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The Gift That Keeps Giving

From a wonderful, in-depth interview with our man Schulian by Pete Croatto, who runs a great site:

Yes, Ali was unspeakably cruel to Frazier in the build-up to their fights, calling him “a gorilla” and, worse, an Uncle Tom. But no one ever said Ali was perfect. He was as flawed and complicated as any other human being, with his mean streak and his public philandering and, for all I know, his snoring. He may not have been a Rhodes scholar, either, which was a point Kram hammered relentlessly. But somehow Ali always managed to find his better self when the occasion demanded it. Rising out of a business in which men are paid to destroy each other—Ali-Frazier III is a classic example—he performed acts of charity, bravery, and self-sacrifice. Some were high profile—opposing the war in Vietnam, championing black pride—while others were small personal gestures, like financing soup kitchens or building homes for poor families. Ali may have been acting on instinct instead of intellect in some cases; in others he may have seen his selfishness morph into something good. Who knows what was going on inside his head? All I can say is that I saw him do far more good than bad, and when he was done, he had become far more than a heavyweight champion. He had become a great man.

It seems anticlimactic to say he was great to cover, too. A writer’s dream. He was funny and irreverent and brash and, when the occasion called for it, humble and sensitive. There weren’t many people in the sports media whose names he remembered—Howard Cosell, naturally, and Dick Young and George Plimpton, whom he called “Kennedy”—and yet the media flocked to him because they knew that when he was around, something was going to happen. He might trade insults with Bundini Brown, the shaman of his entourage, or back up a prediction with a goofy poem. When he took a vow of silence before his first fight with Leon Spinks, he slapped a piece of tape across his mouth—and even then he was more interesting than anyone who was talking.

I could go on and on, but you get my drift. Ali was a once-in-a-lifetime subject for a sports writer, maybe for any kind of writer. I know he was that way for me, and I always prided myself in saying the story came first. But he made me care about him in a way no other athlete did. It was his charm, his courage, his audacity, his greatness in the ring. When I saw Larry Holmes destroy him in Las Vegas, it was like watching an execution. It was the worst night of my life as a sports writer, and I’m sure I’m not the only one who feels that way. I felt bad for myself, of course, because I knew I wouldn’t be writing about him for much longer. But I felt worse for Ali because of the way he’d been beaten. Even though Holmes did what he could to hold back, he had to keep fighting until Ali’s craven manager, Herbert Muhammad, told Angelo Dundee to stop it. By then Ali had been damaged in a way he will never get past. All these years later, the memory still haunts me. Maybe that’s the measure of just how special he was.

[Photo Credit: Thomas Hoepker]

Taster’s Cherce

I’ve been eating kale like it’s going out of style lately. Usually, I  saute it in olive oil along with some garlic for a few minutes. Salt n serve.

This salad looks nice. From Food 52.

On the Move

The Pineda-Montero deal is official. Chad Jennings has the details.

Here’s a nice piece on Pineda by Christian Red in the Daily News.

[Photo Credit: Appleplusskeleton]

New York Minute

Today’s New York Minute is brought to you by Ted Berg.

Speak, Memory

Here’s more movie memories from the great Charles Simic:

Back in the 1990s, I got an interesting call from a newspaper editor in Europe. He asked me if I could remember the first movie I saw as child that I liked, not because of the plot, but because of something else in it, something I had no words for at the time. Without ever thinking about it before, I knew what he had in mind. I recalled instantly trying to convey to a couple of my pals back in Belgrade what I liked about Victorio De Sica’s Bicycle Thieves, and becoming incoherent, as far as they were concerned. Like me, they were strictly fans of Westerns and gangster movies, but these were in short supply in the postwar Communist years, when we had a choice between upbeat Soviet films about fighting the Nazis and building socialism, or bleak Italian and French neo-realist films that were supposed to teach us a lesson by showing us the miserable lives of the working classes in the capitalist world.

The day I saw Bicycle Thieves I had become an aesthete without realizing it, more concerned with how a particular film was made, than with whatever twists its plot had. All of a sudden, the way the camera moved, a scene was cut and a certain image was framed, were all-important to me. I’d lie in bed at night replaying some scene from a movie again and again, making it more suspenseful, erotic and, of course poetic, and taking immense pleasure in that activity. No wonder my friends began to think of me as being a little weird when it comes to movies. I was twelve years old, clueless about most things in life, but already carrying in my head my very own exclusive and constantly expanding film library, not yet a match for Halliwell’s, but large enough to occupy me and enrich my inner life when I lay awake at night.

Star Wars is the first movie I remember seeing in the theater other than Lassie and my Dad took my brother and me to see Superman, as well. But The Empire Strikes Back was the first movie that I was obsessed with. It came out six months before my parents’ marriage ended and I got Darth Vadar and my father and the frozen Han Solo all wrapped up in my mind and it wouldn’t let go. It was thrilling–a true escape–but gave me no relief.

Afternoon Art

“Babe Ruth” By William Auerbach-Levy (Via MrBrnMkg)

Million Dollar Movie

From the collection “When The Lights Go Down,” here is Pauline Kael on Jack Nicholson in One Flew Over the Cuckoo’s Nest:

Nicholson is an actor who knows how to play an audience; he knows how to get us to share in a character. In The Last Detail, his sweet-sadastic alternating current kept us watching him, and we followed his lowlifer’s spoor through Chinatown. Nicholson is no flower-child nice guy; he’s got that half smile–the calculated insult that alerts audiences to how close to the surface his hostility is. He’s the people’s freak of the new stars.

…Since Nicholson doesn’t score when he plays unmagnetic characters–and he must it by now–the danger in Cuckoo’s Nest is that he’ll take over: that he’ll use his boyish shark’s grin, the familiar preening, brutal one-upsmanship. He’s won the audience with his cocky freaks, and this is the big one–the bull goose loony. Nicholson can be too knowing about the audience, and the part he plays here is pure temptation. Before Kesey went to Stanford to study writing, he’d gone to Los Angeles in the hope of becoming an actor, and role-playing is built into McMurphy’s character: he’s swept up by the men’s desire for him to be their savior. Except for the red-haired-giant externals, the authority-hating hero of the book is so much of a Nicholson role that the actor may not seem to be getting a chance to do much new in it. But Nicholson doesn’t use the glinting, funny-malign eyes this time; he has a different look–McMurphy’s eyes are father away, muggy, veiled even from himself. The role-playing is still there, in the grandstanding that McMurphy does when he returns to the ward after shock treatment; it has to be there, or there’s no way of accounting for why he’s sacrificed. But Nicholson tones it down. As McMurphy, he doesn’t keep a piece of himself out of the character, guarding it and making the audience aware that he’s got his control center and can turn on the juice. He actually looks relaxed at times, punchy, almost helpless–you can forget it’s Nicholson. McMurphy is a tired, baffled man, and with his character more unresolved he gains depth. [Director, Milos] Forman hasn’t let the McMurphy character run away with the picture, and it’s Nicholson’s best performance.

And from the same book:

Despite his excessive dynamism (and maybe partly because of it), this satirical actor has probably gone further into the tragicomedy of hardhat macho than any other actor. He exposes cracks in the barroom-character armor and makes those cracks funny, in a low-down, grungy way. With his horny leers and his little-boy cockiness and one-upmanship, he illuminates the sources of male bravado. His whole acting style is based on the little guy coming on strong, because being a tough guy is the only ideal he’s ever aspired to. This little guy doesn’t make it, of course; Nicholson is the macho loser-hero. (In an earlier era, Nicholson would probably have played big guys.)

Taster’s Cherce

From the most tasty blog, The Dog’s Breakfast, dig this savory tart of butternut squash with chorizo and caramelized onion.

Idol Maker

There was a good review in the Times yesterday by Cullen Murphy. It is about a new book on Georges Remi (aka Herge), the creator of Tintin:

What’s most distinctive about Tintin is the artwork. Hergé’s trademark ligne claire style, which developed gradually, dispensed with shading and relied on inked lines of uniform weight. To accentuate that line — “the true backbone,” Hergé would insist — colors were restricted to a range of relatively soft tones. Although the characters were cartoon figures, the backgrounds were realistic, even elegant. Hergé did a vast amount of research into cars, ships, airplanes, animals. His pacing and composition owed much to movies.

You can order “Herge, Son of Tintin,” By Benoit Peeters here.

New York Minute

Seen in the bathroom of a bar in the East Village.

In case you’d forgotten: Dylan is the Still King.

Beat of the Day

A rare MC Lyte Joint (Featuring Milk D): The Emcee.

This one is for Chyll Will, Ms. October and Dimelo. Nod your head, my dudes, it’s Monday.

Boom Whap, Big Blue is Back

Two riveting, heartbreaking games today. A day of pain for the Harbaugh family (oh, the agony of defeat), and the Giants and Pats will meet in the Super Bowl again.

Congrats to both teams. The Giants, man what a great effort, running through Green Bay and now San Francisco. My gut says that Tom Brady ain’t losing to Big Blue twice but he doesn’t play defense and it would be foolish to underestimate Eli Manning and his Giants.

Great day of football.

Hut…Hut…Hike

Championship Game Sunday.

[Photo Credit: Sanders on Sports]

Sundazed Soul

And how about a little love for Johnny Otis?

Rest in Peace. A master.

Dig the range:

[Drawing by Larry Roibal]

Is It Me You Lookin’ Fuh?

Saturday night in New York. The snow has stopped. Perfect night to dip out to the movies or to stay home, lay on the couch and read a book, watch a movie, order takeout. Or maybe fix up a soup or a stew or something that is stick-to-your-ribs good.

NFL championship games tomorrow. The Amazing Knicks back in action tonight. Feel free to kibbitz about whatever comes to mind. In the meantime, check out this cleverness:

[Photo Credit: It’s Johnson!]

Saturdazed Soul

Snow in New York.

Remembering Etta James.

Dig this one: 07 How Deep is the Ocean.

And this: Etta James – You ‘ve Changed.

[Photo Via: It’s Johnson!]

Good For What Ails Ya


Feeling blue?

Need a pick-me-up?

Try Charles Simic’s Buster Keaton Cure:

Charlie Chaplin’s bum is at the mercy of a cruel world. Keaton, with his impassive face and a hat flat as a pancake, is a stoic. He confronts one setback after another with serenity worthy of a Buddhist monk. In one short film, “The Goat” (1921) he’s standing on the sidewalk behind two tailor’s dummies, under the impression that they are at the end of a bread line. When he discovers his mistake, he moves on quietly.

Keaton’s movies were a big success in Europe since his type of comedy doesn’t need a translation. I first saw one of his shorts in occupied Belgrade during the Second World War. I liked him instantly. His films are full of remarkable acrobatic stunts. Keaton started out in vaudeville when he was four years old working with his parents, whose comedy act included a lot of roughhousing; he was thrown by his father across the stage and sometimes even at the hecklers in the audience.

Ah, Buster. My hero.

Picture This

Check out these beautiful photographs by Andrea Gentl over at the lovely site Hungry Ghost (food+travel).

Afternoon Art

[Photo Credit: Nina Ai-Artyan]

New York Minute

Dial “W” for murder.

A photo gallery of Weegee’s murder photography over at the most wunnerful How to be a Retronaut.

Here’s another Weegee gallery, this one at the New York Times.

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"This ain't football. We do this every day."
--Earl Weaver