Tag Archives: 1990

Mary Washington College, Fredericksburg, VA, June 2017 (4)

Pictured is Bushnell Hall at Mary Washington College in Fredericksburg, Virginia.  I lived here during the 1990-91 school year.  It was a freshman dorm then; I don’t know if that’s still the case.

I arrived here just before my 18th birthday; this was the first place I ever lived away from home.  I have never admitted it until this moment, but I was terrified watching my mother’s car pull away after I unloaded the last of my things.  That terror lasted … two hours?  Three?  After my first dinner with the other Bushnell kids at Seacobeck Dining Hall, Mary Washington College felt goddam perfect.  I never wanted to leave.

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My dorm room was on the bottom floor, second from the right in the picture below.  It was a suite — there were two rooms connected by a small bathroom.  And there were six 18-year-old boys living there — yes, that means three to a room.  Good lord, those were close quarters.  We were awakened twice a week by the BEEP-BEEP-BEEP of the garbage truck reversing to empty a dumpster outside our window.  And this was in a room without air conditioning, in Virginia, where teenagers were experiencing college-level academic stresses for the first time.  I helpfully eased tensions in the suite by playing Depeche Mode’s “Policy of Truth” 3,043 times.  The other five guys LOVED that.

There were even good-natured jabs connected with the North and the South.  I habitually and dryly referred to one of my suitemates as “South Virginia;” he addressed me just as dryly as “Long Island Piece of Shit,” (or just “L.I.P.S.,” for short).  He also took to calling me “Urban Spillover,” an appellation he derived from one of Dr. Bowen’s “Geography of North America” classes that mentioned Long Island.  For some reason, the latter nickname absolutely felt more pejorative.

Seeing those double white doors beside my room below, and that steep hill in the following photos, will always remind me of my 18th birthday.  A group of first-floor guys and fourth-floor girls had gathered inside that door just after moving in during the August of 1990, before classes started.  A polite debate stirred there about whether opening those doors would set off the fire alarm.  (They were clearly marked “Fire Doors” by an electric sign but … the LIGHT wasn’t on in the sign.  And surely the administration wouldn’t require the guys on my floor to walk up an entire flight to the lobby just to exit the building, right?)

Without a word of warning, one of the first-floor guys spontaneously decided to test this theory by just blasting right through it.  (No, it WASN’T me.)

The fire alarm went off.  Everyone panicked.  The guys and girls all shot down the hill outside Bushnell after the guy who’d triggered the alarm, and we all ran … right off campus.  We didn’t stop running until we’d reached somewhere along William Street, I think.

But not all of us escaped without injury.  One of my roommates was a tall, burly guy from right there in Fredericksburg, and he slipped in the sand and loose gravel that characterized that hill during that long ago August.  I still remember that dull, loud, discordant thump-and-rattle as his body hit the slope, while my own lungs were pounding.  When we reached the spot along William Street where our panic finally subsided, we all turned and gaped at his wound.  One of his legs had become a sepia Monet of sand-encrusted blood.  There were still pebbles clinging there, I’m sure of it.

He took it like a trooper.  I guess … he just walked it off.  And we walked around the ENTIRE town.  We were scared to return to campus, what with images of arrest and expulsion dancing in our teenage minds.  (We all might have overreacted a little.)  So we went on a truly lengthy hot summer trek that circled all of the historic downtown area.  (I think we wound up at Carl’s Ice Cream on Princess Anne Street at some point.)

That was really when I saw the City of Fredericksburg for the first time.  I remember thinking that the South seemed like some other world — or maybe the same world, but 100 years ago.  And I don’t mean that in any negative sense.  It genuinely confused me that this town was called a “city,” but it just seemed idyllic and old fashioned and beautiful.  I’m not sure if the average Fredericksburg resident realizes this, but their city indeed makes an impression on newcomers.

Somewhere along the way, I finally let it slip that the day was my birthday; I think heat exhaustion influenced my usual reticence on the subject.  A couple of the girls stole away to a card store on Caroline Street, I think, and bought a card for me.  My new friends all signed it for me upon our eventual return to Bushnell Hall that day (which was thankfully not occasioned by even a mention of the fire doors).  I went to bed that night thinking that my new friends were a pretty decent group.

Anyway — more on my roommate’s injury … he was a bit of an eccentric guy, and one of his eccentricities was that he did not like to go to the Campus Health Center.  He cleaned his long leg scrape himself, and then … bandaged it with duct tape.  That’s right — duct tape.  He’d apparently brought some along with him as an incoming freshman, just in case of an emergency.  You can’t say it was a needless precaution — here he was, using it in lieu of bandages.

He walked around campus like that for a while.  He looked a lot he was wearing part of an extremely low-budget “Robocop” Halloween costume.  I honestly don’t know what transpired when it came time to remove the duct tape, and I’m not sure I want to.

You can’t make this stuff up.

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This the dorm’s south side.  If you face Bushnell looking north, the southern cap of the rectangular campus will be at your back.  Today, it is is one the last places of the main campus’ 234 acres that remains undeveloped.

I’m not sure if there is any connection here, but there is a large mound of dirt among the trees and ivy that was rumored to be the remains of a Civil War fortification.  It makes sense — that hill commands a view of the city; that’s why I used to go there to have my once-a-day Newport menthol cigarettes around dusk.  And in the Nineteenth Century, before William Street’s more modern buildings were erected, I’ll bet you could see Marye’s Heights and the key sections of Sunken Road where the Battle of Fredericksburg raged.

I chatted with a girl on the steps of Bushnell once who told me she’d spoken with the ghost of a Civil War soldier.  She actually carried on a brief conversation with him.  She re-enacted the exchange after a some urging from me, but I wound up giving her story little credence.  I didn’t exactly believe in ghosts, and she sounded like an actress confused about a role.  (I wasn’t sure why her Confederate soldier would speak with a British accent.)

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Throwback Thursday: The Allman Brothers Band

Rest in peace, Gregg Allman.

I first got acquainted with music of The Allman Brothers Band as a first-semester freshman at Mary Washington College in 1990.  My cultural illiteracy as an 18-year-old was embarrassing — especially where music was concerned.  I’d arrived at the small, fairly conservative Virginia state school listening to … well, very little other than what I’d heard on the MTV countdown.  (I started loving Richard Wagner as a high school senior — but that niche interest was rare for someone my age, so far as I was aware.)  It was an ongoing issue when I was a college freshman that upperclassmen would roll their eyes or even occasionally hiss when I told them what music I was into.

Alumnus Steve Miller and his friends were the exception.  They showed me far more patience at their parties in “The Tunnel” between Mason and Randolph Halls — they exposed me to tons of The Allman Brothers, Pink Floyd, The Steve Miller Band, and The Beatles.  (No, the irony of a guy named Steve Miller coincidentally loving The Steve Miller Band was not lost on us.)  Steve and his friends were each, in varying degrees, an amalgam of Obi-Wan and a far mellower version one of the guys from “Animal House” (1978).

The Allman Brothers were really my first extended exposure to Southern rock.  (And, hey, you can’t get much more Southern than a band made up of guys named Berry Oakley or Butch Trucks.)  I listened to them whenever there was a party at Steve’s, even after he started hosting his soirees out of his apartment on Sunken Road. Everyone there loved The Allman Brothers.  I think “Ramblin’ Man” was probably the group’s favorite.

Today, “Midnight Rider” is by far and away my favorite Allman Brothers song.  Curiously enough, though, for the life of me, I do not remember hearing that one in college.  I actually started jamming to it after I heard Rob Zombie include it in the score for the opening montage of “The Devil’s Rejects” horror film in 2005.

Anyway … “The Tunnel” at “Mary Washington College” has apparently now been remodeled into the above-ground “The Link” at “The University of Mary Washington.”

Well la-dee-DA.

 

A short review of “The Belko Experiment” (2016)

“The Belko Experiment” (2016) is a fairly gut-wrenching and potent horror film.  I was going to describe it as “Battle Royale” (2000) meets “The Office” (2005 – 2013).  But, from the looks of the poster, somebody more or less beat me to it.

As you can imagine, there is a sequence of blood-curdling events after the workers of an entire office building are forced to fight one another to the death.  It’s made all the more horrifying (and a bit sad) by a surprisingly effective early montage that shows these people are indeed likable and relatable.

I’m not sure how I feel about the ending.  There’s a twist that is nicely satisfying, I’ll grant the movie that.  But there was far too little exposition, and a closing shot that was a little too ambiguous and open-ended … maybe even abstract.  I’d be happier if the person doing the talking told us a lot more.  If you think about it, they mostly just reiterated what various characters had hypothesized earlier.

This film has a couple of “I swear I know that guy” actors.  These include Tony Goldwyn, who I last remember from 1990’s “Ghost.”  Turns out he’s a damn fine actor (in addition to being one of those people who weirdly appear to age little or not at all).  They also include John C. McGinley, Owain Yeoman and Michael Rooker.  And if you think you can recall the gentle giant played by Abraham Benrubi, the actor is none other than “Big Mike” from the classic “The X-Files” episode, “Arcadia.”

I was going to rate “The Belko Experiment” a 9 out of 10; it was exceptionally good.  But I was just too nonplussed by that rushed ending, and I think I’ll settle on an 8.

 

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“Fantasia” double-feature today!

I just finished watching Disney’s “Fantasia” (1940) this snowy afternoon with my girlfriend — she gave me the boxed set with “Fantasia 2000” (1999) this Christmas.  This is the first time I’ve seen the entire film in … 26 years?  If memory serves, I last saw it at Mary Washington College’s Dodd Auditorium when I was a freshman in 1990.

I loved it just now even more than I loved it then.  My favorite segment will always be the final one — Modest Mussorgsky’s “Night on Bald Mountain,” with a coda of Franz Schubert’s “Ave Maria.”  (The accompanying animation is Gothic horror; I’ve posted about it here at the blog before.)

I felt for sure that my second favorite would be Igor Stravinsky’s “Rite of Spring.”  Pictures of those animated dinosaurs startled and thrilled me as a tot after Christopher Finch’s “The Art of Walt Disney” (1975) somehow appeared magically among my baby books in Queens, New York.  As an adult, however, I liked the segment mostly because of its cool depiction of lower life-forms.  The dinosaurs were stylized and interesting to see, but I don’t think the quality of the animation has held up very well — especially considering what we know about the dinosaurs has changed so much in 80 years or so.

Instead, my second favorite was Ludwig von Beethoven’s “The Pastoral Symphony,” and its whimsical, beautiful depiction of centaurs, gods, and other figures from Greek mythology.

My girlfriend’s favorite segment was Pyotr Ilyich Tchaikovsky’s “Nutcracker Suite,” with its dancing fairies.  “Fantasia” was actually a favorite movie of hers growing up; she’s seen it several dozen times in her childhood.

There is some bizarre trivia about “Fantasia” from Wikipedia, which has a lengthy entry for the movie: “In the late 1960s, four shots from The Pastoral Symphony were removed that depicted two characters in a racially stereotyped manner. A black centaurette called Sunflower was depicted polishing the hooves of a white centaurette, and a second named Otika appeared briefly during the procession scenes with Bacchus and his followers.”  That’s so nuts.

 

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Angelo Badalamenti, Summer 1990

I’m relaxing with the “Twin Peaks” soundtrack this Sunday afternoon; it was a favorite for Kathleen Nolan.

Once upon a time, when she was preparing a quite difficult teenager in Lake-of-the Woods, VA, for college, it was one of the few things that we could agree on. (Another that year was Garrison Keillor’s “A Prairie Home Companion” on cassette tape.)

Click here:

“Twin Peaks” Soundtrack on Youtube

 

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Check out MWC Alum Steve Miller’s virtual silkscreen art!

Here’s something I’ve been meaning to post for a while now — I am the proud owner of two “photographic virtual silkscreens” by the talented Alexandria artist Steve Miller.  I mentioned these prints on the blog when Steve sent them to me, but I never posted photos.

Steve is an old friend of mine, and a fellow graduate of Mary Washington College.  (No absurd “UMW” appellations will appear on this blog.)  As I’ve mentioned here in the past, some of my favorite memories of college were partying with the gang at Steve’s room in “The Tunnel” between Mason and Randolph Halls.  (I was a nervous and hyperactive freshman in the Fall of 1990; Steve and a few other upperclassmen there took me under their collective wing, and taught me to chill out and listen to the Beatles like a respectable Virginian young man.)  Steve is the tall guy in the shades in our group photo below.

But Steve was also a great friend because he’s one of the first true artists I had in my peer group.  He was a great creative influence, and taught me to dig good music, laid back friends and offbeat, unusual art.  I’d like to think it made me a far more well rounded young person.  To this day, whenever I hear The Allman Brothers (whose work was gospel to our crowd), I think of The Tunnel.

Steve’s work with virtual silkscreening was my introduction to the medium.  It’s cool and trippy; I love the vibe it brings to my place.

Check out Steve’s site here:

http://virtualsilkscreens.com/

 

 

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A review of “Deadpool” (2016)

I’ve never read a single “Deadpool” comic book, but that didn’t stop me from enjoying the movie.  It’s  a fun, creative and …  unconventional entry into the “X-Men” film  franchise that actually made me laugh out loud a few times.  I’d give it an 8 out of 10.

It isn’t high art.  It’s got a thin story based on a rickety plot device, nearly no exposition, and it includes some cartoonish action that I thought was just too over the top, even by comic book movie standards.  (Our hero dodges bullets and survives a stab to the brain.)

It helps to bear in mind this movie’s real purpose — fan service for the infamous niche character’s evident legions of followers.  “Deadpool” isn’t meant to be densely plotted, like “X2: X-Men United” (2003), or genuinely cinematic, like the Christopher Nolan “Batman” films.  It’s a long awaited, R-rated feature film to please loyal fans of this profane, adult-oriented antihero, who would be out of place and necessarily bowlderized in a mainstream superhero-teamup flick. (And I kinda get that — I loved the “Wolverine” comics when I was a kid, and, trust me, his film incarnation is tame compared to its source material.)

“Deadpool” is damn funny.  The movie succeeds by making us laugh.  And combining a raunchy comedy with an “X-Men” film gives it a weird, cool, subversive vibe.  It makes you wonder if Stan Lee would approve of this sort of thing … until you see Lee himself in a cameo at the story’s strip bar.  It’s fun to know that dirty jokes indeed do exist within the “X-Men” movie universe.

The lowbrow jokes made me cringe one or twice (“baby hand.”)  But you’ve got to give the movie credit for delivering its bathroom-wall humor if that’s what the original character is about.  (Are the comics like this?)  Ryan Reynolds is genuinely funny, and his deadpan delivery is perfect.  The film might not have even worked at all with out him.

By the way, this movie actually reminded me a hell of a lot of a long-ago flick that I absolutely loved, but which I’m guessing is largely forgotten — Andrew Dice Clay’s “The Adventures of Ford Fairlane” (1990).  That movie also had a foulmouthed, lone, maverick antihero who often broke the fourth wall, and that also made me laugh like hell.  I know it sounds like a strange comparison, but they’re very similar films.

Finally, I’d like to think that the Wade Wilson we see here actually IS a version of the Wade Wilson that we first met in the widely lamented “X-Men Origins: Wolverine” (2009).  (And how can he not be, if that movie is canon?)  If “X-Men: Days of Future Past” (2014) rebooted the timeline, then the Deadpool we’re rooting for here was never recruited, corrupted and experimented upon by William Stryker.  So you can have your cake and eat it, too.

 

 

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A review of “Deliver Us From Evil” (2014)

“Deliver Us From Evil” (2014) pleasantly surprised me by being a pretty decent horror movie; I’d give it an 8 out of 10.

I expected a predictable melodrama between its two primary protagonists — the hardened, intractably “close-minded” cop and the wise young priest.  This, I thought, would upstage a thin, generic, supernatural backstory.

Well … there was some of that expected character interaction, but I admit that it was done pretty well.  And the old fashioned scares served up here make this an above average horror movie.

I say “old fashioned” because this seemed to channel the demonic possession classics that defined this horror movie sub-genre, for me, anyway — “The Exorcist” (1973) and “The Exorcist III” (1990).  It has an expansive story that begins in a nicely surprising battle scene in Iraq, then shifts its focus to several chilling violent crimes in New York City.  Then it effectively blends a horror story with a police thriller.  And the story is detailed, with some thought put into the demon’s modus operandi and choice of victims, as well as the their investigation by streetwise New York City cops.  A straight horror-thriller like this is a nice contrast to recent well made supernatural horror films like last year’s “The Babadook” or “It Follows,” which were ambiguous and heavily thematic, personal stories with virtually no exposition.

Eric Bana and Edgar Ramirez were both terrific; even they might have been upstaged by Joel McHale in a supporting role as Bana’s foul mouthed but loyal anti-hero partner. I was rooting for him more than the thinly drawn hero scripted for Bana. (Can any NYC cops really wield a knife like that?  If so, that’s totally badass.)  McHale is damn good — I’ll be looking for him in his regular role in the upcoming revival of “The X Files.”  If you were an NYC cop, wouldn’t you want a partner like that?  Seriously … that dude is BADASS.

Regrettably, this movie’s thought and creativity do seem to lose steam toward the end.  Certain scares and images were done wonderfully.  The scenes inside the asylum were great, for example, especially one shot that made me think of the Batman mythos’ Arkham Asylum.  Others fell flat.  Our Big Bad, when finally revealed in full, is just a generic ugly dude in drab whiteface.  And a sequence involving a piano is shot with little visual flair.

The most frightening subplot of all involves a troubled girl in her bedroom; it’s cut short and rendered irrelevant in order to move the plot forward.  And the finale features an exorcism that recycles mostly old tropes from the sub-genre.

Hey … this was still a good movie, though.  It certainly was better than I thought it would be.  I’d cheerfully recommend it.

Oh!  One more thing — this is supposedly based on a true story.  Scott Derrickson’s interesting screenplay derives from the 2001 book, “Beware The Night,” by retired NYC police officer Ralph Sarchie (Bana’s character).  I wonder what evidence anyone has gathered to either support or debunk the story here.

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Me. With my fly open. Go ahead and laugh.

This photograph is 25 years old, so I figure I’ll survive the ignominy of people seeing me (apparently) with my fly open.  (I actually am inclined to think that is just my shirt corner sticking up past my belt, but whatever.)

It’s partly water under the bridge anyway, as Mary Washington College alumna Anna Martin has already posted this on Facebook.  (Thanks, Pal.)  Anna is the pretty lass at right in the photo.  The camera used here actually had no flash — that’s Anna’s smile lighting up the place.

I’ve mentioned the 1990 MWC Theater Department’s production of Edgar Lee Masters’ “Spoon River Anthology” here at the blog before; Anna and I are in costume.  And this is after dark in the Amphiteater.  I am HOPING that my fly is zipped.  If it isn’t, then I am HOPING that this is not just after a performance.

The play was actually a student director project — our capable leader was a really cool African-American girl named Tonya.  I don’t remember Tonya’s last name.  She would have been a senior, I think, which would make her Class of 1991.  One of our co-stars was named John-Eric.  I believe he was Class of 1994, with Anna and me.  If any alums read this and know Tonya or John-Eric, please pass along this link and see if they remember.

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Throwback Thursday: Mary Washington College Theater posters!

It’s just wild what you can locate in the new digital archives for the college — here are posters from two theater productions in 1990, “Twelfth Night” and “The Blood Knot.”

I wasn’t in either of these shows.  (I don’t think I was ever in a major production; I was only in the smaller Theater Workshop productions.)  I couldn’t find any posters for the smaller plays that I appeared in.

But I attended and enjoyed both of these.

Actor Alums — you can check out the entire poster archive right here:

http://archive.umw.edu:8080/vital/access/manager/Collection/umw:1322

[Edit: I just noticed that the poster for “The Blood Knot” lists its venue as “Studio 13” — this was the slightly less than opulent stage better known as “The Black Box!”  I had a hand-scrawled poster for it — I gave it to Russell Morgan when he graduated.]

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