There it is:

[Image by Jeremy Forson]

“Betty” by Gerhard Richter (1988)

Found via Like a Field Mouse.

Writing in the New York Times, here’s Oliver Sacks on the Joy of Old Age:

Eighty! I can hardly believe it. I often feel that life is about to begin, only to realize it is almost over. My mother was the 16th of 18 children; I was the youngest of her four sons, and almost the youngest of the vast cousinhood on her side of the family. I was always the youngest boy in my class at high school. I have retained this feeling of being the youngest, even though now I am almost the oldest person I know.

I thought I would die at 41, when I had a bad fall and broke a leg while mountaineering alone. I splinted the leg as best I could and started to lever myself down the mountain, clumsily, with my arms. In the long hours that followed, I was assailed by memories, both good and bad. Most were in a mode of gratitude — gratitude for what I had been given by others, gratitude, too, that I had been able to give something back. “Awakenings” had been published the previous year.

At nearly 80, with a scattering of medical and surgical problems, none disabling, I feel glad to be alive — “I’m glad I’m not dead!” sometimes bursts out of me when the weather is perfect. (This is in contrast to a story I heard from a friend who, walking with Samuel Beckett in Paris on a perfect spring morning, said to him, “Doesn’t a day like this make you glad to be alive?” to which Beckett answered, “I wouldn’t go as far as that.”) I am grateful that I have experienced many things — some wonderful, some horrible — and that I have been able to write a dozen books, to receive innumerable letters from friends, colleagues and readers, and to enjoy what Nathaniel Hawthorne called “an intercourse with the world.”

Food 52 gives grilled peaches. Hell, yes.

Here’s Lou Reed on the new Kayne West album:

Kanye West is a child of social networking and hip-hop. And he knows about all kinds of music and popular culture. The guy has a real wide palette to play with. That’s all over Yeezus. There are moments of supreme beauty and greatness on this record, and then some of it is the same old shit. But the guy really, really, really is talented. He’s really trying to raise the bar. No one’s near doing what he’s doing, it’s not even on the same planet.

People say this album is minimal. And yeah, it’s minimal. But the parts are maximal. Take Blood on the Leaves. There’s a lot going on there: horns, piano, bass, drums, electronic effects, all rhythmically matched – towards the end of the track, there’s now twice as much sonic material. But Kanye stays unmoved while this mountain of sound grows around him. Such an enormous amount of work went into making this album. Each track is like making a movie. Actually, the whole album is like a movie, or a novel – each track segues into the next. This is not individual tracks sitting on their own island, all alone. Very often, he’ll have this very monotonous section going and then, suddenly – “BAP! BAP! BAP! BAP!” – he disrupts the whole thing and we’re on to something new that’s absolutely incredible. That’s architecture, that’s structure – this guy is seriously smart. He keeps unbalancing you. He’ll pile on all this sound and then suddenly pull it away, all the way to complete silence. And then there’s a scream or a beautiful melody, right there in your face. That’s what I call a sucker punch.

Nice piece of Americana in the Times magazine yesterday. Here’s “The Last Mermaid Show,” by Virginia Sole-Smith.

[Photo Credit: Katy Grannan]

So enchanting.

“Please Listen To My Demo”–EPMD

[Photo Via: Magnificent Ruin]

Collage by Kurt Nimmo.

Well, sometimes you gotta just go for inspiration, so thank you William.

Peaches are in season.

“Mambo, No. 5”–Perez Prado

[Photo Credit: Furrukh Khan]

“Hotter Than That”–Louis Armstrong

[Photo Via: The Minimalisto]

“I like to act in films, I like to shoot ’em, I like to direct ’em, I like to be around ’em. I like the feel of it and it’s something I respect. It doesn’t make any difference whether it’s a crappy film or a good film. Anyone who can make a film, I already love. But I feel sorry if they don’t put any thought in it because then they missed the boat.”

-John Cassavetes

So far, summer 2013 seems like a dud of a movie-going season. Luckily, BAM is coming to the rescue with a retrospective of the films of iconoclastic filmmaker and actor John Cassavetes. It’s often said that Cassavetes’ films are not for everyone, which is true, but it should be taken as a compliment. The series, which runs through July 31^st, mixes Cassavetes’ work as a writer and director with some of his more memorable roles acting for other directors, like Robert Aldrich’s THE DIRTY DOZEN (which won him an Oscar nomination), Don Siegel’s THE KILLERS, Elaine May’s MIKEY AND NICKEY (co-starring Falk) and Roman Polanski’s ROSEMARY’S BABY.

Cassavetes’ self-financed 1968 film FACES (screening on July 17) was nominated for three Academy Awards, and had a major impact on the industry itself and also on filmmakers like his friend and protégé Martin Scorsese, and contemporaries like Woody Allen, Robert Altman and Peter Bogdanovich. In addition to paving the way for the independent film movement in the United States, Cassavetes’ movies present human emotion and behavior in stark, jarring, occasionally hilarious and sometimes harrowing ways. Simply put – there’s nothing else quite like them. Cassavetes created a stock company of fantastic and idiosyncratic performers, including Peter Falk, Ben Gazzara, Seymour Cassel and perhaps most famously and importantly, his wife and muse, the great Gena Rowlands. Rowlands’ performance in Cassavetes’ A WOMAN UNDER THE INFLUENCE was widely lauded, Oscar-nominated and has become justly legendary, but her work her husband’s other films, like the criminally under-seen OPENING NIGHT, which kicks off the series on Saturday, is equally stunning.    It’s enough to cure you of superhero movies.

Schedule and Details

Smooth.

[Photo Credit: Hilda Grahnat]

Spoon Fork Bacon gives us Blueberry Slab Pie. Oh, heck yeah.

Photograph by Polarisandy.

A treat: Lawrence Block on Charles Willeford:

Charles Willeford took writing very seriously, and applied himself to it wholeheartedly for some 40 years. He started out as a poet; his first book, Proletarian Laughter, was a collection of poems. He began publishing paperback fiction while serving his second hitch in the military, and kept at it, and worked hard at it.

With the Hoke Moseley novels, he got a taste of the commercial success that had for so long eluded him. When I learned of his death, I was struck by the irony of it; he was just beginning to get somewhere, and the Fates took him out of the game.

Found over at Kottke, Bert Haanstra’s Academy Award-winning 1959 documentary short.

Rollin’.

[Photo Credit: ]

Matisse.

Savuer’s guide to July 4th.