Midnight in Paris was the most enjoyable movie I saw in the summer of 2011. A disaffected writer visiting Paris experiences something surreal during a midnight stroll that changes his outlook on life. The movie is funny, smart and full of subtle insights about life, the universe and everything. I can’t say any more without giving away the best parts.
The trailer is careful not reveal any of the key elements of the movie. The linked review is one of the few I’ve found online that discusses the relevant qualities of the movie without giving anything away.
Tom Waits is the love child of the Cookie Monster and Sonny Boy Williamson and I’d pay several hundred dollars to see him live and not even blink. He’s #1 on my Hope I See Him Before I Die list. I don’t know what to say about him because there’s too much say. I could pick 50 of his songs that grabbed hold of me an didn’t let go. Trying to select one that’s representative of his music can’t be done. “Walk Away” ain’t a bad little ditty though.
The last bit of inadvertent influence my father had on the music I listen to — and it’s a big one — is from Sonny Boy Williamson. My father happened to buy a Sonny Boy Williamson record. He didn’t listen to it. I did and my head nearly exploded. Most of my favourite artists are influenced by the blues. I hear the blues in everything. I still listen to and appreciate the music of plenty of great blues artists like B.B. King, Blind Willie McTell, Howlin’ Wolf, James Cotton, Lightin’ Hopkins, Little Walter, Mississippi Fred McDowell, Muddy Waters, Otis Spann, Pinetop Perkins, Skip James, Son House, Sonny Terry and Brownie McGhee. But if I have to pick the one blues artist who can’t do wrong, who I know, whatever track you pick, I’m going to love it, it’s Sonny Boy Williamson. In my book, he’s the embodiment of everything that is the blues.
If you don’t like Sonny Boy Williamson, get out of my house.
My father’s incidental influence on the music I listened to during my formative years petered out as I got older. He usually bought whatever was offered through the Columbia House record club, mostly pop schlock that I had little interest in. Once in a while he’d order some records or CDs that collected dust, and those were usually the ones I noticed. He bought a series of CDs called Atlantic Blues, for instance, packed with great blues artists from the Atlantic label I’d never heard of it. Some were blues, some where R&B — cool cats like Van ‘Piano Man’ Walls, Rufus Thomas, Jay Mcshane, Mama Yancey, Jimmy Yancey, John Hammond Jr, Jack Dupree, Sippie Wallace, and Professor Longhair — and they were all an education for me. “Nothin’ Stays The Same Forever,” by Percy Mayfield, is the killer track on that collection that hit me the hardest and still does.
(It takes about 10 seconds before the music starts.)