I have another gig besides my day job. Myself and my old friend, Derek Teslik, have started a record label, Realistic Records. Our first release will be a full length vinyl LP by The Recoys, the former band of currents members of The Walkmen and The French Kicks. It’s a great album with a great album cover. I can’t wait to own it. There’s word of a reunion show as well.
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Sloganeering rightly takes me to task for my sloppy framing of the NaNoWriMo debate - primarily the fact that I make no attempt to present the opposite point of view - and does it for me by pointing to Websnark's pro-NaNoWriMo post from a year ago.Clearly some people find NaNoWriMo useful (or at least fun) or it wouldn't still be around, but I question the idea that it's good for aspiring writers. Websnark presents four reasons why NaNoWriMo is an instructive exercise. The first three touch on the idea that if you want to be a writer, you have to stop being lazy and/or afraid and you have to write every day. This is undoubtedly true, and at the very least NaNoWriMo shows people how hard this really is, though I have my doubts that very many people continue to write every day on December 1 and beyond, which is the point, right? Essentially, I'm not convinced that there's an easy trick to learning how to write every day, or even that it can be taught at all.Websnark's last reason for liking NaNoWriMo is that "There are worse reasons to form a community than creativity," and that is about the best defense of NaNoWriMo that I can come up with as well. There certainly worse, less productive things one could do with one's time, and NaNoWriMo makes a solitary, often grueling endeavor fun and social, if only for one month out of the year. But, then, if writing weren't solitary and grueling, we'd all have novels out.
This week at the LBC blog, we'll be discussing my nominee for this round of books, All This Heavenly Glory by Elizabeth Crane. Ed has done a very entertaining podcast with Crane, and I can be heard at the beginning introducing the book (Ed decided to portray me as some sort of bionic man. I'm not sure I get the reference, but I like it!). Also up is a dialog about the book, featuring me and Kassia (of Booksquare). Tomorrow the dialog will continue with help from Sam (of Golden Rule Jones).
Film and literature are two vastly different mediums of communication, an argument best captured in the sentiments a friend wrote to me recently:"I identify books with age and place. It's a nasty habit as it carries with it a certain sentiment that is not in the book itself, rather the impressions of habitat where and when I was reading a particular book, not to mention my desires at the time."I replied to my friend that he had defined and distilled the reading experience. It's those precise differences in approach that make the reading experience so monumental. No two people can read a book the same way, particularly people with different life histories.But film is a visual medium. Movies give us iconic images that last a lifetime. Or so I believed until recently.In early 2004 I wrote a series of 28 blithely interconnected short stories for L.A. Stories. One of the tales, "Bill's Bottle," is a first-person narrative that provides a voyeuristic look at the tragic death of film icon William Holden from the point of view of the fatal bottle of vodka that contributed to his passing.Immediately after "Bill's Bottle" appeared on the fiction page at the L.A. Stories website I received perplexed e-mails from my readers, all asking the same question: "Who the hell is William Holden?""I just looked up his movies on the Internet Movie Database," one reader wrote, "and I have to say that I am not familiar with the man or his work."Not familiar with the star who appeared in a bevy of classic motion pictures? Consider just a small handful of Holden's iconic roles: The struggling screenwriter Joe Gillis in Billy Wilder's Sunset Boulevard. Major Shears in David Lean's epic The Bridge on the River Kwai. Max Schumacker in Paddy Chayefsky's clairvoyant Network. Pike Bishop in Sam Peckinpah's blood-soaked western The Wild Bunch.There was a time when Billy Wilder's 1953 classic Stalag 17 - set in an Allied POW camp in World War II during one memorable Christmas, starring Holden as rough-hewn Sergeant Sefton - was a holiday perennial on television. Not anymore. This year I was compelled to rent the movie on video in order to add it to my plate of favorite Christmas movies.I purchased a previously viewed VHS of Stalag 17 at my local Blockbuster just a few days before Christmas. Pawing through the bin of discarded videotapes I discovered a virtual treasure trove of William Holden films being chased out the door for a mere $4.99 apiece: Picnic, Love is a Many-Splendored Thing, The Bridges at Toko-Ri, the original Sabrina. (A further irony is that every title mentioned possesses either a theatrical or literary pedigree but that's another matter entirely.)William Holden was an alcoholic for much of his adult life. Biographer Bob Thomas points out in his book Golden Boy that the ruggedly handsome actor was embarrassed to make a living as an actor, believing the profession to be not only unmanly but downright humiliating. Holden began having a snort or two before scenes, a shyness killer that would eventually kill the man himself in a most gruesome and embarrassing manner.Holden was no Olivier but he was one of the greatest stars who ever graced the silver screen. In 1995 - fourteen years after his death - Empire Magazine selected Holden as one of the 100 Sexiest Stars in Film History. Securing Holden's lofty place in the often-strange intersection between literature and film is this interesting factoid: J.D. Salinger got the name for protagonist Holden Caulfield in the classic book The Catcher in the Rye from the movie Dear Ruth, which starred William Holden and Joan Caulfield.Today, though, William Holden, sadly, is largely unknown. I moved "Bill's Bottle" to my website earlier this year and reading the site meter for that page provides an excuse to ponder where our culture is going and has gone. "Bill's Bottle" receives less than two page views per month. On the other hand, "Dead Porn Stars," a trade magazine piece I wrote for X Biz World exploring those in cyberspace who are cashing in on late, great porn stars, receives over 1,000 page views per week.One thousand page views for dead porn stars per week. Two page views for Bill Holden.You do the math.