BCB After Dark: where is Keegan going? Chicago Cubs

Welcome back to BCB After Dark: the chill spot for night owls, early risers, young parents and Cubs supporters abroad. I’m glad you were able to join us tonight. If you want us to check something, we can do it now. There are a few good tables near the front. There are no cover charges. Bring your own bottle. Please no recordings or photographs.

BCB after dark is where you can talk about baseball, music, movies, or whatever else you need to relax, as long as it’s within the site rules. Night owls are encouraged to get the party started, but everyone else is welcome to join in the revival the next morning and into the afternoon. BCB after dark is where you can talk about baseball, music, movies, or whatever else you need to relax, as long as it’s within the site rules. Night owls are encouraged to get the party started, but everyone else is welcome to join in the revival the next morning and into the afternoon.

Last week I said my job was to help people relax and feel better. We are in the entertainment business. We want you to leave with a smile on your face. So were not to mention the Cubs game tonight. On nights like this, I’m glad I have family obligations on Monday nights.

Last week I asked you who was going to win the National League West. In a landslide, 75% of you picked the Los Angeles Dodgers. Twenty percent of you said the Padres and only five percent thought the Giants would repeat.

This is the part where I write about jazz and movies. You are free to skip ahead to the baseball question at the end. You won’t hurt my feelings.


Tonight’s jazz track is “Lockjaw’s Lament” by saxophonist James Carter. This song is Carter’s tribute to saxophonist Eddie “Lockjaw” Davis. It’s from his 1998 album Carterian style, back when Carter was still a Young Turk in the jazz world. I guess like all art revolutionaries, you end up becoming the establishment or you fade away. Carter didn’t disappear.

(Better to burn out than fade away. My God, hehe.)

Here is Cyrus Chestnut on organ, Steve Kirby on bass, Alvester Garnett on drums and James Carter on tenor sax.


This week’s movie is the 1962 western, Ride the High Country, directed by Sam Peckinpah and starring Randolph Scott, Joel McCrea and Mariette Hartley. It also has beautiful cinematography of the Inyo National Forest in the Sierra Nevada of California by Lucien Ballard. The film has a strong retrospective reputation (contemporary reviews weren’t so kind) and it’s considered a classic of the genre. However, what I find most interesting about these early works by Peckinpah is how they serve as a bridge between the westerns of the “classic Hollywood” period of the late 1930s to early 1960s and the “New Hollywood Westerns that emerged after the studio system collapsed in the mid to late 1960s. He has a foot in both eras and that’s good for him.

I haven’t had time to do a full test. Ride the High Country tonight, but I’ll start with an introduction tonight and finish what I have to say on Wednesday evening/Thursday morning.

If you want further illustration of how this film has one foot in two eras, the careers of the film’s three stars span the distance of the talkie era. The two leads, Scott and McRae, both had 1920s credits, and Hartley’s career continues into the 2020s. Few films have a runtime of nearly 100 years off its tracks.

The studio system and the production code still existed in 1962, but they were both fragile and out of breath. Ride the High Country was only Peckinpah’s second film, although he had worked extensively on TV westerns before. Peckinpah gets away with far more graphic violence than any “classic” era movie would have been allowed, but Ride the High Country is still quite tame compared to his “New Hollywood” era movies like The Wild Band and straw dogs this earned him the nickname “Bloody Sam”. Reportedly, Peckinpah was not consumed by the drug and alcohol abuse and violent outbursts on set here that he would later become famous for. The result is something that remains a smooth, familiar western with plenty of expected beats, but with a few jarring notes throughout.

MGM thought very little of Ride the High Country. The studio head who gave the go-ahead was fired in the middle of filming and the new one refused to back him up. The film received almost no publicity and was often stuck in the bottom half of a double feature and as a result the film flopped. In Europe, the film was released under the title Guns in the afternoonnot, which is a really terrible title. However, the movie got a big promotion there and was a big hit in Europe, so what do I know?

Scott and McCrea as Gil Westrum and Steve Judd, respectively, were a bit of a meta-cast. Randolph Scott and Joel McCrea were both known for producing stereotypical Westerns for decades under the studio system. Here they play aging gunmen who know the border has passed and life has passed them by. Scott retired immediately after this film, thinking he should come out on a high.

Gil and Steve are two-headed. (Scott was reportedly headlined because he won a sweepstakes.) Steve is hired by a bank in Hornitos, Calif., in the foothills, to escort gold from a mountain mining camp . Previous shipments had been stolen and the bank wanted someone with some experience to retrieve it safely. Unfortunately, when they met Steve, he was maybe a bit too experienced for the bank as they wonder if a man of this age is up to the task. Yet, with nowhere to go, Steve gets the job.

In Hornitos, Steve meets Gil, an old pal from their youth. Gil now calls himself “The Oregon Kid” and hosts a twisted shooter at a traveling carnival. Steve offers Gil the chance to accompany him to work and Steve brings along a young apprentice, Heck Longtree (Ron Starr).

Unfortunately for Steve, Gil has no intention of bringing the gold back to the bank. His plan, along with Heck, is to steal the cargo. Gil feels like he owes money for all the work he’s done for little or no reward. They hope to bring Steve on the case, but they will get away with the gold whether Steve agrees to the plan or not.

Along the way, they stop for the night at the farm of Joshua Knudsen (RG Armstrong) and his daughter Elsa (Hartley). Joshua is a rigid and extremely religious man who keeps his daughter a secret so tightly that she is his prisoner, for all intents and purposes. Elsa wants nothing more than to get away from her oppressive father and live her own life, but that’s not something he’s going to allow. She is not allowed to leave the farm until she is married to a true Christian, and no man who stops by the farm is ever a suitable match for Elsa in her eyes.

I think Elsa’s role is overlooked in many discussions about this film. Elsa’s story is almost feminist. Her life is controlled by the men around her and the film really argues that she should be free to live her own life and make her own mistakes. At least up to a point. As I’ll write next time, when Elsa gets really in over her head, she needs Steve to bail her out. But at least Steve isn’t trying to tell her what to do. It just allows her to get out of a terrible situation and make her own choices later. For 1962, it’s almost revolutionary.

I will have to finish Ride the High Country the next time. But I will say it’s an enjoyable western starring two aging veterans of the western genre and Hartley in his first credited role. If you think you like a film that shakes up the conventions of the genre without really subverting them, you’ll like Ride the High Country.

Here is the movie trailer. It gives you an idea of ​​the beautiful landscape of the Sierra Nevada which is a big attraction for the film.


Welcome to anyone who skips jazz and movies.

In his preview of the afternoon matchup between the Cubs and the Braves on Friday, Al wrote of Cubs starting pitcher Keegan Thompson: “But why would you keep doing this? It seems pretty clear that Thompson isn’t cut out to start.

After Thompson pitched six scoreless innings, allowed two hits and struck out nine as the Cubs snapped a 10-game losing streak, Al wrote, “Welp. I was wrong before, I will be wrong again.

Here’s the thing though: I’m not sure Al was wrong. Oh, make no mistake, he got it wrong on Friday, but a good start doesn’t make a starter. Anyone can have a good game. But the hallmark of a starting pitcher is someone who can go out all five games and give their team at least 5-6 innings and give them a chance to win most time. I’m not sure Keegan Thompson isn’t a starter, but I’m not sure he still is.

So tonight’s question is simple: is Keegan Thompson’s future in the rotation or in the bullpen? For those pessimists out there, I’ll give you a third “Triple-A” option. I won’t let you vote “On an operating table.” It would just be mean.

So where does Keegan Thompson’s future lie?

Survey

Where is Keegan Thompson’s future?

  • 72%
    In the starting rotation

    (13 votes)


18 voices in total

Vote now

Thanks again for your visit. We hope you had fun and plan to come back. Please return home safely. If you need us to call a ride, let us know. Don’t leave anything behind at your table or in the cloakroom. Except a tip. Leave that. And come back tomorrow night for another edition of BCB after dark.