six feet from the O. P. to the Prompt Side

I’ve embarked on my annual peregrinations in the company of that amiable nitwit Bertie Wooster, and for some reason, the voices of the excellent Fry and Laurie are echoing in my head more clearly than they have in the past. Wodehouse casts the whole oeuvre in Bertie’s wildly flighty voice, and consequently I hear Hugh Laurie’s piping, bug-eyed take on the pride of the Woosters flibbertigibbeting about in my skull.

It’s quite pleasant, really.

I found the television adaptations that the comedians starred in hilarious; I haven’t seen them for years, and of course, there are now DVDs available. Viv tells me she hasn’t ever seen any of the episodes, so I think I might be ordering them soon.

That aside, the incessant prattling inside my head led me to wonder: is it possible that Mr. Laurie executed any audiobooks of Wodehouse’s original confections? Garishly polluted Google results make the answer to this unclear, but the sparse examples of Wodehouse Jeeves and Wooster audiobooks I unearthed did not feature Laurie reading, so I rather doubt that this item was ever produced, what what.

Bit of the stiff, that.

in the whale's eye

Pursuant to an interesting discussion, In the Heart of the Sea, by Nathaniel Philbrick is hereby bookmarked, or rather linked.

The book is said to be based upon the incident that became the basis for Moby Dick. I’m starting to lean into nineteenth-century readings again and this sounds tasty.

Given my towering pile of on-deck matter, however, it may be a few moons before I get to this one.

in a lonely place

Saturday night, I caught two Bogart films on TMC, 1951’s uneven The Enforcer, a fictionalization of the discovery and prosecution of the notorious Murder, Inc., and a great film I’d unaccountably missed in my peerings at and mumblings on the era’s work.

That film is In a Lonely Place (1950), based on the recently-republished Dorothy Hughes title of the same name. earlier this year, Bookslut ran an intriguing, thoughtful appreciation of the original book.

I won’t rehash the plot here, but I will reiterate Bookslut’s note that the film is much changed from the original. Bogart plays Dixon Steele, whom Hughes presents as a wannabe writer; in the film, he’s a has-been screenwriter.

The film’s writers, Andrew Solt and Edmund North, have a ball with the screenwriter’s tension between book and film, going out of their way to establish the screenwriter’s obligation to discard the book. The film’s tense narrative kicks off with the murder of a hat check girl last seen at Steele’s home. She has come by to retell the narrative of a potboiler that Steele is being sought to adapt. Steele makes no bones about his contempt for the source material.

Perhaps I was sensitized to this content by last year’s wonderful Adaptation – but I sure didn’t find any commentary about it elsewhere on the web.

The film is one of the most effective films I’ve ever seen Bogart in, and I highly recommend it to you.

ividly

I spent a big chunk of today finally exploring the integration features in iDVD, iTunes, iPhoto, and iMovie. I’m working from a mixed base of assets representing the two most recent camping trips we went on (to Mount Baker in June and to the Olympic Peninsula this month).

As it happens, long-time MacWorld editor Jim Heid saw a prior entry on the topic of helping my Mom learn to use her new Mac, and kindly offered to send a copy of his book, The Macintosh iLife. We corresponded, and he sent a copy, inscribed to her.

I hadn’t ever really even attempted to use the apps as they were designed to be used (with the exception of iTunes), and before I sent the book on, I wanted to work through a demo project involving all the integration features with the book at my side, so I would be familiar enough with it to refer Mom to a chapter as needed. It’s been helpful, although my questions have been a bit more specific and technically oriented than the book is designed for.

For example, I did find a passing reference to the fact that iDVD only supports slideshows composed of up to 99 individual picture files, as I searched for reasons a folder of images was not generating the anticipated button upon drag-and-drop.

So, beyond the passing help the book’s provided, here are the issues I’m having that I think are failings in the suite of apps, speed not being considered (I’m using them on a G4/400 at the very low end of supported machines, and the speed is quite intolerable, something I cope with by time-slicing with household chores such as laundry and dishes).

The best feature that the suite provides is the ability to marry sets of images to selected songs from your music library. Unfortunately, each of the image-oriented apps – iDVD, iMovie, and iPhoto – provides this feature with a slightly different implementation, and thus far I have not found a good way to seamlessly combine the various implementations. iMovie, for instance, will render your stills into a sliding, cross-fading quicktime montage using the well-known Ken Burns Effect. Unfortunately, the various transitions available in iPhoto, for example, are unavailable (at least at first) in iMovie, and in particular in the attempt to create a Ken Burns extravaganza. Furthermore, selecting and previewing a song and transition sequence in iPhoto is easy, easy, easy. Duplicating that in iDVD, or iMovie, is not quite so straightforward.

(UPDATE: Yes it is. in iDVD, dragging an iPhoto album from the iDVD Photos selection pane will also bring iPhoto slideshow effects into the iDVD slideshow.)

iPhoto offers an ‘iDVD’ button, presumably to allow you to send your iPhoto slideshow to iDVD. I say presumably because each time I used it, iDVD would launch and then crash. If it launched, would it add the sideshow to an existing project, or close the current project, replacing it with the new slideshow? I can’t say.

iDVD disappointed me in ways that are similar to and reflective of QuickTime Pro, rejecting native mpeg files for drag-and-drop inclusion in menu-item playback. I’ll be experimenting with optimal ways to incorporate the variant mpeg formats generated by our cameras into iDVD, probably routing through iMovie.

As I noted about a month ago, Apple’s applications treat video and photos as truly disjunct, something which made sense prior to the prevalence of dual-media recording devices. This is something that Apple must change to retain the leading-edge cachet regained with Jobs’ return.

Annabel Lee; The Banjo – grotesque fantasie; and so forth

The eagle eyed Manuel linkied me via email with ye olde Duke U. repository of American sheet music cover pages, covering the years between 1850 and 1920. Each decade is presented in its’ own browsable gallery, although it takes a few clicks to get to the good stuff.

But the good stuff, well, it’s good.

A typographical horror representing the much-maligned banjo. A nightmarish vision of The Boy with the Auburn Hair. The Bloomer’s Complaint, a Very Pathetic Song. The Captain With His Whiskers.

A page from the 1860-70 gallery with many fine woodtype-esque compositions.

I. W. Baird’s [highly colorful] Musical Album, fom the 1870’s gallery – the era of reconstruction. By no coincidence, this collection (both this decade and after) contains many ‘plantation’ tunes, in which dialect is used to express an imputed longing for the antebellum south on the part of persons of color.

I think it’s worth noting that Duke was at the time and remains a seat of Southern privilege.

Dance of the Night Hawks, who may have been on the prowl for Dusky Dinah, her chicken, or her banjo (still).

Honestly, there is simply too much to summarize. I was obligated to post it to MeFi, Manny: thanks a ton, this is really neat.

Collective

I chuckled my way through Tad Friend’s Letter from California, “Naked Profits,” in the July 12 and 13 issue of The New Yorker, unfortunately not online.

Friend is (or was) a staff writer at the magazine, and wrote the interesting “Jumpers” for a 2003 issue of the magazine, in which institutional resistance to jump-proofing scenic landmarks was dissected.

Here, Friend turns an arch if not-unfriendly eye on the employee buyout of the San Francisco Lusty Lady. The Lusty Lady is a strip club (although I’m sure there’s a better word for it now, given the circumstances). There is also a Lusty Lady in Seattle, which has produced at least one book. Both facilities have a reputation for being a bit different than the general run of erotic entertainment parlors.

Friend has a happy time with the personal and dramatic interplay familiar to anyone who has ever worked in or helped to run a co-op. My favorite passage is simple recounting of an exchange during a meeting:

…A few minutes later she unveiled a new plan. “I’ve been reading a book about creative organizational management,” she said. “I’m proposing we have an Employee of the Week and give her a five dollar coupon to Vesuvio’s” — a local bar.

Several of the board members snapped their fingers approvingly.

Not mentioned in the passage are several things. First, the San Francisco Lusty Lady is in North Beach (a fact that may be in the story, I can’t recall), as is Vesuvio (“at Jack Kerouac Alley”), which makes much of its’ connection to the Beats.

Thus, finger-snapping.

History

I very recently read bryson_everything A Short History of Nearly Everything, by Bill Bryson, and I heartily recommend it. This general-interest survey of the current state of scientific knowledge concerning, well, nearly everything, is lucid and highly entertaining.

Bryson’s interested-observer role is well played; as I read the book, I have to admit I wondered how long it would be until he hosts the inevitable TV series based upon it, on the model of The Shock of the New and Cosmos (which appears to have been a primary inspiration for the book).

(An aside: What is up with the weak sites for Sagan and Shock of the New? I mean, sure, they’re old media material, but geez.)

The most-commonly used technique that Bryson employs to add human interest to what amounts to very informed speculation on events that happened before there were humans is dishing. He dwells with amusing panache on the personal foibles and peculiarities of the individual scholars involved in the development and discovery of this leap of knowledge and that fossil bed.

A clear pattern emerges in these sections too: it seems, in general, that the individuals we recognize as a discoverer or primary source of an idea are generally not the actual source, but instead the individual who most successfully promoted themselves as the source. Monkeys steal food from one another, too, so this should not be terribly surprising.

I saw a headline zap by the other day noting that Bryson’s book had been nominated for some prize or other, but alas, the title of the book creates a very noisy result set chez Google, and thus I was unable to dig up a link.

Skeleton Island

TI_map_thumb

Click the closeup to see the whole map. Scanning this, I noticed some killer engraved illustrations in the book. But I really must move on today.

UPDATE: Hmm, I had noticed this as I was working on the prior entry, but there’s an odd chiming between this new look of mine and the recent redesig over at Josh’s Communications from Elsewhere. I know I was not thinking of his design as I assembled this skin, but the similarity of the name of News from Nowhere and the even more unsettling visual echo that occurs with the addition of a map element in this entry is downright weird.

Jason says to draw him a map, send him a postcard. I like the idea of relabeling the Treasure Island map with refferences to his songs. Hm. that suggests an interactive project, does it not?