Script Frenzy: FTW

At the beginning of April I wrote that I was starting Script Frenzy: a challenge to write a 100 page script in the month of April. Well the month is almost over, and — as you can see on Author's Page — I did indeed complete the task. Officially, I completed 103 pages (although it ended up a little longer when I tweaked the formatting.)

The story flowed pretty easily, and I had no problem sticking to my original "plan". In fact, I really didn't do much coercion (except for introducing the plausible-but-a-little-hokey cell-phone failure.) For the most part, the story just moved along of its own accord.

I re-read most of it and it seems pretty good. I did notice a few typos (like when Bob the waiter just drives off in their car, apparently) and sometimes I'd introduce a character or a place and a couple pages later the name would inexplicably change. But I noticed that the things I cringed at when I was writing — just to keep the flow going — don't seem nearly as out-of-place and absurd as I thought.

Not to brag too much, but I was impressed at the multi-faceted story arc, like the way the scenery changes with the organic changes in the characters. That was kind of a surprise.

I mentioned in the post introducing this that one of the things I learned from my NaNoWriMo experience was that I really needed to keep tabs on my characters. I made a separate document with the names of characters and any things I said about them, or about their past. It helped a lot. Plus, I only had two central characters, so keeping track of them was much easier.

The Rochester Improvement Society and the Rochester Young Democrats at RoCo

A while back I got involved with a small group called The Rochester Improvement Society. We basically meet once a month, really informally, and just shoot ideas around. Simple as that.

This month, the "instigators" of our group got together with the The Monroe County Young Democrats and decided to meet at The Rochester Contemporary Art Gallery (137 East Ave.) The idea was to "make art" for the upcoming 6x6x2012 show, to talk about art and the community, and to chat with councilmember Dr. Elaine Spaull, Ph. D..

Right off the bat, I was a bit puzzled to see "Sam's Choice" soda and cookies which come from Walmart or Sam's Club. I wondered if I was a the right event — our Improvement Society always meets at a locally-owned business, so I kept looking at the cookie boxes to see which local bakery they came from, only to find they didn't. Well, okay …

Then it came around to art in the community. It's obvious that nobody in the room knew what art was. Here we were ostensibly creating 6×6 works as a fundraiser for RoCo, and the goal was to bang something out in an hour with arts-and-crafts tools (e.g. non-toxic markers, glue, magazines for collages). I just did a little abstract piece which really was very lousy, but I felt guilty just throwing it out so I submitted it.

I just kind of listened.

Elaine Spaull spoke a bit on the topic at hand. She mentioned the bus garage and how it was controversial, but failed to see why: that it does not improve bus service, that it will be (as a friend pointed out) essentially a quonset hut that will be loud as hell and reek of diesel exhaust, and that it should be built as an intermodal station supporting train service. Instead she kind of shrugged it off and touted that it will have art in it.

She then talked about improving neighborhoods with art. She made a point of mentioning that the goal was to remove graffiti and to install art in its place. Now, graffiti comes in two forms: tagging and street-art, both on their own spectrum of quality. Tagging is a call for attention, filling a need to have a voice and a place in a community. Street-art is a desperate outlet for creativity: lacking a legal outlet for their voice, the street-artist turns to graffiti. Removing graffiti and installing art from somewhere else is just a big "fuck you" to the local community, reinforcing isolation.

I gathered that what she meant by "art" is "pretty things", specifically to differentiate from "practical things" like factories and office buildings. But factories and buildings can look good and be integrated into the urban landscape, fulfilling the need for "pretty things". Art  is more about communicating a message: the story arc of creating, presenting, observing, and interpreting. Especially interpreting: that's really important in art.

The young democrats hungrily consumed her words. If they disagreed at all, I couldn't sense it. All these bright young faces, excited to be part of making a better tomorrow, and all absolutely clueless. It was incredibly disheartening.

And then I understood what it was that bugged me about the outsourced refreshments: it was an incredibly shallow understanding of community. The family who runs Genesee Bakery (1677 Mount Hope Ave.) are my neighbors. By visiting them, I'm visiting my neighbors. And by spending my money there, I keep it in the community — and that's important because it's the transfer of money that is an economy, so sending it away stalls the economy.

So the money they saved with the cheaper snacks was really a burden they placed on  their community, their neighbors, their family, and ultimately themselves.

But they could only see the numbers on the receipt.

The Agony and The Ecstasy of Steve Jobs at the MuCCC

I was tired of running all around and today I had a full afternoon and evening of events to try and attend — heck, it's Sunday and I don't feel like leaving the house. Alas, I did go to just one thing: I headed to The Multi-Use Community Cultural Center (MuCCC) (142 Atlantic Ave.) for a reading of The Agony and The Ecstasy of Steve Jobs. I really didn't have much background (despite curating the events calendar on this site, I don't actually read much into descriptions) and I only recalled a passing interest in attending.

It is a monologue written by Mike Daisey and performed/read by Spencer T. Christiano which is a first-person account of how a fan of technology (and especially products of Apple) became disillusioned by visiting a factory in China. Christiano did a fantastic job voicing Daisey, who interweaves three tales: one is his own, personal relationship with technology, the second is the story of Apple, and the third is the story of his visit to Shenzhen, China. I found his style fantastically conversational and personal. The way he writes about technology demonstrates a deep understanding, and he genuinely seems like an eyes-wide-open kind of guy who is willing to lay any judgmental views right in the open.

But you don't have to take my word for it: you can go to his site and download the whole monologue as a PDF and read it for yourself (it's licensed with his unique open-source-like agreement).

I was drawn in to the story quickly. I grok the lust for technology, and his description of that experience fits with my own (for an example, one of the things he loved about his first computer — an Apple IIc — was that the keyboard was in Garamond; if that makes no sense to you, then you might not fully appreciate his geekery.) I have a fairly good understanding of the origins of Apple, and Daisey's details fully corroborated my own. And when he began describing the "retail" side of Shenzen, it fit with what I had heard, such as when SparkFun visited there (although I far more appreciate his description, "Shenzhen looks like Blade Runner threw up on itself. LEDs, neon, and fifteen-story-high video walls covered in shitty Chinese advertising: it's everything they promised us the future would be.")

So when he started talking about what the "manufacturing" side of Shenzen was like, I could only assume it was just as accurate. I realize it's a logical fallacy — a twist on the "ad hominem" fallacy — where I believe a fact to be true solely because I found other facts true.

He then outlined the conditions in the factories which were different from, and, by my gauge, worse than what I had envisioned. I had an impression of workers on an assembly-line putting together and testing electronics.

But I didn't expect it to be in gigantic rooms where absolute silence is enforced. I didn't expect such a lack of machinery (it's cheaper to pay a Chinese worker to install a screw than to make a machine to do it, presumably until some astonishingly large scale.) I didn't expect there to be suicide nets on the outside of the building. I didn't expect regular working hours to be so extreme (although the government-approved union-busting and blacklisting would naturally make that so). I certainly didn't expect these factories to employ the "best and the brightest" — a college education in China gets you a job assembling iPhones.

But then, like I say, you can read all about this yourself in a far more engaging and entertaining form.

So stepping out of the writing, and stepping out of the monologue and the performance, there's an interesting twist to the story. NPR radio show This American Life had Daisey perform an abbreviated form of the monologue for the January 6, 2012 show. But then they did something unprecedented: on their March 16, 2012 show, they retracted the episode, claiming that Daisey lied.

Now this is unique, first because it's the first time This American Life actually retracted an episode. But more important, it's not a retraction because the facts of the account are false, it's because they didn't happen to Daisey personally as he had claimed. According to the after-performance discussion with Spencer T. Christiano, producer John W. Borek, and director Kelly Webster, Daisey does not dispute the fabrications and says it is a work of theater, not journalism. On the Star Wars Modern blog titled What Mike Daisey Did Wasn't Fair – It Was Right., John Powers puts it better than I can: "when did Ira Glass graduate from being a talk radio Casey Kasem to NPR's Dan Rather?"

I'll briefly mention that there's a flurry of activity about this. My take [I'd add, "as if you care", but you, dear reader, are indeed reading this, so I'll meta-self-referentially say it parenthetically] is that journalists like to believe the rules of journalism produce a work that is closest to reality. The truth is, no writing is remotely close to the truth. No account of any event — be it written, photographed, filmed, or recorded — has ever been an adequate substitute for reality. However, it is a new truth, just as this blog entry is a new essay that's about a new performance of a new monologue by Mike Daisey which is a new transcript based on new performances of Daisey which is a new account … umm … etcetera.

But what I think is so valuable about The Agony and The Ecstasy of Steve Jobs is the way it paints a picture of the hierarchy that exists. A journalist could play by-the-book and quote a business person, and a worker, and a technology geek, and a Foxconn liaison, and Steve Jobs — and they could never manage to put it together to describe the chain of events. For instance, here's an attempt to explain the hierarchy I'm talking about:

  • An evangelical Apple geek eagerly awaits the newest product from (although having never met the man)
  • … Steve Jobs whose staff designs a new version of their latest product and sends a representative to Foxconn in Shenzen, China to meet (a group of strangers, both in relation and in culture)
  • … the representatives at Foxconn and they all go to dinner and mingle and go to the shiny factory meeting room and discuss the product when the Apple representative asks to see the factory floor, so the Foxconn people make a call to (knowing they should show an idealized version)
  • … the factory manager who sets up (not wanting to lose work and get fired)
  • … a mock factory — well, a real factory floor with real products, but with the child labor replaced by their oldest workers who (desperate for employment)
  • … go along with the charade and work hard and say all the right things so the representative can report back about the great working conditions (all the while wondering why American workers can't be so happy for work).

So go back in that list and find the bad guy — find the person who caused the dangerous working conditions, or the child labor. This is where journalism falls down: there is no person who is at fault.

Those parenthetical phrases are key: they describe the gaps that are filled in by the systems we have. Ergo, it is the system itself that is the problem. The system rewards people for making small lies to preserve its own profitability and we humans have created this new life form.

The Decay of Fiction and Bedwin Hacker at UofR

I have been attending University of Rochester's OnFilm's (also facebook) Community OnFilm screenings the past couple weeks. Last week I got to see In film nist (This is Not a Film) and Stellet licht (Silent Light). This is Not a Film documents a day-in-the-life of Iranian filmmaker Jafar Panahi after he was arrested, jailed, and censored from making films for 20 years. It's sad, hopeful, tense, and powerful. Silent Light is unique in that it is Mexico's first film not in Spanish — rather in Plautdietsch, a dialect spoken by the Russian Mennonites who also star in the film. It follows one farmer's test of faith in a beautifully meditative way.

So this week they screened The Decay of Fiction, and Bedwin Hacker. The Decay of Fiction is an experimental film that uses optical overlay of characters onto still or time-lapse images of the decaying Ambassador in Los Angeles — once a grand hotel (site of the Academy Awards in the 1930's and, as history would have it, the assassination of Robert Kennedy) that closed in 1989 and had gradually been falling apart ever since. It sort of follows ghostly figures from movies (or lives?) past as they appear and disappear in the halls, all while seeming to believe in the continuity of their existence. The work does not let on what must have been a quite large budget to handle all the overlaid shots with their respective crews, and the elaborate special effects that allow all of it to appear so magically seamless (or not, as the art dictated.) My mind fell into dream-logic trying to understand the jumbled stories, and my logic kept popping up to theorize how the shots were constructed.

As for Bedwin Hackers, let me start by getting my sexist comments out of the way: you had me at "gorgeous bi-sexual female hackers."

Okay. Enough of that now.

I have long theorized how interesting it would be if all the roles in the film were cast against stereotype (e.g. women computer geeks, men as pawns and eye-candy) and this film fully accomplished that end. It is ultimately a cat-and-mouse game between two top computer hackers — at stake is control of satellite TV transmissions. The underdog hackers terrify TV operators by feeding taunting messages over the usual propaganda; and worse, by capturing the imagination of the populace.

Oh, and it's set in Tunisia and France with a bilingual Arabic and French dialog (subtitled in English for monolingual slobs like me.)

(And one final perk: refreshments have included coffee in the 96-ounce to-go bag-in-box containers I have been asking for on Craigslist for some time.)

Tom Richards Budget Cuts "Voice of the Customer"

Today in Lake Riley Lodge at Cobb's Hill Park (Norris Dr. at Culver Rd., although the City claims it is at 100 Norris), Mayor Thomas S. Richards was on hand to discuss the City budget and take requests to cover a deficit at Voice of the Customer 2012 meeting with for the Southeast portion of the city. I had trouble getting Tieson to behave so I left late, then went to the wrong lodge, and finally arrived a bit late. And then I had to leave early on top of it! But at least I got to say my piece — whether it's heard or not is out of my hands.

Richards and his staff outlined the situation and attempted to lead the audience to avoid cuts to police (e.g., paraphrasing, "the school budget is out of our hands, and many people say, 'don't cut the police force' so we can consider those two biggest bars on the graph off-the-table.") He also avoided mentioning the millions of dollars of tax exemptions on certain commercial properties in the city — but thankfully Alex White was there with a brochure describing exactly that. Relatedly, there didn't seem to be line items for equipment costs for the police (e.g. how much does a patrol car cost for a year?) except for the mounted patrol which, I guess Richards wants to eliminate. I also noted that there was a budget item for the pension fund in addition to paying for pensions in the cost of individual employees.

So I migrated to the Public Safety table and made suggestions that the extreme surplus of police officers should be reduced. I attempted to outline a system that used conviction rates as a benchmark: officers who arrest people who are then convicted of those crimes are "good cops" (who we should keep) and officers who, say, arrest people in a park illegally and don't get convictions are "bad cops" (who we should let go). Another person at the table brought up the security cameras, and I dovetailed jeir suggestion that we eliminate them unless there is proof they work (specifically: being admitted as evidence in court, since we were sold them on the claim that if someone commits a crime, jeir face is on camera and jee can be arrested.)

But my genius suggestion was that we could create a health plan that any city resident can buy into (expanding from all city employees) which, since it's a larger pool of participants, will further reduce costs. And it will provide a valuable service to citizens (and particularly small-business owners in the city) as an inexpensive, quality health plan.

Script Frenzy for April

A few years ago, I completed the National Novel Writing Month challenge, writing 50,000 words in the month of November. (I ended up with about 60,000 words then stalled with my characters in a place I didn't care about.) Well, NaNoWriMo has a spin-off project called Script Frenzy. The challenge is to write a 100 page script in the month of April.

Well I love movies, and I have an idea kicking around that touches on a number of topics dear to me along with some interesting personal anecdotes I always thought would make a good movie, so I decided to take up the challenge and write a screenplay. You can track my Author's Page here to see how I'm doing — I got about 4 pages done today so that's pretty good. I'd much rather start out ahead of the curve (for teh math-challenged, I need to average 3 1/3 pages a day to succeed.)

I won't give too much away until I get something more concrete in place, but suffice it to say it's a modern cross-country road trip that'll require the venerable CB radio.

What I learned from my NaNoWriMo experience was that I really needed to keep tabs on my characters since halfway through I couldn't tell one minor character from another. I also felt like that was a freshman effort that can safely be hidden away forever. I don't think it's bad, per se, but it probably has more to do with personal therapy than anything worthwhile to read.

Hopefully I'll see this one through and make something of it.

Paul Chappell at the Interfaith Chapel

I was inspired to see what Captain Paul K. Chappell will discuss had to say in a discussion titled Why Peace is Possible and How We Can Achieve It. I heard rumors that — as a graduate of West Point and having served in the army — he had concluded that it was possible to redirect the efforts of the U.S. military toward true peacekeeping rather than the delusion of using war. He spoke at The Interfaith Chapel at the University of Rochester (Wilson Blvd.) and the lecture was recorded by C-SPAN. (If I hear about a link to the recording I'll note it here.) I was quite inspired indeed.

Chappell grew up being taught that world peace is a "naïve idea". Central to the argument is that human beings are naturally violent. But is that true?

According to him, the greatest problem of every army is getting soldiers to be willing to die, and it's even hard to get people to fight. An effective technique is to instill the notion of a "band of brothers" so everything becomes self-defense. For instance, West Point teaches to treat your fellow soldiers as your family.

Second, no war has ever been fought for money or oil — at least not officially. In fact, people desire peace so much that every leader claims to be "fighting for peace". War is traumatizing because people are naturally peaceful.

An army study conducted in World War II (specifically Combat Neuroses: Development of Combat Exhaustion by Roy L. Swank, M.D.; Walter E. Marchand, M.D.) showed that after 60 days of sustained day and night combat, 98% of soldiers become psychiatric casualties (the 2% that can go on indefinitely already aggressive sociopaths).

Chappell spoke about how reading On Killing: The Psychological Cost of Learning to Kill in War and Society gave him new hope for peace. Like other animals, humans have an innate aversion to killing one's own kind. All of military history supports this and uses three techniques to thwart this instinct:

  1. Create psychological distance such as derogatory name-calling — everything from "barbarian" (which comes from Greek interpretation of foreign language sounding like "bar bar bar") to a more subtle term like "illegal alien".
  2. Create a moral distance by declaring your enemy to be evil.
  3. Create mechanical distance (physical distance). For instance, the Nazis switched to gas chambers because shooting was too traumatic for the soldiers — they were protecting the executioner from psychological damage.

Chappell asks, "why would this be necessary if humans were naturally violent? If we are not naturally violent, why is there so much war?"

We're told we need war to stop war, violence to stop violence violence. Most soldiers want peace but that is not the means they are taught to use.

Chappell notes that at West Point he learned that the nature of war is drastically changing. It's now about "winning hearts and changing minds". This leads most directly from media coverage, since "collateral damage" is no longer acceptable: you can't kill any civilians. Yet, historically, the most people killed in past war were civilians.

So how do you win hearts and change minds? The masters of this were peaceful like Ghandi: someone able to transform an enemy into a friend; someone actively waging peace. This includes peace marches such as were used for civil rights or for attaining voting rights. (From Chappell's example, consider that prior to the 1830's, only a small percentage of tax paying people could actually vote, and it was through peaceful protest that we now take for granted that "no taxation without representation" is the bedrock of our country.) These peace movements of our country should be taught in schools as being at least as important as the wars.

Waging war or waging peace share many needs: people, strategy, unity, tactics, and winning hearts and changing minds. However, Chappell points out that there are tremendous differences as well:

  • Peace has truth on its side, war has myth.
  • War is about killing people versus peace which is about making a friend.
  • All war is based on deception. (He pointed out that in all cultures, the fundamental behavior of the "devil" is that of a deceiver.)
  • The people who perpetuate war control lots of wealth and power — just as the enemies of the civil rights did.

So what does being "pro-military but against war" look like? Well, pretty much like Star Trek in a lot of ways. For instance, what if the army was chartered with disaster relief and we had the worldwide reputation of arriving to help then leaving?

Chappell said that Eisenhower was the first to ask why the Middle East dislikes the U.S. He found it was because our policies block democracy and instead support or install dictatorships — they are angry that we don't live up to our ideals. As such, we need to hold our politicians accountable to change foreign policy so it is in line with the ideals we profess.

Chappell concluded by saying that war is not inevitable, and world peace is possible. Consider that 200 years ago, the only democracy in the world was America and even it was only fractionally so. And we don't need to convince everyone — for instance, the Civil Rights movement succeeded with only 1% of the population actively participating.

During the question-and-answer, some evocative questions were asked.

First off, can the world be united? Chappell noted that in the United States, we have moved from state-identity to national-identity. And consider Europe: can you imagine Germany declaring war on France today? This progress can be expanded to all nations.

I asked about how, prior to the Iraq war, 250,000 people marched to protest it yet it happened anyway, so is protesting dead? He said that people romanticized the past: while the Vietnam War was being debated, it was not uncommon for students to try and attack peace protesters. To my specific example, he said that the government learned how to defuse protest from what happened in Vietnam: to avoid risk of a draft, they censor the media by embedding journalists in military units, privatize the military, and by propagandizing "if you don't support the war you don't support the troops". As such, protest needs to evolve too.

In a later question, Chappell was asked what techniques should we use? He said we have lost our way to positive change. Consider how the Tea Party movement called attention to issues that were the same everyone cares about, but liberals were too busy calling them stupid. Remember to never demonize your opponent: identify with your opponent. In many cases the problem will boil down to hatred and ignorance. Remember that the government retains control of people by dividing them. So start with common ground and don't reinforce divisiveness.

In another question, someone asked, given that peace is an active task, what would non-violent passion look like? Chappell said it's easy today to isolate yourself today in peer groups and reinforce demonization of others. To be passionate is to defeat ignorance and to defeat hatred.

Another question had to do with conscientious objection: that by paying taxes, we are actively participating in and supporting war. To that, he said we should focus on how war makes us less safe, and how preparation for war is economically destructive. Consider Eisenhower's "Cross of Iron" speech where, in the central argument against "the way of fear and force", and what would be the worst- and best-case scenarios, he says:

The worst is atomic war.

The best would be this: a life of perpetual fear and tension; a burden of arms draining the wealth and the labor of all peoples; a wasting of strength that defies the American system or the Soviet system or any system to achieve true abundance and happiness for the peoples of this earth.

Every gun that is made, every warship launched, every rocket fired signifies, in the final sense, a theft from those who hunger and are not fed, those who are cold and are not clothed.

This world in arms in not spending money alone.

It is spending the sweat of its laborers, the genius of its scientists, the hopes of its children.

The cost of one modern heavy bomber is this: a modern brick school in more than 30 cities.

It is two electric power plants, each serving a town of 60,000 population.

It is two fine, fully equipped hospitals.

It is some 50 miles of concrete highway.

We pay for a single fighter with a half million bushels of wheat.

We pay for a single destroyer with new homes that could have housed more than 8,000 people.

This, I repeat, is the best way of life to be found on the road the world has been taking.

This is not a way of life at all, in any true sense. Under the cloud of threatening war, it is humanity hanging from a cross of iron.

Chappell echoed this, reiterating that our infrastructure is hurting because of war. He suggested we seek out the works of Douglas MacArthur and President Eisenhower as he had.

The concluding question asked if peace is based in truth, yet battle and conflict is a fact of nature, how can we be truthful? Chappell said the language of "waging peace" is accurate. We are trying to defeat ignorance and hatred, but the person is not the enemy. So ask yourself: how can I most effectively attack ignorance and hatred without hurting the person?

The Abrupt Stop to Running

This winter I've been doing quite well without a car. Although the weather has been mild enough to bike, I've mostly stuck to walking. And although mild, it's still cold enough that I put on water shoes to go running most of the time (my absolute cutoff for running in bare feet is 35°F when it's wet out and 20°F when dry; usually I transition when it's warmer). And then it wasn't snowy enough to go cross-country skiing except once or twice. And then I got a dog and we'd run together in addition to one more time walking.

So 20 miles a week running in addition to probably 30 miles of walking started taking its toll. A few weeks ago I noticed my left Achilles tendon was a bit sore. I persevered as this kind of thing happened before and that seemed to be fine. But more recently, I just wasn't willing to push through it to run as the pain became too great. I've dropped to about a mile a week, and will cut back even more. I had heard how the body is typically able to repair damage from normal use as it happens, but if it starts falling behind, the result is a repetitive stress injury. I'm just going to assume that's the case — rest and gentle treatment cause the symptoms to nearly disappear, and aggressive use brings them back.

Fortunately I've found that bicycling doesn't aggravate it nearly as much so I'm switching back to that. In turn, that is motivating me to get the bike projects done that I have partially completed. Unfortunately, it looks like I'm going to sit out the Lilac 5K this year.

Nonetheless, I see the sexy young women out running these early-spring days and all I can think is, "gosh, I wish I could get back to running."

Art and Luck at the Record Archive

I headed to The Record Archive (33 1/3 Rockwood St.) for the Opening Reception of Heather Ingram's Color Mania show. I also happened to want to pick up a couple CD's, so I did it all together.

Ingram's art in this show is a blend of colors in a uniformly random drip-line pattern. The key is in the colors — I found one piece particularly appealing for that reason. I didn't make much more of a connection than purely aesthetic, however.

About a year ago, the Dryden screened Strange Powers: Stephin Merritt and the Magnetic Fields. I was kind of suckered in to the sound of The Magnetic FieldsMySpace link, and when I saw a semi-positive review of the new album on the AV Club website, I decided to go get Love at the Bottom of the Sea.

But while there, I was walking around looking aimlessly — looking for that which I didn't know I was looking for. Then I passed the $1 Used CD bins and looked straight at the self-titled CD from Julia's Star.

Holy crap. I lost that CD about 10 years ago — I loaned it to someone and pretty much lost touch with them right afterward. I suspect that I was holding the actual copy that I lost. I had seen Julia's Star perform in 1999 at Milestone's and picked up their CD at some point (I have an old e-mail where I lament, "I still don't find all that impressive…not my kind of music more than anything else" so I don't know why I ever got it.) I recall that Matt Blanchard was in the band (playing a synthesizer as I recall) although I knew him better as a saxophonist in the ska band 5HeadMySpace link and in the infectious experimental jazz band JerseybandGarageBand linkMySpace link. In fact, in the aforementioned e-mail, I had seen Julia's Star play on the same bill as 5Head.

Nonetheless, had I owned the CD all these years, I probably would have taken it for granted along with lots of other bands I've seen over the years. I mean I'm sure I would have liked it, but since I had lost it, it always had that fond je ne sais quoi of having disappeared. Funny how listening now, I instantly recalled the songs and the crisp lead vocals of Julia Gray over a couple synthesizers, drums, and a DJ — reminiscent of other late-1990's bands like PortisheadMySpace link.

A Man Escaped at the Dryden

I got a chance to see Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped) at the Dryden Theater at George Eastman House (900 East Ave.). Apparently, the director Robert Bresson's works are frequently characterized as cold and emotionless yet — despite the nature of the plot necessitating the characters to display little emotion — the film was warm, hopeful, and very moving.

The plot follows a man who is struggling to survive a Nazi prison during WWII with his humanity and WILL intact. As the title flaunts, the central action concerns his methodical plan to escape. And despite its past-tense reveal, the tension is palpable and relentless.