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August 2007 ArchivesIngmar, we hardly knew ye. But we knew ye critics–among them Film Snob co-author Lawrence Levi, who, in his Looker blog, offered a contrarian if respectful take on Bergman’s oeuvre. This prompted a somewhat bitter riposte in Looker’s comments section from Glenn Kenny, a reviewer for the (now) Web-only magazine Premiere, using words pinched from the intro to The Film Snob’s Dictionary. And then it all turned out to be a misunderstanding. Kenny’s ire had been raised by a post in Jeffrey Wells’s Hollywood Elsewhere blog, in which Wells attributed our summary of Snob attitudes towards Bergman to us, rather than to the Snobs we lampoon.* Kenny nobly retracted his riposte. And then Antonioni, in a shrewd comment on the absurdity of it all, croaked. Mime tennis, anyone? * Wells, bizarrely, also calls Levi’s co-author Martin Kamp, rather than David Kamp. August 01, 2007 More Film Snobbery »
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Nyro, Laura. Bronx-born progenitor of soulful Rhoda-rock. The precocious Nyro released her debut album in 1966 at the age of 19, and shortly thereafter saw the Fifth Dimension and Barbra Streisand score hits with her free-swinging compositions “Wedding Bell Blues” and “Stoney End,” respectively. Snapped up by aspiring agent David Geffen, she signed a $4 million contract with Columbia Records—putting both herself and Geffen in the big leagues—and released two SEMINAL albums, Eli and the Thirteenth Confession and New York Tendaberry, before growing fed up with the music industry and the limitations it placed on her free spirit and eccentric habits. (She demanded, for instance, that one of her albums be pressed on perfume-infused vinyl, and named her publishing company Tuna Fish Music, after her daily lunch choice.) At the age of 24, Nyro moved from Manhattan to New England, and flitted in and out of retirement until her death in 1997.