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First section is chopped up from the title sequence to Tokyo Story (the Ozu film). Followed by The Bunker by Beirut and a polka from an odd little record by Federal Music Society. Then, back to the title sequence well: Shoot the Piano Player. We hear April by Akira Kosumura a couple of times. Blues for Elvin by John Coltrane. Grassland by Arkira Kosumura (which gets mixed in with a little snippet from the Eternal Sunshine Soundtrack). It ends on something else from the Eternal Sunshine soundtrack as well.
There’s a lot written about Weyman. The most fun things to read are the original newspaper accounts (there’s a fun one from the Milwaukee Sentinal on google books; you can find his obituary on NYtimes.com). But the most comprehensive thing I read was from a New Yorker profile from 1968 (which, incidentally, spends pages on literally psychoanalyzing Weyman).
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