Voices That Pine: The Civil Wars' Barton Hollow

The Civil Wars is a new duo featuring singer/guitarist John Paul White and singer/keyboardist, Joy Williams. He is from Alabama and she is from California and they debuted 2 years ago at a club called Eddie’s Attic in Atlanta, Georgia. Barton Hollow is their first full-length studio album and it’s a very impressive debut.

I was immediately charged by their sound, which is a delicate balance of Nashville country and Mississippi swamp. The song “Barton Hollow” talks about a “dead man walking” with no hope of forgiveness or redemption: “Won’t do me no good washing in the river/Can’t no preacher man save my soul.” The last line is not in the form of a question with its double-negative despondency. The vocal rather draws you in with great empathy; it’s a tribute to White and Williams’ sensitivity as singers. This is particularly true, as well, for the opening track, “20 Years,” where the character in the song asks for deliverance, even if it takes 20 years. It’s a thoughtful number and one that first appeared on their debut album Live at Eddie’s Attic in 2009.

Pop music has always had male-female duos such as Ian & Sylvia and the more recent Glen Hansard and Marketa Irglova, aka The Swell Season. The dynamic usually works when the sexual chemistry of the couple is heard in the music. For Williams and White, who are married, but not to each other, that chemistry is remarkably strong. On the song “Poison and Wine,” first heard on their EP in 2009, we feel every yearning note as Williams and White trade alternate lines in the verses. It’s a song about a couple connected at the hip (for better or worse) as they sing in unison, “Oh, I don’t love you/ But I always will.” I’ve never heard a song about the rawness of love quite like this one. The performance is at once intimate and painful.

Good News: Four Promising New Sitcoms of 2011

Click here for a look at the sitcoms of the September 2011 fall season.

While the 2010-2011 television season has given us some extraordinary new dramas, comedy lovers haven’t been as lucky. In 2009-2010, the US networks gave us a number of critical and popular successes, most notably Modern Family, Cougar Town, and Community. But this past fall, the only comedy standout has been NBC’s Outsourced. And Outsourced, despite doing consistently well in the ratings, has generated an almost unanimously poor critical reception – one which, in my opinion, is wholly undeserved. Considering the largely disappointing crop from the first half of the season, I awaited this new batch of sitcoms with a mixture of both eagerness and trepidation. Fortunately, it would seem that the networks were saving the best for last!  Below, I review some of the sitcoms that have debuted in 2011 that I believe are worth checking out: Bob’s Burgers (Fox), Traffic Light (Fox), Mr. Sunshine (ABC), and (for our Canadian readers) CBC’s new spy spoof, InSecurity.

Newfoundland's Finest: In Praise of The Republic of Doyle

Never has a show made a city look so lovely. One of the many pleasures of the Canadian Broadcasting Corporation's TV series The Republic of Doyle is that it has made the city of St. John's, Newfoundland look absolutely gorgeous. From Signal Hill to the multi-coloured downtown buildings to the charm of the harbour and landscape around it, St. John's looks ravishing. It makes you want to go visit it like now, right now.

But that's not the only attraction. Pretty pictures does not a TV show make. What is so appealing about The Republic of Doyle is its wonderful combination of comedy, action, mystery and heartache. Created by and starring native son, Allan Hawco (his co-creators are Malcolm MacRury and Perry Chafe), the show is, as Hawco freely admits, inspired by the classic James Garner series The Rockford Files. Jake Doyle (Hawco) is – along with his father, Malachy (Sean McGinley) – a private investigator working on whatever cases he can get in the small city of St. John's. Sometimes it's a missing person, sometimes it's a blackmail case, and occasionally it's a murder mystery. The plots, such as they are, are often very incidental to the relationships between Jake and a terrific cast of characters that surround him. What's more important here is his gentle bickering with Malachy, his often moving but so-far unconsummated relationship with police detective Leslie Bennett (the effortlessly beautiful and charming Krystin Pellerin – she's currently on stage in Toronto in Soulpepper Theatre Company's production of the musical The Fantasticks), his attempts to protect his young niece, Tinny Doyle (Marthe Bernard), or his constant rescuing of his screw-up older brother Christian (Jonathan Goad) from himself.

Talking Out of Turn #13: William Diehl (1982)

From 1981 to 1989, I was assistant producer and co-host of the radio show, On the Arts, at CJRT-FM in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1994, after I had gone to CBC, I had an idea to collate an interview anthology from some of the more interesting discussions I'd had with guests from that period. Since they all took place during the eighties, I thought I could edit the collection into an oral history of the decade from some of its most outspoken participants. The book was assembled from interview transcripts and organized thematically. I titled it Talking Out of Turn: Revisiting the '80s. With financial help from the Canada Council, I shaped the individual pieces into a number of pertinent themes relevant to the decade. By the time I began to contact publishers, though, the industry was starting to change. At one time, editorial controlled marketing. Now the reverse was taking place. Acquisition editors, who once responded to an interesting idea for a book, were soon following marketing divisions concerned with whether the person doing it was hot enough to sell it.

Tom Fulton of On the Arts. 

For a few years, I flogged the proposal to various publishers but many were worried that there were too many people from different backgrounds (i.e. Margaret Atwood sitting alongside Oliver Stone). Another publisher curiously chose to reject it because, to them, it appeared to be a book about me promoting my interviews (as if I was trying to be a low-rent Larry King) rather than seeing it as a commentary on the decade through the eyes of the guests. All told, the book soon faded away and I turned to other projects. However, when recently uncovering the original proposal and sample interviews, I felt that maybe some of them could find a new life on Critics at Large.

Author William Diehl

The interview with author William Diehl (Sharky's Machine, Chameleon, Primal Fear), a writer who wrote luridly powerful pulp with a political tinge, became a fascinating exercise in self-examination. When I discovered that Diehl was a pacifist who once marched with Martin Luther King in the South during the demonstrations against segregation, I was compelled to find out how such a peaceful man reconciled his polar opposite. To both my surprise and satisfaction, he was more than happy to comply while providing a vivid examination (through his thriller Chameleon) of the growing political mercenary movements in the eighties that would ultimately lead to Waco and Oklahoma City. Diehl would die at Emory University Hospital in Atlanta on November 24, 2006, of an aortic aneurysm. At the time of his death, he was working on his tenth novel.

Looking Within and Without: An Experimental Artist

The back of Wafaa Bilal’s head, for The 3rd I.

The tiny digital camera has been removed from the back of Wafaa Bilal’s skull.

Let’s allow that image sink in for a moment.

OK. The 44-year-old Iraqi, an assistant professor of art at New York University, is a creative provocateur. For an entire month in 2007, for example, visitors to his website were able to splatter him with a remote-controlled paint gun and watch as he tried to dodge the yellow-colored attacks while sequestered in a small room at a Chicago gallery. The piece was titled Domestic Tension. In the anti-Arab fervor still sweeping the country after 9/11, many strangers gleefully wielded this symbolic Internet weapon of personal destruction.

But Bilal’s latest project, called The 3rd I, surely ranks even higher on any pushing-the-cultural-envelope meter. At the end of 2010, he had a waterproof titanium plate inserted in his head. That made it possible to magnetically attach a camera that could transmit photos minute-by-minute to the notebook computer he carried at all times, a process the world could observe online. (On campus, he agreed to protect the privacy of students and faculty with a lens cap.) But, recently, his body began rejecting part of the apparatus, which caused constant suffering despite the steroids and antibiotics he took in hopes of solving the problem.

Philip Roth’s Nemesis: The Way We Live, Then and Now

Author Philip Roth.

Is Philip Roth’s America’s greatest living novelist? He's certainly one of them. Although there are other contenders for that title, including Richard Ford and Richard Price, without question, I'd argue that Roth is the U.S’s most significant writer. He has created an ambitious body of work that, as he enters his late 70s, seems determined to lay bare all the significant eddies and flows of American history in the years since his birth in 1933. His latest novel Nemesis (Penguin, 2010) continues in that incisive vein, revisiting a little remembered slice of American life: the devastating polio epidemics of the 1930s and 40s.

The fourth and final book in a series called Nemeses: Short Novels; Nemesis is, as indicated, a short novel (280 pages) but it's not a slight one. Having read only one of the other three books in that series, Indignation (2008), I can safely say that their themes are what occurs when bad things happen to good people. Roth, however, doesn’t examine that idea in a trite or obvious way but in such a manner that you’ll ponder the disturbing vicissitudes of fate and the supposed existence of a god who allows horrible events to happen to innocent people. That, at least, is the thinking of one Eugene Cantor, better known as Bucky, an athletic 23 year old, who in 1944 is a playground director in Newark, New Jersey (not coincidentally Roth’s birthplace, too).

Because of his weak eyesight, Bucky has been deemed ineligible for combat during World War Two, a state of affairs which troubles him deeply. He’s determined, though, to do right by his young charges, and teach them lessons in good health and fitness. That goal, however, is impacted when some of Newark’s young teenagers come down with polio, with two of them dying of the disease. (The disease is not always fatal, but it often cripples or maims those who get it.) A panicked Bucky now has to weigh his options; does he stay put in Newark out of responsibility and risk getting polio himself or listen to the increasingly desperate entreaties of his loving girlfriend, Marcia, and take up a post in a Jewish summer camp in rural Pennsylvania, far away from the disease that is laying waste to his city? His decision will play out in an unpredictably tragic manner.

Impressive Impressions: Ted Nash's Portrait in Seven Shades

Composing for jazz orchestra is not for the timid. You have to be original, accessible and most importantly, the music has to swing. The challenge of composing music based on the visual arts is even more intimidating. Duke Ellington was a master of writing and arranging for his orchestra and coming up with suites for people and places. One his most interesting was the Degas Suite written in 1968, based on the artist’s racetrack paintings. Ted Nash has now raised the bar one more time with his remarkable composition called Portrait in Seven Shades, a suite about 7 painters: Claude Monet, Salvador Dali, Henri Matisse, Pablo Picasso, Vincent van Gogh, Marc Chagall and Jackson Pollock.

Imagining music for artists obviously wasn't intimidating for Ted Nash. "Many parallels can be drawn between the two forms of art,” he remarks. “Like painters, musicians talk of colors, layers and composition." On this recording, Nash was asked to compose a long-form piece for the Lincoln Center Orchestra led by Wynton Marsalis. The only requirement from Marsalis was that it should have a theme. Nash, who's been a member of the band for the past ten years, was ready for the challenge. "It didn't take me long to come up with a concept that would truly inspire me to write an hour-long piece of music...each movement would be dedicated to a different painter." The challenge was narrowing down the list to 7 and going from there. For Nash, the criterion was simple: select an artist over the past 100 years that reflected transformative changes in painting. The character of the artist was then reflected in the music.

Suiting Up: The “Boyfriend” Trend in Women’s Wear

Esperanza Spalding

If you have ventured into the ladies section of almost any mainstream boutique lately, you have probably become aware of the “boyfriend” trend in women’s wear. Over the past few years oversized and relaxed fitting jeans, sweaters and watches have invaded the store racks and our closets. More recently, I’ve noticed a few (pleasantly) surprising alterations; our baggy boyfriend items are being phased out by some sleeker and more formal (yet still masculine-inspired) garments. Last holiday season, our unisex options were promoted from relaxed jeans and baggy cardigans to bow ties and tuxedo shirts. Black dresses were substituted for black ties at many holiday parties; magazines also featured glossy spreads of Esperanza Spalding – musician and now Banana Republic model – sporting suspenders and a man’s tie. A feminine style of Oxfords also lined display windows. Apparently we’ve upgraded our boyfriends.

Biutiful: Anything But

Javier Bardem in Biutiful

One of the most telling aspects of film criticism these days is what I call the double standard when it comes to reviewing foreign language art house films. Reviewers, and sometimes the public, have no trouble calling out or exposing crass, manipulative or exploitative Hollywood movies (and there is no shortage of those) for the frauds that they are. But stick subtitles on an equally meretricious film, albeit one that takes place in a European, South American or Asian setting, and suddenly the superlatives and praise are thrown out with wild abandon. From Michelangelo Antonioni’s terribly pretentious and terrible Red Desert (1964) through to more recent offensive movies such as The White Ribbon (2009), Michael Haneke’s facile ‘expose’ of fascism, and Apichatpong Weerasethakul's startlingly inept and empty Uncle Boonmee Who Can Recall His Past Lives (2010), this blind spot is persistent everywhere in film reviewing circles. Biutiful, the latest film from Mexican filmmaker Alejandro González Iñárritu (Amores perres, Babel), fits neatly into this category.

The Wrong Men: Innocents in Noir Nightshade

One of the cornerstones of film noir is the inevitability of fate. The deeper fear being that despite your best intentions, or your honest nature, bad things will happen to you – for no reason at all. That is, for no reason that is consciously intended. In Fritz's Lang's spiraling nightmare The Woman in the Window (1944), Edward G. Robinson's meekly self-effacing Professor Richard Wanley entertains his erotic fantasies gazing at an oil portrait of Alice Reed (Joan Bennett) in a storefront window. But when he suddenly meets Reed, in the flesh, on the street, his fantasies begin to have true consequences. After killing Alice's lover in self-defense, Wanley finds himself being pursued by Heidt (Dan Duryea), an ex-cop with blackmail on his mind. It also doesn't help that Heidt was the dead man's bodyguard. Suddenly, the milquetoast professor is stewing in primal juices he'd only dabbled in with his imagination.

Recollections of Reagan: A Confounding Centennial

President Reagan (Credit: Ronald Reagan Library)

While visiting embattled Nicaragua as a journalist in 1984, I met the grieving mother of a four-year-old killed by the Contras. These vicious mercenaries, not-so-secretly funded by the United States, had been firing mortars into the remote mountain town of Teotecacinte. After residents spent 17 consecutive days in rudimentary bomb shelters, Carmen Guttierez Suyapa was allowed to play outside when it seemed as if the attacks had finally ended. She died under a sapodilla tree, where someone later planted a tiny flowering begonia in her memory.

Ronald Reagan lost his memory to Alzheimer’s disease, at the end apparently no longer able to recall having been the 40th president. Upon his death in 2004 at age 93, he had lived 89 more years than the Nicaraguan child whose blood essentially was on his hands. The Contras – he referred to them as “freedom fighters” and “the moral equivalent of our Founding Fathers” – got their weapons and other supplies with his blessing.

There is, of course, no mention of little Carmen in Reagan, a thought-provoking and beautifully crafted profile that's perhaps a bit too kind to its controversial subject. The documentary premiered at January’s Sundance Film Festival before a February 7 broadcast on HBO (with a repeat at 8 p.m. on February 9) during a week that marked what would have been his 100th birthday. Director Eugene Jarecki, who divides his time between New York City and Vermont, covers that 1980s period of intervention in Central America primarily to examine the Iran-Contra affair: Proceeds from illegal arms sales to the Ayatollah supported the counterrevolutionaries trying to overthrow the leftist Sandinista government. Marine Lieutenant Colonel Oliver North, who spearheaded the entire operation, has since said of Reagan’s participation: "I have no doubt that he was told about the use of residuals for the Contras, and that he approved it. Enthusiastically."

Digging into the Past: Watching Public Domain Films Online

We've all seen them. When video tapes first came out, and then later DVDs, the market was swamped by unknown video/DVD companies releasing a group of movies that had all passed into the public domain (PD). Some of those titles were: The White Zombie (1932), Impact (1949), D.O.A. (1950), Quicksand (1950), The Big Combo (1955), The Last Man On Earth (1964 – the original film version of the 2007 I Am Legend), Night of the Living Dead (1968). They always seemed to be the same 70 or 80 films. Well, now you don't have to go to the cut-rate vid store to see any of these offerings.

There are several sites on the internet that allow you to watch/download movies and other PD material. Some are better, but one of the best (yet difficult to search through) is Internet Archive (http://www.archive.org/). Internet Archive is a website that not only contains 400,000+ of PD “Moving Images” (movies, TV shows, shorts, government documentaries ... you name it, and if it's in the public domain, you'll probably find it), but also music, audio files (such as old-time radio plays), books, software, and any other ephemera you can think of. This site is obviously inspired by Napster, because 'volunteers' post the material on the site and then others watch or download it from the site. Internet Archive confirms the material is PD before they allow it to go up on the site.

Arab Labor: A Funny Thing Happened on the Way to the Checkpoint

The cast of Arab Labor (Season 1).

Watching great foreign television is often a multilayered pleasure. It gives the viewer access to a whole new world of talent – writers, actors, and directors – and the stories and themes that other cultures choose to explore are often surprising in themselves. Television is too often a generic art form, and even its innovations sometimes seem to be confined to variations on familiar, well-trodden situations. Not only can the best of foreign television be refreshingly unique in its execution, but watching these shows can also reveal heretofore unknown or unobserved aspects of our own domestic television. Our most basic assumptions about character, plot, and human interaction (presuppositions that can function as a kind of storytelling shorthand, and therefore often pass without being perceived) can become visible, precisely in their absence, in these new programs. This is a fact that cinephiles have known for decades, which is why foreign language films are watched with such dedication and enthusiasm by movie lovers. But foreign television – especially foreign language television – has never been as accessible as foreign film. While cinephiles have long been able to enjoy movies from all over the world, telephiles (why isn’t this word in the OED yet?) haven’t been quite so lucky.  

For decades, networks like PBS and the CBC have been bringing us the best of British television, but the TV powers-that-be rarely, if ever, broadcast non-English programs in North America. More often than not the North American TV viewer’s sole access to foreign television is indirect, by way of domestic adaptations of the original shows. I’m sure there are some well-intended reasons behind this practice: the very nature of TV storytelling, be it drama or comedy, often relies on cultural cues and references which can be obstacles to new audiences, even when language isn’t an issue. In the past month alone, US cable networks have launched three high profile remakes of British series, all of which are still in production in the UK: Being Human, Shameless, and Skins. And, as touch-and-go as remakes notoriously are, that is not to say that US networks haven’t had some stunning successes in the past: often as much can be gained as is lost in translation. Still, for every All in the Family (based on the BBC’s working-class comedy, Till Death Us Do Part) and The Office, there are tone-deaf failures like NBC’s Coupling and ABC’s recent Life on Mars. An avid TV viewer has more than enough reason to approach these new efforts with some caution. But if you want to watch original non-English TV, even in our current 200-channel universe, you’ve got to program them for yourself. Fortunately for us, each of us individually has access to more television than ever before, and even if the shows aren’t airing with any regularity, Internet streaming (from services like Netflix and from international websites) and DVDs from Amazon can more than make up for it. Today I want to talk about Arab Labor, a series running on Israeli television which recently completed its second season.

The Day Players: Single-Scene Attractions

Oksana Akinshina in The Bourne Supremacy

Oksana Akinshina and Danielle DuClos. Never heard of either of these actresses, have you? Neither one has had what you could call a major career, at least not in English-language films. Akinshina is a still-working Russian actress who has made only one American film, The Bourne Supremacy (2004), and American Danielle DuClos's career in movies essentially ended shortly after she appeared in her one major motion picture, Midnight Run (1988). And yet, their small contributions to both films enriched the finished product immeasurably. In both films, they were what are called in the industry a day player. Sure, it may take more than a day to shoot their scenes in a motion picture (since the process is so slow), but essentially they are hired for one scene. Fortunately, for both of them, they got to appear in an extended sequence with the film's star.

Heart & Soul: The Beaches of Agnes & Soul Power

It's commonly held that January is a graveyard month for film releases. If Christmas supposedly brings us plenty of treats, the early New Year generally offers us no party favours. One look at the mean-spirited arrogance of The Green Hornet, or the tone-deaf comedy of Ron Howard's The Dilemma, you'd be tempted to give up movie-going for good. But we have also seen a surprising number of terrific movies open in Toronto in the last month. Besides Sofia Coppola's luminous Somewhere, there is the bittersweet poignancy of Sylvain Chomet's The Illusionist, the plaintive urgency of Patricio Guzman's ongoing quest to come to terms with Chile's traumatic past in Nostalgia for the Light, plus Quebecois director Denis Villeneuve turning Wajdi Mouawad 's schematic play, Scorched, into a fever dream of familial conflict in Incendies. Movies rarely get much better than that diverse group. But just in case you are all caught up, there are some pictures currently out on DVD that you just might have missed.

In the opening moments of her movie, The Beaches of Agnes, director Agnes Varda tells us that she’s “playing the part of a little old lady.” But there is a fair bit of youthful playfulness still in evidence in this imaginative and affectionate memoir. Varda (Cleo From 5 to 7, Vagabond) is perhaps the least celebrated of the great French New Wave directors of the sixties and she is one of the only females in the group. She left dramatic narrative behind a while back, but in recent years, with The Gleaners and I (2000) and Cinevardaphoto (2004), Varda has been turning out fascinating and idiosyncratic film essays. In The Beaches of Agnes, Varda looks back on both her life and career by invoking it through the objects that symbolized the varied loves of her life. That love includes her relationship with director Jacques Demy (The Umbrellas of Cherbourg), as well as her intellectual friends from Paris’s Left Bank and the American counter-culture who she embraced when she began making movies in California in the seventies.

Sanctum: Enough with the 3-D, already!

The increasing trend of films being made in 3-D (Toy Story 3) or having 3-D added to the finished movie (Alice in Wonderland) is increasingly tiresome, since, frankly, it’s a technological advance that rarely if ever adds any value to a project. Once in awhile it has a purpose, as in the recently released Tron: Legacy, which is largely set in a world located inside the internet. There, depicting the ‘computer’ world in 3-D as a contrast to our world, in regular, mundane 2-D, makes sense. It didn’t result in a good movie, however, as the sequel to Tron (1982) was basically a loud, empty and finally boring concoction that faded from memory as soon the (lengthy) credits rolled. But Tron: Legacy at least had Jeff Bridges, in a dual role as an evil computer creation and a kindly inventor, who had lost control of the world he originally had intended to build for peaceful purposes. Bridges isn’t great in the parts. He's stiff, partially because of the lame SFX in the computer-generated sections. (He also lazily channels 'The Dude' from The Big Lebowski.) But at least he offers a reason to check out the movie. Sanctum, a 3-D extravaganza which has the distinction of being executive produced by James ‘Avatar’ Cameron (big whoop) can’t boast of having any big stars – unless you consider Ioan Gruffudd (Fantastic Four, W.) to be of that calibre – or any reason whatsoever to check it out.

Rediscovering His Home: Gregg Allman’s Low Country Blues

Any assessment of a musician, in whole or in part, can only be made with the hard facts. On Low Country Blues, the new release by Gregg Allman, we have the musical evidence of a great and unadorned player. Produced by T-Bone Burnett, Allman’s new record features the weathered, but soulful voice of a long, often turbulent life, too.

Low Country Blues is not a bumpin’ and grindin’ record. It’s pure, plain and simple while featuring Allman’s inspired vocals backed by the “Burnett Band” featuring Jay Bellerose on drums and percussion, Dennis Crouch on acoustic bass, Doyle Bramhall II on electric guitar; all rounded out by Mac Rebennack, aka Dr. John, on piano. The result is a balanced mix with different acoustic colours and shadings. It’s a style Burnett has applied to some of the most significant albums of the past few years such as, Raising Sand by Robert Plant and Alison Krauss and Elvis Costello’s under-recognized, National Ransom, released last year. And like those records, which married the innate talent of the artists to their love for genuine American sounds, Burnett has successfully done the same with Gregg Allman. Low Country Blues is the perfect music mix featuring Burnett’s “sound” and Allman’s desire to re-discover the home of his life-long journey found in the blues.

Shine a Light: Oscar’s Unlikely Nominees

It’s a funny thing about the Oscars, whose 2010 nominations were recently announced. I’m not one of those film critics who label great performances as Oscar worthy, since the nominations and awards are not a reliable barometer to gauge fine acting. If they were, Dustin Hoffman (Barney’s Version), Lesley Manville (Another Year) and Andrew Garfield and Arnie Hammer (The Social Network) would not have been passed over this year. Yet, I am not completely down on the awards either, for the various reasons I outlined last year. One of their virtues is that they shine a light on films that would otherwise not be seen by too many film-goers. I’m not referring, obviously, to The King’s Speech or Black Swan or even The Kids Are All Right, but about small movies, some from unlikely countries, that don’t have big-name stars, or a studio pushing the film or its actors with all the publicity that money can buy. Here are reviews of three of those smaller Oscar-nominated films, which, though not favoured, may win something on Hollywood's big night.

Defying Genre: Iron and Wine’s Kiss Each Other Clean

Samual Beam (aka Iron and Wine)

At first glance, the dishevelled and heavily bearded Iron and Wine (aka Samuel Beam) bears a striking resemblance to a Yeti. Yet this folk singer, who inhabits the American Bible Belt with his wife and five children, seems to specialize in defying stereotypes. The prolific, multi-talented, highly educated artist has recently released his fourth full-length album Kiss Each Other Clean. If you’re still not familiar with the name, you may be about to witness a breakthrough. With Kiss Each Other Clean, Iron and Wine should finally gain the exposure he deserves. Over the last ten years, many members of his cult following remain disappointed with his migration away from his earlier trademark acoustic folk sound to multi-instrumental experimentation (and approve even less of his release on a major label, Warner Brothers), but Iron and Wine has done anything but sell out with this new masterpiece.

Talking Out of Turn #12: John Cage (1982)

From 1981 to 1989, I was assistant producer and co-host of the radio show, On the Arts, at CJRT-FM in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1994, after I had gone to CBC, I had an idea to collate an interview anthology from some of the more interesting discussions I'd had with guests from that period. Since they all took place during the eighties, I thought I could edit the collection into an oral history of the decade from some of its most outspoken participants. The book was assembled from interview transcripts and organized thematically. I titled it Talking Out of Turn: Revisiting the '80s. With financial help from the Canada Council, I shaped the individual pieces into a number of pertinent themes relevant to the decade. By the time I began to contact publishers, though, the industry was starting to change. At one time, editorial controlled marketing. Now the reverse was taking place. Acquisition editors, who once responded to an interesting idea for a book, were soon following marketing divisions concerned with whether the person doing it was hot enough to sell it.

For a few years, I flogged the proposal to various publishers but many were worried that there were too many people from different backgrounds (i.e. Margaret Atwood sitting alongside Oliver Stone). Another publisher curiously chose to reject it because, to them, it appeared to be a book about me promoting my interviews (as if I was trying to be a low-rent Larry King) rather than seeing it as a commentary on the decade through the eyes of the guests. All told, the book soon faded away and I turned to other projects. However, when recently uncovering the original proposal and sample interviews, I felt that maybe some of them could find a new life on Critics at Large.

One section of Talking Out of Turn included a chapter examining the role of the experimental art on eighties culture. Contemporary composers like Philip Glass, R. Murray Schafer and John Cage were now having their music felt in pop circles. Cage was perhaps the most influential of those avant-garde composers. He had a huge impact -- both artistically and philosophically -- on popular music (including Frank Zappa, Cabaret Voltaire, Yoko Ono and Brian Eno).