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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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Axelrod, David. Snob-exhumed purveyor of 1960s orchestral funk. A West Coast producer-arranger with a C.V. worthy of a James Ellroy character—as a young man he dabbled in violent crime, and went on to become a jazz producer in the 50s—Axelrod established himself in the mid-60s producing artists as varied as Lou Rawls and the Electric Prunes, and under his own name recorded ambitious, layered albums that defied categorization. (He once used Blake poems as lyrics.) A commercial failure in his own era, Axelrod embarked on a cocaine-fueled downward spiral, but fortune smiled upon him in the 1990s when the likes of Lauryn Hill, Dr. Dre, and DJ Shadow sampled his work.