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Charles Taylor

Tuesday, Jun 9, 1998 4:21 PM UTC1998-06-09T16:21:00Zl, M j, Y g:i A T

Home Movies by Charles Taylor: Kitsch is bustin' out all over.

Dean Martin and Jerry Lewis head for Hollywood in a '50s musical comedy that's 100 percent cheese.

Frank Tashlin’s comedies are such garish displays of kitsch that you can
never be sure whether he’s celebrating or satirizing. In the 1956 movie
“Hollywood or Bust,” Dean Martin, Jerry Lewis and a Great Dane named Mr.
Bascom are taking a cross-country trip in a cherry red convertible. They’re
singing one of the several ridiculous songs that interrupt the movie at
various points — something about how great it is to be out in the country
– driving down shady back roads past barns and fields and swimming holes,
waving to the locals as they go. The thing is that every one of the
“locals” is a pin-up cutie in a bathing suit or some ensemble from the
Daisy Mae collection. These girls are everywhere — perched on fences,
pitching hay (pitching woo comes later), riding tractors or plows. It is
one of the single most insane sequences I’ve ever seen. On one level,
Tashlin knows how ridiculous it is (especially when Dean and Jerry stand up
in the moving car and turn around to stare at a pair of bike-riding
lovelies while the auto stays perfectly on course), but the scene is
presented and acted as if it were an average, pleasant musical interlude with
nothing out of the ordinary going on.

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Saturday, Jan 21, 2012 2:00 PM UTC2012-01-21T14:00:00Zl, M j, Y g:i A T

“Justified’s” hero gets his own book

Elmore Leonard's latest novel revisits the story of the fictional U.S. marshal

Raylan_AF

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This article appears courtesy of The Barnes & Noble Review.

There’s a streak of perversity in Elmore Leonard, contemporary American fiction’s master of dialogue, choosing the laconic cowboy type as a hero for his crime fiction. True, Leonard started out writing westerns, but the characters who populate his crime stories are talkers, some profane, some funny, some sarcastic, many all at once. But they are talkers.

Barnes & Noble ReviewRaylan Givens, the U.S. marshal who first appeared in Leonard’s short story “Fire in the Hole” and has since become the hero of the FX series “Justified” (which started its third season on Jan. 17; the first two are available on DVD), occupies the center of Leonard’s new “Raylan,” essentially a couple of long short stories woven loosely into a novel. Leonard’s Raylan is a bit more upfront about his appetites than he is in Timothy Olyphant’s wittily underplayed portrayal of the character in the series. He’s still no chatterbox, though.

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Wednesday, Nov 24, 2010 1:01 AM UTC2010-11-24T01:01:00Zl, M j, Y g:i A T

How to catch a Taliban impostor

If Afghan officials don't want to be fooled by another huckster, they should take a close look at these movies

Hamid Karzai (left) and the ladies of "Sex and the City 2"

Hamid Karzai (left) and the ladies of "Sex and the City 2"

Today the New York Times reports that a still-unidentified Afghan man was posing as a Taliban leader in secret peace talks with Afghanistan officials. It’s unclear whether this individual was a con man out to line his pockets, a Taliban agent out to sabotage the talks, or a plant from Pakistani intelligence. The writers, Dexter Filkins and Carlotta Gall, note that the incident “could have been lifted from a spy novel.” Regrettably, they may be right. The days when writers of espionage fiction conceived of impostor spies who called themselves Julian or Raoul seem to have passed in favor of writers who are less interested in the glamour of international intrigue than in impostors who don’t drink and call themselves Mullah Akhtar Muhammad Mansour.

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Wednesday, Feb 1, 2006 7:40 PM UTC2006-02-01T19:40:00Zl, M j, Y g:i A T

King’s lost dream

The final volume of Taylor Branch's magisterial biography shows how Martin Luther King Jr. reached out to his enemies. His example should shame the shrill partisans on both sides of our poisonous cultural divide.

King's lost dream

Consciously or unconsciously, great storytellers have a way of tipping us off to their concerns right upfront. On the first page of “At Canaan’s Edge,” the concluding third volume of his magisterial “America in the King Years,” Taylor Branch writes about J.T. Haynes, a high-school agriculture teacher in Alabama’s Lowndes County, the region that in the ’60s would see some of the worst Klan violence against the civil rights movement and would also give rise to the Black Panther Party. “Haynes,” Branch writes, “a teacher of practical agriculture, tried to harmonize his scientific college methods with the survival lore of students three or four generations removed from Africa — that hens would not lay eggs properly if their feet were cold, that corn grew only in the silence of night, when trained country ears could hear it crackling up from the magic soil of Black Belt Alabama.”

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Wednesday, Jan 11, 2006 12:00 PM UTC2006-01-11T12:00:00Zl, M j, Y g:i A T

“Timeless” beauty

With her latest album, Martina McBride breathes new life into contemporary country music by summoning ghosts from the past.

"Timeless" beauty
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“Ghosts from a beautiful dream.” That’s how country-and-western star Marty Stuart refers to such living luminaries of country music as Loretta Lynn, George Jones, Willie Nelson, Merle Haggard and others in his liner notes for Martina McBride’s latest album, “Timeless.” Could any description be more loving? Or more withering?

To describe country music as a place where living greats have become ghosts is to describe it as having betrayed its past, probably the most damning thing you could say about a genre that claims to have such respect for tradition.

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Thursday, Oct 27, 2005 10:30 AM UTC2005-10-27T10:30:00Zl, M j, Y g:i A T

Soul man

In a vast new biography, Peter Guralnick takes on the late, great, silky-smooth crooner Sam Cooke.

Soul man
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How does an American artist aim for a broad audience without being accused of selling out? Trying to maintain your distinctiveness while entering the mainstream is particularly fraught for black performers, who can find their desire to generate a widespread following dismissed as a bid to join the white world.

The most overt, dramatic and controversial example of this struggle was Ray Charles’ switch from the R&B he recorded at Atlantic Records to the orchestrated pop, country music, show tunes and Beatles covers he recorded when he made the lucrative move to ABC Records in 1959. Though, if you have the ears to hear, what comes through is consistency. There is just as much soul in Charles’ string-laden “Moonlight in Vermont” as in the guttural exhortations of “I Got a Woman.” Which is not to say everything he did was equally great, but that Charles’ career exposed the narrow ways in which we decide what constitutes “authenticity.” It was inevitable that Charles, who truly deserves the overworked appellation “genius,” wouldn’t be content with one color on the musical palette and would try to encompass as much of American popular music as he could.

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