Best Halloween Movies–A Personal Choice

1. The Ultimate Scary Kids Movie: The Legend of Sleepy Hollow (on The Adventures of Ichabod and Mr. Toad)

2. Ultimate Ghost Stories: The Innocents (1961)–Truman Capote-adapted version of Henry James’s The Turn of the Screw and The Haunting (1964)–based on Shirley Jackson’s classic The Haunting of Hill House (which I once taught)

3. Best Roger Corman Adaptations of Poe: The Fall of the House of Usher, The Masque of the Red Death (both Vincent Price tours de forces)

4. Best horror Hitchcocks (for those who have not seen them) Psycho, The Birds

5. Best Vampire Flick: Coppola’s Bram Stoker’s Dracula

6. Best Canadian Horror Movie: The Changeling (George C. Scott)

7. Best Kid/Devil Pic: The Omen (Gregory Peck)

8. Best Nicholas Roeg Atmospheric ESP Pic: Don’t Look Now (Donald Sutherland, Julie Christie)

9. Best Stalker/ESP Pic: The Eyes of Laura Mars (Faye Dunaway & Tommy Lee Jones)

10. Best Early Movies`Special Effects: The Invisible Man (Claude Rains)

11. Best Helpless Terrorized Blind Girl Pic: See No Evil (Mia Farrow)

12. Best Mutant Invasion Flick: Them! (James Whitmore)

13.Best Modern Witches` Tale: Rosemary`s Baby

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Black Like Me Revisited 50 Years Later

1964’s Black Like Me film has come out on DVD and will, no doubt, evoke the usual amused responses to James Whitmore’s weak makeup job, and there will be many pre-50-year-old viewers who write it off as simply politically incorrect or racist, just another dumb oddity from the ’60s.

But the film was based on a once-popular 1961 John Howard Griffin book about a white journalist who subjects himself to taking drugs, sun-lamp treatments, and skin creams in order to ‘become’ black and travel the pre-civil-rights-movement South to vicariously experience what blacks did. Generally, and for the most part, Griffin himself did pass as black, regarded as such by whites and blacks alike. Griffin’s motives, as he presented them, were altruistic–he wanted to present ‘the other side’ of the then-race division story and to ‘walk a mile in the shoes’ of blacks–a vicarious technique still used with variations in contemporary news situations.

The stories Griffin presented were not pretty and did much to draw attention to degrading white treatment of blacks and black responses back, openly racist attitudes, as well as black lifestyles. In that way, it was the first important white-authored nonfiction book which helped to usher in the civil rights movement. And it is unfortunate that the well-intentioned but weak, at times melodramatic, film script and unrealistic makeup job hindered the presentation of some potentially good subject matter for thought and discussion in its day.

But the film does faithfully reproduce moments from Griffin’s book in the same casual episodic way, as in Here-is-what-Griffin-ran-into-as-he-moved-from-town-to town. Somewhat jarringly, the same shocking racist information from the book about black sexuality is presented–what Griffin himself was exposed to from several whites. But overall, the book’s variety of white responses to blacks and vice-versa are retained also–a realistic blend of attitudes with some unexpected good, positive ones, too.

How bad was it in the South then? The film and book both capture the times and details well. Up here in Canada, we really had no idea what was happening in this region then, let alone with natives and French Canadians. We could only read about discrimination in books like Griffin’s or catch some of the more dramatic confrontations later in the civil rights and Martin Luther King era third-hand on the tube. Eventually we ‘got the news’ too, and one brave Canadian filmmaker, Norman Jewison, took a film crew and Sidney Poitier (who himself felt very endangered) to the South to make the seminal In the Heat of the Night, the 1967 Best Picture.

So ironically, warts and all, the less-successful film of Black Like Me remains an interesting historical document which basically did not lie and revealed how prejudiced whites were, particularly in the Southern states. Often these days, people act and think that there is only the present and that equal rights has always been around, or that political correctness is the be-all, end-all, and no other true views from the past matter, count, or are needed.

But context is always important and always part of the Big Picture. Things used to be different. There were changes. A led to B led to C. The full story. Which includes the politically incorrect past as well, sometimes by necessity, or for the simple fact of facts and truth. Black Like Me may not be pretty or easy to watch, but it did happen and it was very true once upon a time, which still makes it special and unique reading or viewing

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Back in 1972 A.D., Griffin’s book was on the Alberta ELA curriculum and that is when I first encountered it. It generally went over very well with a mix of small town, air force, and native kids in the Cold Lake area then. It definitely showed different lifestyles and attitudes than anything teacher and students there had experienced.

There is a long-standing urban myth that Griffin died later in life from the treatments he endured. That is an ‘urban myth’; he died in mid-age of complications from heart attacks and finally diabetes.

Another recommended book I also had on hand in the classroom was 1969’s Soul Sister by Grace Halsell which presented the experiences of a white woman’s experiences as a black, parallel to Griffin’s quest. Any girls who read the book commented favorably on it as well.

I am also sure there are some teachers out there who miss those good old days when one could teach and read freely without having to worry about the obsessive, limiting strait-jacket of political correctness which limits what young people today can study. Another age when the powers-that-be respected young people more to make their own autonomous judgements in response to what they read and viewed. Another age before political correctness morphed into absurd, unnecessary censorship.

A note on the bonus DVD which comes with the movie: It is a documentary on Griffin’s truly amazing life. At the age of 6, he left Texas for Paris to go to school on his own. There, he later helped escaping WWII Jewish child refugees on the run from the Nazis, transporting them to the French coast via an ambulance he used from his workplace at a mentally ill institution. Amazingly, he ended up working solo during the war for the U.S. military on southwest Pacific islands where he gained  new respect of native peoples and was later ‘blown up’ by Japanese planes. Gradually he started to lose his eyesight completely. He came back home to live with his parents, learned Braille, married, had a family, farmed on his own, and mysteriously regained his vision. He became a writer and decided on the Black Like Me journalistic adventure which became a book and a movie. He became an excellent photographer and pursued spiritual adventures via Gregorian chants and monks, which he had initiated back in Paris. from his many interesting, challenging experiences, Griffin concluded that all people were basically the same and deserving of compassion. This documentary gives greater context behind his famous book and is a well-made, modest depiction of his amazing life journey.

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My Last Trick-or-Treat

About 1961 in grade 6, my friend Bob Hutchinson and I decided to take a chance and go trick-or-treating, although most of our classmates had stopped the practice, being ‘too old’. I went to one house on a ‘higher-up’ street where we believed the treats might be better or more generous. I was unexpectedly waylaid by a man in his 30s who insisted I perform a trick–the first time I’d ever been asked for one. He waited until I came up with a recitation of the first poem I ever memorized in school in grade 5. Stumblingly–I’d learned it the year before, but hadn’t said it since then–I surprisingly began to recite “Some One” by Walter de la Mare.

Some one came knocking
At my wee, small door;
Some one came knocking;
I’m sure-sure-sure;
I listened, I opened,
I looked to left and right, But nought there was a stirring
In the still dark night;
Only the busy beetle
Tap-tapping in the wall,
Only from the forest
The screech-owl’s call,
Only the cricket whistling
While the dewdrops fall
So I know not who came knocking,
At all, at all, at all.

Well, that confirmed that Halloweening was going to be a tough gig from that point on; it was my last outing. But I learned something that night about the importance and value of poetry. It could be a performance for an audience as small as one. Poetic words, like magic on the tongue, could move Uncle Henry-types (the hard adult man from Morley Callaghan’s “Luke Baldwin’s Vow”). There was also a mystery about poetry (as in this poem’s subject matter) much like so much of life-experience and Halloween, too. And there was a music in the rhymes and rhythms that could potentially charm and move others as well as myself. This poem–these particular words–were also the most powerful words I had ever uttered to another human being up to that point in time. Little did I know then, that this was the start of the poet that one day I would become. That mere lad, nervously reciting from memory on the cold fall front-steps, all for a transitory treat.

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The Short Version

We are who and what we are. We do and try our best for others as long as we can. We go as far as we can with our own unique gifts of self. And then, one day, we’re gone.

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A Zillion Processes

Give us this day our daily process/es.

Our moments, hours, days, months, and years are made up of various processes we are part of or that we participate in. We are, at any given moment, at specific spots in these processes. Most processes we personally choose and continue to experience be they education, learning, work, relationships, home ownership, child-raising, owning a car, looking after various aspects of our health, banking, travelling, and so forth.

Often, processes come down to continuity, communication, development, personal growth, ‘getting things done’, attending to ‘unfinished business’, addressing ‘missing pieces’, learning, making necessary changes, and abandonment. Ultimately, as mentioned in a previous entry on process, context, and change (June 18/2014), process necessitates choices. These choices define us–who and what we are. We can limit, broaden, or free ourselves accordingly with these process choices.

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For more on individual process, c.f. individual process blog entry (June 18, 2014)

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We Were All Young and Happy Once

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(photo of my Cream Goodbye album limited-edition-picture-disc: bassist-vocalist Jack Bruce on left, guitarist-vocalist Eric Clapton in middle, drummer Ginger Baker on right)

Cream was the first, greatest, (and most short-lived) supergroup of all-time, 1967-1968. The never-dull Jack Bruce who just passed away yesterday, at 71, was to bass what Keith Moon was to drums, and was one of the major pillars of this group, its music and sound. He memorably played bass, wrote and/or sang on “Sunshine of Your Love”, “White Room”, “Sitting on Top of the World”, “Politician”, “Born under a Bad Sign”, “Deserted Cities of the Heart”, “Spoonful”, “We’re Going Wrong”, “Swlabr”, “I’m So Glad”, “Tales of Brave Ulysses”, “Sleepy Time Time”, and “Rollin’ and Tumblin”. He also played a mean harmonica, cello, and piano.

Bruce was an unconventional, jazzy bass player who could sing lead vocals soulfully at the same time (which is never an easy thing to do). He changed the way many bassists play bass, especially in counterpointing a lead guitarist or playing with drums. The Goodbye album was Cream’s fourth and final  LP and, though they were breaking up, they were still young and enjoying life on the cover. To Jack Bruce, I bid a very fondly remembered Adieu, man. His playing and singing have long been in and will always be in me and my musical sensibility and memory.

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A View as Large as Our Crazy World

As suggested in the previous entry, Joseph Conrad’s The Secret Agent is a far more modern and relevant book than any of his others. His understanding of evil, ‘chaos theory’, terrorism, agendas, madness, and anarchy are second-to-none among the great novelists most people in our society no longer, ironically, need.

In his time, ‘blowing up’ science was the choice for the power-monger/games-players to get attention and to instill fear into society. (There had also been an unsuccessful actual attempt to blow up Greenwich Observatory in Conrad’s day.) Greenwich, in the author’s time, had also just been chosen as the primal meridian for mean time and, as such, was laden with positive, successful connotations about what modern man or science then could do or was capable of.

Today, of course, we see this kind of terrorism in cyberthugs taking down e- and Internet systems as well as corporations, stores, and banking, who have figured out that people today have placed absolute faith in online security systems and that major chaos and disruption will occur if the cyberthugs choose. The wanna-be-powerful-and-controlling (These agendas all come down to mad gaining-power-and-controlling-others types of agendas) kook who tried to “take the (Canadian) hill” two days ago anarchist demonstrates one other modern Terminator-style manifestation of Conrad’s agent provocateur.

The third type of modern secret agent is the typical Al-Qaeda/ISIS nutcase who, like the previous two modern types, believes he has the ultimate truth and religious righteousness on his side and so he will exterminate anyone else who is different from him. As Auden said in “There Shall Be No Peace”, these bigots ultimately “hate for hate’s sake”, much like the central character of The Professor in Conrad’s book, who walks the streets of late Victorian London, wearing dynamite with his hand clutching a squeeze ball to blow himself and others up to smithereens if and when he feels like it.

Running through Conrad’s book is an underlying sense of sordidness, absurdity, imminent chaos, and sheer madness about his time, modern times, human beings, and those who would disrupt and annihilate Western civilization if they could (or as in the case of the Parliament killer) if they could be king or PM.

I think maybe the best aspect of Conrad’s book is how it was and still is a relevant wake-up call as to the nature of how serious all these problems potentially are. Many of us blithely live our lives dreamily or relatively unconscious about forces that threaten the stability of society, culture, and Western civilization. We are largely unaware of the depths, range, and nature of the destructiveness embedded within our midst and world.

In a parallel way, there has always been people trying to sell others, trying to impose their will on others. You need look no further than the past century of advertising and selling to find close-to-home examples we now take for granted in our lives. Politicians, too, have long tried to gain control and power over masses of people. Most divorces, separations, and child custody fights are about the same struggle, domestically-speaking. As are lawsuits in which one party or side tries to gain control over an individual or others. In other words, the power-and-control theme or script is already well-known to all, and a common motif in our world.

In response to the Parliament killing, Canada has taken a position of uniting and standing up against the irrational, mad savages. This is, it goes without saying, a very good, rational, and necessary thing. This is war stuff after all. Us vs. them. Ironically, this is the one and only thing we can agree on and reasonably/minimally do, as individuals, against the forces of the irrational evil so presciently forecast and understood by a writer, who understood man’s potential and real heart of darkness perhaps better than any other writer since.

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“We have met the enemy and he is us.”–Pogo (famous newspaper comic character by Walt Kelly)

ps/William Golding, Aldous Huxley, and George Orwell would be three other writers who show us the same kind of agenda-ed power-and-control stuff.

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FYI/The ultimate terrorist novel is…

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(photo of great Hans Alexander Mueller woodcut illustration of Ossipon meeting ‘The Professor’ in The Secret Agent from 1942’s  A Conrad Argosy)

…Joseph Conrad’s classic The Secret Agent, published in 1907. The New York Times called it “the most brilliant novelistic study of terrorism.” Conrad presents numerous truths on this topic in the earliest, most prescient study of irrationalism, terrorism, agendas, and anarchy ever written.

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A rather faithful Christopher Hampton written and directed movie adaptation of this book starring Bob Hoskins, with appropriate emotional music by Philip Glass, and with an unbilled appearance by Robin Williams as the anarchist Professor, is well-worth a look. It captures the numerous conflicts, setting and atmosphere, and plot of the original. The autistic Stevie and Professor are, as in Conrad’s book, the symbolic centres of the movie.

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Some Aldous Huxley Views

It is necessary for us to be open to and conscious of information from all systems, sources, and worlds.

It is necessary to balance emotions, flesh, and blood with mind and spirit. The organism needs to open up to the life force. We need to get rid of tensions and repressions in order to let the life force flow. This process requires unblocking the (self-)conscious ego.

It is necessary to balance reason with immediate experience.

Zen occurs when inner and outer are balanced with each other simultaneously.

The material world of mass, energy, space, and time needs to be accepted, embraced, and played with.

Our consciousness can be liberated by breaking the back of ego. Our most memorable experiences are ones with felt/experienced upsurges of consciousness.

Contemplation and consciousness go together.

The irrational requires satisfaction and expression within whatever system. It is necessary to put up with the irrational in harmless, but unrepressed ways. (A topic mentioned in a following entry on terrorism.)

General philosophical ideas are perhaps best expressed in terms of individual case histories or stories. (Induction as a means to understanding and consciousness)

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So What

Miles got me thinkin’
which he is wont to do
Unexpected overture
piano & bass reaching
for a first sentence
climbing & then
So what (ba-de-ba-de-ba)
So what (ba-de-ba-de-ba)

Cavalry charge led by
modal man
played slow & cool
to walking bass
& like whither goest thou?
So what (ba-de-ba-de-ba)
So what (ba-de-ba-de-ba)

Miles swingin’ out
into daylight, no
second fiddle
to Pops & Diz
stripping be-bop to
a blue avant-core

Miles ‘Mutha’
nurturing a who’s who of jazz
catchin’ the Trane
Cannonball too
& all the while himself
just Kind of Blue
soulin’ or cookin’
then movin’on

Setting trends
& Milestones
On the lookout for all
the right turns of phrase
sextet speaking seamlessly
Miles ahead of his time
So what (ba-de-ba-de-ba)
So what (ba-de-ba-de-ba)

One-take Miles
cool, clear & coalescing
laid-back smilin’
Ineffable Miles
So what (ba-de-ba-de-ba)
So what

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Notes:

So What–first song on Miles’ 1959 Kind of Blue LP, considered by many jazz fans to be one of the greatest jazz albums ever recorded; the other famous musicians on this album included Bill Evans (legendary pianist), Wynton Kelly (pianist), Paul Chambers (bassist), and Jimmy Cobb (drummer)

Pops–nickname of trumpeter Louis Armstrong; generally considered to be the Father of Jazz

Diz–Dizzy Gillespie–the most famous bebop trumpeter, known for his bullfrog cheeks and neck while playing

Trane–nickname of John Coltrane, generally considered to be the greatest alto saxophonist ever; he plays with Miles on the above album

Cannonball–nickname of Julian Adderley, another highly-esteemed alto saxophonist who also played on this album

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