Thursday, October 21, 2010

happy birthday uncle john

John Massimo, c. 1932

My Uncle John was my dad's older brother. He was the oldest child of four and the family star, trouble maker, and story teller. He's about eleven years old in this photo, which was taken on the roof of the 14th Street and First Avenue apartment building in New York City where the family lived.

One of our family stories about John Massimo from about this time, highlighting his trouble-making skills, was actually a staple of his repertoire. I really miss Uncle John.

John Massimo was always a great jokester and a smart-aleck. When he was ten (c. 1931) and his family was still living with his Don Peppino [his grandfather], he used to attend summer school across the street from where they lived on 1st Avenue and 14th Street. One of the older girls (16 or so) would pick on him, getting him to do her “pig work,” always making him clean the blackboards, erasers, etc. She probably had a crush on him, but John resented always having to do the dirty work.

One time when she asked him, “Johnnie, go clean the blackboard,” He responded, “ No, I won’t!” She said, “Why not?” He answered by calling her a dirty name in Sicilian (by making reference to her mother’s reproductive organs.) She, unfortunately for him, understood, and slapped him hard across the face, first one side, then the other.

Dove vive (Where do you live)?” she shouted angrily.

He answered, “Avenue D.” She didn’t know that he actually lived right across the street.

“I’m going to tell your mother. I’m going right now to tell her—wait until you get home!”

And she set off for Avenue D.

John Massimo crossed the street, went inside the building and upstairs to their apartment. Gertrude [his mother] saw him enter, with one bright red cheek. When she asked him why his cheek was so red he answered, “Because a girl hit me.”

“Why did she hit you?”

“Because I called her a name.”

“What name did you call her?” He whispered the word to her and she slapped him hard across the other cheek.

“Don’t you ever use those words!”

“But I hear you use them all the time!”

Gertrude was taken aback. “Never mind what I say. You don’t say them!”

At this point, Don Peppino and John Angelo [his father] couldn’t stop laughing and told Gertrude to leave the boy alone!
 
Happy birthday Uncle John.
 
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Wednesday, October 20, 2010

the man with the golden Gunn

I recently downloaded Gunn's Golden Rules, Tim Gunn's latest book, which is a mix of etiquette, gossip, behind-the-scenes at Project Runway and some very personal revelations. It was an enjoyable read, if a bit of a mish-mash. The much-vaunted gossipy put-downs of fashion personalities like Anna Wintour and Isaac Mizrahi were hardly surprising. Vain, overinflated, nasty folks in fashion? Shocker.

Tim Gunn worked in the Parsons admissions office when I was an art student back in the day. I wish I could say I had a wonderful, personal memory, but I just have a vague recollection of a pleasant, laid-back office.


But Gunn is a pleasant force to be reckoned with, and there are some lovely little passages in the book of Gunn-wisdom:
With a certain amount of maturity, we can set up our own constraints. That's a lot of what education is about—letting people set those assignments for us so that when we graduate we can start to set them for ourselves. even now that I'm in my fifties, I still face certain situations where I have to admit that I need some rules to help me figure out what I should do.
I know that someone thought that fashion world gossip would be the selling point, but lots of folks like myself simply love Gunn and the sound of his voice, and I think the book suffered from not having a consistent and clear point of view—something that designers on Project Runway are frequently criticized for. The most interesting revelation was Gunn's personality—he simply cannot lie. His quest for honesty and integrity is fascinating, and I respect it, especially in the industry he has found himself in. His ideas of etiquette and desire to always "take the high road" are refreshing, and it would be nice if some of his colleagues made the same choices. I respect him for being so honest about his feelings about love and sex. I'm not sure I really felt I had to be on such a "need to know" basis—at times I was almost put off by the level of revelation, almost embarrassed. There were some excruciatingly detailed passages, mostly about his youthful love life and bout with depression. Some of his relationship stories just broke my heart—the decisions he made, the roads he took, or more accurately, didn't take. But Gunn puts his money where his mouth is—he said he believes in honesty and he means it. If he's going to tell a story, he's going to tell the whole story. Considering how hard it still is to be young and gay, Gunn's personal stories take on an even stronger meaning—if he can get through a failed suicide attempt and turn his life around time and again, even become a huge success in his fifties—then anyone who is having a hard time should know that it truly does get better. Bravo, Tim Gunn.
That is one thing I try to keep in mind when I talk about people's behavior. I believe very strongly that we should all try our best to treat another well, but I also know that some people who are difficult are doing their best, only their best isn't all that great.
After reading this book, spending time with Gunn, I was drawn again to watch him on Project Runway. I know, I know, I have said in the past that I was done, done, done with the show. Everyone falls off the wagon from time to time. I feel a bit like Pacino in The Godfather, "Just when I thought I was out, they pull me back in." I don't know if Gunn's self-realizations and revelations have given him a softer edge, but he really seems more the den mother and mother hen for the designers this season than ever before. He actually seems wounded when some are sent home. I started watching about mid-way through the season and couldn't believe the amount of back-biting and bitchiness that was going on in the workroom. There's always diva-like behavior and trash-talking—emotions run high in an artistic environment—but these contestants were re-damn-diculous with their attitudes. Especially bee-otchey were the women. The guys also wanted to dish the dirt, but no one seemed to get as down and dirty as the women. And not just critical, but nasty.

The mob mentality picked a whipping boy this season, Michael Costello. I'm not sure what set it all off, as I said I had missed earlier episodes, but from everything I could see Costello, although possibly not the most talented of the bunch (that's Mondo, without a doubt), at least was trying to do his best and didn't seem to want to engage in the nastiness. I'm sure a lot of the worst offenders will claim that they look bad in "the editing," but the show's editors did not make Gretchen and April consistently say derogatory things about whatever garment Costello was working on, or pull disdainful expressions whenever the judges praised his work.

What was great was when it all came to a head in a recent episode when queen bitch (and ousted former contestant brought back for one episode) Ivy started throwing around accusations of Costello cheating, in a pretty obvious attempt to get some camera-drama-time. Papa Gunn swept in, and in his inimitable, unflappable, style put a quash on all the nastiness, saying that whatever was said (by the girls in the girls' room!) was a non-issue. Taking the high road again, discussion over. High school's over, bitches, get used to it. Thanks to the positive force that is Tim Gunn and the upbeat designs of Mondo, I am enjoying watching Project Runway again, cattiness notwithstanding.

Fashion and art can be fun and uplifting. Even nice, sometimes.



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Tuesday, October 19, 2010

i came to casablanca for the waters

Captain Renault: What in heaven's name brought you to Casablanca?
Rick: My health. I came to Casablanca for the waters.
Captain Renault: The waters? What waters? We're in the desert.
Rick: I was misinformed.


I was thinking about this great line, in a whole movie full of great lines, and how it seems to me the epitome of Humphrey Bogart's screen persona and his appeal. The words spoken are innocent enough, but let there be no mistake, Bogie's Rick Blaine is not going to tell anyone anything he doesn't want to.
Dialogue in movies like Casablanca is so subtle and multi-layered. Not only do they not make movies like this very often anymore, but people just don't seem to speak like this anymore. With subtext. I am constantly amazed at the brashness of people in conversation, the questions the have no hestitation in asking. Questions, that I was taught when I was growing up, are plain rude—How old are you? How much do you make?—And anything else that one might consider a tad personal.

It's not the facebook generation. They all grow up knowing each other's business, so they don't need to ask the rude questions. It's their parents' generation. Whenever I am confronted by someone that I feel may be prying, or has crossed one of my invisible boundaries, I am going to try and conjure up Bogie and how he answered Louis's nosy parker-ness. The Bogie of Casablanca, not this Bogie ...


Although I love that Bogie, too.
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Monday, October 18, 2010

american gods

After reading Neverwhere, I wanted to read some more Neil Gaiman. I've had Stardust gathering dust on my bookshelf, and was about to pick it up when I saw a copy of American Gods at our local library. It was a great choice and a great book. Gaiman manages to successfully weave together a mixture of gods and mythic heroes from many different cultures and folk legends that would impress even Joseph Campbell—all into a fast-paced, intriguing, even comedic,  thriller.

His idea is that America is not a country conducive to gods and god-worship. All of the immigrants, voluntary and involuntary, who have come to these shores for centuries may have brought their home gods and goddesses with them, but these old gods never really took to the country. Or the country didn't take to them. Americans, by their very nature, are always on the lookout for the next best thing, so even the relatively recently created gods of the media and internet will soon be ignored by their successors. The physical landscape of America itself is phenomenal, with natural, holy places.  Modern day folks are still drawn to such "mythical" places as Mount Rushmore. How could an Odin or a Kali or an Anansi or Horus compete with a gigantic, magic, mountain?



The characters of the hero Shadow and his boss, Mr. Wednesday, are terrific, as are the others that  Shadow comes across on his travels—especially Mr. Nancy, Whiskey Jack, and Sam Black Crow. Mr. Nancy (Anansi) was a huge favorite of mine, so of course this means I have to read Anansi Boys next, right? Or should I check if the library has The Sandman, because Odin and some of the other peripheral characters are suppose to figure in that one as well ... Or The Graveyard Book? It looks like my Halloween reading this October and beyond will be Gaiman. The depiction of the down-and-out gods of the Old World trying to eke a meager existence in the U.S. is consistently good. And humorous. And apart from all of the deep mythical background, what really was the best part of the book for me were the supporting, peripheral stories that Gaiman wove to tell how a few of gods traveled to the New World, via slaves from Africa, a female prisoner from Cornwall, a salesman from Oman. These supporting mythlets were powerful and never detracted from the main narrative and fate of Shadow and Mr. Wednesday.

There are some wonderful passages. A little more than halfway through the book, Gaiman lets a character step momentarily out of a story within a story to talk of the role of myth and legend and fiction:
No man, proclaimed Donne, is an Island, and he was wrong. If we are not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature, and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived, and then, by some means or another, died. ... Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.
A life that is, like any other, unlike any other.
And also this wonderful speech:


Gaiman reading Sam's fabulous "I believe" speech
There were a few surprises, and a few plot points I was able to figure out ahead of time. Some of the characters' outcomes may have seemed left dangling or unresolved, but not in bad way. Just that their story might continue off-screen, if you will. Apparently Gaiman has written a novella with further adventures of Shadow. I'll have to check that out. The only very minor quibble I might have with American Gods is that the Götterdämmerung didn't end up being quite as dramatic as some of those other, stronger parts of the book. But the battle also didn't feature the hero front and center, and frankly that is where the book's and the reader's main interest lies—not in a long, drawn-out, detailed battle scene. Gaiman wasn't trying to rewrite The Two Towers or  The Return of the King and I'm grateful for that.

American Gods takes Shadow and the reader through some interesting places, both before and "behind the scenes," where anything might happen. I truly enjoyed accompanying Shadow and spending some time in a tiny nice town in frozen Wisconsin,  a funeral parlor in Cairo, Illinois, the mythical white ash Yggdrasil,  and the Underworld. As much as I enjoyed the narrative, I am left with the echoes of the forgotten gods and what it might mean to take your gods with you and then abandon them. All of our personal stories and histories, where do they go after we're gone? Who is that man driving the taxi cab, or that woman in the coffee shop with the too-bright hair and flower tattoo? Eccentric? Or maybe something else ...

Related:
Neil Gaiman's Journal
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