Teleport City’s relationship with Sir Christopher Lee, about which he never knew a thing, goes back almost to the very founding of this site. Where would have been in those early days without Dracula or Howling II: Your Sister is a Werewolf, which though they have since been rewritten and re-dated, represent some of the earliest reviews posted to this site. We have, on occasion, made light of the career and attitude (particularly toward Hammer and Dracula) of venerated horror film icon Sir Christopher Lee, but never with malice. I hope, at least, that came across. Lee was and forever will remain one of the giants of cinema, a man whose dedication to his chosen profession I much admire and whose life is one the likes of which I could only imagine in my wildest dreams. A commando; a key field agent in the Ministry of Ungentlemanly Warfare; a man who stood atop a high tower in The Vatican as the Nazis and Fascists were chased from Rome; a man of great culture and passion and, despite the way he might have at times across, humor.
He was young, handsome, popular with the ladies, and knew how to dress. And just like that, he vanished. It was such an abrupt and, at least to those who did not know Adam Diment, unexpected departure from the public eye that many assumed he had been murdered, or committed suicide, or perhaps been spirited away in the night to a quirky village full of people who knew too much and needed to spend time wearing cardigan sweaters and running down the beach away from giant balloons. The reality, as it so often is, of Diment’s jarring disappearance was rather more mundane that some of the wild conspiracy theories that popped up in the wake of his stepping away from the limelight. He left behind a literary legacy of only four relatively short novels, almost entirely forgotten today but, in their time — the time of London during the Swingin’ Sixties — much beloved, as was their author. Adam Diment, a shaggy-haired, dope-smoking, free-love cat who decided one day to set about writing the counter-culture equivalent of James Bond.
007 is no stranger to New York City. He was here for Live and Let Die, both the film and the novel, and returned for the (really) short story “007 in New York,” which Ian Fleming was compelled to write by way of a “make peace” after his travel book, Thrilling Cities, peppered readers with an unending barrage of insults directed toward the city. In fact, he visits several more times, in Diamonds Are Forever and Goldfinger, both by Fleming, in For Special Services and Brokenclaw by John Gardner, and in the short story “Blast From the Past” by Raymond Benson. But it is Live and Let Die that gives us the most involved look at James Bond’s New York. He arrives in New York via John F. Kennedy International Airport. Only in 007’s case, he gets to emerge from a terminal we denizens of the 21st century cannot: the Pan-Am Worldport.
On the narrow sliver of land that is Islamorada in the Florida Keys, south of Key Largo proper and a little ways down the road from the giant lobster known as Big Betsy, one finds the History of Diving Museum. Beckoned into the parking lot by a deep sea diver surrounded by cannons and the loot of unknown wrecks salvaged from the briny deep, one then gets to take a stroll through the incredible history of humanity’s desire to conquer — or at least poke around in a spell — the vast oceans and seas that comprise the majority of our planet’s surface and yet remain as out of reach to most as the far reaches of space.
This month on The Cultural Gutter, I’m tackling Ann Leckie’s Hugo Award winning space opera Ancillary Justice. That’s What She Said examines the awesome sleight-of-hand Leckie pulls by writing a pretty straight-forward, old-fashioned space opera with one tweak: deciding to use “she” as the default pronoun for all characters instead of “he.” The result is a story that confuses, then defuses, gender without being aggressive about it, proving along the way that good space adventures are good space adventures…even when you think some of the characters are women!
Spanish single malt whiskey? Mysterious brandy? A cognac only one farmer from France has ever heard of? High quality, low profile, and generally a lot of fun to drink, how did a chemical engineer from France become an importer of such unusual spirits in the United States? On Alcohol Professor, That Secret Brand looks at PM Spirits, the company dedicated to bringing you those and other obscure, niche — “geeky” as founder Nicolas Palazzi calls them — spirits.
As a kid (and teen…and adult…), I dreamed of one day being a member of the Explorers Club. I mean, it only seemed natural they would want me. I’d done a pretty good job of exploring the hundred acres of undeveloped woods and caves comprising my grandfather’s property back in the day. Even still, with knowledge of the internal strife and mismanagement that has caused the glory to fade a bit, I still harbor images of reading accounts of the expedition of the Beagle whilst seated in an overstuffed leather chair surrounded by the artifacts of past adventures, occasionally interrupted by a mustachioed, pipe-smoking blowhard known only as “The Colonel” who will not shut up about the Yanomami. This summer, I got about as close as I’ll probably ever get to membership in the storied Club when I got to take a tour of their headquarters at 46 E 70th St. And while there was no The Colonel, and while crested blazers have given way to polo shirts, there was still a wonderfully cluttered array of random artifacts from past expeditions, many of them just sitting there — some of them still in common use — despite their historical provenance.
One of my early film memories, and still one of my favorite films, is The African Queen starring Bogart and Kate Hepburn. It was an early model for what I assumed my life would be, fueled as I was at the time by golden age adventure films and Illustrated Classics versions of Robinson Crusoe and Treasure Island. Naturally, I would become a grizzled adventurer and lead the kind of life where I spent a lot of time drinking whiskey at the end of a jungle bar in a joint of French Colonial design and where I was known simply as “The American.” While my life hasn’t been without its adventures, both grizzled and clean-shaven, they’ve rarely attained quite the rarefied airs of dragging a boat through a leech-infested swamp, though I did once find myself caught in the middle of a massive frog migration in Paynes Prairie, Florida. In the summer of 2015, however, I came a little bit closer to my childhood (and later) dreams of living an African Queen adventure, thanks to the fact that the actual African Queen ended up, through a circuitous series of events, docked in Key Largo (a fittingly Bogart location) where it is available for tours of the canals and coastline.
The history of just about any spirit seems to follow a distinct pattern. A date for its creation is established, then half a dozen or more previous examples of the spirit follow in quick succession, making the original date more or less meaningless. This is because no one “invents” gin. Or whiskey. Or any of these things. The process of inventing gin is a long process of one type of spirit slowly evolving into another related spirit as tastes and supply changes and as distilling technology changes. Spirits aren’t invented. They evolve. So when something states that gin was invented in the middle of the 17th century by a Dutch physician named Franciscus Sylvius, what they’re really saying is that’s the year the history of gin become much easier to research than it had been in the past. Because even a cursory search will turn up gin, or at least its root form — genever — as far back as the 1500s, and you can bet that by the time something was written about, it had already been around for a good long while. Most of what we know about gin today involves England, but just about all history places the rise of gin in that nebulous region Americans know as, “Holland or The Netherlands or Belgium or something about the Flemish — where the hell is Flemland?”
I hate the Spanish horror movie The Blood-Spattered Bride, but I still managed to involve myself in nearly two hours of talking about it on an episode of The Trashy Trio Podcast. OK, maybe 40 minutes was about The Blood-Spattered Bride. The rest is about Jack Parsons and Disney’s Haunted Mansion and Sasha Mitchell and my inability to run a mile. And then eventually we get around to this sordid, grubby little adaptation of Le Fanu’s “Carmilla,” only featuring a misogynistic rapist wife abuser as the hero. Be prepared — it’s a rare occasion on which I’m working blue. Like Redd Foxx blue. Trigger warning for me not being very good as a podcaster.