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Monday, January 14, 2013

Attending a program of animated shorts with a room full of small children

Posted by Ben Sachs on 01.14.13 at 04:00 PM

The puppet animation of Janis Cimermanis
  • The puppet animation of Janis Cimermanis
I sat in the back row of the Facets Cinematheque for Saturday morning's program of animated shorts, the first in a monthly series aimed at families with small children. As one of only two childless adults in the room, I thought the smartest choice would be to keep out of sight. In retrospect I should have chosen the second-to-last row; about halfway through the program a one-year-old, taking what appeared to be some of her first steps, set her sights on my aisle seat as the finish line for her wobbly trek from the front of the house. I was in the bathroom when she set out; she was in my chair when I returned, her mother sitting on the floor next to her and giving her a valedictory patting. I didn't ask for my seat back.

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12 O'Clock Track: Glenn Jones, "Show Me"

Posted by Tal Rosenberg on 01.14.13 at 12:00 PM

glenn_jones-finesse.jpg84.jpg
Lester Bangs once said that Van Morrison "is interested, obsessed with how much musical or verbal information he can compress into a small space, and, almost, conversely, how far he can spread one note, word, sound, or picture." Can we get real and say the same about Glenn Jones? Is there much to "Show Me"? No, there isn't. But Jones has the same obsession with the texture and variation of a single word as Morrison. And he also shares the same intense focus on inner turmoil. He needs to know. What's the guy gotta do? Show him what he has to do. Come on.

"Show Me" is an ace quiet storm song, a charmingly tacky spectacle that conveys the feeling of walking around in a shop that sells the kind of wiry fluorescent signs you find in aquariums and frozen-yogurt shops. It was written by LaLa Cope, who was a member of Change (one of the greatest and most overlooked disco acts) and also wrote Whitney Houston's "You Give Good Love." The opening keyboard, which Ice Cube expertly sampled on 2000's "Until We Rich," sounds like what might happen if you combined a floor piano with an escalator. The melody is gorgeous, and Jones's singing (he is originally a gospel singer) is strong, never going for glottal bellowing or whiny falsetto. And Jones is supposedly such a novice romantic that he needs to be shown—lord knows how—what he has to do. The song has virtually nothing else to say. It's expert midrange singing about the stupid and simple circumstance of being unsure about whether or not the person you're into feels the same way about you. Many of us have dealt with that situation. Let's just thank Jones for having it take place in a jacuzzi.

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Thursday, January 3, 2013

12 O'Clock Track: D'Angelo, "Send It On"

Posted by Tal Rosenberg on 01.03.13 at 12:00 PM

An unlikely source of making DAngelos Voodoo make sense.
  • An unlikely source of making D'Angelo's Voodoo make sense.
I'm a huge R&B fan, but D'Angelo's 2000 album Voodoo never really clicked for me, despite its reputation as one of the finest albums of the aughts. I was a fan of a lot of the Soulquarians' (an assemblage of musicians that included D'Angelo, J Dilla, keyboardist James Poyser, and members of the Roots, whose drummer ?uestlove is the "mastermind") music at the time, but for most of the past decade felt like the recording sound was often too dry and the lyrics too heavy-handed. Leave it to Undeclared—Judd Apatow's early-2000s sitcom about college life, now streaming on Netflix—of all things, to finally make the album hit home. Apatow scores many of the awkward romantic encounters with D'Angelo's "Untitled (How Does It Feel)," which has a famous music video in which the singer is featured in the buck down to the top of his groin. In the show's context, I started to hear how Voodoo works so well as background music that grows deeper the closer you examine it. Over the past few days, I've been bumping Voodoo nonstop; its resemblance to Prince's Sign O' the Times-era music is obvious now. And right now my favorite track is "Send It On," a slinky, live-band slow jam featuring the excellent horn work of Roy Hargrove. I absolutely love the way silence is used in the song, letting bass notes linger over hi-hat tapping on the one and two, and cannily using horns and layered vocals to fill up the chorus. Mellow your mind below the cut.

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Monday, December 10, 2012

What makes for a good introduction to a film screening?

Posted by Ben Sachs on 12.10.12 at 03:34 PM

Stan Brakhages Anticipation of the Night screens tomorrow at the Film Center
  • Stan Brakhage's Anticipation of the Night screens tomorrow at the Film Center.
I'm excited to hear Reader writer emeritus Fred Camper introduce a program of four avant-garde classics at the Film Center tomorrow at 6 PM. The screening marks the last of Camper's three-month film-and-lecture series on American cinema of the 1950s, which has provided me plenty of food for thought. Some of the works in the series, like Rebel Without a Cause, are revived fairly often, but Camper has a way of making any movie seem new. A noted scholar of experimental film, Camper talks about movies with an emphasis on universal formal properties—focal lengths, the arrangement of objects within a frame, editing patterns, and so on—which has the effect of making every film seem like an experimental film. (When he introduced Some Came Running a few weeks ago, he compared Vincente Minnelli's mise-en-scene to a Marshall Field's window display, encouraging the audience to approach the movie without expectations of realism.) It should be a treat to hear him expound on his area of expertise.

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Wednesday, November 21, 2012

An added attraction at Cloud Atlas

Posted by Ben Sachs on 11.21.12 at 03:16 PM

Hi, how are you?
  • Hi, how are you?
Yesterday afternoon at the River East, an undivulged projection issue delayed the start of Cloud Atlas by almost 20 minutes. It was likely a minor snag; but as Music Box projectionist Doug McLaren told me in August, whenever a DCP projector needs to reestablish its Internet connection, the system takes about a quarter hour to reboot. All this time the projector bulb stayed on, and the screen was filled with an unnecessary wash of digital black, making the canvas—once idolized as the "silver screen"—look like a giant sleeping laptop. In spite of J.R. Jones's less-than-enthusiastic review, I went into Atlas hoping to be won over by its grand-scale movie magic (Andy and Lana Wachowski have a postproduction facility in Ravenswood!). It was hard to keep the faith, though, when the vehicle for that magic got turned into a dustbin for meaningless pixels.

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Wednesday, November 7, 2012

Letting the Romnesia set in after a long campaign

Posted by Asher Klein on 11.07.12 at 12:15 PM

Shows over, nothing to see here, keep er moving.
  • Asher Klein
  • Show's over, nothing to see here, keep 'er moving.
After the confetti dropped like Nate Silver's mic, Obama's biggest supporters faced the problem of getting the hell out of McCormick Place after hearing his final campaign speech of the year last night. A few faced the added hurdle of talking to me about their feelings. They were very gracious to me and still feeling the glow from the president's praise—he called this the best campaign in the history of the world, as I recall.

Cynthia, Tamyko, Carol, and Lauri were two sets of friends at the start of the night, but had clearly bonded by the end. The volunteers shared their feelings in a jumble: "I feel great, like really." "This country is so blessed." "Just relief. Huge, huge relief . . ." "And elated!" One had a closer bond to Obama. "I had just taken an oath to join the U.S. Army," Tamyko told me. She was stationed at Fort Jackson, and he was a great commander in chief, she said.

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Tuesday, September 25, 2012

Conversion conversations: Tom Klein and Jenny Shapiro, managers of the New 400

Posted by Ben Sachs on 09.25.12 at 09:05 AM

Inside the second auditorium of the New 400
  • Inside the second auditorium of the New 400
The New 400, the independent four-screen movie theater in Rogers Park, reopened Friday after ten days of being closed for renovations. During the interim, management excavated and refinished the tile floors in the men's room, which had been out of public view for decades; installed new screens in each of the four auditoriums; and, inevitably, replaced their 35-millimeter projectors with digital cinema units. When I spoke to manager Tom Klein back in February, he told me the theater had been holding off on converting to digital projection because of how much the procedure would cost. Thanks in part to a financing plan offered by the DCP provider Sonic, the New 400 managed to keep up with the times. But I suspect there are other theaters out there that aren't so fortunate, given the going rate of $70,000 per DCP projector.

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#RIPBonny's: the last nights of Logan Square's dance bar

Posted by Asher Klein on 09.25.12 at 07:35 AM

Bonnys Logan Square last night photos
  • @leo_dude on Instagram
So many people I talked to this weekend were "totes"* sad that Logan Square's tiniest, sweatiest, shadiest late-night dance bar closed on Saturday. A "protracted legal battle" is responsible for shuttering the two-year-old Rorschach test of a watering hole, Time Out said, and that kind of makes sense for a place where you came to get hammered and make bad decisions.

When I found myself at Bonny's on Friday night irreparably sober and unavailable to the ladies, I decided to make the best of the experience by asking some regulars—and there were plenty of sightseers there to see what they'd been missing—where they'd go to get their drunken dancing fix. Results were mixed, but aside from one very confident reply that Danny's could offer everything Bonny's could, no one was sure. "Danny's is great, but it's not the same," one told me. "I guess I can't walk home from the Hideout," said another. "Bonny's for life," said another, who had "no fucking idea" where she'd go in coming weekends, just that it'd never be the bar that replaces Bonny's.

Anyway, things didn't seem so out of the ordinary on Friday besides the 40-minute-long line outside. We sang "Last Nite" in its entirety on the penultimate night, but that could happen any day, really, because that song is awesome. The one notable difference was on Instagram, which lit up with more than a few tributes, and some of the same old pics of shit-faced faces.

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Monday, September 17, 2012

Conversion conversations: Willis Johnson, owner of Classic Cinemas

Posted by Ben Sachs on 09.17.12 at 11:19 AM

Willis Johnson and family, inside the Tivoli Theater (photo courtesy Classic Cinemas website)
  • Willis Johnson and family, inside the Tivoli Theater (photo courtesy Classic Cinemas website)
In the last installment of this interview series on digital projection, I spoke to Gene Siskel Film Center projectionist Brandon Doherty about accommodating multiple projection formats in a single booth. Based on the challenges Doherty described vis a vis that process, I can only imagine the stress of converting 100 projection booths, as the suburban theater chain Classic Cinemas recently did. To learn about such a large-scale conversion, I spoke with the chain's owner, Willis Johnson, who's been running theaters since 1978. He was more than happy to talk about the exhibition business, both before and after the recent conversion to DCP. Our conversation follows the jump.

Also, to indulge in a bit of self-promotion, tonight I'll be taking part in a conversation about the conversion from film to digital at the Gene Siskel Film Center, following the 6 PM screening of the documentary Side by Side. The panel will be moderated by WBEZ's Allison Cuddy, and my distinguished co-panelists will be Siskel programmer Barbara Scharres, School of the Art Institute professor Daniel Eisenberg, and local filmmaker Dan Nearing.

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Tuesday, August 28, 2012

RIP Willie Greene, Montrose fisherman

Posted by Jerome Ludwig on 08.28.12 at 12:28 PM

In today's Sun-Times there's an obituary for William "Willie" Greene, lakefront fisherman and longtime owner of Park Bait bait shop at Montrose Harbor:

"Willie" Greene, as known to lakefront fishermen, died Saturday night at Quincy Veterans Home. Mr. Greene, 84, took over Park Bait, the corner bait shop at Montrose Harbor, from his employer in 1956.

"That was his life," his daughter Stacey Greene-Fenlon said. "That lake was his world. He used to get a kick out of when a kid would come in and say, 'Oh, my dad brought me here when I was little.' He loved that generational stuff."

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