Art, music, whatever
There’s a hilly village in Dorset, Britishland which was used in a TV commercial for Hovis bread many years ago. Here’s a view of the same hill taken during one of the “Beast From The East” winter storms recently:
My first question is: what the hell would possess anyone to build a village on so steep an incline?
My second question: I wonder what the incidence of thrombosis is in this village, compared to the national average?
Watch this video (embedded in the pic), and if these charming young girls do not put a smile on your face, I don’t want to talk to you ever again.
There’s more cuteness in there than a basket full of kittens…
Back in the late 1990s and early 2000s, all sorts of music passed me by. I guess I was too busy with other stuff, and apart from new songs by old favorites (Clapton, Santana etc.), I was oblivious. Ordinarily, the kids’ music (my kids, that is) would have kept me informed, so to speak, but as I recall, they were listening to music which didn’t touch me — Limp Bizkit, Matchbox 20, Weezer, Shakira and all the teen-pop stuff — and I won’t even go into “club” music.
Well, maybe I should have listened to club music a little, because I completely missed someone called Anastacia — and that’s a Bad Thing.
Whoa. Talk about a seductive, and wonderful, mezzo-soprano: I’m Outta Love and Left Outside Alone (both of which I only encountered for the first time this past week) are astonishing. And as for Sick And Tired… phew.
Okay, let me get the obvious out of the way. The musical format of Anastacia’s music still leaves me untouched — in fact, I think it sucks — but good grief… that voice. It reminds me of a slightly edgier Tina Turner — and how does one get edgier than Tina?
Nor was she an overnight sensation, either: she’d really paid her dues.
Of course, it doesn’t hurt that Ms. Anastacia was as sexy as hell, too, not to mention gorgeous.
Of course, those were earlier pics of her, taken in her 30s. It’s been well over a decade since she “arrived” — she should have been discovered nearly ten years before then — and age has taken its toll on her, somewhat (not to mention Crohn’s Disease and breast cancer); but hell, even an older and plumper Anastacia can still turn heads, at age 50:
…and if anything, like a fine Scotch single malt her voice has got better with age. My only quibble is her music, which still sucks. I wish she’d become a torch singer, taking on the old jazz nightclub classics. She would be sensational.
And damn, I wish she hadn’t lost the glasses.
I don’t think I’m the only petrolhead who has a constant feeling of cognitive dissonance when it comes to the combination of looks and performance. Some beautiful cars disappoint (relatively speaking) when it comes time to hit the road, whereas others perform like a dream while looking like a dog’s breakfast.
Let me tackle the first scenario. As Longtime Readers know only too well, I think the 1970s-era Ferrari Dino 246GT is one of the most beautiful cars ever made. Whenever car aficionados are asked to name their “10 Most Beautiful Cars”, almost without fail, the DIno is somewhere in everyone’s top five. It is and always will be my #1. Here are a few examples (because any discussion of this nature is yoosliss wifout pitchurs):
…and topless:
The only problem with the Dino was that it, well, wasn’t really a Ferrari. (I’m not going to go into too much detail because it isn’t relevant to this post: Wikipedia has a decent summary if you’re interested.) The Old Man (Enzo himself) was initially reluctant (until 1976) to allow it to be called a Ferrari, because it was Marinello’s attempt to make an “entry-level” Ferrari, and quite frankly, it shows. The interior is hideous (no pics because they make me ill; just take my word for it), but even worse is that the car is an absolute pig to drive (I’ve driven one): the gearbox almost requires two hands to work the lever, and my left calf ached for days afterwards because of the stiff clutch. Never mind that it’s crap compared to modern cars (which it is); it was crap for its time as well.
But… there was that mid-mounted 2.4-liter six-cylinder engine (which was a Ferrari) howling about four inches away from the driver’s ears, and despite all its technical flaws, it handled superbly — better even than its rival from Alfa Romeo, the Montreal (which I’ve also driven). That, added to its beauty, created a fanatical following for the DIno. But it was, and is, a pig to drive. And it, like the Montreal, would fall apart if you so much as looked at it — one of my friends had his Dino’s gear knob come off in his hands as he was downshifting to take a sharp corner, and how he avoided a wreck is one of the mysteries of the ages.
On the other side of that coin is Porsche, most especially the 911 model. Jeremy Clarkson is always having a go at Porsche’s “design” team, calling them the laziest people on the planet, and he has reason: while the 911 has always had tremendous performance and outstanding reliability, it looks like a pig, with that humped rear and and strange, minimalist front:
…and the Targa:
However, in the early 2000s someone at Porsche seems to have had this brilliant but revolutionary idea: “What if we make a nice-looking Porsche?” He was probably fired but his heresy remained, with the result that the mid-engined Porsche Cayman is not only better-looking compared to the 911 (a low bar, to be sure), it’s as good-looking as any other sports car, and better even than many of its competitors:
Even its rear end isn’t quite the truncated monstrosity of old, and it now looks quite shapely:
So why am I telling you all this? Because the Dino and the Cayman are almost identical in terms of chassis dimensions — the wheelbases are within a half-inch or so of each other, and of course they’re both mid-engined.
Here’s my thought. I bet that some enterprising coachbuilder could whip off the Cayman’s shell and replace it with a carbon-fiber near-copy of the Dino’s (with a little bit of nipping-and-tucking to accommodate, for example, the Porsche’s single exhaust pipe and longer suspension posts, and so on). And just for kicks, I’d use the Cayman’s smallest engine which is… ta-da! a 2.5-liter six-cylinder (flat, not a V, but hey, consistency is the hobgoblin etc.).
What you’d have with this marriage is a modern car’s performance, with a pre-wind-tunnel body that would make even the dourest car freak wipe a tear from his eye and drool from his chin.
If I ever win a large lottery, I’d present a custom coachbuilder with this challenge. I’d call it the Pino, and I’d be the envy of… well, of everybody.
Your thoughts in Comments.
Reader Harry F. writes:
“In your rant about horrible modern movies, you mention the ‘sophisticated comedies’ of Ernst Lubitsch and Billy Wilder. Can you suggest some for me to watch? (I want recommendations because if they’re that good, I’d rather buy the DVD, but if I’m going to buy them, I don’t want to risk getting a dud.)”
Okay… no pressure there. Before I go any further, though I’d like to set some parameters first.
In the traditional sense, “comedy” is not just that scenario which which makes you laugh out loud (although, of course, it can). Mostly, comedy involves situations that are not thrilling or dangerous, or even life-threatening. The best example of comedy writing, by the way, is that of the various P.G. Wodehouse stories, which place its characters into situations that seem ridiculous to the reader, but which are taken very seriously by the characters themselves — which is part of the comedy.
If you think of comedy as amusing, therefore, then most of what follows will make more sense.
But while I’m going there, let’s broaden the scope of movie comedy to beyond Lubitsch and Wilder, and include others just as good or better. I’m going to confine myself mostly to the b&w movies, because nowadays everybody seems to have their favorite color movie comedies*, and the oldies need to get their due. (Note that I’m leaving out comedies like those of the Marx Brothers and Chaplin, because everybody knows about them and in any case, their comedy is often too broad for my taste. I’m also going to leave out the better-known comedies of the era like the Astaire/Rogers movies, because everyone knows them — and if you don’t, this would be the time to remedy that shameful omission).
If you want a better idea of my suggested movies’ plots, look them up on Wikipedia or IMDB. Here goes.
The Lady Eve (Preston Sturges, 1941) starring Henry Fonda and Barbara Stanwyck — quite possibly the greatest comedy ever filmed. I cannot count how many times I’ve watched this movie, and every time I get the same enjoyment that I did from the very first viewing.
If you get your hands on no others of my recommendations, get this one.
Trouble in Paradise (Ernst Lubitsch, 1932) starring Kay Francis and Miriam Hopkins — each of the ladies has impeccable comic timing and the pre-Hays Office repartee is wonderfully saucy.
Love In The Afternoon (Billy Wilder, 1957) starring Gary Cooper and Audrey Hepburn — the ending had to be rewritten because the Hays Office thought the original was immoral. ‘Nuff said.
And it’s much better than Wilder’s most famous comedy, Some Like It Hot.
A Royal Scandal (Ernst Lubitsch, 1945) starring Tallulah Bankhead and Anne Baxter — Catherine The Great’s love life, as portrayed by Tallulah. Word is that the best scenes involved Ms. Bankhead’s improv of the dialogue, the language bluer than the Pacific Ocean. Had it been filmed in 1932, it would have fitted in with today’s movies. Because it was filmed in 1945, though, the improvised dialogue was all cut out. Still funny, though, because Lubitsch.
Bluebeard’s Eighth Wife (Ernst Lubitsch, 1935) starring Gary Cooper and Claudette Colbert — serial marriages, divorce, alimony and mistaken identity, oh my. How I love this movie.
Bachelor Mother (Garson Kanin, 1939) starring Ginger Rogers and David Niven — Ginger in a non-dancing role, and Niven at his not-so imperturbable best. Viewed in contemporary terms, the plot is ridiculous; back then, it was very serious — which is why it gets the comedy treatment.
All these are just the ones which come to mind first; I’ll post more later as I think of them.
And next weekend there’s going to be a spinoff from this post, brought to mind by some of the pictures.
*Blazing Saddles is not a comedy, it’s a farce — in so many ways.
Before I was born — hell, before my father was born — women dressed in the fashion of the day without regard to what it actually looked like. (Yeah, not much has changed.) Here’s one example, from the Roaring Twenties:
Of course, while that was what women wore in public, in private was a whole ‘nother story, as they say. Here, for your delectation, is a series of pictures of some of the Ziegfeld Girls of the era — most of whom were physically tiny, by the way — dressed (or rather, partly-dressed) in some private fashions.
This all came about when I was looking for some reference pics for a novel I’m working on — I needed to describe how a female character dressed back in the day, and suddenly, as so often happens on Teh Intarwebz, I ended up looking at these.
I’ll get back to the research any day, now…
Dramatis personae, from the top:
Adrienne Ames
Jean Ackerman
Olive Brady
Madge Bellamy
Lillian Bond