The good part is the surprise sequel.

Hat tip to Jose Guardia.

An elderly ex-marine forwarded this video to the Japanese sword listserv. He liked the pretty Mongol girls and thought their music rocked.

Is Jabba the Hutt a role-model to you? Do your personal fantasies run to inter-species sexual exploitation? A Nevada entrepreneur named Dennis Hof (best known for publicizing a brothel he owns via a reality tv program on HBO) plans to open the “Area 51 Alien Travel Center,” a Sci Fi-themed bordello 90 miles northwest of Las Vegas on Highway 95. Hof has announced that he is hiring Hollywood madame Heidi Fleiss to dream up female alien costumes, make up, and decor.

Las Vegas Review story

Hat tip to Emmy Chang.

Ron Black, writing from the North Countrie, where they hunt foxes on foot, and more vertically than horizontally, forwarded this morning a charming older video of a local hunter performing a major portion of The Mardale Hunt, accompanied by fellow patrons of the St. Patrick Well public house.

The Mardale Hunt
composed by Winston Scott, circa 1904

[The morn is here, awake, my lads
Away, away
The hounds are giving mouth, my lads
Away, my lads, away
The Mardale Hunt is out today
Joe Bowman strong shall lead the way
Who ne’er has led his hunt stray
Away, my lads, away

Our Bowman is a huntsman rare
Away, away
His Tally-ho’s beyond compare
Away, my lads, away
We always find him just the same
At Grasmere Sports you’ll hear his name
His Mardale Hunts will live in fame
Away, my lads, away]

The Mardale pack is on the trail
Away, away
The fox is heading thro’ the dale
Away, my lads, away
Hound Miller’s on the scent, I’m told
So fast it lads thro’ frost and cold
Away, my lads, away
The mountain breeze is pure as gold
Away, my lads, away

On Branstree Fell the fox is seen
Away, away
The hounds are off, the scent is keen
Away, my lads, away
This music sweet to dalesman’s ear
When hounds give mouth so loud and clear
So off my lads and lend a cheer
Away, my lads, away

[The air is keen, our hearts are light
Away, away
We scale with glee the frowning height
Away, my lads, away
The fox has slipped and made his cave
So in we send the terrier brave
The fox will bolt his brush to save
Away, my lads, away

Our terrier Frail will win or die
Away, away
So too will Wallow Crag, say I
Away, my lads, away
On Roman fell in mountain cave
We lost alas, a terrier brave
For good old Frisk we failed to save
Away, my lads, away]

Who’d weary with a sport like this
Away, away
Or who a Mardale Hunt would miss
Away, my lads, away
Our hardy fellsmen, hunters born
Will rally to the huntsman’s horn
Nor heeded be by rain or storm
Away, my lads, away

[Who’d hunt the fox with spur and rein
Away, away
To have a mount we’d all disdain
Away, my lads, away
We love our hill, our tarns, our fells
We ken our moors, our rocks and dells
We love our hounds, we love our selves
Away, my lads, away]

When darkness comes to Mardale, hie
Away, away
For who the ‘Dun Bull’ dares decry
Away, my lads, away
Hal Usher kind will find a bed
To rest our limbs and lay our head
We’re welcomed, warmed, and housed, and fed
Away, my lads, away

In winter Mardale’s dree and drear
Away, away
But ‘tis not so if Hunt is here
Away, my lads, away
We trencher well, we trencher long
We meet in dance, we meet in song
[For days are short, and nights are long
Away, my lads, away

We’re lads from East and lads from West
Away, away
And North and South, but all the best
Away, my lads, away
With Auld Lang Syne and Old John Peel
With foaming glass and nimble heel
We’ll drink to all a health and wealth
Away, my lads, away]

Walter Olson (of Overlawyered fame) passed along on Facebook a challenge from renowned critic Terry Teachout to look up the number 1 song on the day you born, then find it on YouTube and post a link.

Here’s link to Wikipedia’s list of Number 1 singles by year to start you off.

My result was: Pee Wee Hunt’s 12th Street Rag. Could have been worse.

Two boys debate attending the American Theater in Greenpoint, Brooklyn in 1938.

Roger Ebert explains why movie theater revenues are in free fall. Only blockbuster movies are currently keeping the whole system afloat.

I guess that’s just how things work.

You have the movie theater business, an industry whose pioneer days were a century ago. That business prospered and bloomed, but for decades now what was once a luxurious escape experience has been subjected to the careful ministrations of bean counters and corporate optimizers who have turned movie theaters, once palaces, into cheap industrial warehouse spaces operated robotically and understaffed with inadequate contingents of the bitter and indifferent working for the minimum wage.

It takes hundreds of millions for special effects, movie star salaries and blowing up all those expensive cars, but at the actual delivery end the industry has whittled every possible penny out of quality of service.

Their problems are compounded by the aging US population. Even hard-core cineastes like myself (I ran a film society at Yale) today feel out-of-place in today’s theaters. Adults buy videos or watch films on cable or the Internet these days. Teenagers go to movie theaters for the same reasons teenagers always went to movie theaters.

The film industry is being confronted by the same kinds of changes in technology and the arrival of handier and more competitive methods of product delivery that confronted the music industry, and it seems that these dinosaurs are no more able than the other dinosaurs to cope positively with new challenges and opportunities.

Old industries wind up being run by rentiers, but dramatic innovation requires visionaries and risk-takers. The motion picture industry today is run by corporations, what changing times need are the equivalent of the aggressive businessmen, recently off the boat from Poland and Lithuania, the Warners, the Zukors, the Goldwyns, and the Mayers, who created the studios and the industry in the first place. But that kind of leadership is not going to come from inside today’s industry establishment.

The best new book I’ve read this year was Paul Hendrickson’s Hemingway’s Boat: Everything He Loved in Life, and Lost, 1934-1961.

Ernest Hemingway was not only the generally recognized greatest American writer of fiction of his time, Hemingway seemed to have deliberately crafted his life to parallel and underline his art, emphasizing and exemplifying the same themes of manliness and confronting the same life and death questions. Hemingway became thusly, not only the great novelist, but a code hero, the equivalent of Achilleus or Beowulf as well as Nick Adams, in his own right.

When the great man, at 7 AM one July morning fifty years ago, crept out of bed, found the key to the closet where his wife Mary had locked away his firearms, took out his Boss best-grade double-barreled 12 gauge, inserted two rounds of high brass number 6s, braced the gun butt on the floor of his house’s foyer, placed his forehead against the barrels, and reached down and fired both barrels, Hemingway’s vast audience of readers and admirers experienced an international catharsis as the epic suddenly concluded and the curtain came down the tragedy.

Paul Hendrickson takes Hemingway’s 38-foot Wheeler cabin cruiser, the Pilar, built for him in 1934, as the metonymic focus and symbol of the final 27-year 3-month trajectory of the author’s literary career and life.

Few great writers have received such a tribute, featuring massive and intensely focused research (Hendrickson can lovingly describe the details of the room where Hemingway used to stay in the Ambus Mundos Hotel as well as tell you which models of Vom Hofe and Hardy reels he fished); ground-breaking criticism (Hendrickson argues very persuasively that it was Hemingway, in Green Hills of Africa (1935), who invented the non-fiction novel, not Capote or Mailer thirty years later); or anything like this sympathetic and deeply personal tribute in finely crafted prose worthy of its own subject.

In the final analysis, Hendrickson is writing to explain and to defend Hemingway’s crack-up, all the famous outrageous incidents of egotism, bullying, and vainglory, all the drink and all the damnation. His prologue’s title, “Amid So Much Ruin, Still the Beauty,” could have been the title of the whole book.

Hendrickson writes:

I have come to believe deeply that Ernest Hemingway, however unpost-modern it may sound, was on a lifelong quest for sainthood, and not just literary sainthood, and that at nearly every turn, he defeated himself. How? “By betrayals of himself, and what he believed in,” as the dying writer, with the gangrene going up his leg, says so bitterly in “The Snows of Kilimanjaro,” one of Hemingway’s greatest short stories. Why the self-defeating betrayal of high humanistic aspirations? The seductions of celebrity and the sin of pridefulness and the curses of megalomania and the wastings of booze and, not least, the onslaughts of bipolarism must amount to a large part of the answer. Hemingway once said in a letter to his closest friend in the last two decades of his life, General Buck Lanham, whom he had come to know on the battlefield as a correspondent in World War II: “I have always had the illusion it was more important, or as important, to be a good man as to be a great writer. May turn out to be neither. But would like to be both.”

I also believe there was so much more fear inside Hemingway than he ever let on, that it was almost always present, by day and more so by night, and that his living with it for so long was ennobling. The thought of self-destruction trailed Hemingway for nearly his entire life, like the tiny wakes a child’s hand will make when it is trailed behind a rowboat in calm water—say, up in Michigan.

Many years ago, Norman Mailer wrote a sentence about Hemingway that has always struck me as profound: “It may even be that the final judgment on his work may come to the notion that what he failed to do was tragic, but what he accomplished was heroic, for it is possible he carried a weight of anxiety within him from day to day which would have suffocated any man smaller than himself.” The great twentieth-century critic Edmund Wilson, a contemporary of Hemingway’s, who admired him early and had contempt for him late, wrote in his journals of the 1960s: “He had a high sense of honor, which he was always violating; he evidently had a permanent bad conscience.”

I repeat: best book of 2011, and best Hemingway biography/appreciation out there.

Hemingway’s Pilar

Warsaw Boys Choir.

———————————————————-

Wśród nocnej ciszy

Wśród nocnej ciszy głos się rozchodzi:
Wstańcie, pasterze – Bóg się wam rodzi!
Czem prędzej się wybierajcie,
Do Betlejem pospieszajcie
Przywitać Pana.

Poszli, znaleźli Dzieciątko w żłobie,
Z wszystkimi znaki danymi sobie.
Jako Bogu cześć Mu dali,
A witając zawołali,
Z wielkiej radości.

Ach, witaj Zbawco, z dawna żądany!
Tyle tysięcy lat wyglądany;
Na Ciebie króle, prorocy
Czekali, a Tyś tej nocy
Nam się objawił.
—————————————
Amidst the stillness of the night

Amidst the stillness of the night, a voice proclaims:
Arise ye shepherds – God is born to you!
Seize the moment,
Hasten to Bethlehem
To welcome the Lord.

They came, they found the child in the manger
With all the signs of honor
given by God ,
They shouted a greeting,
With great joy.

Welcome Savior, long desired!
Looked for for one thousand years
By kings and prophets
They waited, and you tonight
Revealed yourself to us.

Es ist ein’ Ros’ Entsprungen is an early German Christmas carol and Marian hymn performed in a harmony written by Praetorius in 1609 by the Dresdner Kreuzchor.

To be released December 14, 2012.

St. Paul’s Cathedral Choir.

“The Dark Knight” (2008) was widely taken as heavily freighted with political metaphors sympathetic to the perspective of the political right.

Andrew Bolt was one of several commentators explaining that Batman was really a metaphor for George W. Bush.

[D]irector Christopher Nolan had to disguise it a little, so journalists wouldn’t freak and the film’s more fashionable stars wouldn’t walk.

So he hides Bush in a cape. He even sticks a mask on him, with pointy ears for some reason.

Sure, when the terrified citizens of Gotham City scream for Bush to come save them, Nolan has them shine a great W in the night sky, but he blurs it so it looks more like a bird.

Or a bat, perhaps.

And he has them call their hero not Mr Bush, of course, or even “Mr President”, but . . . Batman.

And what do you know.

Bush may be one of the most despised presidents in American history, but this movie of his struggle is now smashing all box-office records. ...

Critics weep, audiences swoon – and suddenly the world sees Bush’s agonising dilemma and sympathises with what it had been taught so long to despise.

Well, “taught” isn’t actually the exact word.

As this superb Batman retelling, The Dark Knight, makes clear, its subject is a weakness that runs instinctively through us – to hate a hero who, in saving us, exposes our fears, prods our weaknesses, calls from us more than we want to give, or can.

And how we resent a hero who must shake our world in order to save it, or brings alive that maxim of George Orwell that so implicates us in our preening piety: “Good people sleep peaceably in their beds at night only because rough men stand ready to do violence on their behalf.”

And the next year, an anonymous segment of the public signaled its agreement as Photoshopped posters depicting Barack Obama as the film’s villain The Joker, bearing the motto “Socialism” began appearing first in Los Angeles and Atlanta and later across the country.
——————————————
Ace has seen the preview for “The Dark Knight Rises” (2012), the sequel opening next Summer, and takes the High Church of Nerdiness position that director Nolan appears to be sinning by meddling with the comic book’s canon.

Based on what I see here, Catwoman is being shoehorned into the role of Economic Anarchist, someone who has a philosophical objection to private property. She says to Wayne, “When it’s all over, you’ll wonder how you all could have thought you could live so large while leaving so little for everyone else.”

Catwoman has never, AFAIK, been depicted as a revolutionary, or as having some philosophical commitment to bringing down the capitalist system. What she is is a thief who, while she’s not stealing from the very rich, likes mixing socially with the very rich.

She’s always been a bit comical in her larceny—she’s shameless about it. She just likes stealing. Maybe she actually considers herself an elite capitalist with the skill set of “taking the capital of others.”

But I never got the vibe that she wanted to end private property, or lead the poor in a revolution against the rich. She likes the rich. (And, she likes stealing their money.) Without the rich, she wouldn’t be rich herself.

This is what annoys me about Nolan—jamming square-peg human beings into the round holes of his pretty scheme of dialectical inquiry.

Anne Hathaway gets one line but it’s a neon sign for the subtext: Apparently, Catwoman is the 99 percent. Ace is weary of heavy-handed messages in “Batman” movies, but that’s actually the only reason I might see this. If, like me, you don’t know the whole mythology and you tend to find superhero flicks tedious in a been-there-done-that way (rich criticism coming from a zombie-flick fan, I know), a little topical allegory goes a long way. Besides, from what I understand, the interrogation scenes in “The Dark Knight” were more morally ambiguous than you’d expect from a Hollywood production addressing torture in the age of terror. If Nolan ends up teasing out the occupiers’ more anarchic impulses, which seems like a safe bet considering Catwoman is one of the villains (isn’t she?), I suspect the movie’s more dialectic aspects will go down pretty smoothly.

Looks like there are plenty of explosions and fight scenes, too. What’s not to like?

Jim Geraughty, in his emailed Morning Jolt,

Okay, call me crazy, but I’m getting a very Occupy Wall Street vibe from Bane (the bad guy) and Catwoman in the new trailer for the next Batman movie.

At one point, Catwoman explicitly says to Bruce Wayne, “A storm is coming. When it’s all over, you’ll wonder how you all could have thought you could live so large while leaving so little for everyone else.” The trailer shows only glimpses of scenes, but it looks as if a mob ransacks some luxurious location. (Does Wayne Manor get trashed again?) ...

The comic fan in me would prefer a more traditional approach to the character—Catwoman was meant to be played by Catherine Zeta Zones—but tell me you can’t see the cultural upside of a movie in which the bad guys’ motives not-so-subtly mimic those of the Occupy Wall Street crowd. Obviously, the trailer only gives us about two minutes’ worth of material to examine, but there’s no sign of any misguided idealism or discernable Robin Hood heroism on the part of the villains: It appears Bane blows up the field at a football stadium, killing the Gotham Rogues (played by the real-life Pittsburgh Steelers). They’re motivated by envy and greed and resentment and rage. Bane’s nihilism extends to the point where he wants to reduce Gotham to “ashes.” Tell me a better way to communicate to the great apolitical mass of America that the Occupiers are villains. ...

By the way, I pity the villain who tries to poop on the Batmobile.

Shepherds Meet, Mardale 1921

A nice Xmas present for sportsmen from Ron Black: his “The Mardale Hunt: A History,” a 166-page downloadable electronic text of the history of the oldest, and most famous, of the Lakeland Fell Shepherds’ Meets. This is the kind of simple, hard-bitten North Country hunting associated with John Peel: foot-following foxhounds on the often pretty vertical landscape of the Lakeland Fells.

Hunting in Mardale is a fundamental and immemorial feature of the season.

[T]he shepherds’ meeting at Mardale ” wasn’t founded in’t memory of man.” That the shepherds gave up a week to ’ raking ’ the fells and bringing down to the Dun Bull the sheep that were not their own. That though there is a Shepherds’ Guide with all the lug-marks and smit marks of the various flocks in it, it is very seldom referred to, for all the shepherds ken the marks as well as they ken their own bairns. From the time whereof the memory of man runneth not to the contrary, a hunt succeeded by a good dinner ushers in the shepherds’ ceremony of ’ swortn ’ the sheep; and after the sorting a hound trail and pigeon shooting at clay pigeons affords diversion till daylight fades; then tea is served and the shepherds who determine ‘to remain on spree,’ as they call it, instead of driving their sheep home, make a night of it. I gathered from the old farmers that they thought ’ nowt ’ to the hound-trail and pigeon shooting. They wur new-fanglements and mud varra weel be dispensed wid.’

By the early years of the last century, the fame of the Mardale Shepherds Meet had spread and visiting sportsman often attended and participated.

For years the Mardale Meet’s popularity relied on the reputation of Joe Bowman (Hunty or Auld Joe) and his Ullswater Foxhounds. Visitors travelled to the meet from all parts of the country and some the world, they travelled in a variety of ways-“Rolls-Royces, carriages, horseback and on foot walking over the high mountain passes sometimes in bad weather (snow was not uncommon) and my Great Uncle Brait and Trimmer his hound actually got lost on the tops in bad weather. Trimmer subsequently won his trail. Expensive furs, kid gloves and silver mounted walking sticks mingled at the meet with woollen clothing, hand made walking sticks and fustian jackets. Most people walked and the general view was summed up by Tommy Fishwick who was once heard to say to a friend “Yan wants nowt wi’ riding as lang as yan legs ‘ell carry yan.”

Hinchcliffe quotes that after a good days sport, huntsmen, shepherds, visitors, sheep dogs and terriers (hounds were not admitted) all turn towards the Dun Bull for a meal.

In the evening, a smoking contest took place. Skelton records “ the main portion of the pack, cast off in the large dining room and every room in the house filled with overflow meetings-or rather concerts”

The big room was the focal point, a tray was sent round and money subscribed for the evening’s refreshment. Each individual orders his choice of drink and the chairman pays out of the general pool. Toast’s and song follow in quick succession. The chairman selects the singer and everyone is supposed to sing at least one song and there was an element of pride in singing one that had not already been sung that evening. If the song had a good swing or chorus the men got particularly enthusiastic, the shepherds beating the tables with their sticks in time to the tune and the sheep-dogs and terriers howling either in enthusiasm or execration, no man knows which.

One song often sung paid tribute to the renowned local huntsman.

JOE BOWMAN

Now his head’s on the crook and the bowl is below,
And we‘re gathered around by the fire’s warming glow,
Our songs they are merry, our choruses high,
As we drink to the hunters who joined in the cry.

When this song is sung at Ullswater, the third verse should be given as follows:

The shout of the hunters it startled the stag,
As the fox came to view on the lofty Brook Crag,
“Tally-Ho” We’re away, o’er the rise and the fell,
Joe Bowman, Kit Farrar, Will Milcrest and all.