From “The Names” 2

RRunner  RRunner2 (A postcard sent to me from one of two German Women I met in Ireland 1976, I received it after I returned to U.C.S.C. I foolishly never followed up.)

1982. Haphazard but not indiscriminate.

Drop off copy and invoice at Frankfurt.

Pryor Dodge, a Malvolio manqué. He had played the Flute in Paris, acted with the Comedia del’arte, studied mural painting and was so enamoured by Tango he bought a place in Buenos Aires. A collector and expert on vintage bicycles.

5:00 meeting/cocktails with Mini Hickman.

Dinner Party at Robin’s, no, no other name or identifying feature.

Call M.Gill, D. Cicero, K. Johnson.

Kate Augenblick’s opening.

A M.Marks at Madelyn’s

Walter Benke.

Tuesday the 12th: Jeff Brosk at 12. At 2:30 Edwardo. At 5:15, my father at Hemsley Palace.

Michael Marks, Jane Hartford, Susan Halpern, I would not recognize one of them
If he or she was sitting opposite me on the 1 train.

Call Dan Chamber.

Who is Mr. Lioacono? An address on Lexington Avenue.

A reminder to call Dan Chambers. Who is Dan Chambers?

My father’s cousin Eddy and his wife Carol.
My father’s cousin Stuart and his wife Phyllis.

Debra, no last name or distinguishing mark.

9:00 with Dan Chambers. Bruce’s b’day. Lunch with Tom Murphy.

John Bloomingthal of Benton Bowles, later that same day, John Washington.

Dinner Debra et al.

Breakfast with Jason. Dinner with Bruce. To the Lear party with Karl Johnson.

A Sunday appointment with Robin and Co.

Jay Chiat said, “Call me when you’re serious about advertising”.
I replied. “Jay, I’ll never be that serious.”  Continue reading “From “The Names” 2″

From “The Names” 2

All This, For That?

Wall3Final WallTo say I’m disappointed would not be entirely accurate. I had few expectations. But still I felt compelled to ask, all this, for that?

I suppose as an exercise the sampling had some merit —even a touch of poetry.

Yes, a little merit—no more than that which was demanded—as we’re talking about the side-street wall of a commercial building, which no one takes much notice of as they pass—almost always talking or texting. There was no intent to add anything of note or anything decorative on the wall. The building itself is notable only for its mass and a few Art Deco decorations, which are, or so I’ve observed, largely unnoticed.

Nevertheless, as I walked passed the building on my way to the bank or to the post office or to the # 1 train, I enjoyed the pleasure of observing and documenting something of the work of serious minded men and women.

All This, For That?

Berlin Symphony: Fantasia or Fantasy

Walther Ruttman’s Berlin, Symphony
Image from: GHDI.

A cinematic fantasia? A salute to modernity? A hyper-kinetic montage of Berlin life, circa 1927? What is revealed and what is hidden in a seemingly naturalistic rendering of a modern city?

A train appears out of nowhere and I am immediately filled with a sense of dread. It is an eerie feeling—an emotion at the opposite end of the spectrum that I imagine the filmmaker hoped to stimulate in his audience. I could not separate the images on the screen from a flurry of others that simultaneously rushed my mind’s eye. Images recalled from countless feature films, documentaries and photographs. This made it impossible for me to share in Ruttman’s delight in acceleration—toward what are we accelerating? Nor could I sit back and equate the speed and power of a locomotive simply with new perceptions and sensations of modern life. I could not read the train’s (and with it the audience’s) passage from rural to suburban to urban center as a metaphor for the civilizing power of industrialization. No. German trains of that particular era, hurling through space, can only have Auschwitz as their ultimate destination. Continue reading “Berlin Symphony: Fantasia or Fantasy”

Berlin Symphony: Fantasia or Fantasy