All posts by Keith

I consider it a good day if you find yourself in a torn Army green t-shirt, using a badly notched machete to split open a coconut and hand half of it to the scantily clad woman sitting on the beach next to you as you stare out at the waves and listen intently for the sound of war drums drifting from the dense foliage of the jungle behind you.
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Japan Destroys the World

When the only country in the world that has had atomic bombs dropped on it puts a mushroom cloud in one of its movies, it tends to have more resonance than when, say, the Italians do it. When the Italians set off an atomic bomb, it almost always heralds the arrival of post-apocalyptic, dune buggy-driving leather-and-shoulderpad aficionados. When Japan does it, however, it is something altogether heavier. It can also usher in not the solemn thoughtfulness one might expect, but at least in the movies I watch, instead signifies something supremely weird is about to happen, as if the sheer destructive capability is so difficult to wrap one’s head around — even when it’s been used on you — that there is no way to deal with it other than through the application of sheer strangeness.

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Alcohol Professor: Beer Before Whiskey

Another frolic afield! This time I’m over on Alcohol Professor again, writing about the history of Brooklyn Brewery and the New York Distilling Company, two Brooklyn-local efforts sharing a common founder. Will whiskey be sampled after the tours? Sadly, not yet. But beer and gin? They’ve got that covered.

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Wookie, I Kill Jawa

In 199..ummm, like 1993 maybe? 1994? No idea. But way back then, when I was high on Ongaku Otaku and Hijokaidan and CCCC, I decided to record my own experimental noise album. I had no real musical equipment, talent, or skill, but what I did have was a clunky 386 computer with some sort of DOS-based sound recording software, a bunch of old electronics, and a lot of VHS tapes. Using a lot of pretty advanced, high-tech recording and mixing techniques — like holding a mic up to a TV or playing two sound sources at the same time and holding a mic up to them (Realistic brand, if memory serves) — I managed to get a pretty big tangle of sonic mania dumped onto what was a pretty big hard drive back in those days, like easily three megs.

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Beyond The Smithsonian

Owing to its proximity, my interest in poking about in history, and the ease of getting to it by mass transit means, Washington DC has become my most common short holiday from New York. As I am not one who finds visiting well-trodden tourist destinations to be distasteful or unfulfilling, I have logged more than my fair share of time at the city’s sundry monuments and museums. I have gazed upon The Bill of Rights, the Korean War memorial, that painting of George Washington we put on our money, and the Wright Brothers flyer. But while I consider destinations like The Smithsonian to be among this country’s great national treasures, I am also a fan of slightly less respectable educational endeavors and spectacles.

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Cultural Gutter: In the Gutter Looking at the Moon

A bit of a unique Frolic Afield this round, as I post an update about something I wrote for a different site and mention that I will now also be writing regularly for that same site. Many of you already know The Cultural Gutter (if you don’t, you should). I have written for them as a guest once before, and  Gutter editor Carol is also a contributor to Teleport City. I am humbled and overjoyed (and nervous) that I have become their new Science Fiction editor. I am taking up the mantle in the wake of the departure of the last Sci-fi editor, James Schellenberg, and he has set a mighty high bar in terms of thoughtfulness, quality, and a diversity of topics. I intend to turn my corner into a freaky space cocktail lounge.

My first official article is up now: At Play On the Planet of Men, about science fiction author Lois McMaster Bujold, her novel Ethan of Athos, and the way science fiction deals (poorly, often) with female, LGBT, and minority characters, creators, and fans. Give it a read, and I’ll see you over at the Gutter.

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New York Asian Film Festival 2013

The New York Asian Film Festival (read all our past coverage and reviews here) is one of the highlights of my year, and this year has been almost overwhelming. The number of films I want to see far exceeds the number of hours in the day I have to see them. The most impressive part of this year’s program, in my opinion, is the inclusion of some very rare Taiwanese exploitation films: Challenge of the Lady Ninja, A Life of Ninja, Woman Revenger, Lady Avenger, and the granddaddies of all Taiwanese “social issues” exploitation films, On the Society File of Shanghai and Never too Late to Repent, as well as the documentary, Taiwan Black Movies. Of the lot, I’ve heard of all of them but only ever seen Challenge of the Lady Ninja. Unfortunately, that remained the case throughout the festival, but I am hoping the work the NYAFF crew did in unearthing prints of these films might lead to them eventually finding their way onto DVD somewhere.

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Changeless

I can’t remember exactly how it was I stumbled across the first in Gail Carriger’s Parasol Protectorate series. It was most likely a title dropped in passing by Veronica Belmont on the Sword and Laser podcast, coupled with the book then appearing on a Goodreads list of the best steampunk books. So I guess I take that first sentence back. Apparently, I remember exactly how I first heard of the book. Let’s move on, shall we? Anyway, it was a book well worth stumbling onto, and since finishing it, I’ve become a huge fan of the series and its author. The blend of supernatural shenanigans, romance, adventure, steampunk, and dandy vampires all wrapped up in a Victorian comedy of manners style tale was exactly the sort of breezy — but not unsubstantial — book for which I’d been hoping. Needless to say but here I am about to say it anyway, I was pretty excited to move on to the second book.

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Last Tycoon

At first — and even second — glance, Last Tycoon is a movie that seems custom-made for me and based entirely on some of my favorite obsessions: Shanghai during the 20s and 30s, old-time fashion, Jazz Age decadence, shidaiqu (that unique Shanghai brand of jazz that combined American swing with traditional Chinese music), a title stolen from an F. Scott Fitzgerald novel, and Chow Yun-fat in a cool suit blowing suckers away. Pretty perfect set of ingredients, right? Unfortunately, the chef is the frequent butt of jokes here at Teleport City, Wong Jing. Under his stewardship as director, all these wonderful elements almost come together into something great. There are moments of brilliance in this film, and moments of stunning beauty and excitement. But there are also some moments that are just terrible, and many that are just sort of stumbling. The whole thing is a bit awkward. In other words, it’s a pretty typical Wong Jing directorial effort, with more good than bad but not as much great as I was hoping for.

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Soulless

I read a lot, but that reading happens only in a few specific genres. Predictable ones if you’ve read anything on Teleport City — science fiction mostly, with a tiny smattering of fantasy, and a healthy dose of non-fiction ranging from military history, travelogues, and anything where Teddy Roosevelt punches out a rhinoceros and gets malaria while exploring some remote niche of the globe. Perhaps somewhat surprisingly, given my fondness for horror films, is that I read almost no horror fiction at all. I don’t know why this has traditionally been the case. What I read in the past just didn’t click with me. I mean, there was some Clive Barker, sure. Everyone in the eighties read Clive Barker. But the Barker I liked skewed much more toward the fantastic than actual horror — Weaveworld, The Great and Secret Show, Everville, and Imajica.

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