William Holden at the Cannes screening of Billy Wilder‘s Fedora. 1978.
And that’s Jacques Tati that Holden is staring at, right?
At a Sony Sucks press conference, Al Sharpton tries to keep a straight face as Michael Jackson accuses Tommy Motolla of being “a mean, a racist and…very, very, very devilish”. July 2002.
Michael further takes the glove off here and here.
And here‘s a Fox News interview from the same day—notice how the anchor calls him “The Gloved Wonder” and describes him as a “multi-platinum singer” as if she were talking about Ralph Tresvant and not the person who put out Thriller. It’s predictably condescending in tone (though MJ’s claim of having just written “somebody” a check for $500 million dollars is pretty hard to believe) but Michael sort of sits the reporter down—correcting her as she misquotes him and answering her inevitable stupid 9-11 question with the stupid answer it deserved: “What are your thoughts of 9-11, being here in New York?” “I hated it; I’d hate it if it were anywhere.”
Martin Bashir was waiting in the wings.
Piece: Calder’s Circus. 1926–31. Wire, wood, metal, cloth, yarn, paper, cardboard, leather, string, rubber tubing, corks, buttons, rhinestones, pipe cleaners and bottle caps.
Alexander Calder, (United States, 1898-1976).
Where: Whitney Museum of American Art.
Elephant and Trainer (Detail of Calder’s Circus).
Fanni, the Belly Dancer (Detail of Calder’s Circus).
Little Clown, the Trumpeteer (detail of Calder’s Circus).
8 foot 7-inch-tall George Auger, 29-inch-tall Princess Wee Wee and three-legged Frank Lentini, all of the Ringling Brothers Circus, pose with 5 foot 9-inch-tall Harold Lloyd on the set of Safety Last. Sam Taylor & Fred C. Newmeyer. 1923.
Fire at the Chaplin Studio during production of The Circus. September 28, 1926.
I watched the Rolling Stones’ Rock and Roll Circus the other night. It was pretty good with the Stones’ performance being the one I’d say I dug the most. The real treat for me was on the DVD’s extras, commentary by director Michael Lindsay-Hogg. After spending last summer listening to the dozens of hours of audio of the fabs’ Let It Be sessions, which heavily feature Lindsay-Hogg who directed the film (see “critics” post below), it was great hearing that guy’s voice again. His Rock and Roll Circus commentary had to be recorded thirty years after the event but his winning mix of pretentiousness, name dropping (often unfamiliar name dropping), charm, cluelessness and a least one instance of his habit of referring to people by their initials, remained intact. Below is a screen grab of M.L-H. taken from the Let It Be film. Below that is a Stones performance from the film.
Stay tuned for more on Brian Jones and the fabs.