Monthly Archives: July 2012

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Edward Everett Horton

incrediblebittersweet:

fuckyeahgingerandfred:

Eddie ♥

Oh, what a sweet face.

All right, Fred and Ginger fans. If you don’t know who this babyface gentleman is, allow me to introduce you. He’s Edward Everett Horton, and he was one of the prime character actors/comedians in Hollywood. He appears in The Gay Divorcee, Top Hat, and Shall We Dance with Fred and Ginger in addition to doing lots of comedies and movies on his own.

Eddie was known for his neurotic and fussy characters, most often playing a man of great means and wealth but comically little common sense. He is, however, always harmless and utterly charming. He bumbles very well. He was one of the most famous farceurs in Hollywood for the entire duration of his career. If you’re interested in more about Eddie because who isn’t, then check out Charlie’s blog dedicated to him.

Aw, it’s nice to see Edward Everett Horton posts on tumblr. One of my favorite character actors ever.

And everyone should watch Lost Horizon (1937) at least once in their life. Such a great movie.

Horton hears a wha?

The man could double take with the best of them.

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Rest in Peace, Chris Marker

supervillain:

strangewood:

Alain Resnais on Chris Marker (born July 29, 1921)

“Chris Marker is the prototype of the 19th Century man. He managed to achieve a synthesis of all appetites and obligations without ever sacrificing any of them to the others. In fact a theory is making the rounds, and not without some grounds, that Marker could be an extra-terrestrial. He looks like a human, but perhaps he comes from the future or from another planet… There are some very bizarre clues. He is never sick or ill, he is not sensitive to cold, and he doesn’t seem to need any sleep.”

Rest In Peace

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Charles Mingus in Downbeat

You didn’t play anything by Ornette Coleman. I’ll comment on him anyway. Now, I don’t care if he doesn’t like me, but anyway, one night Symphony Sid was playing a whole lot of stuff, and then he put on an Ornette Coleman record.

Now, he is really an old-fashioned alto player. He’s not as modern as Bird. He plays in C and F and G and B Flat only; he does not play in all the keys. Basically, you can hit a pedal point C all the time, and it’ll have some relationship to what he’s playing.

Now aside from the fact that I doubt he can even play a C scale in whole notes—tied whole notes, a couple of bars apiece—in tune, the fact remains that his notes and lines are so fresh. So when Symphony Sid played his record, it made everything else he was playing, even my own record that he played, sound terrible.

I’m not saying everybody’s going to have to play like Coleman. But they’re going to have to stop copying Bird. Nobody can play Bird right yet but him. Now what would Fats Navarro and J.J. have played like if they’d never heard Bird? Or even Dizzy? Would he still play like Roy Eldridge? Anyway, when they put Coleman’s record on, the only record they could have put on behind it would have been Bird.

It doesn’t matter about the key he’s playing in—he’s got a percussional sound, like a cat on a whole lot of bongos. He’s brought a thing in—it’s not new. I won’t say who started it, but whoever started it, people overlooked it. It’s like not having anything to do with what’s around you, and being right in your own world. You can’t put you finger on what he’s doing.

It’s like organized disorganization, or playing wrong right. And it gets to you emotionally, like a drummer. That’s what Coleman means to me.

Charles Mingus, from a Downbeat blindfold test in 1960.