Chuck Todd interviews me about alternate histories
Showing posts with label Cary Grant. Show all posts
Showing posts with label Cary Grant. Show all posts

Friday, December 15, 2017

Review of Rob Sheffield's Dreaming the Beatles 19 of X: (Unnecessary but Brilliant) Defense of McCartney

Next up in Rob Sheffield's one-of-a-kind Dreaming the Beatles, which I've been reviewing here now about a chapter a month, because that's the way I like it, is an outstanding defense of Paul McCartney, as only Sheffield with his combination of depth, irreverence, and sheer style could do it.

The thing is - as you'll know from reading almost any one of my previous reviews here (see list at end of this review) - I don't think McCartney needs any defense.  I find people who don't like his music tone-deaf, jealous, or at best marching to a drummer so different from mine that I have nothing to say to them.  It's not that I love every song McCartney has written and recorded.  It's just that I love more of them then I do any other artist's.  It's not that I don't love Lennon just as much, and that I don't acknowledge that many of Lennon's songs, from when he was with the Beatles (like "Rain") and when he was on his own (like "Jealous Guy" or even "Whatever Gets You Through the Night") are easily as good as or even better than McCartney's best.   It's just I've gotten a little more, in sum, over the years, from McCartney's music than from Lennon's, and this was so even before the unacceptably tragic day when Lennon was murdered (my Loose Ends Saga concludes with a time-traveling plan to prevent that).

And it's not that I agree with every move McCartney has made outside of the studio, either.  On a personal level, I imagined that McCartney would contact me after my Vote for McCartney was published in The Village Voice in 1971 (my first published article).   That never happened (but I was thrilled when my son, Simon Vozick-Levinson, got to interview McCartney twice for Rolling Stone decades later).  But regarding McCartney's music - the worst I can say about it is some of his songs and recordings aren't as wonderful as others.  Which is why I think his career needs no defense.

Yet Sheffield's defense is both a pleasure to read and useful.  I confess to never having heard So Bad, a McCartney song which Sheffield enjoys.  I just listened to it on YouTube, and concur with Sheffield.  (He might have also mentioned two McCartney songs from a little later which are among my favorites - My Brave Face which he wrote with Elvis Costello, and Hope of Deliverance - by, hey, different strokes.)  And Sheffield's takes on various aspects of McCartney's life and career - ranging from quick notes like "he did less to fuck up his good luck than any rock star ever" to a magnificent, extended little essay on Paul McCartney and Cary Grant as two very similar expressions of working class Brits become famous in America - are genius.  (And just for good measure, I agree completely with Sheffield's praise for McCartney's concert in 2016 - my wife and I felt the same about his concert in Hempstead, NY this past Fall.)

All of which adds up to McCartney, though his admirability should be self-evident, is fortunate to have someone with Sheffield's pop-cultural sensitivity and analytic depth writing about him in this destined-to-be classic book.  McCartney doesn't need this defense but he more than deserves it.

And I'll be reviewing more of this book soon.

See also Review of Rob Sheffield's Dreaming the Beatles 1 of X: The Love Affair ... 2 of X: The Heroine with a Thousand Faces ... 3 of X: Dear Beatles ... 4 of X: Paradox George ... 5 of X: The Power of Yeah ... 6 of X: The Case for Ringo ... 7 of X: Anatomy of a Ride ... 8 of X: Rubber Soul on July 4 ... 9 of X: Covers ... 10 of X: I. A. Richards ... 11 of X: Underrated Revolver ... 12 of X: Sgt. Pepper ... 13 of X: Beatles vs. Stones ... 14 of X: Unending 60s ... 15 of x: Voting for McCartney, Again ... 16 of x: "I'm in Love, with Marsha Cup" ... 17 of X: The Split ... 18 of X: "Absolute Elsewhere" ...  20 of X: "All Things Must Pass" ... 21 of X: Resistance ... 22: The 70s Till the End ... 23: Near the Science Fiction Shop ... 24 of 24: The Last Two

And here's "It's Real Life" -- free alternate history short story about The Beatles, made into a radio play and audiobook and winner of The Mary Shelley Award 2023



 
lots of Beatles in this time travel

Sunday, August 24, 2008

Mad Men 2.5: Best Montage Since Hitchcock

First, for devotees of montage - the film technique first developed by Sergei Eisentein, in which cuts between unconnected images tell a story that goes beyond each of the images individually:

Mad Men had a great example tonight. It's always been one of my favorite techniques in film (and television). Alfred Hitchcock's ending of North by Northwest (1959) does it masterfully. Cary Grant pulls Eve-Marie Saint up into the berth of a fast-moving train - cut to the train hurtling into a big, dark tunnel ... A brilliant way of showing the two making passionate love in prudish 1959 ... not to mention that Cary Grant was never too good in love scenes.

Cut to Mad Men, Episode 2.5. Pete has to give the doctor a sample of semen. He's in the bathroom with girlie magazines - cut to Roger whacking a paddle-ball in his office. Hey, you couldn't have shown any more in 1962, even though we are watching this in 2008. Hitchcock would have been proud.

Now to the rest of the story tonight. Don, drinking and driving out to Stony Brook with Bobbi, veers dangerously off the road when Bobbi distracts him a little too much. The two are shaken up and bruised, otherwise ok. But Don is fined $150 by the local Long Island police, which he doesn't have. He calls ... Peggy, to help bail him out.

Why Peggy? Bobbi wants to know that, too.

The answer reveals a little more of what happened to Peggy last season. She's in an institution, saying she has no memory of what got her there (her baby, that she denied having). Don comes to see her, and talks sense to her. The gist is how easy it is to forget a past you don't like. Don, of course, would know. Just as important, the scene shows Don's fundamental decency - in this case, caring for Peggy - which makes him such an appealing character.

Meanwhile, Bobbi stays at Peggy's overnight, and gives her some advice: if you want to succeed at Sterling Cooper, act like a woman. The next day in the office, Peggy calls Don ... Don.

I'm continuing to enjoy this year even more than last year. Much more than a copy off the xerox machine in the office (which Pete tells the doctor about when asked if he's been exposed to radiation) - this year goes into deeper territory, well below the surface.






See also: Mad Men Returns with a Xerox and a Call Girl ... 2.2: The Advertising Devil and the Deep Blue Sea ... 2.3 Double-Barreled Power ... 2.4: Betty and Don's Son ... 2.6 Jackie, Marilyn, and Liberty Valance ... 2.7: Double Dons ... 2.8: Did Don Get What He Deserved? ... 2.9: Don and Roger ... 2.10: Between Ray Bradbury and Telstar ... 2.11: Welcome to the Hotel California ... 2.12: The Day the Earth Stood Still on Mad Men




And listen to my fabulous 20-minute interview last Fall with Rich Sommer (Harry Crane) at Light On Light Through



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