There’s something deeply touching about 18,000 strangers around the world singing Toto’s “Africa” together.
Tag: music
My sons’ media of the moment
A spinoff of an ongoing series
Raffi. His greatest hits have been on heavy rotation as it seems to be the only music that calms down our 8 month old when he’s upset, which is often.
Hamster maze videos on YouTube. The 4 year old is delighted by these. Random but could be a lot worse.
Who Smarted? A fun and educational podcast for kids about all kinds of topics.
Toniebox. As audio players for kids go, we’ve hitherto been a hardcore Yoto family. But several characters the 4 year old loves are only available as Tonies (Wild Kratts among them), so he got several for Christmas. It’s nice to have more variety for listening, even if the overall experience is less ideal than Yoto.
Mr. Men and Little Miss. The 4 year old has been on a kick with this book series. We own an old copy of Little Miss Scatterbrain but we got more of them from the library and he just loves them. He especially loves looking at the grid of characters on the back covers and asking us what each of their names are.
No more encores
Just getting this on the record: concert encores are dumb and bad.
They’re a terrible collective fiction that need to die.
Audiences should stop cheering for them and artists should stop planning for them.
Just play all the songs you want to play, then end the show and get gone.
Media of the moment
The Arcadian Wild. Heard about this folk/bluegrass trio recently and got immediately obsessed with “Big Sky, MT”.
Scream. Somehow I’d never seen this, though I was familiar enough with it based on its cultural ubiquity. Kinda wish the conclusion was a little tighter so it could be a perfect 90 minutes, but campy fun overall.
White Savior. This 3-part docuseries on Max is a rich text for those of us who grew up in a conservative Christian milieu and went on international missions/service trips.
The Witch. I like this Robert Eggers lite-horror joint for the same reason I liked Darren Aronofsky’s Noah: it takes its Old Testament inspiration and sensibility seriously, fully committing to a weird and very metal religiosity that too often gets sanded down for popular palatability.
Oppenheimer. “Men talking in rooms” is a common theme in a lot of the history books I’ve read, but I didn’t expect it to also work as a big-screen epic from Christopher Nolan. I’ll take it!
The Wager by David Grann. This new book from the Killers of the Flower Moon author makes me very glad I’m not an 18th-century sailor.
Emergency NYC. Stumbled upon this fascinating Netflix docuseries that follows surgeons, ER staff, flight nurses, and other emergency responders as they treat patients and balance their work with their personal lives.
Are You There God? It’s Me, Margaret. A great coming of age story, family dramedy, exploration of religion, female-centric story, and year-in-the-life movie all in one.
You Are So Not Invited to My Bat Mitzvah. Surprisingly funny and a nice pairing with Are You There, God?
The Ben Folds principle of ignorance
Something I think about a lot are these lyrics from the Ben Folds song “Bastard”:
You get smaller as the world gets big
The more you know you know you don’t know shit
“The whiz man” will never fit you like “the whiz kid” did
So why you gotta act like you know when you don’t know?
It’s okay if you don’t know everything
This is such a simple concept that applies to a variety of situations, whether it’s politicians spouting off nonsense or insecure people projecting false confidence to mask a deeper fear.
It’s OK if you don’t know everything. In fact, it’s better when you don’t. Say “I don’t know, I need to learn” instead.
How ‘Hairspray’ and ‘Once’ made me love musicals
Originally published at Cinema Sugar
Josh, you’re in a musical. That’s how musicals work. When you’re too emotional to talk, you sing. When you’re too emotional to sing, you dance.” — Melissa, Schmigadoon
I went through a phase as an adolescent when I didn’t get musicals. Not only that: I actively resented them. They’re cheesy and unrealistic! I reasoned. People don’t randomly burst into song and coordinated dances! There were a handful of musicals I did enjoy (Singin’ in the Rain, The Sound of Music, Newsies), but even they couldn’t escape the weight of my prejudice that they were ultimately frivolous, unserious entertainment.
That is, until one fateful summer when two diametrically different movies accidentally teamed up to convince me otherwise.
“I don’t know you but I want you”
It was the summer of 2007. I was back home after my freshman year of college, working for the second year in a row as a counselor at a summer camp. It was a fun gig for that time in my life: decent cash, free meals and lodging, lots of time outside and hanging out with fellow college-aged counselors.
I became fast friends with one of the counselors (let’s call her Kendra) as we enjoyed hanging out together and discovered mutual interests—playing music being a big one. We played together a lot that summer, with her singing and me muddling along on the guitar or piano, both of which I’d started teaching myself to play a year or two before.
She had a boyfriend back home, and even if she didn’t I was too emotionally guarded and scared of the concept of dating to have considered making a move. But I felt a warmth and ease between us, and a platonic bond that could have been mistaken for siblinghood if it weren’t for the faint flicker of a flame beneath it.
Earlier in the summer I’d heard great buzz about this tiny Irish movie that was sort of a musical, featuring the kind of singer-songwriter music I was really into at the time, and that was antithetical to the shiny show tunes of traditional musicals. It was playing at a small movie theater across town, so I figured it’d be worth a watch despite knowing nothing about the director or stars. I suggested to Kendra that we go see it one Saturday afternoon during our off time and she was game.
We’d been cloistered in the camp bubble for a while, so this escape into the outside world, however brief, felt refreshing and special. And since going to the movies itself is a refreshing and special occasion, I think we both were primed for a magical experience as we arrived at the small strip-mall theater and entered the darkness of the screening room together.
“…‘Cause this is what you’ve waited for”
Once, directed by John Carney, is fairly easy to describe. An Irish busker (Glen Hansard) meets a young woman (Markéta Irglová) on the streets of Dublin and they grow close as they play music together, discuss their lives and bruised loves, and inspire each other as they enter new phases of life.
But such a tidy description belies the miles-deep emotional undercurrent that runs beneath this story and propels the main characters—who remain unnamed and are credited as Guy and Girl—first towards each other and ultimately onto their individual fates.
Should he get back with his ex-girlfriend in London? Is her floundering marriage worth repairing? That undercurrent flows to the surface not through any melodramatic speeches or contrived conflicts, but through the music they share.
Probably because the film’s core of Carney, Hansard, and Irglová are real musicians, they manage to capture both the tedium and the thrill of creating meaningful music—and, by extension, art in general—better than almost anything I’ve seen.
They do so by paying close attention to moments in the songwriting process that are small and specific but still significant: Haphazardly assembling snatches of melody while taking notes on your laptop. First hearing someone add harmony to your song when you’ve only ever played it solo. Finding replacement Discman batteries so you can finish writing lyrics you need. Nailing a song on the first take in the studio.
These little euphorias add up, in real life and in the movie. And with what Guy and Girl accumulated during their time together, they were able to bestow each other things they couldn’t have imagined before meeting: she helps him record his songs and boosts his confidence for the next step, while he surprises her with a generous gift to reignite her passion for playing.
It was goodbye in the best way, with grace and gratitude for what they meant to each other.
“Sing your melody, I’ll sing along”
Kendra and I emerged from the theater nearly vibrating from what we’d just experienced. I had no idea a musical could be like that. Sparse. Soulful. Closely observed and deeply felt, with a ragamuffin realism and total lack of the affectation and razzmatazz of traditional Broadway-based film adaptations. It was much more like a Dardennes movie than a musical, despite fulfilling the technical definition of the genre.
Sure, it was bordering on twee and perhaps too appealing to self-serious emo lads like myself at the time. But that feeling of a movie being made just for me was too powerful to deny.
As soon as we got back to camp I hopped on the piano in the empty main lodge so we could try out the songs, which still reverberated through us. We managed our own halting cover version of “Falling Slowly,” its anthemic melody climbing up and down the walls of the lodge with my tentative piano chords in pursuit.
It didn’t occur to me at the time, but while we sang that beautiful music together, what remained unsung was how we were a kind of echo of what we’d just seen on screen. A girl and a guy (a tall, bearded, redheaded one no less) spending limited yet meaningful time together, singing tunes and sharing stories and creating memories? It was too good to be true, and yet it was.
For a moment anyway. As in the movie, time ran out on us when camp ended and we both returned to our normal lives. But what I took with me from this Once experience was how people could come into each other’s lives and share an interlude together knowing that time would end, yet still forge ahead into the moments they had remaining and do something wonderful with them.
That’s what music can do, and what art can do, and what grace can do if we let it.
This summer reverie was still fresh in my mind when I returned to campus ahead of the fall semester and, just a few weeks after seeing Once, encountered another paradigm-shifting film—only this one with a little more razzle dazzle.
“Every day’s like an open door”
I arrived before classes started so I could attend resident assistant training, a two-week orientation for this student-leadership position. I’d applied to become an RA because I thought I’d be good at it and because being an introvert in a typically extroverted role would actually be an asset for serving the less-outgoing undergraduate residents. (The free room-and-board didn’t hurt either.)
One evening a group of RAs went to see the new Hairspray movie. Because I was trying to push myself to get out more and socialize in this new role, I decided to tag along. And as I was still wedded to my myopic view of musicals, despite my recent Once experience, I brought my low expectations with me too.
Based on the Broadway adaptation of John Waters’ 1988 film, Hairspray follows the relentlessly cheerful and dance-loving teenager Tracy Turnblad in early 1960s Baltimore as she joins her favorite local teen dance TV show and, with her plus-size figure and support for racial integration, helps to transform the segregated, traditionalist ways of the show and her community for the better.
On paper this sounds potentially cloying and pat but on screen it’s anything but, honoring John Waters’ delightfully weird sensibility and humor with touches like John Travolta in drag as Tracy’s agoraphobic seamstress mother and Tracy riding a garbage truck to school through the dilapidated streets of Baltimore during the jubilant opening tune “Good Morning Baltimore.”
But it’s the soundtrack that’s the true star. Marc Shaiman’s zesty mixture of period-specific soul, R&B, gospel, and pop tunes elevates the movie into pure, unabashed spectacle. Highlights include the R&B-infused “Run and Tell That,” the bubblegum pop of “Welcome to the 60s,” and the 10-minute finale sequence of “You Can’t Stop the Beat,” which never fails to give me chills.
“I can hear the bells, my head is reeling”
To say Hairspray changed my perspective is an understatement. It was like a high-wattage electric shock that flicked on a lightbulb for me, and the grainy black-and-white screen through which I’d been watching musicals before suddenly sparked into Technicolor.
I could see things now in other musicals that I couldn’t have appreciated before, like the awe-inspiring athleticism of performers who execute complex and cardio-intensive choreography with a smile. Like the finely tuned plots that elevate story structure into an art in itself. And how a musical is, in a way, the manifestation of all the fine arts into one—dance, design, music, drama, and cinema all magically synthesized before our eyes.
My chief objections to musicals—that they’re cheesy, unrealistic fluff—fell away like a discarded dress during a costume change. I finally saw how downright silly it was to accuse them of being cheesy when a dyed-in-the-wool musical like Hairspray was leaning so hard into campiness that it tripped over its own dance moves.
All my mental finger-pointing did was alienate myself from what the movie wanted to do, which was to grab my clenched fist with a big smile and pull me into a raucous, liberating dance.
(When Corny Collins, the host of the teen dance show in Hairspray played by James Marsden, was faced with the prospect of racial integration on his show, he saw his choice clearly: “You can fight it or you can rock out to it.”)
This isn’t to say Hairspray is beyond critique, or even close to my favorite musical. The acting is often cartoonishly bad, and the story implies a simplistic path of overcoming racial discrimination while centering Tracy, a white woman, as the instigating force of integration rather than her Black peers and local community.
Anytime a work of art speaks on important socio-political issues, even through a historical framework as Hairspray does, it risks looking outmoded or obtuse to future generations of viewers. And that’s OK—we can credit the film’s optimism and inclusive attitude while also acknowledging its limitations as a self-contained cultural artifact.
But I wasn’t thinking about all that when I emerged from the theater with the other RAs. I was thinking about how I’d ever get those songs out of my head, and how every one of Hairspray’s horn blasts and pirouettes and bursts of color were blows against cynicism and subtlety.
Which was, frankly, exactly what I needed.
“It takes two, baby”
Hairspray and Once could not be more different as movies or as musicals.
Once is a wisp of a film, a bootstrapped production with a cinéma vérité look, unknown cast, and achingly sincere songs that obliquely supplement the simple story.
Hairspray, on the other hand, is a big, brassy, cheeky joy explosion, with a maximalist attitude about its every aspect—acting, production design, social commentary, and the music above all.
Seeing these movies individually made big dents in my stony resolve against the allure of musicals, but seeing them within about a month of each other shattered it altogether. If I’d just seen Once I could have downplayed it as a unique aberration that departed widely from the conventions of the genre. Not so with Hairspray, which feels like the most musically musical to ever musical.
Having to span and make sense of that distance between them forced me to span the gaps in my own self-understanding and, above all, learn how to surrender. To say yes in spite of myself and show my prejudices who’s boss. And to trust and appreciate the essential elements of an art form instead of treating them as dealbreakers.
The musical has been around a lot longer than me. It has a lot to say—and sing. All you need to do is listen, because you can’t stop the beat.
On the passage of bathtime
There’s a quote I discovered floating around Instagram Reels that people use as narration for clips of their little kids:
You have little kids for four years. And if you miss it, it’s done. That’s it. So, you gotta know that. Lots of things in life you don’t get to do more than once. That period between 0 and 4, 0 and 5, there’s something about it that’s like a peak experience in life. It isn’t much of your life. Four years goes by so fast, you can’t believe it. And if you miss it, it’s gone. So you miss it at your peril, and you don’t get it back.
(I was surprised to learn the speaker is Jordan Peterson, whom I’ve never read or even heard speak before. Not interested in litigating Peterson as a whole, just taking this quote for what it’s worth.)
I was talking with an older coworker about kids and how mine recently turned 4. His are all grown now, he said, but he would do anything to have just one day when they were 4 again, to do bathtime and all the other kid things that fill your life so intensely for a few years before the kids grow into other phases.
It’s a sentiment I’ve heard often, usually in the form of parenting clichés like “The days are long but the years are short” and “They’re only young once.” The annoying thing about clichés is that they’re usually both trite and true, and I’m grateful for when they tap me on the shoulder at just the right time.
A recent example: I was sitting with my 4 year old playing with his Carry Around Robot Town as (who else?) The Okee Dokee Brothers were on in the background—this time their 2018 album Winterland. He was immersed enough in the game that he actually let the album play through instead of wanting to jump to his favorite tracks, and that allowed me to enjoy some of their quieter, more reflective songs he’s usually not interested in.
We got near the end when on came “New Year,” a beautiful tune in the form of notes back and forth between two friends inquiring about their lives and children.
Here’s the lyrical exchange:
Hey say, Happy New Year
Have you had much snow
And how’s that new baby boy of yours, JoeHappy New Year to you
The snow’s still deep
And he’s our little roly-poly
I sing him to sleepSay how’s the weather
Have you had much rain
And can that new baby sing your refrainThe weather’s changing
It feels like spring
And as he falls asleep
We can hear him singHave the leaves changed
Where does the time go
And now how old is that son of yours, JoeLeaves blow away
Time goes on
He’s all grown up now,
singing this song
Perhaps you can now see why the combination of this song and the moment—cozied up next to that son of mine while he cutely played—made me tear up: I envisioned the time that has already passed in my life with him and how in a snap more time will pass and he’ll be all grown up and singing his own songs, only I won’t be cozied up next to him.
It was a moment of mono no aware, a Japanese phrase I love that indicates “the awareness of impermanence or transience of things, and both a transient gentle sadness at their passing as well as a longer, deeper gentle sadness about this state being the reality of life.”
That concept cuts both ways. Everything in this stage—and in life—is impermanent: the good moments, the hard times, the drudgery, the occasional euphoria. “Nothing gold can stay,” wrote Robert Frost. And that’s why it’s so important to love them at the age they are and every year they grow, because they’ll never be that age again.
There is one workaround for this: have another child. Our second is due in late May, so I’ll get another chance to start at zero and bask in this unique time once again. And you better believe I’ll be working extra hard to enjoy bathtimes while they last.
A ‘Bluey’ song exploder
One of my Christmas presents was Bluey: The Album on vinyl. My wife got it as a joint present with my son since we’re both big Bluey fans.
The first song on it is an extended version of the theme song I’d never heard before called “Bluey Theme Tune (Instrument Parade)”:
After the standard opening, it continues the theme but gives solo breaks to the different component instruments: first violin, then trumpet, guitar, saxophone, and finally all of them back together before concluding with a reprise of the standard theme.
I love this on many levels. First, it’s just a great song. The part when all the elements recombine (“Everyone!”) is a joy explosion. Kudos to Joff Bush and the other composers involved for their high-level musicianship, which reminds me of Fred Rogers’ insistence on not just doing “kiddie” music for Mister Rogers’ Neighborhood because kids deserved great music too.
Second, it sneaks some music theory into a fun and danceable tune by breaking itself down, Song Exploder-style, to show how a song can be comprised of several different instruments.
Which, in a way, represents Bluey in musical miniature. By that I mean the show, like this particular song, isn’t meant to overtly teach anything: it’s just trying to convey the best version of itself and whatever idea it has in each episode. But along the way it manages to communicate sophisticated lessons and everyday truths, all wrapped up in small yet beautiful vessels.
(Yes, even Unicorse.)
My own ‘Back to the Future: The Musical’
I finally listened to the original cast recording of Back to the Future: The Musical, which is making its Broadway debut in June 2023. I can’t say I loved every song, though the new showtuned rendition of “Power of Love” is most welcome:
It also reminded me that years ago I started making my own musical version of the trilogy. Well, it wasn’t a musical per se—more like an anthology of songs dedicated to various secondary characters.
Here are the more fully formed song ideas, which also have lyrics and a basic idea of the musical style:
- “The Easy Way” — a doo-wop tune sung by Biff’s henchmen (inspired by Billy Zane’s line in this scene)
- “I’m Jailbird Joey” — an outlaw country/blues song for Uncle Joey
- “Raise a Glass for Red” — an Irish ballad campaign song for Mayor Red Thomas
- “Can You Spare A Moment (For the Clocktower)” — a kind of military march for the “Save the Clocktower” woman
- “Reese & Foley” — theme song for an ‘80s buddy cop TV show featuring the two cops who take Jennifer home in Part II
Other potential song subjects I sketched out: Chester the bartender, Terry the mechanic, Farmer Peabody, and Principal Strickland.
(Not) coming to a Broadway theater near you!
No disclaimers
As a drummer in my college’s jazz program, I once got recruited by one of the jazz guitarists for a paying gig he’d gotten at a local restaurant.
I was interested not just because of the money, which was negligible (not that there is such a thing for broke college kids) but because the idea of being paid to perform with an ad hoc ensemble felt very adult and professional. It was a unique feeling for an introverted 20 year old who was still unsure about his abilities and place among his peers.
The night of the gig, I’m getting situated with the guitarist and bassist, another college-aged recruit whom I’d never met. We’re about to start playing.
I’d drummed publicly many times before: high school jazz band, high school garage band, church services, college jazz ensemble. But this time felt different. Suddenly, the allure of being a very adult professional dissipated and, struck by imposter syndrome, my insecurity leaked out.
I said to the bass player, “You know, I’m not really a gigging musician…”
He gave me a kind of wry smirk. “Nice little disclaimer there,” he replied.
The guitarist counted us in and we were off. I pretty quickly settled in and regained confidence in my abilities and right to be there. The gig went fine, and I certainly appreciated the cash.
This memory has stuck with me years later because it gave me a valuable life lesson:
No disclaimers.
Don’t kneecap yourself before you begin whatever it is you think you can’t possibly do. Even if you suck (which you won’t), just do it and then move on. That’s all you can do.
I deserved the bassist’s smirk. How could I not be a gigging musician when I was seconds away from playing music at a gig?
If you think you aren’t ready, you are. If you think you aren’t good enough, you are.
No disclaimers.
The long and winding genius of the Pauls (McCartney and Simon)
While trolling for something to read on Hoopla, I came upon Malcolm Gladwell’s new book Miracle and Wonder: Conversations with Paul Simon. It’s only available as an audiobook (or “audio biography”), and wisely so since so much of it depends on hearing Simon play his songs amidst his conversations with Gladwell. In that way it’s more like a limited podcast series than a book.
Whatever you call it, Gladwell’s intention was to interrogate the phenomenon of creative genius, and pinpoint how and why it applied to Simon, whose long and wide-ranging musical career set him in contrast to other contemporary artists who may have had higher peaks (The Rolling Stones, Bob Dylan) but didn’t produce at the same level of quality over decades as Simon has.
As Gladwell writes:
We tend to be much more caught in the peaks of an artist’s career. But why? The true definition of creative genius—to my mind, at least—is someone who is capable of creating something sublime and then, when that moment passes, capable of reconfiguring their imagination and returning to the table with something wholly different and equally sublime.
Whether Simon meets this criteria is debatable, though Gladwell makes a good case for it.
The other Paul
Regardless, the book found me at a propitious time since I just finished watching and listening to the other famous ’60s singer-songwriter Paul in the documentary The Beatles: Get Back. The film captures McCartney in his first sublime period, which coincided with the transition between The Beatles and his solo work.
His career as a whole is eerily similar to Simon’s: incredible creative and commercial success within a popular group throughout the 1960s, followed by an acrimonious breakup in 1970 and then decades of steady solo output of variable quality.
(Conan O’Brien even had a bit involving Lorne Michaels called “Which Paul is he talking about?” since Lorne is friends with both.)
Per Gladwell’s formulation, both men created something sublime within a relatively condensed cultural moment, then reconfigured their output after that moment passed. Whether those later albums were “wholly different and equally sublime” depends on where you look.
If it’s a choice between The Beatles and Simon & Garfunkel, I choose the Fab Four all the way. (My cheeky Better The Beatles series notwithstanding.)
But solo-wise, I think Simon’s exceptional ‘70s work combined with the highlights of Graceland (1986), The Rhythm of the Saints (1992), and So Beautiful or So What (2011) give him the edge over McCartney, whose early solo work was definitely the best of all the ex-Beatles (though not perfect), but didn’t approach the sublime until Chaos and Creation in the Backyard (2005) and Memory Almost Full (2007).
Seeing Paul McCartney at Wrigley Field just over 10 years ago remains an all-time life highlight. (By seeing I mean standing outside Wrigley listening and singing along and barely catching a glimpse of him on the Jumbotron. But still.) I regret not being able to see Paul Simon live, as I imagine it would have been just as good but delightfully different. Which, perhaps, is what Gladwell would consider it too.
Media of the moment
An ongoing series of what I’ve read, seen, and heard lately
Schmigadoon. Though its story is a little loose at the edges throughout the show’s short six-episode run, the central conceit of a couple getting stuck inside the world of an old-timey musical was a fun journey. Watch out for “Corn Puddin’” because it’s an earworm. More TV musicals please!
Ted Lasso, season 2. Will be curious to see how this season fills out as a whole, but nothing can damper my love of the best show on TV. We really enjoyed the stretch of a couple weeks in July and August when we could watch the latest episodes of this and Schmigadoon as an uplifting and wholesome Friday night double feature.
Crimson Tide. So, this ruled. And made me really miss seeing Gene Hackman in movies.
In the Heights (movie and soundtrack). Seeing this was my first time back in the theater since February 2020, and I’ve had the soundtrack pretty much on repeat since. Favorite little moments: “damn, we only jokin’, stay broke then” and the It’s A Wonderful Life reference.
Ghost Map: The Story of London’s Most Terrifying Epidemic by Steven Johnson. My favorite author strikes again.
A Quiet Place / A Quiet Place Part II. Being horror-averse I put off the first one for a while, basically until I saw the excellent reviews for Part II and realized they’re not actually horror but more of the “momentarily scary well-made thriller” variety, which I’m down with.
Paper Trails: The US Post and the Making of the American West by Cameron Blevins. Shoutout to the post office.
Showbiz Kids. Affecting documentary on HBO Max featuring former child actors talking about their past and present struggles.
The Anthropocene Reviewed by John Green. I’ve never listened to the podcast this book is based on, but still enjoyed Green’s unique, earnest, and wry literary voice shining through this collection of essays.
Media of the moment
An ongoing series of what I’ve read, seen, and heard recently
The Good Lord Bird. The limited series really captures the book’s madcap and dramatic spirit. Ethan Hawke is so delightfully committed to the dead-serious absurdity of John Brown.
The Underground Railroad. Two of my main takeaways while watching this 10-episode limited series: 1. I can’t believe I get to watch essentially 10 new Barry Jenkins movies! And 2. That’s a few too many given the heavy subject matter!
Art Blakey & The Jazz Messengers, A Night in Tunisia. Recently my wife asked me to “get some jazz” from the library, so right before I left I grabbed a few albums more or less at random. Struck gold with this one.
Benny Goodman, Mozart at Tanglewood. Wanted to find some good concertos and heard good things about this one. Those good things were right.
Fake Love Letters, Forged Telegrams, and Prison Escape Maps: Designing Graphic Props for Filmmaking by Annie Atkins. A cool visual compendium and behind-the-scenes exploration of a film graphic prop designer’s impressive work, including lots from Wes Anderson movies.