adjective smit·ten \ ˈsmi-tᵊn \
deeply affected with or struck by strong feelings of attraction, affection, or infatuation
The month of February often conjures up the all too familiar images related to Valentine’s Day: heart-shaped chocolates and balloons, bouquets of flowers, and Hallmark cards passed between young children at school and between romantic partners. In the United States, Valentine’s Day is a day dedicated to celebrating love—often, to celebrate the state of being smitten.
I am interested in this particular word because, in addition to its form as an adjective, smitten is also the past participle of smite. Smite, a verb, has two definitions, the first of which is “to be strongly attracted to somebody or something,” or “to captivate.” In the context of this definition, the derivation of the adjective smitten is intuitive. However, smite’s second definition takes a dramatic 180° turn, from something soft to something harsh and violent: “to take,” or “to strike with a firm blow.”
According to Merriam-Webster, smite originates from a twelfth century Middle English word meaning to smear or defile; the dictionary likens it to an Old High German word with a similar meaning. As it relates to romantic love, this definition is almost paradoxical. Perhaps “captivate” or “take” make sense (Merriam-Webster’s example sentence cites being captivated by a woman’s beauty), but for this word to also be defined by violence produces a fascinating contradiction: why are the two linked?
To answer this question, we can look to another common Valentine’s Day symbol that stems from Greek and Roman mythology: the God of love, Cupid. Usually portrayed as a young and winged boy, Cupid is armed with a bow and arrow; anyone who is struck by one of his arrows, mortal or not, is overcome by affection and love. Cupid’s very existence takes into account both sides of smite’s definitions: the first being the gentle inspiration of love; the second being the violent mechanism by which love is inspired. In some depictions, he is wearing armor as he works to matchmake. This begs the question: does this interpretation fall into the softer definition of smite, suggesting that love is invincible or impenetrable? Or does it fall into the harsher one, likening love to war?
Perhaps these definitions cannot be parsed into a binary. Instead, perhaps they must be considered together, particularly in the context of romance, of love, and of relationships generally. In the past six months in the United States, there has been a massive eruption of reports of sexual misconduct, particularly regarding high-profile and powerful men. The catalyst was Ronan Farrow’s exposé on Harvey Weinstein in the New Yorker, and from it has stemmed a resurgence of activist Tarana Burke’s social media hashtag #MeToo. Now known as the MeToo movement, the premise is, according to Burke, to “promote empowerment through empathy” by sharing among women, particularly those who are vulnerable (for example, young women of color), the all too prevalent experience of sexual misconduct. Alyssa Milano, an actress who encouraged spreading the hashtag after the stories of Weinstein surfaced, explained it as follows: “If all the women who have been sexually harassed or assaulted wrote ‘Me too.’ as a status, we might give people a sense of the magnitude of the problem.”
It is important to dissociate from love the type of behavior displayed by Weinstein (and many, many others). However, it is equally important to remember the duality of smite’s definition, and to remember Cupid’s bow and arrow, and armor when thinking about love and relationships as they exist today, particularly in the context of the MeToo movement. Those in positions of power have been forced to confront the issue of accountability, some for the first time, and these considerations will then hopefully trickle down into more of an awareness when it comes to fair and healthy relationships.
When one is smitten, one is, according to the word’s definition, “deeply affected” by feelings. It is imperative to take into account the depth of this impact. As the language suggests, relationships—and love—hold great power.
What can one say about Isaiah Curry? Almost everyone on campus knows him. Many of us know him as “that guy you always hear laughing in the hallways.” And we also know him as the person who handles much of the hazardous waste we generate in our work. He’s always there to greet us with a smile, a joke, or even some helpful advice. If you want to know a tidbit of campus information such as where a certain room or facility is located, or who to contact to find help with different issues, or the history of how the campus has evolved, you can always ask Isaiah. He knows almost everyone at Rockefeller, past and present. After forty-four years of being a campus icon, Isaiah retired on January 31, 2018. I had a conversation with Isaiah one night in the Faculty Club and this is what I learned about his history here. Of course, several people stopped by during the interview to joke with him.
Having grown up nearby in upper Manhattan, Isaiah had heard of the Rockefeller University through his mother, who had worked here at one time. He started in 1974, originally in the custodial department. In 1976, the Radiation Safety Department was established on the 11th floor of the Weiss Building (then known as the Tower Building), with only five people. One of them invited Isaiah to join the team, where he was trained to handle the radioactive waste. Later, the department changed its name to Laboratory Safety, to encompass more aspects of that area. Then Isaiah added the processing of biological waste to his responsibilities. The department is now called Laboratory Safety and Environmental Health, and Isaiah has been managing biological waste material for the entire campus ever since.
In the early years, despite being assigned a large grey cellular phone, which was cutting edge technology for its time, Isaiah still had to push all those carts that transported the biological waste materials manually. Later he was upgraded to a flip phone, and eventually the university provided a Power Tug and a small electric truck to help pull and push those large grey carts that transported the material. Isaiah also learned to do his job more efficiently, such as processing the waste after pickup from each building, rather than waiting until he had picked up waste from the whole campus. He often stayed late to finish his work and came in on holidays so there wasn’t a backlog when he returned. He learned early on that students and postdocs work on holidays. “It has nothing to do with overtime, it has to do with staying ahead of the labs…I don’t quit until I’m finished.” He has noticed over the years that the radioactive waste is decreasing and the biological waste is increasing, an indicator of how research techniques have changed. He has always been trustworthy and reliable, and is always glad to help anyone with questions or errors in their waste disposal. Isaiah has returned after several surgeries over the years. Even two hernia operations, a torn knee meniscus repair, and a hip replacement could not keep him away from his duties for long.
Isaiah is known for greeting everyone he knows with a smile and a joke. Isaiah often jests that he used to be shorter before he started picking up the radioactive waste. Over the years he has gotten to know the likes of Robert Darnell, Günter Blobel, Roderick MacKinnon, Charles Rice, Ali Brivanlou, Michael Young, and Jeffery Friedman. Friedman always invites him to his lab barbeques. Darnell, head of The Laboratory of Molecular Neuro-Oncology, commented “I will forever remember the generous, humorous, and wonderful spirit Isaiah brought to the laboratory every single day, year in, year out. He helped make Rockefeller a special place for the scientists, nurturing the feeling that we were all on the same team, friends and colleagues working together to do something important.” We all know him as one who could make us laugh during the work day. Victor Cisneros, from Information Technology, relayed one humorous episode with Isaiah. They were chatting in the hallway between Greenberg and Founders when a “well-suited gentleman” approached them and asked for directions to Founders. Isaiah gave him directions. After the man left, Isaiah wondered if the man would “get his act together.” Victor said “Isaiah! That’s our new president, Marc Tessier-Lavigne. It’s his first day on the job!” Susan Powell of the Proteomics Resource Center remembers how he helped her after she was mugged in 2007 on York Avenue and 64th Street. “Isaiah constantly finds me walking the halls looking downward. For years he warned me, “Look up, Sue!” meaning, be aware of my surroundings. He also showed me ways to defend myself using keys. “Carry your keys in your hand so they protrude between the fingers, and if you need to defend yourself, aim for the eyes.” She added “They say laughter is healthy, it relieves stress, it helps the immune system, it helps to heal, it contributes toward a longer life. If all this is true, Isaiah will be around for a very long time.”
Isaiah has always been active in campus life. Some members of campus might remember Isaiah being involved in the basketball league that began sometime in the 1980s. Isaiah remembers that Patricia Murskey, then head of the Rockefeller library, donated money in memory of someone who had died to have a basketball tournament. They would play teams from other institutions, on a small basketball court, where the Greenberg building is now. And those of you who use the gym might know that Isaiah has always taught a class there. In the early 1980s, when the gym was located in the Graduate Students Residence, where the Child and Family Center is now, mailroom attendant Jose Santos would practice karate there, piquing Isaiah’s interest. Isaiah would work out with him, trained in Santos’s dojo, and eventually became a black belt. Even after Santos left, Isaiah continued to work out and practice in the gym, and other people liked what he did and asked to join him. Thus his class evolved, over thirty years ago. He has never charged, and faithfully shows up, no matter how much work he has to do. He often goes back to work after class.
Isaiah’s last official day at Rockefeller University was January 31, 2018. He vows to keep working out, and is toying with the idea of moving Florida. Considering that the Rockefeller is practically Isaiah’s second home, I wouldn’t be surprised if we still see him popping up here from time to time. He has always been a thread that unites us. As many people have commented “it won’t be the same here without him”.
I maintain that one can liken the Oscar race to a horserace with each studio betting on its thoroughbreds hoping to place. In the analogy, the studio is the owner, public relations is the jockey, and the horse is the actor or film. Here I’ve included my rankings as they stood on the eve of Oscar nominations—the number in parentheses indicates my placement following nominations. I chose eight nominees for Best Picture out of a possible ten. All other categories reflect five nominees. The picks that appear in black text within the table were my original nominee picks, and those in red represent actual nominees that I had not chosen.
Because Christian Bale and Michael Shannon have history of sneaking in at the last minute, I chose to go with them. (See Bale’s Best Actor nomination in 2014 for American Hustle and his Best Supporting Actor nomination in 2016 for The Big Short and Shannon’s supporting role last year for Nocturnal Animals). That’s the thing about the Oscar race: just because you try not to get burned, doesn’t mean you won’t in the end.
With that, I give you my current Oscar predictions:
“The modern patriotism, the true patriotism, the only rational patriotism, is loyalty to the Nation all the time, loyalty to the Government when it deserves it.”
(Mark Twain, 1835-1910)
A text message stopped me dead in my tracks: “The moving truck is coming next Friday.” So soon? Wasn’t it only a few weeks ago that my cousin mentioned the idea of relocating to Nevada? She has lived in New York City her entire life. Now, here she was nearly all packed and ready to leave for good. “What made you want to leave now?,” I asked. “It’s the cold,” she said, revealing that heading for warmer pastures had been a secret desire for years. “I get so depressed in the winter time.” Coincidentally, I had just been reading about people like her. “That’s a thing,” I told her. “Yeah,” she said. “I know.”
That “thing” is seasonal affective disorder (SAD), a pattern of recurring depression that coincides with the change of seasons. Winter SAD, or winter depression, is the most common. Symptoms appear in fall or winter then subside with the return of spring or summer. Reverse SAD, or summer depression, is rare, accounting for only one-tenth of cases. SAD affects an estimated 1-10% of the global population, predominantly those living far from the equator. It is more prevalent in women than men and more frequently starts in young adulthood. Roughly 10 million Americans suffer from SAD.
The clinical definition of seasonal affective disorder began appearing in the scientific literature in the 1980s, but the phenomenon of illness triggered by seasonal change has been described since ancient times, including by Hippocrates himself. Yet, the exact cause remains elusive. Many scientists believe that seasonal shifts in the amount of available sunlight create imbalance in the hormones that affect our mood and internal clock, triggering depression. Reduced sunlight reduces levels of our “happiness hormone,” serotonin and increases levels of the ominous-sounding “hormone of darkness,” melatonin, which affects sleep patterns. However, some scientists question if SAD really exists.
Signs and Symptoms
If you find yourself desperately seeking brightly lit or sunny places every winter or keeping the lights burning all night at home, you might have SAD or a less severe form of the condition called “winter blues.” In his book, Winter Blues, SAD research pioneer Norman Rosenthal, M.D. says many sufferers instinctively gravitate toward light in an effort to feel better, but don’t necessarily make the connection. Some people worsen their condition by withdrawing to dimly lit or dark places in response to their darker mood. Other unhealthy attempts to self-medicate include overeating and excessive use of stimulants. Common signs and symptoms of SAD include:
Winter SAD: low energy and extreme fatigue, difficulty waking up, increased cravings for sweets and starches, increased cravings for alcohol, caffeine, nicotine or recreational drugs, weight gain, poor concentration, feeling down or depressed, social withdrawal, decreased sex drive, and unexplained aches and pains.
Summer SAD: poor sleep or insomnia, loss of appetite, weight loss, and anxiety.
Treatment and Prevention
If left untreated, SAD can become more severe, leading to other problems, including serious mental health issues such as eating disorders and suicidal thoughts. Treatment may include light therapy, medication, psychotherapy, and mind-body techniques such as meditation and relaxation techniques. Light therapy, the go-to treatment for SAD, exposes the patient to full-spectrum bright light in an attempt to rebalance hormone levels and readjust the internal clock. However, people may mistake SAD for conditions that have look-alike symptoms, among them: seasonal bipolar disorder, hypothyroidism, hypoglycemia, and chronic fatigue syndrome. So it’s important to consult your physician if you think you may have seasonal affective disorder. Preventative measures you can take to help reduce symptoms or your chances of triggering SAD include: exercise regularly, spend more time outdoors, stay socially active, restrict your sleep to 7-9 hours a night, eat a balanced diet, reduce stress, use full spectrum light bulbs and home and work, get plants, and add color to your walls and wardrobe.
Explore these resources to learn more about SAD:
Winter Blues: Seasonal Affective Disorder and How to Overcome It, Norman Rosenthal, M.D.
Seasonal affective disorder (SAD) (Mayo Clinic)
Why Winter Makes You SAD: Seasonal Affective Disorder Explained (The Royal Institution YouTube Channel)
Machu Picchu is arguably the most famous historical ruin not just in Peru, but in the Americas. Since the re-discovery of this Inca citadel by American historian Hiram Bingham in 1911, this iconic lost city in the sky has been attracting visitors non-stop for the past century.
From the stunning view at the top of Huayna Picchu, to the carefree llamas chilling in the lawns, Machu Picchu possesses magical enchantments hardly describable by words. Peru prides themselves as “the richest country in the world” in their recent marketing campaign. Well, it was. It truly was.
If you thought Dr. Frankenstein was just a figment of Mary Shelley’s imagination, history is about to turn against you. If you believed connecting heads to different bodies was just a gimmick of old-school science fiction comics, here is a slap in the face from destiny. After successfully transplanting hands and even faces, neurosurgeons are now trying to live up to the ultimate challenge of transplanting a head. Yes, you read correctly, this is not a typo.
Dr. Sergio Cavanero in Italy and Dr. Xiaoping Ren in China have already been trying to get around the legal and ethical hurdles that concern such a procedure, and they claim they can make it with more than a 90% chance of success. Detractors call him bombastic, but Dr. Cavanero pays no heed to critics. Most likely, the surgery will have to take place in China because no other country seems willing to permit it yet. Dr. Canavero is known to make unfounded claims and promote his work largely through the media. However, he is an accomplished surgeon with a solvent publication record in top-notch journals.
A similar procedure has already been carried out in mice by Dr. Ren where the spinal cord was sectioned with a diamond blade and the nerves glued back. The miracle was made possible by a chemical known as PEG, poly ethylene glycol by its full name. This amber fluid can break open the lipid membrane, which lines the neurons and fuse together two different cells, thereby allowing them to function as a single hybrid cell.
History is punctuated with attempts of head transplants in dogs and monkeys. The first “two-headed” dog came into being in St. Louis Missouri back in 1908. The bicephalic beast was again generated in the Soviet Union, and lived for 23 days. In the 1970s, a surgeon named Robert White transplanted the heads of several rhesus monkeys onto others’ bodies. And in January this year, Dr. Ren was able to duplicate the feat. Unfortunately, these animals couldn’t do much more than blink, breathe, and follow objects with their eyes.
The first human to volunteer was 31 year old Russian, Valerey Spiridov. Paralyzed from the neck down, he can barely eat, type, or move the joystick that sets his chair in motion. He suffers from a rare muscle wasting disease. In spite of the surgeons’ optimism, concerns of all kinds have been raised. In the first place, the procedure entails the concert of 80 surgeons working together on the order of days. The limiting step in the process is keeping the brain cold after the head has been removed in order for it to be transplanted onto the donor’s body. The brain suffers irreversible damage within minutes of losing blood flow; cooling the brain can delay damage for up to one hour.
In this procedure, only one hour is available by injecting a liquid into the head blood vessels and recirculating it throughout. Once the surgeons get that down, then comes the rest of the procedure joining of the arteries, veins, muscles, and, ultimately, the skin. Such a procedure requires a great deal of choreography and its cost is estimated at $10-100 million, depending on where it takes place.
Is it worth it? Well, Spiridov himself initially said that he was not signing up for an expensive euthanasia and would not go through the operation unless success is guaranteed. But as the date approached, he announced he will not undergo the surgery.
However controversial, if successful, this procedure would bring hope to those who become immobilized from spinal lesions. But this raises more questions than answers: if according to Drs. Ren and Canavero this technology is available, why not apply it to remedy spinal lesions?
Many scientists and ethicists have slammed the project, accusing the surgeons involved of promoting junk science and raising false hopes. However shaky, others find scientific foundation in the project.
What we know so far is that hearts, livers, kidneys, lungs, uteruses, voice boxes, tongues, penises, hands, and faces can be transplanted. So there’s good reason to think that the next logical step would be the head. However, in this case immunological rejection becomes more of an issue than in the previous instances. And who is rejecting who anyway? Is it the body donor who receives a head transplant? Or is it the head donor who receives a new body from a neurologically dead donor?
Yet another way to look at it, what would happen if an older head was transplanted onto a younger body? Would we be at the gates of life extension technology? Another aspect to take into consideration would be personality. It is known that hormones produced by the body have an effect on the brain. Would this result in a body changing the person’s mood, a head commanding a new body, or a mixture of both? And if so, would the head donor be inheriting the ways of a dead person or imposing his on a corpse?
There’s no previous evidence to back up claims in any direction, and, unfortunately, there is only one way to know.
Vanessa J Wu*
Paku Pakus is a new ramen restaurant on 2nd Avenue, between 72nd and 73rd Streets. It is right off the 72nd Street stop on the Q line and opened on Monday, October 23. The restaurant is the culmination of two sisters’ love of food and Japan, modified to fit the needs of those on the Upper East Side. They are enthusiastic about their housemade products, signature flavors, and quality you can taste. I spoke with both the owner, Chin Ip, and the chef, Sarah Ip.
NS: Would you say there’s a special meaning to the name Paku Pakus?
CI: Paku paku literally means open and close. So for dining, it means your mouth is opening and closing constantly. Eating nonstop and also in big mouthfuls. Paku paku is also this [picks up origami fortune teller]; it is part of our logo. This paper-folding is like fortune-telling, so it would be good to expect what is unexpected and let life tell you what is going on and the next step.
NS: What inspired you to open this restaurant?
CI: I spent quite some time in Japan–a lot of different kinds of places, a lot of different kinds of food. But ramen has really become my passion. I like trying different kinds of ramen from different regions. Different regions have different kinds of soup. Like kaito is more fattening, more rich. Soup noodle is one thing, but I found out I also like mazemen, which is with different kinds of sauce; it’s kind of spicy. In the Upper East Side, you don’t see a lot of ramen shops, unlike Lower Manhattan, so I saw this as a good opportunity to open one for myself. And I knew to find a good chef, so I hired Sarah and the team in the kitchen. I think, together, we can really make it work.
NS: Sarah, how did you start working with Chin and Paku Pakus?
SI: Actually, we’re sisters! So we’ve been working together for quite a long while. We’re always looking for good food, good restaurants. If we thought a restaurant was serving crappy food, we thought, “Oh, if we had a restaurant, we could do it better.”
NS: How long have you been cooking?
SI: I’ve been cooking since I was young! Actually, I was a pastry chef before. I love cooking and I went to Paris for cooking classes. Also, I spent time in Japan. We tried many different places for ramen, so we were like “Oh! Maybe this is something we can handle and try to make our own.”
NS: How long were the two of you in Japan?
CI: I have been on and off for 2-3 years; Sarah would travel to Japan and visit me. She also visited her friends there before. She and our cooking staff have been working on Japanese food for quite a while, so I thought this would be a good team to start with.
NS: What do you both think makes for good ramen?
CI: First of all, it should not be soggy. The noodles have to be chewy, but not undercooked. For soup noodles, the soup has to be steamingly hot, especially to fit the cold weather in New York. The meat–the chashu–has to be melty, not dry; it should still be moist, so we keep the fat to keep the moisture of the meat. Egg-wise, it should not be overcooked, it should be—
CI: Yes. That’s what I was thinking. How about you?
SI: No MSG! The soup that we cook, I cook over 8 hours. A lot of people just use from concentrate.
CI: We are trying to tell the story to the community about the birth of our most popular dish so far, the Rich and Creamy. So how we get it, we have a big pot and we load it with a lot of bones, full of gelatin, which is good for our cold weather.
SI: We use maybe 60-80 pounds of meat in order to reduce to only 20 quarts of soup. So in the summer, we will probably make it less concentrated, because it will likely be too rich for people in the summer. But in the cold, it is really good when it’s really thick. So if you put a spoon to your lips, it’s gonna’ stick.
CI: It’s one of our most popular ones so far. It’s really picking up in the cold weather.
SI: For the dumplings and everything, we grind the pork ourselves, do the dumplings ourselves, instead of just buying it from the store.
CI: The principle is that we are not making anything for our customers which we ourselves don’t eat. So for us, no MSG and the pork has to be hand-ground. That’s our principle; that’s our rule.
NS: What would you say is your favorite item, for each of you, on the menu?
CI: Tantan men! I always go for some strong flavor–black coffee, strong tea. So tantan is my favorite because it is spicy, nutty, sour. Everything seems to be going on in your mouth.
SI: The chicken lollipops. First, we got the Japanese wing sauce, and after that, we thought why don’t we put some strawberry puree and balsamic vinegar? We loved it. That’s still my favorite.
NS: What are your future plans for the restaurant?
CI: After we get more business, we will be thinking of spinning off to other areas in Manhattan or Queens. That will be some years down the road. We want to really stabilize our quality, make this one successful, and make a name for ourselves before we start expanding.
SI: After we make this successful, maybe we can have a central kitchen and make our own noodles. It is only one store right now and the space in the kitchen is not really big, so we cannot make our own noodles. But if we have a central kitchen, we could.
CI: Our next step is making our own noodles. That’s how you can maintain the quality and customize it, too.
SI: For example, some of our customers think the lunch portion noodles are too big. If we could make our own noodles, we could make it a smaller portion for lunch hours. For lunch, we have our lunch combo with the salad and appetizer; if they have the full portion of the ramen, it’s probably too much and they’ll fall asleep when they get back to the office.
CI: Also, we think the mazemen, those with sauce, should go with a thick noodle. It’s like pasta. To me, I’d like for it to be like linguine, but when we check with our supplier, the thickest they can offer us is not really to our standards.
NS: And are you planning on expanding the menu?
SI: We are minimizing at the beginning because we like to do everything step by step. We still have a lot of interesting dishes that we’re going to do.
CI: Some of the items printed on our flyer, we are taking out from our menu, because we talked to the staff and they said it’s better to minimize the number of dishes and make sure it’s good quality before we expand the menu. I think the next step is vegetarian stock. We are now offering fish stock and the pork stock that we are proud of. It used to be a Jewish area, so the pork stock is actually a minus here. As for the fish stock, some people are vegetarian, so they can’t even take the fish stock. So we really want to embrace our vegetarian community.
NS: Do you have any sneak previews of what you want to add to the menu once you start expanding, besides making your own noodles and veggie stock?
CI: The ones we planned before that we’ve taken out from the menu. Like the cheesy gyoza. We find it quite interesting. The first few days, we offered it and people loved it; it’s just a little labor-intensive.
SI: It has parmesan on the bottom, so it’s crispy.
CI: It takes a long time to prepare, so I said let’s sacrifice it for the time being and come back later. That is one thing. Another is the eggplant, which is on our flyer, but we took it out as well. That one is –
SI: Spicy miso and also lime miso. We use the Korean spicy sauce, mix it with the miso on the eggplant, and grill the top; you can eat it alone or with chips.
CI: The miso that we use is four types of miso; we blend it all together in different portions, so it is something that is really house-made for us. It’s not something you can get from the supermarket. We want to use this miso blend that we have, our signature one, and use it in more and more dishes.
NS: The area we’re in is more Eastern, traditional seating while the rest of the restaurant is more Western style seating. What made you choose this difference in layout?
CI: Tatami is very uniquely Japanese. I thought a tatami table would be good especially when it’s facing the street, kind of overlooking the street: being seen and also seeing people. The problem with the tatami is that a lot of Westerners, probably with long legs, would have a harder time, because with the real tatami, people sit on the floor with their legs folded at the back. That’s why we have the hole down there so people can stretch out their legs. We tried to make it Japanese, but we modified it in order to try to fit the Americans. We have the long table over there in the back as well. We thought of putting those low stools, which is very Asian, but we found out this area, the Upper East, has a lot of elderly people, so they may have problems with backless seating. So for the backless, we have it at the bar, but for in the dining hall, we have something with a back.
NS: There’s this eye-catching mural all along the wall when we walk in. Tell me about how that came to be.
CI: Noodle shops usually have a long noodle bar. This was our first thought of what to do with our décor. But the thing is our setup is a little difficult, so we changed our mind. When you think of a noodle bar, it’s a long table. And we wanted to have a lot of different, colorful characters. When you think of a long table, with a lot of characters, the first thing that comes to mind is Da Vinci’s “The Last Supper.” So when I talked to my manga artist in Tokyo, I gave them the idea of a long table with different characters that [mimicks] Da Vinci’s “Last Supper”. So some of the gestures, you can find in “The Last Supper” as well. The judge who is holding back those two guys behind him, you can also find in “The Last Supper,” but we kind of changed it a little bit. The theme is still there, but instead of Jesus saying someone betrayed him, we get the reactions of colorful figures and how they handle their different bowls of noodles. A little boy gets shocked by his dad and drops his bowl, so it flies off the table and we have a girl in school uniform flying off and catching a mouthful. And we have a guy nonstop paku paku, nonstop eating. We also have a ramen competition–three contenders trying to get in the competition: the winner and the other two, still trying to fight for it and stay in the game. We’re thinking of different ways people will handle their noodles, how people treasure it, and fight for what they want.
NS: You mentioned the ramen eating contest. Do you think you’ll have anything like that here?
CI: That would be a very good promotion for us, but we haven’t really thought that through yet.
NS: Is there anything either of you would like to add?
SI: I really want to take any comments where we can make improvements from it. At the beginning, I don’t mind. Tell me, instead of not coming back!
CI: Daily, we are fine-tuning our recipes from the comments we are getting from our customers. The serving team and the cooking team are working very closely. If anyone isn’t finding it good enough for any reason, we always tell the cooking team.
*This interview was conducted on November 4, 2017. Since then, Paku Pakus has made some of the changes mentioned in the interview, such as creating a vegetarian-friendly broth.
Ones to Watch, Vol. 3 Edition
As I have said in the past, the Best Supporting Actor and Actress races of the Academy Awards are extremely unpredictable. Often a film’s narrative can decide who from the supporting races makes it in. Last year was a bit different, as you can see from the outcomes below, but look no further than Rachel McAdams’s nomination for Spotlight and you can see that there are plenty of other forces at work besides one’s actual performance. (For those of you who haven’t seen Spotlight, McAdams does next to nothing on screen). This is why I use a different format when discussing the supporting than with the leading races. Instead of laying out each actor’s accomplishments and whether I would bet on them for a nomination, I have broken down the various circumstances these actors find themselves in as a result of the film’s narrative, and how that may influence Oscar voters.
Various critics groups, including the National Board of Review (NBR), the New York Film Critics Circle (NYFCC), and the Los Angeles Film Critics Association (LAFCA) have announced their respective winners and The Broadcast Film Critics Association (BFCA), Hollywood Foreign Press Association (Golden Globes), and the Screen Actors Guild (SAG) have announced their respective nominees. These announcements and the events associated with them help to form a consensus of Oscar nominees and make the acting categories more clear as we approach nominations on January 23rd. In effect, they signal the start of the Oscar race’s second leg.
Last Year’s Best Supporting Actor Results:
Mahershala Ali — Moonlight: Ali was not only nominated, but he took home the Best Supporting Actor Oscar and deservedly so.
Dev Patel — Lion: He was nominated in this category, though his was a leading role (category fraud).
Lucas Hedges — Manchester by the Sea: Hedges beat the odds of being a young newcomer who was nominated.
Michael Shannon — Nocturnal Animals: My hunch that Shannon would end up being the only nomination for the film in the major categories was correct. In fact, it was the only Oscar nomination the film received in any category, and he bumped co-star and Golden Globe winner Aaron Taylor-Johnson out.
Jeff Bridges — Hell or High Water: As I predicted, Bridges easily took one of the five slots and earned his fourth nomination in this category.
The only real snub was Hugh Grant (Florence Foster Jenkins) who gave his best performance to date. Clearly, by this time last year, it was easy to determine which supporting roles would go on to be nominated by the Academy.
Before we dive into this year’s list of contenders, let me touch upon some of the phenomena we often see in the supporting races:
Two for one: A film can often have multiple supporting nominees. The precedent was set in both supporting categories back in 1939 when Hattie McDaniel competed against Olivia de Havilland for Gone with the Wind, and Harry Carey and Claud Rains were nominated for Mr. Smith Goes to Washington. Since then, we have seen this play out 29 times in Best Supporting Actress and only 16 times in Best Supporting Actor in the 89 years of the Academy Awards. This last occurred in Supporting Actor for 1991’s Bugsy when Harvey Keitel and Ben Kingsley were nominated and in Supporting Actress for 2011’s The Help, which yielded a win for Octavia Spencer and a nomination for Jessica Chastain. Recently, many Oscar watchers have come to believe that a double nomination for a film would cancel both actors out, which could explain why we haven’t seen it in six years.
Ride Along: A Best Picture nomination can often yield supporting nominations for the film’s actors, e.g., Rachel McAdams (Spotlight) and Lucas Hedges (Manchester by the Sea).
Category fraud: In years where there are too many high-quality performances to choose from, Academy voters often fill lead performance slots with supporting roles and vice versa. This year, keep your eye on Steve Carell in Battle of the Sexes and Armie Hammer in Call Me by Your Name for the men. Similarly, Brooklynn Prince in The Florida Project for the ladies.
Eyes on the newcomer: Oscar voters will often rally around a newcomer and anoint them the prom king/queen, e.g., Mahershala Ali in Moonlight).
Here is a guide to the precursor awards and nominations standings: BFCA (*), LAFCA (+), NBR (~), NYFCC (^), Golden Globe (#), and SAG ($). The symbols appear after the contender’s name.
Mark Rylance (Dunkirk), Ben Mendelsohn (Darkest Hour)*:
In the year following the year that saw the #OscarsSoWhite curse beat back with a broom, we’re all hoping that the Academy will continue to stem the tide of controversy. But we do so perhaps with more on the line than the country is accustomed to. In any given year, the Academy Awards, to some degree, take the temperature of what is going on in the world. Last year’s the Best Picture lineup included Hell or High Water, at once a crime thriller and a comment on the plight of the disenfranchised American. This year there are three films in play for Best Picture that comment on the Trump regime, including two films that take place during WWII. The first is Dunkirk, Christopher Nolan’s gorgeous depiction of the evacuation of allied soldiers who were surrounded by the German Army. The film, which capitalizes on Winston Churchill’s famous “We shall fight on the beaches”, illustrates the very air, land, and sea combat that he portended in his speech, but more importantly shines a light on what we can achieve when we work together. Enter Mr. Dawson (Rylance), a private boat captain among the 850 Little Ships of Dunkirk that ferried more than 338,000 soldiers to safety as part of Operation Dynamo. With a 94 on Metacritic Dunkirk is one of the year’s best reviewed films, and it has wracked-up eight BFCA nominations. Rylance’s subtle performance skillfully represents the courage and heart of the seafaring men. Where Dunkirk focuses on a singular WWII event, Darkest Hour concerns the whole enchilada. The film follows the newly appointed Churchill (Gary Oldman delivering a towering performance) while Hitler closes in on Britain, forcing Churchill to decide whether to negotiate or retaliate. Perhaps best known to American audiences for his work in Netflix’s Bloodline, Australian actor Mendelsohn plays the reigning monarch of the time, King George VI who was known for his stutter. His role in the Netflix series was well received by the Primetime Emmy Awards and the Golden Globes. Given the luck he has had in television, it will be interesting to see if the film community welcomes him. Despite both men missing out on precursor awards and nominations, their respective films stand firmly in the Best Picture race, which increases their chances for a nomination.
Willem Dafoe (The Florida Project)~ ^ + * # $, Armie Hammer* #, and Michael Stuhlbarg* (Call Me by Your Name): The second category of contenders dovetails nicely with the first because in dark times, we look to true leaders to lead us into the light. Dafoe, Hammer, and Stuhlbarg’s characters strive to lead by example—a characteristic that also shines through in Rylance’s character, I might add. Because many of the tenants living in the motel inhabited by mischievous Moonee (Prince, more on her below) and her young friends are too wrapped up in themselves to do any real parenting, Dafoe’s caretaker Bobby functions as everyone’s parent. And what is a parent, if not a teacher? The film premiered in the Director’s Fortnight section of the Cannes Film Festival this year and went on to play at the Toronto and New York film festivals (TIFF and NYFF) where Dafoe earned frontrunner status. Dafoe has two Best Supporting Oscar nominations under his belt for Platoon (1989) and The Shadow of the Vampire (2001). Stuhlbarg plays the father of young Elio (a riveting performance from relative newcomer, 21-year-old Timothée Chalamet) who falls in love with Oliver (Hammer who has never been better) thus the two men teach the teenage boy about two distinct kinds of love. Stuhlbarg was nominated for the Golden Globe for Best Performance by an Actor in a Motion Picture – Comedy or Musical in 2010 for A Serious Man. He also appears in The Shape of Water this year thereby clocking in two memorable performances. In Call Me by Your Name, his performance is subtle but powerful, and the onus falls on him to deliver one of the film’s most poignant scenes. Hammer, on the other hand, has struggled to gain ground following his debut in The Social Network back in 2010. Here, he imbues the film with such a warmth and vitality that it proves he has more to offer than a pretty face. Between the two men, Hammer has the edge with his Golden Globe nomination, but Dafoe has maintained his frontrunner status. In fact, as the only actor in the race to be selected by every precursor awards group, a win by anyone else would be a shock.
Sam Rockwell* # $ and Woody Harrelson$ (Three Billboards Outside Ebbing, Missouri) and Michael Shannon (The Shape of Water):
Where there is darkness, there are villains. In the last five years alone 7 out of 25 Best Supporting Actor nominees were villains. This may not sound like a lot, but when you factor in that 2 out of the 5 winners were villains, Christoph Waltz Django Unchained (2012) and J.K. Simmons Whiplash (2014), it can’t be ignored. Rockwell’s small town deputy is a racist momma’s boy who takes advantage of his station. It’s clear that much of what is disagreeable about him was homegrown, and so it is surprising to see his character go through such a transformation by the end of the film. The closest Rockwell has come to Oscar is a pair of BFCA nominations in 2011 and 2014. The first was for Best Supporting Actor for Conviction and the second for Best Actor in a Comedy for The Way Way Back. Harrelson, on the other hand, is the sheriff of the town whom is on the receiving end of the ire of Mildred Hayes (Frances McDormand in top form) following his department’s failure to catch those who raped and murdered her teenage daughter. I will not give anything away, but with limited screen time, he makes quite the impression. Harrelson has two Oscar nominations under his belt: Best Actor in 1997 for The People vs. Larry Flynt and Best Supporting Actor in 2010 for The Messenger. That brings us to Shannon’s performance in The Shape of Water, which takes place in the Cold War era and is the third film that fits the zeitgeist of this year. On display in his Richard Strickland is a hawkish brute whom has no regard for human beings, going so far as to relieve himself in front of the two cleaning women who ultimately work against him (Sally Hawkins and Octavia Spencer who both deliver in spades) and to cover his wife’s mouth during “love” making. He is a vile example of a man who in today’s society would be on the receiving end of a fair share of #metoo accusations. The Academy has singled out Shannon twice with nominations for films where other standout performances were overlooked: in 2009 for Revolutionary Road, and this year in Nocturnal Animals. Given this pattern, and the fact that The Shape of Water is a major Oscar contender, it’s tempting to want to pencil him in. Rockwell delivers what is probably his best work to date in this TIFF audience award winner. It’s not likely that he will miss the cut for an Oscar nomination, but if enough voters go for Woody Harrelson’s performance, the two could cancel one another out. Generally, Oscar loves a good villain, but maybe not this year when we have too many real villains in our midst.
Other considerations: All eight men I discussed here are white. If the Academy remains vigilant about #OscarsSoWhite they could mix it up with Idris Elba in Molly’s Game, newcomer Algee Smith in Detroit, Jason Mitchell in Mudbound, or Laurence Fishburne in Last Flag Flying. I can’t speak on the latter’s performance, but I can say that Smith’s, coming from my favorite film of the year, which has been woefully overlooked, is probably the most resonant. Elba holds his own opposite Jessica Chastain, who always delivers top-notch performances, and Mitchell is the heart and soul of Mudbound. Any of these men are more than worthy of a nomination, but haven’t been appearing in the precursor awards conversation. Sadly, even more white men have: Richard Jenkins (The Shape of Water), Steve Carrell (Battle of the Sexes), and Patrick Stewart (Logan).
Last Year’s Best Supporting Actress Race Results:
– Viola Davis – Fences: She was nominated and won for her powerhouse performance as was predicted.
– Nicole Kidman – Lion: Kidman’s banner year began with this nomination and continues today with her roles in television (Big Little Lies and Top of the Lake: China Girl) and film (The Killing of a Sacred Deer).
– Michelle Williams – Manchester by the Sea: She was nominated despite grumblings from some critics who claimed she didn’t have enough screen time.
– Naomie Harris – Moonlight: Nominated
– Janelle Monáe – Hidden Figures: She was not nominated despite a BFCA nomination.
– Greta Gerwig – 20th Century Women: She also was not nominated despite her BFCA nomination.
Last year’s fifth nominee was Golden Globe and SAG nominee Octavia Spencer for Hidden Figures, who replaced Monáe, thereby earning her second Best Supporting Actress nomination.
By my discussing six nominees last year, you can see that on the ladies’ side, picking the eventual Oscar nominees was not so cut and dry—mainly because of the BFCA’s inclusion of Monáe and Gerwig in their list of six. Both actresses were ignored by the other awards bodies. Still, it was easy enough to determine almost all of the eventual Best Supporting Actress nominees by this time last year.
Laurie Metcalf (Lady Bird)+ ~ * # $, Mary J. Blige (Mudbound)* # $, and Allison Janney (I, Tonya)* # $:
TIME just named their person of the year: The Silence Breakers. This is big news in a year following one that saw an accused sex offender take the presidency. Women have become the new cause to champion, and rightfully so. For far too long our culture has enabled sexual abuse against women and children by turning the other way, or providing hush money—no more. The Oscar for Best Picture went to Spotlight in 2016. The film depicted the true story of how the Boston Globe uncovered the massive child molestation scandal and cover-up within the Catholic Church. One can only guess what the film that discusses details of Harvey Weinstein’s or any other of the countless sex offenders’ actions that have been exposed this year will be like. But I hope our society learns from this and moves forward with the same vigilance that we are now witnessing, and continues to champion women and those who have been victimized by these heinous acts. Through all of this, my thoughts have turned to the mothers of these women and children. How helpless they must feel bringing children into this world where they cannot protect them. No once captures that sentiment more perfectly than Metcalf (Lady Bird) who struggles to maintain a positive relationship with her teenage daughter (Saoirse Ronan holding her own) as she prepares to leave the nest for college. Metcalf, perhaps best known as the titular character’s sister Jackie on Roseanne, earned multiple Primetime Emmy Awards nominations and wins for the show, and was also nominated for guest actress work in 3rd Rock from the Sun (1996), Monk (2006), Desperate Housewives (2007), and triple nominations last year for Getting On, Horace and Pete, and The Big Bang Theory. Outside of television, she has had a lot of success on the stage, and most recently won the Tony Award for Best Actress in a Play for A Doll’s House, Part 2. Dee Rees’ Mudbound is a gorgeous epic and at the center is Blige’s mother who, like Metcalf’s character, cannot protect her child (Jason Mitchell) from the evils that befall him. Blige is best known as a musician and performer, but here she strips down to the bare essentials, so much so that one hardly recognizes her, allowing her to fade into the role like a chameleon. Although her acting career is just heating up, Blige has been nominated for two Golden Globes for Best Original Song – Motion Picture: The Help in 2012 and again this year for Mudbound. Historically, the Academy runs cool on Netflix-produced films (see Beasts of No Nation last year, which failed to earn a single nomination). But something tells me that Blige will make it in the top five, even if it is just to stave off the curse of #OscarsSoWhite. Where it’s clear that Metcalf and Blige’s mothers love their children, Janney’s portrayal of the mother of one-time Olympic hopeful Tonya Harding (Margot Robbie giving the year’s best performance) in I, Tonya paints a picture of constant physical and mental abuse. Janney earned four back-to-back Primetime Emmy Awards nominations for her work in The West Wing. She for the same role in 2000-2002, was nominated for lead the following year, won the next and earned one final lead nomination for it in 2006. In 2014, she won two Primetime Emmys for Mom and Masters of Sex; she also was nominated for a Golden Globe for the former and nominated again for both the following year. In 2017, she was nominated again for Mom. Like Metcalf, Janney has also enjoyed success on the stage, having been nominated for Best Actress in a Play in 1998 for A View from the Bridge, and Best Actress in a Musical in 2009 for 9 to 5. Metcalf appears to have the momentum, and hers is my favorite of those in supporting this year. But you certainly can’t count out Janney, and the possibility exists that the two veterans of stage and screen could cancel one another out, allowing Blige, or someone else to sneak in.
Octavia Spencer (The Shape of Water)* # and Holly Hunter (The Big Sick)* $: Oscar often retreats to what is comfortable, and what better way to do that than to nominate those whom have won or been nominated? In the role of the best friend to love struck mute Elisa (Sally Hawkins knocking it out of the park), Spencer screen time, making her very memorable. As I mentioned earlier, she won for The Help and was nominated for Hidden Figures, but it’s worth mentioning that both films were sprawling ensembles, and though not everyone gets nominated from an ensemble, she did. That is a testament to how strong her chances of a nomination are, though a win is unlikely. Hunter was first nominated for Best Actress back in 1988 for Broadcast News, she earned double nominations in 1994 for The Piano (lead) and The Firm (supporting), and was last nominated for Best Supporting Actress in 2004 for Thirteen. There has been a groundswell of support for The Big Sick, which chronicles the true story of actor/comedian Kumail Nanjiani’s relationship with his wife, Emily Gordon, who battled cancer. The screenplay was written by the couple and Hunter plays Gordon’s mother who struggles to deal with her daughter’s illness. The film is struggling to hold on for a Best Picture nomination, but looks strong for screenplay, and with enough support Hunter could also get in.
Brooklyn Prince (The Florida Project)*: The performance from the seven-year-old actress is really a lead, but Academy members could slip her in here. She was recognized by the BFCA in the Best Young Actor/Actress category. Although it would be well-deserved, it is an unlikely scenario.
Hong Chau (Downsizing)* # $: The Thai actress, perhaps best known for her small television roles in Big Little Lies and Treme, has the most heat for this social satire that asks if our lives would be better if we were able to shrink ourselves. Despite the strong buzz for the performance, there is a feeling that the Vietnamese woman that Chau portrays is more of a caricature. But it has been eleven years since an Asian actress (Rinko Kikuchi for Babel) has been recognized by the Academy (unless you count Hailee Steinfeld who is one-eighth Filipino and was nominated for True Grit in 2010), and the optics of this possible nomination should not be ignored.
For the ladies, other possibilities include Kristin Scott Thomas for Darkest Hour as Clementine Churchill, and Melissa Leo for Novitiate as a stern Mother Superior, and Rosamund Pike as yet another kind of mother in Hostiles. There is also the opportunity to recognize Tiffany Haddish for her standout comedic performance in Girls Trip.
Any Oscar race is a wild ride; what seems like a sure thing can be gone tomorrow. We’re living in uncertain times where men (especially) are being taken down by their actions. Nothing is set in stone, and no one is safe.
“Airbag” by Radiohead
I’ve come to believe that there are two masterpiece records that not only predicted the political, cultural and even emotional condition of the 21st century, but expressed them musically and lyrically in such a way as to leave themselves open to years of listening and thoughtful reflection. The first was David Bowie’s Heroes LP, released in 1977, and the other was Radiohead’s OK Computer, which debuted twenty years later and recently celebrated its 20th anniversary. The album and CD covers of these collections also display thought-provoking artwork subtly adding to the message of their music, Bowie poses in an oddly Vulcan-like, emotionally removed posture, and Radiohead’s is a near-abstract, blurred looped highway adorned with other clues to the record’s contents and message.
OK Computer opens powerfully with its most forceful and arguably best track, “Airbag,” penned by the band from the ideas of its leader, Thom Yorke. The song commences with an immediate production assault, courtesy of the band and the album’s co-producer, Nigel Godrich. Just as with Heroes, whose brilliance is enhanced by the production team of Bowie, Brian Eno, and Tony Visconti, “Airbag” and all of the songs of OK Computer soar to previously unheard heights of artistic and technical wonder. Both albums are thematically unified masterworks of rock composition, recording, and musicianship.
The conceptual undercurrent of “Airbag” and OK Computer goes farther than holding up a mirror to society’s emotional gutting in the face of obsessive commercialism, the feeding frenzy to satisfy the hunger of the capitalistic “commodity fetish.” Radiohead brings in the world’s dependence on the machine and its deadening, defeatist qualities, expressing the idea from several viewpoints and woeful tales. I am reminded of the hard-hitting forces and revelations of the groundbreaking work by Arthur C. Clarke and Stanley Kubrick in the film 2001. In that movie, it’s not the manmade computer, HAL, that is absolutely threatening to our person and emotions. It is the idea of a human living out his days in the presence of “The Sentinel,” the sleekly constructed, inexplicably perfect machine of unknown origin, a machine about which he will never have any hope of comprehending, leaving him confused and unsure of his meaning and place in the universe.
In 1997, I’d never heard a song by Radiohead, but my younger coworkers at the time were all talking about the power of OK Computer. For some reason, I sensed that this album might be “the real deal” offering heights of music I’d longed for since the end of the 1970s. I sat down late one evening and put the CD on for a first listen. As the guitars of “Airbag” soared and pulsated around the room that night, I kept track with the lyric sheet like a boy checking his baseball score card at Yankee Stadium as he witnesses a perfect game. This was exactly what I’d been searching for from popular music for a long time. Everything worked for me, especially the masterful and innovative guitar work of Jonny Greenwood and Ed O’Brien. Colin Greenwood’s sparse bass playing in “Airbag” is mixed abstractly and beautifully with drummer Phil Selway’s pounding, and the effect transfixes the listener. I later learned that Selway had played a phrase which was looped and reconfigured through various tricks of production giving it an uneven, automatic and unreal feel.
Yorke, sings his guts out about the future during “Airbag.” He hits on something about the current world as well, something I’d always sensed around me but had not yet fully realized or been able to articulate. It was a naked exposure of the inter-emotional landscapes of people and how they were shifting quickly because of the currents set loose by technology, those from computers, TV and movies, and by obsessive advertisers trying every trick of the cultural book to sell their wares. And of course, the song was a warning sign about the rising tide of a fairly new thing at the time, called the Internet.
The story of “Airbag” is told in minimal lyrics, just a handful of lines. It’s a life life/death/life story taking place during a World War. The protagonist, Yorke, is in his fast German automobile and is saved from a horrific crash and his demise by the car’s airbag. We hear of how in the “deep, deep sleep of the innocent, I am born again” and how “in an interstellar burst, I’m back to save the universe”, sung with the powerful lamentation of a lonely soul surviving in a cold, sterile, yet still somehow mysteriously miraculous world. Yorke seems to be relating that we are all born to a fantastic uniqueness, each of us with the mission to save our immediate social and familial worlds, yet surrounded by machine, metal, and flashing neon lights, we forget our purpose, and thus, who we are, very early in life.
Bowie sang these lyrics in 1977 on Heroes, “Sons of the Silent Age, don’t walk, they glide in and out of life/They never die, they just go to sleep one day”; “Airbag” and OK Computer updated and upgraded that sentiment. The lead song on Bowie’s masterwork, the well-known ‘”Heroes”’ is an in-your-face drama about the Cold War and about the machine emotions of the times. Bowie’s lovers kiss amongst the guns blazing in the sky, holding on to each other amid the crazed war machine. In 1997, Yorke is alone, reborn with a flourish of a profound interstellar burst that no one bothers to find significance in but himself. He’ll lock himself away until his next fatal car crash and subsequent rebirth.
Radiohead saw the world at that time, saying “here we all are and this is where we are all going.” The first line of OK Computer and “Airbag” is, “In the next World War” and I took it to mean today’s World War, the current, ever-present World War of people and their deadening machines creeping, seeping in from all directions. Sure, a machine can drive you around and a machine can give you the joy and the art of recording unfathomable, timeless music. Yet, we live in a time when many of us are failing to notice or bother to think about the possibly irreversible emotional price we are paying for the non-stop technological life we’ve all willingly and complicatedly chosen to lead.
“A man can only do what he can do. But if he does that each day, he can sleep at night and do it again the next day“.
Philadelphia is renowned for being the City of Brotherly Love and the birthplace of the Declaration of Independence, but, in my experience, people in this city seem to have a lot of appreciation for art. From an academic level, the city is home to many famous art museums including the Barnes Foundation and the Philadelphia Museum of Art. From a street perspective, many strikingly usual wall murals are painted all over the buildings in Center City with awed messages. From every historical building you pass by and every street corner you turn onto, there is a sense of heritage and era. Unexpectedly, you bump into a modern bank-affiliated coffeehouse offering hot drinks & free WiFi. How interesting!
There is a federal holiday coming up that you may not be familiar with and probably have only heard about through advertisements. November 11 is Veterans Day, and it is almost 100 years old. The holiday is meant to honor all those who have served in any branch of the armed forces in this country. It is sometimes confused with Memorial Day, which is meant to specifically honor those who have died while serving. Many towns have a parade for the holiday. Federal employees have the day off, so there is no mail delivered and public schools are closed.
Veterans Day was first known as Armistice Day. It marked the ending of WWI, “the war to end all wars,” according to H. G. Wells. The armistice, or temporary hold on battles, went into effect on the eleventh hour of the eleventh day of the eleventh month in 1918, although some very minor skirmishes did continue after that time. The official peace treaty to end WWI was signed in Versailles, France on June 28 of the following year. Then, in November of 1919, President Woodrow Wilson signed a proclamation declaring November 11 as Armistice Day, officially marking the end of WWI. In this document he noted, “We were able to bring the vast resources, material and moral, of a great and free people to the assistance of our associates in Europe who had suffered and sacrificed without limit in the cause for which we fought. Out of this victory there arose new possibilities of political freedom and economic concert. The war showed us the strength of great nations acting together for high purposes, and the victory of arms foretells the enduring conquests which can be made in peace when nations act justly and in furtherance of the common interests of men.”
It wasn’t until June 4, 1926 that the United States Congress officially recognized the end of WWI, through a resolution that called for celebrating the day through… “exercises designed to perpetuate peace through goodwill and mutual understanding between nations.” A congressional Act to make Armistice Day an annual legal federal holiday… “dedicated to the cause of world peace,” was passed in May of 1938. Then in 1945, WWII veteran started a campaign to expand the holiday to honor veterans of all American wars. The veteran, Raymond Weeks of Birmingham, Alabama, led a delegation to General Dwight Eisenhower. Over the next eight years, various veterans’ service organizations took up the cause. In 1954, President Eisenhower signed a bill changing the name to Veterans Day and designating it a day to honor all veterans.
Congress then passed the Uniform Holidays Bill in June of 1968. This Act rescheduled a number of federal holidays to a nearby Monday, so that workers would have three-day weekends to encourage citizens to celebrate them. Veterans Day was first recognized under this act on October 25, 1971. However, this caused a lot of confusion among people who remember the “eleventh day of the eleventh month” from their school days. In fact, some states still celebrated it on November 11. Starting in 1978, President Gerald Ford changed Veterans Day back to November 11, and it has been celebrated on that date ever since.
Other countries have holidays similar to Veterans Day. In the United Kingdom, they celebrate the second Sunday of November as Remembrance Sunday. In Canada, and other Commonwealth countries, the holiday is also called Remembrance Day, where it is common to observe a moment of silence at 11 a.m. on November 11. France and other allied nations celebrate Armistice Day by honoring their veterans with a national holiday that coincides with Remembrance Day and Veterans Day.
It has become traditional to have a ceremony at 11 a.m. that day to honor unknown soldiers who were killed in battle. For instance, there is the annual laying of the wreath at the tomb of the unknown soldier in Arlington National Cemetery in Washington D.C. Here in New York, a wreath is laid at the Eternal Light Monument in Madison Square Park at 11 a.m. before the parade.
The parade in New York City is the largest in the country. This year’s parade, on Saturday, November 11, will have over 300 contingents, including veterans from several wars, school and community groups, military units, marching bands, Medal of Honor recipients, and antique vehicles. This year’s Grand Marshal will be Buzz Aldrin, astronaut and Air Force veteran. The parade runs along 5th Avenue, from 26th Street to 52nd Street, starting at 11:15 a.m. There is some limited bleacher seating near the reviewing stand at 41st Street, by the New York Public Library.
adjective | in·dig·e·nous | \ in-ˈdi-jə-nəs \
Produced, growing, living, or occurring naturally in a particular region or environment.
According to Merriam-Webster, the first known use of the word indigenous was in 1646, nearly 150 years after a year embedded in the brains of most schoolchildren in the United States: 1492, a year that my peers and I in our New York City public elementary school learned was famed for being when Christopher Columbus sailed the ocean blue in search for India, but instead made the great discovery of America, the New World. We were told how crucial it was to remember the most minute details. In elementary school, it was Columbus’s country of origin (Italy, though his famed voyages were from Spain) and the names of his ships (the Nina, the Pinta, and the Santa Maria). In middle and high school, we learned about the contribution of the spice trade to Columbus’s incentive to set sail and about its importance in the formation of a global economy. Though different layers of complexity were added as we got older, the two-fold takeaway was meant to be clear. First, Columbus discovered America. Second, Columbus discovered its native population. We were taught that Columbus thought himself to be in India when he landed, so I first learned to call the indigenous population Indians—by the time I reached high school, we were told to credit Columbus with the discovery of America and of Native Americans.
It was always around this time, at least in elementary school, where we would begin to jump forward a couple hundred years in our studies and learn about the Puritans in England. Again, we were given a simplified version of the story in which the Puritans were being persecuted for their religious beliefs, so they set sail and took up residence on the land Columbus had discovered. There, they were greeted with a slew of difficulties, the biggest of which was their inability to grow food on their new, inhospitable land. Of course, we were then taught about the kind Native Americans who taught the Puritans about hunting and gathering food, ensuring their survival and helping prepare a feast for the fall harvest. The first Thanksgiving, we were taught, was a celebration of harmony between the Native and Puritan populations.
The reality, I later learned, was very different. The ramifications of colonialism—both Columbus’s and the Puritan’s—were grave and far-reaching. Columbus didn’t discover mainland America, as we were taught, but instead landed on Hispaniola (present-day Haiti and the Dominican Republic). The Taino people were indigenous to the land, but their exploitation for slave labor, and the exploitation of their land for a trade route, ultimately led to their complete obliteration by 1535. The trade route that connected this land to mainland United States also brought with it diseases to which indigenous populations were not immune including, but not limited to, measles, mumps, chicken pox, smallpox, influenza, and pneumonia. European settlers did not offer indigenous people protection against these diseases. On the contrary, in 1763, to combat the Native Americans’ efforts to unify, British forces distributed blankets infected with smallpox to produce an epidemic.
A systematic effort to reduce native populations’ rights and power has consequences that extend to the present day. The American Indian Youth Organization reports statistics on poverty, unemployment, and lack of resources in education and infrastructure in Native American communities and reservations. Native American land today—much of which is sectioned off on governmentally-determined reservations—is being disrespected by the United States government. A prime example is that of the Dakota Access Pipeline (DAPL), an oil pipeline that the United States government intends to build through the Standing Rock Reservation in North Dakota. It amassed news coverage this past year as protestors, many from the Standing Rock Sioux tribe, were met with rampant police brutality, simply for fighting for their right to clean water. Despite the health and environmental risks, which will affect the Sioux tribe in particular, the pipeline will continue to remain operational.
In 1870, Thanksgiving became a federal holiday. In 1937, Columbus Day followed suit. As of October 9, 2017, there are a number of states, cities, and universities in the United States that now celebrate Indigenous People’s Day in lieu of Columbus Day. There have been recent protests throughout the country to remove statues of confederate generals—so too have people protested removing statues of Columbus. The United States has a long and shameful history of crimes against indigenous people, and many activists believe that to celebrate Columbus Day is to celebrate these crimes.
Both Columbus Day and Indigenous People’s day have passed, but Thanksgiving is approaching—it is perceived as a positive holiday where we have the opportunity spend time with people we love, and to reflect on what we are thankful for. Given the recent eruption of the conversation regarding indigenous people, it may also be wise to reflect on our history, and on why Indigenous People’s day is being met with such skepticism; perhaps we can look to the language to tell us why. According to the definition above, indigenous refers to anything naturally-occurring in a place. When we apply such terminology to Native Americans in this country and call them indigenous people, there is a clearly implied juxtaposition: European colonialists were not natural, and therefore the presence of their descendants (many proud Americans) isn’t either. Though true, this fact is at odds with the inherent right that so many Americans feel they have to their land—a feeling that likely stems, at least in part, from the cultural erasure of a very real, albeit very difficult, part of United States history. The fact is that we have this land because we took it, and to keep this from children growing up in the United States (to teach them that Puritans and Native Americans were friends) does a disservice to all parties. Our cultural history must be a reflection of the full story.
Ones to Watch, Vol. 2 Edition
With the summer film festivals, namely Venice (August 30 – September 9), Telluride (September 1-4), and Toronto (September 7-17) behind us, it’s time for the second of a three-part series, which examines the roles that are likely to feature in the Best Actor race. In recent years, the eventual Best Picture winner has premiered at Telluride, and so begins the Oscar race. By this time last year, Venice had given us the performances of Ryan Gosling (La La Land) and Andrew Garfield (Hacksaw Ridge), and those of Casey Affleck (Manchester by the Sea) and Viggo Mortensen (Captain Fantastic) had hailed from the Sundance Film Festival. The only performance from an eventual nominee that we hadn’t seen was that of Denzel Washington (Fences).
Similar to last year, we have little to go on because most of the films that have been screened so far have centered on a female, not a male, lead. The last time the Academy awarded Best Picture to a film with a female lead was Million Dollar Baby back in 2006—not the greatest stat for Battle of the Sexes and Lady Bird to be up against following their praiseworthy Telluride premieres, but I digress. Unlike 2016, this year appears to already have a frontrunner who may prove unstoppable.
Before we delve into this year, let’s put a cap on the last one. Of the seven roles that were discussed here, two went on to secure Best Actor nominations: Washington and Affleck, and the race came down to those two men. We had Washington—a veteran looking for his third win, and Affleck—the scrappy guy from Boston hoping to net his first. Even though Washington delivered hands down the best performance of the year, Affleck was able to outrun his past (more on this shortly) to take the prize.
Nate Parker (The Birth of a Nation) topped the snub list, which included Joel Edgerton (Loving), when his issues with the law were exhumed as I described last year. At that time, I portended that if he didn’t get nominated, racism was to blame. It would appear that I was right because later on in the Oscar season it was revealed that Affleck too had some “past indiscretions,” to put lightly. However, Affleck was legally barred from speaking about his alleged reprehensible behavior and so, walked away from the ordeal squeaky clean, and likely as dirty as sin on the inside.
As for the others discussed here, Ang Lee’s big gamble, Billy Lynn’s Long Halftime Walk, which was shot at 120 frames per second, flopped, leaving the film’s star Joe Alwyn out in the cold. Dev Patel (Lion) was recognized in the Best Supporting Actor category, and Hugh Grant (Florence Foster Jenkins) was campaigned in supporting, but failed to land a nomination.
THE PEACEMAKER: Gary Oldman – Darkest Hour (director: Joe Wright)
FYC: This British war drama follows new Prime Minister Winston Churchill (Oldman) during the early days of WWII when Hitler closed in on Britain, forcing Churchill to decide whether to negotiate or fight back. The film bowed at Telluride, earning rapturous reviews. Oldman was nominated for Best Actor in 2012 for Tinker Tailor Soldier Spy. His performance here has earned him frontrunner status, and given that it comes from a film that is in pole position for Best Picture, with director and actor accolades, he may be unstoppable.
THE DESIGNER: Daniel Day-Lewis – (Untitled) (director: Paul Thomas Anderson):
FYC: Not much is known about this American drama set in the fashion world of 1950s London, where a dressmaker (Day-Lewis) is commissioned to design for members of high society and the royal family. But what is known is that the dressmaker is Charles James, and the film is reportedly the last of Day-Lewis who will retire following a career that has spanned four decades. Day-Lewis won three Best Actor Oscars beginning with My Left Foot in 1990, followed by There Will Be Blood in 2008, and most recently Lincoln in 2012. He is widely considered one of the best actors of our time, and all eyes will be on Day-Lewis to see if he can snatch the Oscar away from Oldman.
THE FIGHTER: Jake Gyllenhaal – Stronger (director: David Gordon Green):
FYC: This biographical drama, based on the memoir of the same name by Jeff Bauman and Bret Witter, depicts the inspiring true story of Bauman who lost his legs in the 2013 Boston Marathon bombing. The film, currently in theatres, screened at the 2017 Toronto International Film Festival (TIFF) where it won over critics who praised Gyllenhaal’s performance. The actor has one Best Supporting Actor nomination under his belt for Brokeback Mountain in 2006. But now that Leonardo DiCaprio has finally been awarded his first Best Actor Oscar, it seems that Gyllenhaal has taken up the mantel of the younger heartthrob destined to be overlooked for several years by the Academy. Recently, he delivered consistent performances that have earned him some awards heat such as last year’s Nocturnal Animals, and 2014’s Nightcrawler, but how many more of these will he have to deliver of equal caliber before the Academy rewards him?
THE RECORD HOLDER: Denzel Washington – Roman Israel, Esq. (director: Dan Gilroy):
FYC: In this legal drama, Washington stars as the titular character: a driven, idealistic, liberal defense attorney who discovers some unsettling things about his law firm and ends up in a crisis that leads to an extreme action. Because I discussed the actor’s history with the Academy in last year’s column, I will refrain from expanding on it here, except to say that last year Washington, the record holder for the most nominations for an African-American actor, should’ve won his third Best Actor trophy. Buzz on the film following its premiere at TIFF is lukewarm, if warm at all, but Washington could get in through an I.O.U. from the Academy.
CAPTAIN FANTASTIC: Christian Bale – Hostiles (director: Scott Cooper):
FYC: This period war drama, based on an original story by Donald E. Stewart, follows an English army captain who escorts a dying Cheyenne war chief and his family back to his tribal lands in 1892. The film earned rave reviews at TIFF and was subsequently scooped up for distribution this year. Somehow, I have yet to discuss Bale’s award history in this column, though he has been mentioned regularly. Unlike most actors, Bale won the first time he was nominated for his supporting role in The Fighter in 2011. He has since been nominated for Best Actor in 2014 for American Hustle and Best Supporting Actor last year for The Big Short. Because much of the acclaim of Hostiles pinpoints Bale’s performance, he stands a good chance of being nominated.
THE PERFORMER: Hugh Jackman – The Greatest Showman (director: Michael Gracey):
FYC: In this biographical musical drama Jackman portrays P.T. Barnum, a man who rose from nothing and started the spectacle that became the Ringling Bros. and Barnum & Bailey Circus. Jackman was nominated for Best Actor in 2013 for Les Misérables, but hasn’t been featured in an Oscar-baity film since. Musicals can be a hard sell, but if anyone can do it, it’s Jackman who won a Tony award for his performance in The Boy from Oz in 2004.
THE ADOLESCENT: Timothée Chalamet – Call Me by Your Name (director: Luca Guadagnino):
FYC: This coming-of-age drama, based on the novel of the same name by André Aciman and written by James Ivory (more on this below), depicts the passionate relationship that develops between a young man named Elio and an academic (Armie Hammer) who has come to stay at his parents’ Italian villa in the 1980s. Through one unforgettable summer the two bond over their sexuality, their Jewish heritage, and love for life and all it has to offer. The film premiered at Sundance where it received universal acclaim, particularly for Chalamet, Hammer, and Michael Stuhlbarg (who plays Elio’s father), as well as for direction and writing. It is important to note that Ivory directed and was nominated for A Room with a View, Howards End and The Remains of the Day. Furthermore, each of those films earned a minimum of eight Oscar nominations, including Best Picture. For these reasons it is a formidable candidate for a Best Picture nomination and therefore should have a strong presence in the Oscar race. However, a nomination for the 21-year-old newcomer Chalamet, perhaps best known for his eight-episode stint on TV’s Homeland is not yet a slam-dunk (though, having seen the film, he should be)—the last time an actor was nominated for Best Actor while in their early twenties was in the 1920s.
There are several other actors with the pedigree to earn a nomination this year. We don’t know if Tom Hanks’ role in Steven Spielberg’s greatly anticipated The Papers will be a supporting or a leading role, or if the Academy will decide to bestow a heap of good will onto Andrew Garfield who stars in Breathe. Other performances from leading men this year that could ignite include Chadwick Boseman for Marshall, Bryan Cranston for Last Flag Flying, and James Franco for The Disaster Artist. What we do know is that the critic groups will weigh in, and then it’s all over but the shouting. Until soon, Oscar watchers!
Book Review: Compass by Mathias Énard (New Directions, 2015; translated into English, 2017)
There are novels that are categorized as literature and not merely as fiction, and then there are the geniuses of literature and the masterworks of the genre. Reading these masterpieces of literary creation, we enter a process of joyful sublimation to the voices and experiences of unique characters, and we become witnesses to the colorful imaginations of the authors. One surrenders to the writers’ individualized and distinctive tones of language and states of mind as they conjure up realities that arise from a void as an expression of the acrobatic mental instincts which the best authors can relay through the art of written prose. A master of literature can construct a great sentence, a stunning paragraph, an unforeseen set of plot circumstances, and create an entire sublime world for their tales and stories.
I have recently read an amazing book, a true masterpiece, by the French author, Mathias Énard (b. 1972). Compass was published in 2015 and translated into English this year. It is simply the most wonderfully powerful work of fiction I’ve read in recent memory. It was a winner of the 2015 Prix Goncourt (a highly regarded prize in French literature). Compass clocks in at a lengthy 443 pages and is a difficult read. It is dense with nonstop ideas and an incredible number of facts on many topics, none of which are dropped easily into the text by the author. Énard’s book reflects his voluminous, deep knowledge of the many subjects he addresses, often expressed as anecdotes from the arts, literature, nonfiction tomes on many subjects, from obscure moments in history and most importantly, from the flavors and ideas of distant and mysterious lands.
The story in Compass is narrated by a brilliant musicologist who ruminates through the complexities of his lifetime that borders on, but never gives completely into, a total disaster. The protagonist, Franz Ritter, is in the throes of horrific insomnia at home in an apartment in Vienna as he delves deep into the memories of his travels through the Middle East and his scholarly pursuit to expose and relate the interconnections throughout history between Eastern and Western (mostly) classical music. One might think this a dry subject, but the emotional passion of Franz and those who shared his quest of making the twain of East and West meet makes for a gripping story. Franz’s baseline tale always returns to his love over decades of the brilliant French academic, Sarah. The reader comes to realize that Franz is now most likely deathly ill, and as we hear the sad details of his strange, mostly unrequited love for her, Énard immerses us in Franz’s consuming melancholy, all the while understanding his odd, unexpected strength. Through thick and thin, he is able to remain above water and not drown in a flood of bitter regret.
Franz is as complete a character as one could ever meet in fiction; always consistent, always real in so many detailed ways in his actions, words and thinking. His many admitted shortcomings still never lead the reader to dislike him. In the stories of the scholars and adventurers that he has met in his life while visiting places such as Istanbul, Tehran, Damascus, and Aleppo, there are numerous acts of duplicity and cruelty, and in Franz’s own case, pettiness. And it is the same with the tales he tells at length about the actions of the eccentrics of the past. Yet within this odd brew, there are grand redeeming moments of love and heroism, from both Franz’s lifetime and from the examples of men and women unearthed from the historical records, those from the desert sands of time.
Sarah rises above these flaws of personality, suffering only from the more intellectual quirk of the occasional fascination with the macabre. As Franz describes his own research of the history of music and delves into Sarah’s complex studies, the reader learns details of their work, with dozens of references to Middle Eastern composers and writers, as well as histories of individuals from the past with like-minded obsessiveness. They were Westerners who went against the grain and saw the allure of these mysterious, disconnected lands.
Here is one random, wonderful passage: “The human heart is indeed a strange thing. Franz Liszt’s artichoke heart didn’t stop falling in love, even with God—in these reminiscences of opium, as I hear the virtuosities of Liszt that occupied me in Constantinople rumbling like death march drums, a singular girl also appears to me, over there in Sarawak, even if Sarah has nothing in common with la Duplessis or with Harriet Smithson (“Do you see that fat Englishwoman sitting in the proscenium,” Heinrich Heine has Berlioz saying in his account), the actress who inspired the Symphonie Fantastique. Poor Berlioz, lost in his passion for the interpreter of “poor Ophelia”: “Poor great geniuses, grappling with three-quarters of the impossible!” as Liszt writes in one of his letters. You’d need a Sarah to be interested in all of these tragic fates of forgotten women…”
Although he is brilliant, Franz is fully aware and accepting of his scholarly limitations, and, wandering his apartment in sleeplessness, he admits he never reached the top as an academic. Both Franz and Sarah are studies in complete devotion to the work itself and to the process of slow and steady, exciting, absorbing discovery. Compass is a brilliant tale of intellectual pursuit that is always in tandem with the underpinning emotion of love as a concurrent force. It is a love which goes naturally with a researcher’s ideas, and as a given that is always present during the events of their lives and in history itself.
The other melancholy, terrible theme of the book is how Franz sees his beloved Middle East devolve to its current situation of war, fundamentalist religion, and miserable violence. We read the awful tales of friends caught in Iran during the Revolution and the destruction of the people and places he’s long loved, and been in awe of, by the barbaric, ruthless armies of ISIS or as victims of Assad in the Syrian civil war. It’s a heartbreaking story of what has been lost, tinged with the sadness of what could have been.
Franz is not a showy intellectual. He never brags about his incredible knowledge and though his studies take him to the heart of the Middle East, to the dangerous cities and outskirts of Iran, Turkey, and Syria where he is clearly a Western outsider, his tunnel vision of discovering artistic and scholarly connections between East and West exposes his disconnect, which leads to a defeat. This all collapses into the mire of today’s horrific problems. Franz and his colleagues didn’t blind themselves to the coming storm by studying in America or Europe encased in an Ivory Tower at a university, mulling over The Arabian Nights, simply reading, lecturing, and attending conferences. But while they put their boots on the ground and ventured abroad, they roamed within the intellectual, fortified towers of their minds and did not stop to consider that there might be something possibly irreversibly horrific being conjured up before their very eyes, even though the region’s history gives them all the glaring warning signs.
As I read Compass, I was completely captivated by the intense musings of the inner states of Franz Ritter’s unique and fascinating mind. Mathias Énard writes beautifully, like a once in a decade master of literature, and I look forward to more novels by this brilliant man.