There are those among us who, in a moment of moral weakness, find themselves unwilling or unable to turn away from a grisly situation. As to the psychological motivations behind this tendency, they are legion and vary from person to person. Perhaps it is a desire to affirm that someone is worse off than you, that even though your rent is overdue and your daughter is hopped up on the goofballs, at least you’re not a corpse being yanked out of some twisted, smoldering wreckage along the interstate. Perhaps, instead, it is little more than a reflex reaction symptomatic of the seemingly insatiable human hunger for spectacle, however grim it may be. And finally, it may be that some of us look out of guilt — that we are torn between not making a gawking spectacle of suffering and ignoring suffering. Whatever the case may be, the urge is there, commonplace, and hardly solely the purview of the misanthropic. It manifests itself in a variety of forms, everything from slowing down to stare at a traffic accident to greedily devouring the sensationalist news about the sordid downfall of a celebrity. Or, in my own peculiar case, it manifests itself in a complete inability to not watch Howling II: Your Sister is a Werewolf every single time I run across it on television.
The two Michaels. Way cooler and more obscure than making obvious, played out jokes about the two Coreys. Michael Beck and Michael Pare — these two guys were both pegged at the beginning of their respective careers as the next big thing. Both sported a brooding, introspective air of mystery and toughness much like James Dean. Both were good looking, but not too good looking. And they were both pretty good actors when they inhabited a certain type of character. Beck swaggered into national consciousness in 1978, clad in a leather vest and bopping his way through one gang after another as he tried to lead his Warriors back to their home turf at Coney Island. A few years later, in 1984, Michael Pare burst onto the scene in similar fashion as the mysterious 50s rocker Eddie, who may or may not have faked his own death to escape the harsh lights of fame.
Over at my other home on Alcohol Professor, I’m spinning the tale of the rise and fall and rise of the American hotel bar and cocktail culture. Or rather, in Cocktail History: American Hotel Bars, I am writing about “Rediscovering the American Hotel Bar,” a Manhattan Cocktail Classic event in which Rene Hidalgo, head bartender at the Iroquois Hotel’s Lantern’s Keep, recounted the history of hotel bars to us while serving an awful lot of really good illustrative cocktails.
So the not-a-secret secret: work here at Teleport City has slowed down because I am writing a book. Building off the Bottled in Bond article I wrote some time back, I have spent the past few months doing research — sometimes at a library, more likely at a cocktail bar — on a more expansive study of James Bond’s drinks, the history behind some of his favorite sprits, and the impact 007 had on drinking culture. Prospectively titled Bond Vivant, I am so far pretty happy with the way it’s going, except for the fitful pace of my progress (that night of research at the Hotel St. Regis’ King Cole Bar really derailed me for a few days). In honor of Ian Fleming’s 106th birthday, I thought I would give readers here, who I hope will be patient with the way the book impacts the frequency of updates on Teleport City, a little sneak peek. It isn’t much — the first (very rough) draft of the introduction — but I hope it helps excuse my absence from Teleport City proper and gets two or three of you interested enough to stay on back about getting this thing finished.
My introduction to New York’s underground film scene came in the form of the “cinema of transgression,” as movement figurehead (eh, more or less) Nick Zedd dubbed it. Specifically, it came in the form of Richard Kern, whose crude, short films and videos were widely circulated on VHS in the late 1980s and early 1990s. It was the work of Kern and Zedd that almost entirely formed my opinion of the movement, because that was basically all you could get. Film Threat magazine had taken an interest in Kern and released a number of his films on VHS. And so when it came to New York’s underground cinema, I knew what he and Zedd had done, which was sloppy, nihilistic, destructive, ridiculous, angry, and absurd. It wasn’t until I moved to New York some years later that I discovered the depth of my ignorance, that Kern, Zedd, and the Cinema of Transgression were the second wave of the New York film underground, that they had grown from a whole group of films and filmmakers who have preceded them in the late 1970s.
Back over at The Cultural Gutter for a Frolic Afield. Where is All You Angels? stared out as a jokey celebration of my favorite music video, Duran Duran’s “Wild Boys.” Things quickly spun out of control into an exploration of William S. Burroughs, LGBT rights, the mundanity of queer cinema, dayglo jockstraps, north Florida summers, and what a counter-culture loses when it wins its biggest battle. Also, we try to decipher just what the hell anyone was thinking when they made Arena.
My latest Frolic Afield over at Alcohol Professor is To Catch Aperitif, a dizzy account of my efforts at the recent Manhattan Cocktail Classic Industry Invitational to expand my usual area of study beyond the world of whiskey. For me, this meant delving into the bitter, herbal, fruity, and floral world of Italian and Alpine liqueurs, aperitifs, digestifs, and fortified wines in the line-up of importer Haus Alpenz.
When it comes to music, I have little nostalgia for vinyl. I much more prefer the internet equivalent of crate digging to the old school variety, where, along with the limits of physical space you had unlimited opportunities to inhale large quantities of dust. It has to be admitted, however, that those physical limits did provide an obsessive like myself with something of a shield against the wages of his own worst impulses. On the internet, you see, the rabbit holes are bottomless. Nevertheless, my endless plummeting down said holes still on occasion proves worthwhile, leading to a discovery that forces me to gawp in renewed awe at the digital world’s capacity to be an infinite Alexandria of obscurities.
It’s time for a Kentucky Derby Frolic Afield. I’m back on Alcohol Professor, and in An Urban Bourbon Trail Through History I’m taking y’all on a tour of Louisville’s three most historic hotels: The Brown, The Galt House, and The Seelbach. Or, more accurately, I’m taking you on a tour of their bars. Special guest stars Abraham Lincoln, F. Scott Fitzgerald, and the hot brown.
Frolicking Afield over at the Gentlemen’s Blog to Midnite Cinema again, the official companion to the Gentlemen’s Guide to Midnite Cinema podcast. And this time I’m talking Antonio Margheriti, James Bond rip-off Eurospy films, and Lightning Bolt, a thriller in which the hero tries to avoid conflict by offering to pay his nemesis off, then asks if it’s OK if he pays by personal check.