Paul Simon Restrospective a Worthy Overview of a Glorious Career

Over the Bridge of Time
Sony Legacy 88883757672
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There’s no point to a conversation about the past six decades of songwriting if Paul Simon’s name isn’t invoked. His has been a (decidedly angelic) voice of poetry, wonderment, and explorations of the human condition. The greatest challenge of the 47-year (1962-2011) retrospective Over the Bridge of Time must have been deciding which 20 tracks to use. Producer Steve Berkowitz opted to select songs that hit the pop charts–from Simon and Garfunkel classics such as “The Sounds of Silence” and “The Boxer” straight through to 2011’s “Love and Hard Times,” with a brief stop for some of his Broadway ventures. In between lies another of Simon’s forays into world music on albums such as Graceland and The Rhythm of the Saints. Simon wasn’t the first to go global, but was there ever a timelier album than Graceland (1986), which introduced Ladysmith Black Mambazo to mass audiences just as South Africa was in the thralls of casting off apartheid? (In retrospect, those who accused him of boycott breaking and exploitation seem quite foolish.) Simon’s songs used to be taught in college poetry classes, but most of them bubble forth from the rainbow cosmopolitanism of New York City rather than ancient elegiac wellsprings. Turn a city corner and you leave one world for another–just like a Paul Simon song. Some might say he’s been a pop artist rather than a folk singer, but talk about conversations not worth having….

Rob Weir   


Kill Your Darlings a Fascinatiing Look at Pre-Beats Life

Kill Your Darlings  (2013)
Directed by John Krokidas
Sony Picture Classics, 104 minutes, R (language and sexual situations)
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William Burroughs… Allen Ginsberg… Jack Kerouac… Can we imagine the Beat movement without them? What became the most significant literary movement of the mid-20th century was almost nipped before it budded and, if justice had been served, it would have been.

No–this isn’t an anti-Beat rant. Like millions who came of age in the 1960s and 1970s, I was weaned on Naked Lunch, Howl, and On the Road. But I wonder if any of those works would have seen the light of day if the truth had been told in August of 1944, when Lucien Carr murdered David Kammerer. The film Kill Your Darlings takes us back to the early 1940s, when the world was at war, clubs served up sizzling hot jazz until the sun came up, gay and drug subcultures thrived in the shadows, and some of the brightest young minds in New York City spent more time dancing on the razor’s edge than studying in the hallowed halls of Columbia.

Ginsberg entered Columbia in 1943, a shy Jew from Paterson, New Jersey with a poet father, a mentally ill mother, and distressed musings over his own sexuality. There he met the brilliant-but-lazy Lucien Carr who shared his contempt for formalist poetry. In the film, Ginsberg’s relationship with Carr parallels that of Arthur Rimbaud and Paul Verlaine–madcap antics, initiation into gay life, free-flowing alcohol and drugs, and a coalescing circle of intellectuals-in-the-making. The latter group included John Clellon Holmes, Gregory Corso, Kerouac, and the older Burroughs, well on his way to a life of addiction and dealing. Through the use of occasional jumpy camera work, skewed angles, dark tones, and quick-spliced sequences, director Krokidas depicts a world that is, in measure, sordid but exciting, and experiences that rocket between surreal and hyper-real.

Krokidas gets superb performances from his cast. Daniel Radcliffe continues to leave Harry Potter far behind in his nuanced portrayal of Ginsberg. He is, in turn, prescient but naïve, lustful but frightened, brilliant but arrogant. Like Carr and Kerouac, he seems one step from success, but just a half step from implosion. Dane DeHaan’s depiction of Carr is reminiscent of that of Anthony Andrews as Sebastian in Brideshead Revisted back in the 1980s–volcanic, charming, infuriating, and androgynous but sexually alluring. The film implies that Carr and Ginsberg were lovers, which most biographers doubt. The same biographers debate Carr’s relationship with David Kammerer (Michael Hall), the older man who saved him from a teenaged suicide attempt and then became–depending on whom you believe–his lover, his stalker, and/or his despoiler. He was, most certainly, Carr’s victim, but one that yielded surprisingly little jail time as Carr used an “honor killing” defense at his trial.

The latter is a reminder of how dangerous it was to wander outside the mainstream in 1944. One could literally get away with murder if, as Carr did, you could convince a jury that your victim intended homosexual molestation. (Until 1961, sodomy was illegal everywhere in the U.S.) Nor is there much doubt that Burroughs (Ben Foster) and Kerouac (Jack Huston) obstructed justice in an attempted cover-up–Burroughs by not reporting it and Kerouac by helping hide evidence. Imagine if the entire truth had come out in 1944–that Ginsberg and Burroughs (and perhaps Carr) were gay, that Kerouac was bisexual, that all of them had used illegal substances, and that several of Carr’s friends conspired to hide a murder.

This is a very good film, though it’s not without its faults. Let’s just say, straight or gay, it’s decidedly a man’s world. You’ll see credits for Elizabeth Olsen, Kyra Sedgwick, and Jennifer Jason Leigh, but even the word cameo is a bit grandiose given how little screen time they have. In real life, Ginsberg was hardly the angelic naïf we see on the screen, nor was he exclusively gay in the 1940s. Moreover, Krokidas simply presumes you know who everyone is; if you don’t, you won’t quite know what role Burroughs plays in the drama. For my taste, Foster plays Burroughs as if he’s channeling Hunter Thompson instead of Burroughs, but I may be nitpicking. And, I suppose if one really wants to nitpick, the film’s implication that Carr cut his ties with the Beats is untrue.

But let’s let the literary biographers argue all of this. I often invoke the late Roger Ebert’s assertion that a really good film has the ability to take us inside a world we couldn’t enter on our own. Enter this one and you’ll see the madness, the junkies, the angelheaded hipsters, jazz cats, agitators, and the queens that led Allen Ginsberg to howl. Do we think Ginsberg might have howled even louder when he contemplated gay bodies sinking into the Hudson?  --Rob Weir

PS: Controversy has emerged because Daniel Radcliffe spends screen time tongue-locked with DeHaan and later has a nude love scene with another man. There is nothing salacious about either scene, though the furor is a distressful reminder that some 1944 attitudes remain.

FYI: For lovers of irony, Lucien Carr fathered three children, one of whom is novelist Caleb Carr.   



James Keelaghan's First Twenty-Five Years

History: The First 25 Years
Borealis 222

 Describing Saskatchewan-bred James Keelaghan as a “singer/songwriter” is woefully inadequate. For the past quarter century, Keelaghan has been an artisan carefully crafting and burnishing narratives, melodies, memories, and inspirations into something sublime. His songs are personal and universal, touching and provocative, literate and literary. Quite a few are history as it should have been–with the romance put back in, as he insists. And even as the tunes reverberate, Keelaghan’s masterful storytelling transports us across time, borders, and cultures. He commemorates his first twenty-five years of touring with an 18-track CD culled from his eleven albums, and with an accompanying 70-minute DVD in which he exercises his Irish shanachie roots by regaling listeners with the back story of his songs, family, journeys, musical collaborations, and inspirations. It’s a dealer’s choice of songs and the stories, hence a mix of audience favorites such as “Fires of Calais” and “Cold Missouri Waters,” and ones that mean a lot to him, such as “Mi Vida,” a collaboration with surrogate brother Oscar Lopez, and “Captain Torres,” a tale of a doomed vessel which he penned with very specific musical texturing in mind. He also lets us in on the secret that sometimes the song he’s singing isn’t exactly the story he’s telling; “McConnville’s,” for example, is as much about trying to score a bottle of whisky for his ailing father than the lad at the song’s center. Savor both CD and DVD–performers of Keelaghan’s skill, intelligence, and warmth are rare brews.

Rob Weir