Persian night in Göteborg

We just had an amazing evening in an Iranian restaurant.

Vida La Vida (formerly Coffee Dance) at Fjärde Långgatan 48 Linnaeus, Göteborg, is a small, but imaginatively decorated place that plays an important role in the local art scene. The eponymous Vida is the multitalented owner and for us this evening, a very charming host.

We were invited to enjoy music and dinner at Vida La Vida by Bernardo Borgeson, an Ecuadorian/Swedish filmmaker, who has directed many critically acclaimed documentaries and short films. He’s also worked with marginalized youth to tell their own stories through film. These are often quite powerful and disturbing films.

We shared a small table with Bernardo’s friend. The only other table was a large one with Vida’s Iranian family and their friends, several of whom were visiting from the U.S.

Various individuals performed on the tar, daf, and other instruments, and sang songs such as Dele Divane and Soltane Ghalbha. The singing was beautiful, almost hypnotic. Many of the songs convey a sadness and sense of longing or loss, even if one doesn’t undertand the words.

There was also a lot of group singing, which we were invited to join, with song sheets showing the Farsi words in a Latin alphabet. All of this occurred as we enjoyed an excellent dinner of salmon, fresh vegetables, and good Persian bread.

The large group included a young couple about to be married. There was also a woman celebrating her birthday, so we sang happy birthday in Farsi (Tavalodet Mobarak), Swedish (Ja, må du leva), and English. They brought us into all parts of the evening, which went on for several hours, and included an excellent dinner plus birthday cake.

Need I add that this was not what we had expected in Göteborg? The evening was topped off by a walk home in which we saw ladybugs, witches, and skeletons. The intensity of the evening at Vida La Vida made us forget that it was Halloween here!

Coming attractions!

Patrick W. Berry’s course website Writing Technologies is designed to “explore historical and theoretical accounts of how writing technologies have shaped and continue to shape what and how we compose” and to write “using a variety of new and sometimes old technologies in order to explore the affordances and limitations of each.” It’s wonderful to see how the medium of the course illustrates the very principles it’s teaching.

In addition to excellent standard course resources, there’s a blog, with many interesting posts. One, of special interest to me, is “The Disappearance of Technology”: The Movie. Patrick writes:

After reading Chip Bruce and Maureen Hogan’s “The Disappearance of Technology: Toward an Ecological Model of Literacy,” our class created movie posters using Photoshop that attempted to capture a central theme of the reading.

The result of this effort is available here: http://gallery.me.com/pb112233/100088.

The idea to do the posters and the subsequent realizations are excellent (be sure to try the slideshow option). I was impressed by the variety of responses and the creative use of photos, colors, graphics, fonts, and other visual elements. The posters show how re-mediating an idea can both bring out the meaning and add new meaning as well, with different posters bringing out different aspects of our relations with new technologies.

Luise Rainer’s 100th birthday

Yesterday, my mother and I watched The Great Waltz, starring Luise Rainer. It was part of a Turner Classic movie festival commemorating her 100th birthday.

She was very good in that, and still appears to be going strong. I wonder what she thinks of the younger generation with folks like Olivia de Havilland?

Rainer was the first two-time Oscar winner (for The Great Ziegfeld (1936) and The Good Earth (1937). She was also the first back-to-back Oscar winner, and is now the oldest living Oscar winner.

Scott Feinberg’s blog has more on Rainer, including some wonderful audio clips of his interview with her. I hope it’s OK to repost the photo here from his blog, showing the two of them, but recommend that you read and listen from his original post.

Olivia De Havilland

We just watched the DVD version of Captain Blood, the 1935 adventure movie based on Rafael Sabatini’s novel.

Except for the numerous comments from the female members of the audience about Errol Flynn (“Oh! He is rather dashing, isn’t he?” “He has such a wonderful smile!” “Well, I have to admit, he is handsome!”), it was very entertaining. Captain Blood is a great movie, the forerunner of the eight films co-starring Olivia De Havilland and Flynn, as well as a major shaper of the whole adventure genre.

For our family, any movie starring Olivia De Havilland is special. In case you don’t know, we go way back.

In grammar school, Olivia was just a year ahead of Susan’s mother, Rhoda, who was in the same grade as Jane Eyre (I mean, Olivia’s sister, Joan Fontaine). They’ve maintained a connection ever since. On the other side, my mother feels a special connection, because she went to college in Milledgeville, Georgia, the home of Margaret Mitchell, who wrote Gone with the Wind, starring Olivia as Melanie.

Throughout her career, Olivia has always exemplified both excellent acting and the highest moral standards. She sought roles that expanded artistic limits, but  also promoted social good. She was successful in a lawsuit to secure greater creative freedom for performers. This led to the De Havilland law, which imposes a seven-year limit on contracts for service. She was the lead in The Snake Pit, one of the earliest films to attempt a realistic portrayal of mental illness. In 2008, she was awarded the US National Medal of Arts.

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The Irony of Fate

When Stephen lived in St. Petersburg, he learned about the Russian classic movie, Ирония судьбы, или С лёгким паром! (Ironiya sudby, ili S lyogkim parom!; The Irony of Fate, or Enjoy your Bath!) and bought us a dvd of it.

I watched that and also the sequel, Ирония судьбы: Продолжение (Ironiya sudby 2; The Irony of Fate 2). In the sequel, the original actors continue the story, now 30 years later. Can you think of any other movies in which the story line continues that long, with the actors aging naturally?

The movie is a sad love story, but also a farce, with slapstick, rampant misunderstandings, demonstrations of the limits of logic, and still, strikingly honest and insightful comments on the human condition. It shows some of the best and worst of Russia.

It’s easy to understand why watching Ironiya sudby has become a New Year’s Eve tradition in Russia. We followed that tradition here in two parts, the first on New Year’s Day and the second last night. In between, Emily and Stephen prepared a special Russian dinner, including borscht, salade Olivier, and blinis with herring, salmon, onions, and creamed butter.

Zhenya and Nadya were the same as always. He’s 36, a talented surgeon, but nerdy and shy. It’s not clear where his life is going next or what he wants to commit to doing. Nadya is a literature teacher, beautiful, but also somewhat shy and unsure of herself. Together with Galya and Ippolit they stumble through a bizarre, yet oddly-believable, sequence of events in which they learn what matters most.

If you were to hear the plot ahead of time, you’d not only lose some of the fun, but you might wrongly conclude that it’s contrived and silly. Instead, that plot becomes a muted background, which the viewer quickly catches onto. It then serves like the click-clack of a train (here, the faceless architecture of the Brezhnev era), with the real action going on inside the railroad cars.

I especially like the guitar-accompanied songs, which are based on poems by Boris Pasternak, Marina Tsvetayeva, Yevgeny Yevtushenko, Bella Akhmadulina, and others. They fit with the story, and they’re sung in full.

See additional posts of mine on movies.

The Soloist (2009)

The Soloist (2009) is an excellent film based on the true-life book, The Soloist by Steve Lopez. Lopez is a Los Angeles Times columnist who discovers Nathaniel Ayers, a Juilliard School dropout, who becomes schizophrenic and homeless, living on the streets of LA.

Ayers is a classically-trained cellist, who now has only a two string violin to play and instead of a concert stage, an urban tunnel or street corner. Lopez wonders how Ayers can stand to play in those conditions, but Ayers tells him that “the only thing that I hear is the music and the applause of the doves and the pigeons.” Ayers is hooked and decides to write a series of feature articles in the Times.

Robert Downey Jr. portrays  Lopez in the movie, and Jamie Foxx portrays Ayers. The two main characters give terrific performances, as do the actual homeless extras from the Lamp Community.

Ayers’s story makes us wonder about the many other homeless people in LA and elsewhere. As Lamp says,

Close to 74,000 people are homeless in Los Angeles–more than in New York, Chicago, and San Francisco combined. Los Angeles’ Skid Row, a 52-block area east of the downtown business district, has the highest concentration of homelessness in the United States. More than half of the homeless men and women in this area are chronically homeless, meaning they struggle with a mental or physical disability and have been living on the street for years.

That relatively greater challenge in LA doesn’t of course diminish the shameful job we do across the US in dealing with homelessness. The book, Ayers’s music, and the movie all reinforce Jane Addams’s view that art and cultural activities can reduce our isolation form one another, and reinforce essential human: “Social Life and art have always seemed to go best at Hull-House.”

The DVD includes features with the real Steve Lopez and Nathaniel Ayers, and also, Beth’s Story, an animated short telling another story of homelessness:

References

Addams, Jane (1930). The second twenty years at Hull-House: September 1909 to September 1929. New York, Macmillan.

The birth of computer networking

I had arrived at Bolt Beranek and Newman (BBN) in the summer of 1971, knowing of the important work there in artificial intelligence, computer simulations in psychology, and natural language understanding. But I understood only vaguely the explosive potential of the work on computer networking.

Computer Networks – The Heralds of Resource Sharing was a movie made to accompany the public demo of the ARPANET at the 1st International Conference on Computer Communications in Washington DC in October, 1972, about a year after my arrival. Unfortunately, the movie wasn’t finished in time for the demo, but it was released before the end of that year. I didn’t have anything to do directly with the movie or the work described, but knew many of the people and projects that are featured.

The movie represents both a thoughtful account and a primary source itself for the general history of computing and communication. It also tells us about successful collaboration–how participants at the time themselves described it. I think it also gives a good account of the motivations behind the ARPANET, forerunner of the Internet, and a good basic description of how it works.

Faubourg Tremé

Just to the Northwest of the French Quarter lies a neighborhood that few tourists visit, and many have never heard of, called Faubourg Tremé. Much of the area now appears bleak with Interstate Highway 10 bisecting it, industrial yards, and boarded up buildings. But it’s one of the most important neighborhoods in American history, and still has meaning for today. There are efforts to restore Faubourg Tremé and to learn what it has to tell us.

faubourg_tremeA recent, award-winning documentary tells the fascinating story, made all the more compelling by relating it to the life of a young reporter for the Times-Picauyune. The film is Faubourg Tremé: The Untold Story of Black New Orleans. Reporter Lolis Eric Elie leads us in his discoveries about his own city. He and director Dawn Logsdon show the relation between the city’s present and its rich past, enlivened throughout by music, including Derrick Hodge’s original jazz score, the Tremé Song by John Boutté, and a century of New Orleans music.

Viewers also meet Irving Trevigne, Elie’s seventy-five year old Creole carpenter, who descends from over two hundred years of skilled craftsmen, as well as Paul Trevigne, editor of L’Union, the first black newspaper in the US. L’Union and later, the Tribune, were strong advocates for the abolition of slavery, but beyond that, for full citizenship and social equality for all blacks, something most northern abolitionists shied away from. They hear from Louisiana Poet Laureate Brenda Marie Osbey, musician Glen David Andrews, and historians John Hope Franklin and Eric Foner as well.

armstrong_park_Congo Squre cFaubourg Tremé was home to the largest community of free black people in the Deep South during slavery, where they published poetry and wrote and conducted symphonies. It was a racially-integrated community, a model for our own future. It as also possibly the oldest black neighborhood in America, the home of the Civil Rights movement and the birthplace of jazz. (See Congo Square to the right.)

Long before Rosa Parks, Tremé residents organized sit-ins on streetcars leading to their eventual desegregation. But on June 7, 1892, Homer Plessy from Tremé deliberately challenged the Louisiana 1890 Separate Car Act, by insisting on sitting in a whites-only car on a commuter train. He was arrested, tried, and convicted and eventually lost in the infamous Supreme Court decision of Plessy v. Ferguson. The resulting “separate-but-equal” decision legitimized segregation throughout the US for the next 62 years, and was a major blow to Tremé.

Following later assaults from urban renewal, Interstate Highway 10, and then Hurricane Katrina, it’s surprising that anything remains in Tremé. But one thing that has survived is a sense of history, embedded deep in the music, dance, architecture, social relations, and stories of the community. It is this history which holds a promise for the renewal of Tremé and perhaps of the larger US Society.

The film is a must-see, telling a story that is simultaneously informative, uplifting, and disturbing.

In This World

in this world-2There are times when a movie just grabs me, despite technical flaws, my low expectations, and even a boring DVD case cover. In This World is one of those. The political message is clear, but understated, conveyed instead by an intimate look at the consequences of war and greed on the lives of decent people.

The movie presents a fictitious journey that conveys disturbing truths of life “in this world” we inhabit. Although it’s low-key and rough as cinema, it produces an intimate connection to its characters, Afghan refugees Jamal and Enayatullah, as they travel from Shamshatoo refugee camp near Peshāwar, Pakistan, across Pakistan, through Iran, Turkey, Italy and France, towards London.

ITW_trailerLike thousands of others every year, their desperation feeds the multibillion dollar human smuggling business, an unconscionable stain on any of our pretensions to justice. The smuggling fuels crime, violence, corruption, illegal drug trade, and too often leads to death, no longer being “in this world.”

The actors are Afghan refugees themselves, and the encounters in the movie elide life and art. I was fascinated by the places they moved through, and their resourcefulness in learning how to cope with diverse languages and unscrupulous people.

The camps near Peshāwar are filled with people displaced by the Soviet invasion of Afghanistan and later, US bombing. UNHCR says that there are currently “1.7 million registered Afghans in Pakistan, with 45 percent residing in refugee villages and the rest scattered among host communities.” But the total, including children born to refugees, may be several million. The humanitarian crisis is compounded now by two million civilians fleeing the fighting in Pakistan’s Northwest Frontier.

Even though the story is depressing about our institutions, I finished it feeling hopeful about our human capacity. I wanted to travel the modern silk road and more still to learn about the world of these refugees and the policies that lead to their plight.