JSngry

The Bastards do, as Coming Soon.

Dude, Jeff Goldblum is a weird guy. I mean that as a compliment, but still...a bridge to mass pop culture he ain't. Not now, not then, not ever.

All that Thad-Mel stuff.

I have brown eyes.

An example of a grain/seed saved from (almost) extinction: https://www.seriouseats.com/2016/05/carolina-gold-heirloom-rice-anson-mills.html

Ok, White Lilly flour - found it at Kroger today. Duly noted.

That guy could play, no bullshit. Always a pleasure. RIP. https://www.newyorker.com/magazine/1993/04/05/secrets-of-the-magus

It that where W.W. Fairfields used to be?

Hmmmm....the article clearly differentiates between "hard" wheat and "soft": wheat, the latter having a lower gluten content. I'd think that a different chemical balance would affect spoilage at least just as much as climate. There's a series (or something) on PBS about farmers in the Southeast actively trying to preserve/re-popularize heirloom/regional food varieties, including grains, It's a fascinating topic, imo, because I totally get that anything coming out of the dirt can return that dirt back in the flavor. Today's mass-produced foods have no real choice but to default to a generic taste, which in turn affects how we season our cooking. The people who are actively engaged in the struggle to maintain the older seed/grains are doing noble work. Plants are like animals in that extinction is a possibility. Peas, beans, rices, wheats, most of us just but whatever is on the shelf not thinking about how they got there and what other possibilities exist. It's eye-opening, or it was for me, to hear about all that's going on. As for pot roast - my mom always insisted that you have to coat it with a little seasoned flour, brown in on all sides over fairly high heat, then slow cook the fuck out of it (she'd get it going by 8 and have it ready for noon). Both hers and my wife's pot roasts always came/come out tender and juicy. And they always use a chuck roast. It's got more fat which contributes to the juiciness as it cooks.

Non-existent? Still looking for some, though. It sounds like one of those things that is either going to be scrumptious or disgusting. My kind of adventure!

Hmmm...I could have sworn I saw a restored version of Ambersons at some point, 20 something years ago, but apparently not. Was there a basic re-release around that time? Maybe that's what I'm remembering. Definitely saw the restored Touch Of Evil, but that wasn't exactly a revelation, I loved it from the first time seeing it (on a late show local tv thing no less!) back in the 70s.

Well now, what's this?

well crap, then. Still, things to buy, Tyshawn Sorey in particular. Been following him through the kindness of friends, like it enough to do the right thing.

Regarding price - sometimes DG will bring in a lower overall price than CD Japan. Sometimes.

This Mosaic thing...there are items that I missed out on that I have more or less now all picked up. But never, then or now, will I pay that kind (or any kind, really) of money for jsut to have a "complete" collection. So there will be gaps. Fuck it, I'll fill those gaps with other stuff that I do want, there's still enough of that.

I couldn't get the "Twitter" discount code to work. I have some things to get, but that 30% off at this time of year was a real incentivizer to get them now.

Are you using California cows?

Yes. Seeing the restored version was, to use a cliche, a revelation. I think I've seen all of the "Hollywood" films, 2 of the 3 Shakespeare, and have tried to see all of the, uh..."more obscure" stuff, but things like F Is For Fake, Chimes At Midnight, some others, I have not had the opportunity to get to a screening, and don't want to get started buying DVDs like I have LPs & CDs. But - the guy's work continues to interest me. Probably always will.

https://www.theatlantic.com/health/archive/2018/11/better-biscuits-south-thanksgiving/576526/ All I can say is, I'll be damned, I had no idea. But I knew it had to be something...

Sorry, but not even drugs are an excuse for making a shitty record. Especially one that gets released. That requires multiple levels of complicity, and somebody in that chain should know better. That they don't is one of the indelible stains on humanity.

I think I'll enjoy it, I'm not a Welles completest by any means, but have looked at as much of his work as possible. I really, really like "later" things like The Trial, which I take it was pretty much ignored in its time. Big mistake, imo. I get how his reputation was that of a "wasted talent", and of that being somewhat of his own doing, but I also get how somebody of his intense natural/original vision might well rub "the system" the wrong way in damn near every way. I am truly fascinated by how he worked on this one for, like, what, six years? I also am aware that "continuity" is not a concern, that it's more "stream of consciousness", and I wonder how much of that was true original intent, and/or how much of it was intent foisted onto him by circumstances. I also wonder what an "Orson Welles film" would have been if he had played the game, made everybody happy, got funding the regular way, and had that career. The way I look at is is simple - there's plenty of people who did it that way, so take his work for what it/he is, somebody who most certainly did not do it that way. I'm a fan. My plan is to wait until I have a week off work in December before getting into any of it. Pretty sure it's going do be a dense experience on way or another, and very much want to have with a clear head and a quiet space.

What's your suggested sequence of viewing? Doc first or second? I read one review that suggested a tridential viewing - film first, then the doc, then the film again. Do I need to find that much time?

Ok, when I talk about how making an MOR album is no excuse for making a shitty record, here's what I mean: I mean, yeah, Peter Nero began life as a "real" jazz pianist, but this MOR thing seems more like what he was cut out for. So...if Peter Nero & Marty Gold could do this, provide some interest inside the cheese, then Bill Evans and Claus Ogerman have no excuse, none, zero, zilch nada.

I don't know how many Andrew Hill devotees picked this one up, but hey...