Journeys on the Boundaries of Space and Time

June 14, 2007

Listening to “Strawberry Wine” for the 131st time, it was 1987

It was spring.

Now it’s 1987 all the time…

Now it’s 1987 all the time…

—–Destroyer, “Watercolours into the Ocean”

It’s been a weird couple of weeks on the borders here at the salad, with moments disappearing and reappearing from the ether, but nathelees whil, I have tyme and space, to try and tell it all here today. Whether it’s been watching so many New Wave movies that I have dreams where I speak Her Majesty’s French (and don’t understand 90% of what I say!), listening to songs that haven’t come out yet/have since disappeared into the ether, Elm Rock City resigning her commission, journeys that previously took forty minutes suddenly taking over an hour, or Tony Soprano vanishing, everything’s topsy turvy at SaladGlobalMedia.

It all started when Bank of America decided to break the implicit social contract that physical objects inserted into a machine will become converted into electronic numbers. Their solution to the problem was to issue a temporary credit to the account, one that will disappear at the end of 45 business days, a time-span somehow related to the Gregorian calender and the statutes of the United States government. It seems I have entered a nethertime with ephemeral currency.

Two days ago (or, eyer-nekhtn) Dash participated in National Peanut Butter Cookie Day, baking cookies (does National Peanut Butter Cookie Day count as a business day?) with Notwithabangbutawhimper. It was the first time we’d baked together since the infamous cake-mix pancake night. Still, this couldn’t have happened without us collapsing the boundaries between internet space and real space. These meetings happen too infrequently; and sadly the only proven way of journeying inside the computer never proved popular.

Of course I also watched the new-wave classic, “Day for Night” (Nuit Americaine) this week, which may explain some of these problems. The term refers to the film-making technique of shooting night scenes in the day-time through the use of a special filter, and the movie is the finest movie about the making of a movie. The movie was directed by Francois Truffaut and starts Francois Truffaut as the director of a fairly straightforward melodrama. “Day for Night” is Truffaut’s love-letter to cinema, exposing most of the tricks of movie-making while wonderfully telling the story of what it’s like to make a movie. In addition to Truffaut, the movie stars many of its crew-members as well as Jean Pierre Leaud, Truffaut’s frequent collaborator (Antoine Doinel) as the star of the movie.

“Day for Night” was wonderfully parodied by Wes Anderson’s American Express commercial of a few years back. The music in the commercial is almost identical to (if not actually) the score of “Day for Night” and much of the ephemera is the same (selecting guns, borrowing cars, people’s families showing up on set), though Anderson is able to put a unique spin on all these borrowings.

Even stranger, after returning the movie to Neftlix, I discovered that it’s one of my father’s all-time favorites. Okay, maybe that’s not so strange given how interesting the movie is.

Considering how blurred these limits have become, I can’t help but wonder what will happen next week when I travel a third of the day into the future for a sojourn in the Holy Land.

UPDATE**: Amazingly, I forgot to include the most damning proof earlier. This week I had the Thursday breakfast special on a Wednesday!

2 Responses to “Journeys on the Boundaries of Space and Time”

  1. elcidcampeador Says:

    dear sir,

    I regret to inform you that by standard movie time, its really only 1989, 1988, by release date time. If 1987 is ever arrived at, then it will be in such a way all the time.

  2. […] November 14th, 2007 One of the areas in which Yesterday’s Salad surely excels is verisimilitude. Not only do we feature commentary on the issues of the day (the strike, Anne Hathaway, pretty feet, and cereal) and have scads of saladeers covering all that is good with society, we also occasionally feature reviews of the best picture/best director nominees as the awards occasionally dominate my life like nothing else. Still, somewhere between 17 and 20 awards years into my project (and Nate’s project) of watching every nominee for these categories, it is safe to say that there have been very few years like 1987. It was a year when Hollywood came of age, found romance, embraced the passive, and did so mostly in the form of light comedies. In fact, I’m still mystified at just how bizarre the year actually was. For the purposes of my sanity, I’m kind of glad that it’s not 1987 all the time. […]

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