#12

Celebrating 12 weeks in Austin, TX!


I swear I saw Richard Linklater come into my work last night. I kinda walked over by where he went, hoping to just sort of bump into him, but I didn't see him again.

If you have a seminar at your workplace and you have to go and you don't find out that it's about sexual harassment until you're already into the meeting, and they discuss the ways people can be sexually harassed and you feel uncomfortable listening to such talk, have you been sexually harassed?

Lynch's "The Straight Story" is opening the Austin Film Festival and I have to work.

I may die!

The headline on this week's XLent mag says "It's 10 o'clock in the millennium." Actually it's well into 11:59pm in the millennium. I did the math.

"Rocky Horror" the play, is at the Zachery Scott Theater. Wonder if they have a cast in front of the stage?

David Birney, TV has-been, is in town doing "Equus," on stage. This is like Bobcat Goldthwaite in "A Doll's House." 

New films, art films I missed in last weeks notes:
My Life So Far - at the Arbor 7

Last night, I went on a little mini-tour of gay bars here in Austin. I started at Dick's Deja Disco on San Jacinto. What a horrible little hole in the ground. It was awful. They didn't even really play disco - some oldies but mostly crap. It was like one of those little gay bars out in the boonies. I hated it. Worse yet, it was full of the most unfriendly people I have ever met in Austin. So after a couple of beers, I went to The Forum on Congress. I decided that if I didn't like it, I could go back to Oil Can Harry's right around the corner. Harry's isn't much better than Dick's, the music is awful dance crap but at least the people are friendly and the place really gets crowded after midnight, which I like.

The Forum was okay. It has a really nice building. There is a main bar, dance floor, back bar and an upstairs patio that is really cool. I had a few drinks and started to have a pretty good time. There were lotsa cute college aged guys in the mixed crowd and I ended up hanging out til almost 3am. But the music they played kinda sucked. At least I knew most of the songs.  

I think Austin's gay bar scene is so poor because all the bars in Austin have this sort of pansexual aura to them and everyone is so liberal that you can go anywhere here, pretty much. I just wish I knew where the club that plays alt-rock and has lotsa cute bisexual guys running around was. That's my dream club. Guess I'll have to  continue to mix it up... going to the gay bars sometimes and the cool alt-rock clubs like Casino el Camino, Club DeVille and Emos...

I love this show called "Raw Time" on cable access. It comes on Saturday nights 130-3am. They play some videos but mainly they just sit there and take calls. The chick who hosts it, Mistress TinaRina, is so cool. She lets people say all kinda freaky stuff and hangs up on almost everyone. She rocks. This is my dream chick. Tonight she had sort of a stupid girl with her named Simba or Serena or something. I like it better when the guy is with her. I think his name is Dave. He's cute too. They are like a bisexual weekend waiting to happen!

They played a new Peter Murphy song tonight which was okay. He'll never top "Cuts You Up," I don't think...

I found this cool picture of Keanu Reeves. He is not gay

Saturday night, I worked late, after watching "Raw Time," on a video piece featuring me alone in my new apartment. It's pretty odd and pretentious and claustrophobic. Pretty bad stuff. Thinking of calling it "Triskadekaphobia."

Anyway, slept late on Sunday and got up in the afternoon. Went to the Dobie to check out "The Acid House" (the 100th feature film I've seen in 1999) which has some good qualities. Afterwards, it took me 20 minutes to get out of the fucking Dobie garage. I was so furious by the time I got to the exit that I did not even look at or speak to the garage attendant. That'll show 'em!

Afterwards, drove around looking for the Vortex, a local play house. Found it on Manor street out in the seeming boonies. Stopped in for a couple of questions and to check out the layout of the place. Then went to find a place to grab a quick bite to eat. This is easier said than done in Austin. The restaurants here are ghetto unless you want to pay $20 for a sandwich. Went to McDonalds which was as nasty as hell. Worse yet the decor was light blue and they had prints of "Colorado" events and blue mountainscapes and such. Why? What the fuck does that have to do with Austin?

Went back to the Vortex. The performance was a one-night-only piece entitled "The Cabaret of Broken Dreams." Paid my 8 bucks and hung out in the cool ambience of the lobby. The Vortex is just some old garage type building converted into a theater of sorts. It's a great low-budget facility. I really liked the place and I can hardly wait to go there again and see something. 

"The Cabaret of Broken Dreams" is basically a collection of songs to  showcase the talents of Stephanie Stephens. Her only talent, as far as I could tell, is a want to be a poor man's Marlene Deitreich and a ego so intense that she cannot see the pretentiousness of herself in performance. It was almost humorous. Stephens has some talent as a singer, but her complete lack of irony, self-knowledge, and self control defeats any talent she may have. Midway through the performance, when she at least unclinched a little, she actually brought forth a couple of worthy moments including a drop-dead funny recitation of Weill's "Surubaya Johnny." But most of her performance was either so pretentious or so lackluster that it was hardly worth taking note of. 

The band assembled to perform on this night had much potential however, with the exception of Ames Asbell on Viola. Unable to trust herself, Asbell did nothing but distract from the cacophonous beauty of the performers. Among them were Jim Eno (probably not his real name) on electronic drums and Joshua Zarbo on bass. Pianist Graham Reynolds, like the rest of the group, performed marvellously once his nerves settled.  He is quite an awesome keyboardist. The only true wonder during the entire piece was Laura Phelan on vibes. She consistently performed perfectly and  seemed immediately at east in front of the audience.

Adam Sultan lead the group, played guitar surely inspired by Robert Fripp, and also sang. His work as a musician was beyond reproach yet he too took a little time to warm up. His abilities seemed in question when he sang duet with Ms. Stephens on "Little Death," but his remarkable turn on "I'm Taking You to Heaven" was sublime. Spoofing period German cabaret performance and paying homage to it at the same time, "Heaven"  as the high point of fun for the evening. Surprisingly, many of the songs he performed were written by Sultan himself and they flowed effortlessly into the production which included works by Weill and Shostakovich. Sultan apparently performs with a group called Hollowbody and I must find out more about them as well.

The group performed a marvellous and beautifully counterbalanced version of Weill's "Alabama Song," made popular by a plethora of rock musicians, most notable the Doors and Bowie. This was late into the evening when the entire band seemed at the top of their form. It barely overshadowed the opening musical number, Sultan's "Overture to Nowhere," which definitely set the night reeling off on an inspired pace which Stephens could not sustain.

But the true gems of the evening were the opening duets Stephens shared with Kris Olson. Professional, assured, and yet unassuming, Ms. Olson was only allowed a moment in the spotlight. If anyone could counterbalance Stephen's inflated pomp, surely Olson does. The two, combined, were remarkable. When Stephens learns to truly share a stage and the these two females work together again, it will be mystical. But tonight, Olson was only allowed brief entrance into the proceedings. This is an utter shame for she is truly a gifted performer. So remarkable, in fact, that I did something I rarely do, I spoke to her after the performance and told her how awesome I thought her work that evening was. I had to. I wanted to know when I might get to see her again. She was very polite and cordial  and informed me that she performs with the Austin Lyric Opera in the chorus and then, to my delight, told me she would be a featured singer with the Walter Thompson Orchestra in late October/early November. I will have to find out exactly what this is, because I do not want to miss an opportunity to see her perform again. She was breathtaking!

"The Cabaret of Broken Dreams" was pretentious and doomed to fail. Highlighting a group of songs based on depression and sorrow, there is almost no opportunity for enjoyment. Yet these performers so obviously enjoyed their performing that almost none of them could do justice to the material. But the exceptions, like Ms. Olson and the fine work of the majority of the musician, made the evening highly worthy. These folks should be honored for simply having the gumption to attempt such an underacting, as misguided and pompous as it was. And the Vortex should be richly rewarded for offering a venue for such diverse local fare.

The Who are going to win some sort of award for classic rock band most used in 1999 films and trailers... 

Summer of Sam: Baba O'Reily and Won't Get Fooled Again, they are also discussed briefly.

American Beauty: Trailer uses Baba O'Reily and Kevin Spacey jams to " The Seeker" in the film.

The Limey: The trailer uses one of their songs throughout.

I saw the trailer for "The Limey" for the second time again today and now it actually looks like a pretty damn good movie. Soderberg continues to be one of the most interesting commercial filmmakers around.

Remember when Cracker Jacks had a prize that was more than a piece of paper?

Got Bowie's new CD "hours..." today. Went to Cheapo's first but should have known, since they are more of a used CD store that they wouldn't have it. Did find used copies of Fuckemo's "Black Helicopters," which I heard a couple tunes from on the Emo's jukebox, and a used CD by Tiktok (from opening night of Cinematexas). The Tiktok CD was like $3. Can hardly wait to listen to them.

Decided to go downtown to Tower. Parked a little further away then I thought. Had two walk about 5 blocks, down the strip, at noontime, to get to the store. Once there, I looked in new releases and in Bowie's stuff and could not find it. I began to get anxious. Stood in the checkout line and when I got to the register, said "New Bowie?" BLAM. Right there. $13.99. I was shaking with anticipation.

Got home and popped it in the player... ah... nirvana... his best album in about 15 years. Maybe even 20. It's great... He has finally drifted away from his sick obsession with Trent Reznor and wafted high into the realms of the pop art rock conciousness that he is so attune with. Recalling some of his best work of the 70's and filtering it through the digital age of synthesis and techno ambience, "hours..." fulfills all my needs as a Bowieophile. It fulfills the promise that "The Buddah of Suburbia" gave us just a few years ago. Tenfold.

The first track, "Thursday's Child," reminds one of the opening track from 1979's "Lodger," (my namesake) "Fantastic Voyage." But Bowie has matured and become so much more of a pop idol crooner in these past 20 years. This is one of his finest songs ever. Rediscovering the beauty of ballads and enjoying his off-key crooning sorrow once again, "Thursday's Child" may not win Bo an endless throng of teenage droogies, but it will cement his name in the list of rock singers for the ages. It's beautiful stuff.

Each track, all cowritten with Reeves Gabrels, explores the idea of
modern rock as art and then riffs off of this idea to evoke the haunting, empty, sorrowful nature of existence yet still somehow managing to be sweet and mellow and beautifully pop cacaphony at the same time. Bowie has found in Gabrels the collaborator who understands him completely, as an artist with an extensive catalogue, as a commercial oddity, as a pop singer, as a icon and idol, as a musician and hopeful alien. Gabrels' own brand of textured Robert Fripp-esque guitarphonics weaves so seemingly effortlessly with Bowie's beautiful lanky, blue eyed soul crooning. They are a force to be reckoned with.

One of the highlights of this trip down memory lane, which somehow pushes out the boundaries of outer space commercialism, is "Seven," an acoustic guitar laden alt rock synthesis that mentions Bowie's brother. Ever self-evasive, Bowie rarely seems to recall his own life experiences for his music. But the blatant verbal evocation of his brother, Terry, who is a major influence in Bowie's life, is revolutionary. Bowie himself has probably not referred to him in his work since 1970's "The Bewely Brothers." It's a beautiful and wonderful moment for fans who finally get a glimpse behind the artistic posturing to see the man, alone and in stark light, recalling an important influence in his life... "I remember how we wept... on the bridge of violent people... I was small enough to cry..." Breathtaking, harrowing stuff... 

Another great tune, amid the many, is "New Angels of Promise," which mellows out the harshness of the "Heroes" tune "Sons of the Silent Age" to offer forth a new anthem to the modern loser. "Survive" seems to recall Angie with loving memories of tenderness. Or perhaps it is some other lover from the past. Whoever it is, Bowie forgives. Imagine the song "Seven Years in Tibet" from "Earthling" extrapolated out amongst ten new songs, that slow, beautiful, other-worldly promise of modern pop synth rock and you have an idea of the grace and beauty of the new album. It seems to be the piece that Bowie has been building to for years now. Bowie's career often builds to peaks. "Ziggy," "Station to Station,"  "Heroes," "Let's Dance..." This is the album at the zenith of this phase. The only question left is... "Where to next, oh great thin white duke?" 

The packaging for the CD wavers on that fine line Bowie continues to  walk between commercialism and artistry. This may be one of his most endearing qualities to me. Like Warhol before him, Bowie may be a greedy little bastard. But don't artists deserve to be richly rewarded in our  society? Bowie probably doesn't make anywhereas much money as The Backstreet Boys or half that Godawful rappers in the world, but he is constantly knocked for his commercialism when he delivers art as opposed to pap. Why? There is an advertisement for The Bowienet in the CD. Sure,
it's ridiculous commercialism. But Bowie elevates commercialism to an
artform. He offers up something no other pop star does - a commodity who knows he is a commodity and is willing to be a commodity. I may not subscribe to Bowienet, but I will plop down my hard earned money with pleasure, forever, to buy the CD's, go to the concerts, buy the videos, and see the movies. And with "hours..." Bowie seems to again finally respect me as a consumer of his catalogue. There is no grating pop psychosis of Tin Machine, no industrial wanking of "Outside" on "hours..." Just pure pop Bowie for his legion of "wonderful consumers" desperate to buy up any artistic outpouring the man cares to hand us. This CD delivers and makes me a happy little fan. Thank you sir. May I have another.

Bowie looks beautiful here. Aging so gracefully, the sleeve of the CD not only pays homage to Bowie's modern cyber commercialism, it shows us the man as beautiful as ever. If rock isn't about sex, then Bowie isn't  about rock. He looks fucking awesome for a 50-something year old man. Jesus, with his lanky hair, his unflinching sense of fashion, his ability to appear sexual and withdrawn at the same time, Bowie is THE model for all fashion models. He invented glamour in rock and roll and this package (pun intended) continues the tradition of Bowie as beautiful alien god from afar. He looks so Goddamn great. The cover, recalling an innersleeve photo for "Lodger" as well as the videos for "Look Back in Anger" and "Day In Day Out," also ties in to the musical theme within, this idea of the passage of time on planet Earth... of the beautiful sorrow of existence... of the "hours..."

The new CD, "hours...," is an artistic effort from a matured and a seemingly finally relaxed pop iconoclast who appears to be coming into his own, some 30 years after his career began. Here is the Bowie we want. The Bowie we've been craving. Recalling much of his catalogue, from "Hunky Dory" to "Heroes" to "Never Let Me Down" to "Earthling," it's all here. The influence of a career in the spotlight dredged for meaning and poetry. Bowie may offer us the most unobstructed and pure  insight into the true face of an artist as we've never seen from him before. Unmasked, older and wiser...  hurt but not bitter, aged but more vibrant than ever. Bowie finds himself. And rediscovers his career as a pop star in the process.

0/ 8 - NEW FILMS OUT (NATIONALLY)

RANDOM HEARTS (HARRISON FORD)
Harrison Ford as a cuckold cop whose wife dies in a plane crash. When he discovers her affair, and her lover who died in the crash with her, he starts to bed the guy's widow, a candidate for senator played by Kristin Scott Thomas, who proved her ability to feign romance with older men in "Horse Whisperer."

SUPERSTAR (MOLLY SHANNON)
SNL's Molly Shannon cracks me up. but for 90 minutes? doubt it.Directed by Bruce McCulloch, whose "dog Park" dies at box offices just 2 weeks ago. Also with MTV psycho Tom Green, who must be stopped. 

MOLLY (ELISABETH SHUE)
This clunker looks like a modern updating of "Flowers for Algernon"/"Charly" with a female in the main role for the twist. It's been pushed back several times by MGM, so don't be surprised if it's hard to find.

LIMEY (DIR - STEVEN SODERBERGH)
Terrence Stamp is out to kick the butt of Peter Fonda. Joe Dellasandro has some scenes. This is enuff for me to know I've got to see it. 

JULIEN DONKEY BOY (DIR - HARMONY KORINE) NY Harmony Korine wrote "Kids" and made the exceptional "Gummo." If you live in NYC, you're lucky enuff to get to see his movie now. I'll have to be contented to wait. With Ewan Bremner, Chloe Sevigny and Warner Herzog

DOBIE - ON THE ROPES (BOXING DOCUMENTARY)


DOBIE - DILL SCALLION
Mocumentary about a country singer wannabee.


VILLAGE CINEMA ARTS 4 - CABARET BALKAN
Set in Beograd in the mid 90's, 20 peoples lives crisscross in sometimes violent, sometimes artistic ways

VILLAGE CINEMA ARTS 4 - LOVE, ETC
French romantic comedy drama

DOBIE - MIDNIGHT - STRIPES
Yep - the Bill Murray flick. With Harold Ramis and John Candy.

ALAMO - BEAT STREET
Classic hip hop flick. Alamo will feature breakdancers on stage and those who come dressed in retro breakdancer garb get in 1/2 price!

It should be noted that Arbor 7, the Dobie, the Alamo Draft House and the Paramount will all be playing host to the Austin Film Festival this week as well.