every few minutes, to see what would happen next.
To understand my problem better I read about brown recluse bites online. That only scared me more. I came to understand the spots I was seeing on my face, grouped within an area the size of a penny, were necrotic flesh. It was a sobering thought -- my flesh was dying.
After looking at gross photographs of people with huge tissue losses from brown recluse bites, I swore off my research. The sick feeling gradually went away. The swelling disappeared. The dark spots, most of them the size of a piece of rice, rotted away and dropped off ... leaving seven little holes.
Today the scars are mixed in with the crows feet lines extending from the corner of my eye, so mostly they are only noticed by someone who remembers the episode and wants to look for them.
Like other healing wounds there was an itching problem that was a distraction at times. That went on for months. What was the strangest aspect of it all came later, after I had stopped worrying about the spider bite all the time. You see, every so often, there was a feathery, fluttering sensation that felt just like a spider was skittering across my eyelid, or the eyeball itself.
Each time it happened I flinched, believing -- at least for a fraction of a second -- that it could be a spider on my eye. It was torture. It was nearly a year before that last spooky effect faded away, too. I've since believed that meant the healing was over.
Never worried about spiders much before this experience. Live and let live was my approach. After that ghost spider thing, if I see a spider indoors these days, its biting days are over.
Were there seven separate bites, or was it one big bite and seven reactions?
The doc couldn't help with that question, either. But no doubt, I was lucky it wasn't worse.
-- 30 --
Sunday, March 26, 2017
Truth: What It Is
![]() |
Ted "The Kid" Williams |
After too many years of fashionable postmodernism, a half-century in which clever artifice and copycatism have been revered, now the coolest thing happening is the unvarnished truth.
With the truth under assault from hucksters and governmental authorities, alike, seeing through the fog of propaganda to capture the essence of small slivers of truth is a praiseworthy undertaking. Given the threat that currently looms over our nation's institutions, striving to present the nitpicking whole truth to the public – without false equivalencies, on the record – is a challenge for heroes.
Reality simply doesn't allow for the notion of "alternative facts" to be taken seriously. Ironically, if this country's largely distrusted fourth estate doesn't go all out to do some heroic heavy lifting -- to reveal the truth and save the USA from being sucked down the drain by Trumpism -- I don't know what other way there is to get the job done fast enough.
Truth: What it is.
Tuesday, March 21, 2017
Labels That Don't Stick
Note: This piece was published by STYLE Weekly on April 7, 2004. Thinking about today's ideology-defying brand of politics this piece came to mind. In this 13-year-old essay I was seeing the coming of a different way of framing politics in the USA. To me, then, the old definitions of left and right were being blurred beyond recognition.
Labels That Don't Stick
by F.T. Rea
The terms “liberal” and “conservative,” as used by many of today's chattering pundits and campaigning politicians, are as outdated as your Uncle Dudley's lime green leisure suit or that open can of beer you left on the porch railing yesterday afternoon.
In the turbulent 1960s, such convenient left–right labels may have been misnomers at times, too, but at least they made some sense. In the context of the Cold War Era – with explosive issues such as the Vietnam War and civil rights in the air – it was useful to see a left-to-right political spectrum.
In those days, segregationists and hawks derisively called their most vocal opponents “liberals” and “pinkos.” Civil rights demonstrators and doves didn’t mind calling their opposites “right-wingers” and “fascists.” And in spite of how the circumstances and issues have changed since then, the same threadbare labels have remained in use.
Why?
Well, it’s mainly because it has suited the people attempting to cash in on conditioned reactions to words such as “left” and “right,” “liberal” and “conservative.”
Howard Dean is best described as a political maverick. His record as governor of Vermont was hardly that of a left-winger. Yet because he was for a spell the most effective critic of the Bush policy in Iraq, the feisty doctor was branded by pundits and Bush apologists as an extreme leftist from a silly state that might as well be part of Canada.
In 1991 a radio news story described a political brouhaha in Russia between the ascending free-market style reformers and the old guard, the stubborn communists — who were going out of style faster than a Leningrad minute.
No, make that a St. Petersburg minute.
The report labeled those clinging to the Soviet system as “conservatives” and those in the process of sweeping them out of power as “liberals.” When considered in light of the familiar Western view of matters political — capitalists on the right vs. socialists on the left — the role reversal of this situation’s fresh context was striking and amusing.
George W. Bush likes the tag “compassionate conservative.” It’s a label that served him well in the 2000 election. But Bush’s steering of the nation’s economy, his unprecedented accumulation of debt, have hardly been conservative in the traditional sense. Nor has Bush’s swaggering, go-it-alone foreign policy been in the least bit prudent or conservative.
Being aggressive and being conservative are altogether different things. Leading up to World War II, the conservative Republicans wanted to keep America out of the fray much longer than the FDR Democrats.
When Bush eschewed the idea of nation building in his first presidential campaign he was talking like a traditional, somewhat isolationist conservative. Now he walks like anything but a conservative with what is going on in Iraq — whatever that is.
In the contemporary American political game, when players call themselves or their opponents “liberals” or “conservatives” they are probably just trying to jerk you around by what they see as your shallow understanding of the situation.
Today’s political issues divide along many lines. There are urban vs. suburban arguments. There are differences that split generations, classes, lifestyles and you-name-it. Trying always to frame such issues in a left-right context tortures the truth.
In this election year, the wise voter will brush aside the labels and remember that neither conservatives nor liberals have ever had an exclusive on two considerations that matter a lot more than labels — honesty and competence.
-- 30 --
Thursday, March 02, 2017
Oh, THAT Russian
Tuesday, February 21, 2017
Postseason Basketball Musings
In games played through Feb. 20 eight of Virginia's 14 Division I basketball programs have winning records. If they all finish that way any of them could participate in postseason tournaments. However, barring a total collapse, just three of those programs now appear to be heading to the preferred tournament -- the NCAA Championship with its chosen field of 68.
Then there's the NIT, CBI, CIT and the Vegas 16. I may have left one out, but it seems America's basketball fans like tournament-style hoops, no matter how far removed such games are from determining the national championship.
So here are those eight schools, listed according to their latest RPI as published by CBS Sports. After the name of the team you will see their overall records (D-I games only), records in conference games, their BPIs (ESPN rankings) and their records (in bold) in February.
No. 22: UVa.: 18-9, 8-7 in ACC; BPI #8; 2-5 in Feb.
No. 25: VCU: 22-5, 12-2 in A-10; BPI #34; 6-0 in Feb.
No. 36: Va. Tech: 18-8, 7-7 in ACC; BPI #51; 2-3 in Feb.
No. 99: Richmond: 15-11, 9-5 in A-10; BPI #113; 2-3 in Feb.
No. 109: W&M: 13-12, 9-7 in Colonial; BPI #107; 3-3 in Feb.
No. 116: Mason: 18-9, 8-6 in A-10; BPI #124; 4-2 in Feb.
No. 136: ODU: 16-10, 9-5 in C-USA; BPI #127; 3-2 in Feb.
No. 163: Liberty: 15-11, 13-3 in Big South; BPI #189; 4-1 in Feb.
Make what you will of this but, generally speaking, teams trending in the wrong direction are not viewed in a favorable light by the NCAA tournament's committee. What I see at this point is that after those top three, your guess is a s good as mine as for the destiny of the rest of them. Of course, invitations and rankings aside -- same as it ever was -- any team that wins its conference tournament still qualifies for the Big Dance.
-- 30 --
Then there's the NIT, CBI, CIT and the Vegas 16. I may have left one out, but it seems America's basketball fans like tournament-style hoops, no matter how far removed such games are from determining the national championship.
So here are those eight schools, listed according to their latest RPI as published by CBS Sports. After the name of the team you will see their overall records (D-I games only), records in conference games, their BPIs (ESPN rankings) and their records (in bold) in February.
No. 22: UVa.: 18-9, 8-7 in ACC; BPI #8; 2-5 in Feb.
No. 25: VCU: 22-5, 12-2 in A-10; BPI #34; 6-0 in Feb.
No. 36: Va. Tech: 18-8, 7-7 in ACC; BPI #51; 2-3 in Feb.
No. 99: Richmond: 15-11, 9-5 in A-10; BPI #113; 2-3 in Feb.
No. 109: W&M: 13-12, 9-7 in Colonial; BPI #107; 3-3 in Feb.
No. 116: Mason: 18-9, 8-6 in A-10; BPI #124; 4-2 in Feb.
No. 136: ODU: 16-10, 9-5 in C-USA; BPI #127; 3-2 in Feb.
No. 163: Liberty: 15-11, 13-3 in Big South; BPI #189; 4-1 in Feb.
Make what you will of this but, generally speaking, teams trending in the wrong direction are not viewed in a favorable light by the NCAA tournament's committee. What I see at this point is that after those top three, your guess is a s good as mine as for the destiny of the rest of them. Of course, invitations and rankings aside -- same as it ever was -- any team that wins its conference tournament still qualifies for the Big Dance.
-- 30 --
Sunday, February 19, 2017
Citizen Trump's slo-mo train-wreck
Now we have Citizen Trump's slo-mo train-wreck presser on Feb. 16 for the record. One day that disturbing
performance may have historians somewhat at a loss to explain
to anyone who didn't live through this ongoing interregnum of
presidential sanity.
Trump said he wasn't ranting, while he ranted about "fake news" during his disturbing assault on the press. (Click here for some fact-checking.)
The foreboding sense in the air that we're all hurtling toward a crisis is getting more pervasive every day. How that crisis will manifest itself remains to be seen. Still, being president all day long, every damn day, would be exhausting enough for any 70-year-old man. But we can only imagine how stressful it must be for one who's avoided scrutiny of his methods and associations in much of his life's doings. His so-called "deals."
Sheltered from push-back, in a world of artifice, Trump has been a little king. That changed on inauguration day. Less than a month into his presidency the pressure of having to answer for his blunders is obviously weighing on the president.
Forced to endure criticism, he has appeared to be semi-delusional at times. If nothing else, in the weeks to come we're going to see just how healthy Trump's septuagenarian ticker is.
The Republicans in Congress who can see what's going on are surely riding on the horns of a dilemma: Who wants to be remembered as being foolish enough to stick by Trump too long? How long can they wait to pull the plug?
Trump said he wasn't ranting, while he ranted about "fake news" during his disturbing assault on the press. (Click here for some fact-checking.)
Meanwhile, there's a telling aspect of President Trump's bullying that overlaps with his
dishonesty -- cheating at golf.
Alice Cooper (in a 2012 interview): "The worst celebrity golf cheat? I wish I could tell you that. It would be a shocker. I played golf with Donald Trump one time. That's all I'm going to say."
Trump doesn't just want to cheat to win a hole. He'd rather cheat blatantly so you can see him doing it. Then he can savor how you are too reluctant to cause a scene, intimidated, or whatever, so you just don't call him on it.
It's a variation on his claim that he grabs crotches with impunity, because he's mighty Donald Trump and thus he's entitled to humiliate you. He doesn't cheat to enjoy his victory. He knows it's tainted. Trump cheats to deprive his opponent of victory and to prance ... he enjoys prancing.
Alice Cooper (in a 2012 interview): "The worst celebrity golf cheat? I wish I could tell you that. It would be a shocker. I played golf with Donald Trump one time. That's all I'm going to say."
Trump doesn't just want to cheat to win a hole. He'd rather cheat blatantly so you can see him doing it. Then he can savor how you are too reluctant to cause a scene, intimidated, or whatever, so you just don't call him on it.
It's a variation on his claim that he grabs crotches with impunity, because he's mighty Donald Trump and thus he's entitled to humiliate you. He doesn't cheat to enjoy his victory. He knows it's tainted. Trump cheats to deprive his opponent of victory and to prance ... he enjoys prancing.
The foreboding sense in the air that we're all hurtling toward a crisis is getting more pervasive every day. How that crisis will manifest itself remains to be seen. Still, being president all day long, every damn day, would be exhausting enough for any 70-year-old man. But we can only imagine how stressful it must be for one who's avoided scrutiny of his methods and associations in much of his life's doings. His so-called "deals."
Sheltered from push-back, in a world of artifice, Trump has been a little king. That changed on inauguration day. Less than a month into his presidency the pressure of having to answer for his blunders is obviously weighing on the president.
Forced to endure criticism, he has appeared to be semi-delusional at times. If nothing else, in the weeks to come we're going to see just how healthy Trump's septuagenarian ticker is.
The Republicans in Congress who can see what's going on are surely riding on the horns of a dilemma: Who wants to be remembered as being foolish enough to stick by Trump too long? How long can they wait to pull the plug?
-- Art and words by F.T. Rea
Thursday, February 16, 2017
An Enhanced RPI
The RPI for college basketball depends heavily on strength of schedule. So once you factor in the reward the teams in power
conferences have, for simply being in those leagues, some teams with 10 losses are
ranked, RPI-wise, over teams with five losses. Still, in the Big Dance every March in the early rounds we see
little known teams from conferences other than the five
mega-conferences upsetting the so-called "favorites."
Those Cinderellas are sometimes teams that just know how to win, no matter who they're playing or where. So how
much should that factor matter, when comparing teams that haven't played
one another and have few common opponents?
OK, for basketball junkies I've got a way to combine RPI with
the notion that some teams are good at winning. Here are the 25 teams taken from today's top 50 of the
RPI (CBS Sports) that have five losses or less (their wins and losses
are in parenthesis).
They are listed, 1-25, according to their RPI today. But please note that teams with a better RPI than some listed, which have sustained six or more
losses, have been omitted. So this way of looking at rankings combines strength-of-schedule with an appreciation for the teams' wins and losses.
The national champion should come from this field. Teams from power conferences with 10 or 12 losses might get hot and win it all, but no one should be surprised if Gonzaga wins the championship game because the still undefeated Zags know how to win.
The Enhanced RPI Top 25
1. Baylor (21-4)
2. Villanova (25-2)
3. Kansas (23-3)
4. Gonzaga (26-0)
5. Louisville (21-5)
6. Arizona (23-3)
7. Oregon (21-4)
8. UNC (21-5)
9. Florida (21-5)
10. Kentucky (21-5)
11. Florida St. (21-5)
12. Duke (21-5)
13. Cincinnati (23-3)
14. Creighton (20-5)
15. Maryland (21-4)
16. Purdue (21-5)
17. St. Mary's (22-3)
18. SMU (23-4)
19. UCLA (23-3)
20. Wisconsin (21-4)
20. Wisconsin (21-4)
21. VCU (21-5)
22. Dayton (19-5)
23. Illinois St. (21-5)
24. USC (21-5)
25. Akron (21-4)
-- Words and photo by F.T. Rea
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