I am continually and genuinely perplexed when major Christian institutions—whether that be particular Protestant denominations or indeed the great Roman Catholic Church—seem to go out of their way to take official positions on matters of international relations that specifically run counter to the expressed security interests of the people of Israel. It is not at all that I think these churches ought to reflexively support the line of the Israeli government of the moment, but rather that I cannot understand why they feel obliged to put themselves out there officially on the given issue at all, versus merely doing what religious teachers are after all most qualified to do, which is to lead people in prayer for good and peaceful outcomes. Some of us Christians actually devoutly believe in the real power of prayer and conversely have much less faith in the power of bishops and priests to make accurate judgments on matters pertaining to hard-nosed international diplomacy, economics and military strategies. (Call us crazy.) Continue reading The Strange Inclination of Christian Church Institutions Against Israel
Today’s the centenary of the great Billie Holiday’s birth, on April 7th, 1915. She died far too soon, only 44 years on the earth. Although she packed a good deal of wonderful music into her career, imagine what she’d have accomplished given another couple of decades; with her light, unstrained but supremely articulate way of singing (and given good health) she could have gone on to make masterpieces and electrify audiences well into her old age. Looking back from the perspective of 2015 it seems like hers was one of the first of the celebrated premature deaths of great musical talents that became a long tragic string. Continue reading Billie Holiday and What a Little Moonlight Can Do
Leonard Cohen is about to release an album of recordings from his most recent concert tours: not so much the hits as the rarities. On it will be his performance of “Choices,” a song that George Jones made his own and made famous. George Jones and Leonard Cohen were both on concert tours in 2013. George Jones was then 81; Cohen was a fresh-faced 78 going on 79. George Jones didn’t quite make it through his tour, falling ill and then passing away on April 26th. His had been intended as a farewell tour, and indeed it was titled “The Grand Tour,” after his classic record of the same name. And Leonard Cohen’s new album is titled Can’t Forget: A Souvenir of the Grand Tour. Continue reading Leonard Cohen’s Bow to George Jones
William Tyndale (1494–1536) was the first person to translate the Bible directly from the Hebrew and Greek texts into English. His translation also formed the basis for the King James version, completed roughly 80 years later by multiple committees of translators. It’s been estimated that over 80% of the KJV New Testament is from Tyndale, and over 70% of the Old Testament. And since the King James Bible has been such an incomparably massive influence on the English language (almost a center of gravity since its publication) you could make the argument that no single individual has had more influence on the English language than William Tyndale. For his efforts, he was burned at the stake, as making the Bible available in the language of the common people was not a healthy occupation to be engaged in at the time. (Some may well be wondering whether it will be déjà vu all over again before very long, but that’s an altogether different kettle of fish.)
If Tyndale had set out to have an impact on the English language for centuries to come, he doubtless would have had no idea how to achieve it, and perhaps would have sat frozen at his desk, quill in hand, until his landlady threw him out on the street for being behind on his rent. No one could achieve a task so great by deliberately attempting it. The task he took on was monumental in itself, but at least specific: to put the Holy Scriptures into words that any English speaking person could understand. By performing this task to such a high standard, he simultaneously achieved things of which he couldn’t possibly have conceived.
It’s just a pity he missed out on all the royalties.
Tyndale’s original translations are available in the public domain, but the different spellings in common usage at that time make them laborious for the modern reader to get through. Fortunately, a scholar named David Daniell completed modern spelling editions of Tyndale’s Old and New Testaments some years ago, and here is a passage from the Gospel of Luke, chapter twenty-four:
On the morrow after the sabbath, early in the morning, they came unto the tomb and brought the odours which they had prepared and other women with them. And they found the stone rolled away from the sepulchre, and went in: but found not the body of the Lord Jesus. And it happened, as they were amazed thereat, behold two men stood by them in shining vestures. And as they were afraid, and bowed down their faces to the earth, they said to them: why seek ye the living among the dead? He is not here: but is risen. Remember how he spake unto you, when he was yet with you in Galilee, saying: that the son of man must be delivered into the hands of sinful men, and be crucified, and the third day rise again.
And they remembered his words, and returned from the sepulchre, and told all these things unto the eleven, and to all the remnant. It was Mary Magdalene and Joanna, and Mary Jacobi, and other that were with them, which told these things unto the apostles, and their words seemed unto them feigned things, neither believed they them. Then arose Peter and ran unto the sepulchre, and stooped in and saw the linen clothes laid by themself, and departed wondering in himself at that which had happened.
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A happy and blessed Passover to all of those observing it from us at the CINCH HQ.
I’m a Christian, but I found fascinating a recent article in the Boston Globe on the exponential growth of the Jewish Chabad-Lubavitch organization. In the Boston area Chabad has grown from 7 synagogues to 26 over the past 20 years, but their growth has been nationwide and indeed worldwide. After the 1994 death of Chabad’s most recent leader, the by-all-accounts-inspiring Rabbi Menachem Schneerson, many suspected Chabad would fade away, but instead they have exploded, growing “faster in the last 20 years than in the previous century.” Where are their congregants coming from? Continue reading Chabad Making Old Things New
“Act big and make loud noises.” In the bad old days of the Big Apple, this might have been excellent advice for those occasions when you needed to take a walk to the bodega to stock up on beer and cigarettes. (And let it please the Lord for those days not to return.) Now, however, it is part of “Five Easy Tips for Coexisting with Coyotes,” which is advice for city dwellers from the New York City Parks Department, regarding, well, coexisting with coyotes. Because, they’re here, they’re hairy, and, according to the powers-that-be, they are apparently more than welcome to stay.
The Eastern coyote is sometimes referred to as the “Coywolf” because of evidence that it emerged via hanky-panky between coyotes and gray wolves. Its territory stretches from Ontario and Nova Scotia in the north down through New England and into New York, New Jersey and Pennsylvania. And now you can add Manhattan’s Stuyvesant Town neighborhood, among others, to places where the Eastern coyote has set his or her paws. Recent sightings of coyotes there and in other Manhattan locations have caused minor media ruckuses as people follow the chase, but the real news if you ask me is that the Parks Department is quite happy with them being in the city, and is expecting them to be around in Central Park for the long term. They’ve been sighted to the north in Bronx parks for quite a few years, so it’s not like they dropped out of the sky, but—on the other hand—the thing about the Bronx is that it’s a contiguous part of the United States of America (as startling as this may be to Kansans) whereas Manhattan is, well, an island. This has kept New York City proper insulated from quite a few things, like deer (and their awful ticks), bears (at least at the time of writing), in addition to innumerable wholesome virtues of the heartland that have never been proven to survive the journey over the Hudson or Harlem rivers.
So how are the coyotes getting here? It’s suggested they may follow “a train line;” whether on a bridge or underground, I don’t know. Five years ago, one was seen waiting on the Jersey side of the Lincoln Tunnel, and apparently it managed to come up with the toll, because a little later there was a big coyote chase in Tribeca resulting in one tranquilized canid.
So, a carnivorous predator, skilled at hunting singly or in packs, is invading New York City, competing with those humans here who already occupy the niche. Yet the Parks Department is not treating this as the prologue to an apocalyptic disaster movie scenario, but instead simply as nature taking its course. Coyotes are part of the food chain, the narrative goes, and they will help control populations of rats, rabbits and the like. We need to practice our “Five Easy Tips” for coexisting with them and go about our business.
Well, why do I strongly suspect this isn’t going to end well? For my part, I love animals, especially canids. I’m exactly the kind of fool who, if I saw a coyote in Central Park, would probably try to make friends with him, offering him lunch at the Shake Shack and an evening of music at the Village Vanguard. After all, the NYC Parks Department assures me that “nationwide, only a handful of coyote bites are reported each year,” and there are millions of people across the nation, and zillions of coyotes. What are the odds?
On the other hand, there’s a rational person buried somewhere deep within my skin who starts whispering: “BUT, there’s a lot of room out there in the rest of the country. Coyotes and people might coexist pretty well in Arizona, but how are they going to get along on a crowded 6 train?” Or indeed, how will they get along when dowagers strolling down paths in Central Park start seeing their Yorkies getting chomped up like so much beef jerky?
As far as the species homo sapiens goes, it occurs to me that we sure have funny ways of measuring progress. Time was, progress was defined by pushing back the boundaries of unforgiving nature; now we pat ourselves on the back for allowing it to encroach again on our carefully built settlements. I’m all for controlling the rat population in New York City, but if we want the coyotes to achieve it, we should equip them with badges and flashlights and set them loose on Lexington Avenue. We’re not going to do that. Instead, we’re apparently going to attempt some strange détente of wildness and urbanity.
But then maybe that’s what New York City has always been about. Good luck to the coyotes.
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Having objected to his comments in this space at the time, it behooves us to follow up on how Pope Francis’ frankly stupid remarks regarding free speech and respect for religion have already been bearing bitter, if predictable, fruit. It was less than a week after the massacre at the office of Charlie Hebdo last month when Pope Francis, discussing those broader issues with reporters, helpfully explained that if someone insulted his mother “he can expect a punch. It’s normal. You cannot provoke. You cannot insult the faith of others. You cannot make fun of the faith of others.”
In a protest in London on February 8th—about 3 weeks after the pope said this—thousands of Muslims took to the streets to protest Charlie Hebdo and the use of any expression by anyone to “slander” a figure known as Muhammad, who they believe was a prophet who lived in the 7th century. They bore signs, including many quoting Pope Francis: “Insult my mum and I will punch you.” (Images in Tweet embedded below.) Continue reading Insult My Mum and I Will Punch You
It would be remiss not to make note of the very special tribute that Bob Dylan paid to Kris Kristofferson in the speech he gave last Friday, February 6th, at the MusiCares benefit. (Transcript “from Bob’s notes” now at this link.) After speaking about how the Nashville scene was once “sewn up in a box” by a collection of songwriters and power brokers, he goes on: Continue reading Kris Kristofferson in Bob Dylan’s MusiCares Speech
Back when the album Shadows in the Night by Bob Dylan was first announced, in May of 2014, Rolling Stone magazine and others were all labeling it as “Dylan does Sinatra.” Although Frank Sinatra and Bob Dylan have long been the sun and moon in my own musical consciousness (and I’ve always been fascinated by any even-tentative connections between them) I greatly hesitated about jumping on that notion, knowing that a lot of people who don’t know better tend to regard any old popular standards as “Frank Sinatra songs.” We didn’t have a track list. It wasn’t clear what the album was really going to be based upon.
Then we got the track list, and it was immediately obvious to any serious Sinatra aficionado that this album was in fact centered around songs closely associated with Frank; it included songs written for him, songs debuted by him, one cowritten by him, no less than four from a single Sinatra album (1957’s Where Are You?), and most were songs where Sinatra’s rendition is indisputably the one that matters most in musical history. (“That Lucky Old Sun” is an exception, and “Some Enchanted Evening” is assuredly a song that almost everyone has done.) Continue reading Shadows In The Night: A Sinatra Tribute or NOT a Sinatra Tribute?
“Some Enchanted Evening,” by Richard Rodgers and Oscar Hammerstein II, is not a song owned by Frank Sinatra, in the sense of him having recorded a version so definitive that others wilt before it. It’s been recorded by way too many singers and sung on far too many stages in productions of South Pacific for that to possibly be true. However, Sinatra recorded it on three separate occasions during his career, qualifying it at least as a special number for him. He recorded it first in 1949 for Columbia Records, when the song was brand new, and was being recorded by a whole clutch of competing singers, as was the way of the music world back then. Sinatra’s version hit number six on the U.S. hit parade, but Perry Como’s got to number one. Sinatra revisited the song in 1963, as part of his “Reprise Musical Repertory Theatre” series, where he and musical cohorts like Dean, Bing, Sammy and Rosemary Clooney got together to record sets from several great musicals, including South Pacific. And then he took it on again for his 1967 album (also on his Reprise label) The World We Knew.
In the context of the musical, the song is a recurring romantic refrain which underlies and lifts the love story between a middle-aged man and a younger woman. Divorced from that, as a popular song, it sounds like gentle advice from someone who has lived and loved and lost and maybe loved again, urging those who are younger to seize that enchanted moment when it arrives and hold on to the love they have found. So, one might assume that the older Sinatra would have pulled it off better. But I don’t think so. I think that Sinatra’s first recording in 1949 on Columbia, arranged by Axel Stordahl, is the best of the three. It’s true that Sinatra was relatively young (34), but because his voice then had a kind of celestial quality, he could pull off a song like this one quite well, as if issuing the profound guidance contained in the words from atop some heavenly cloud. (To me, that’s the same reason his Columbia version of “Hello Young Lovers” works so well, although it seems like the song of a much older man.)
The 1963 rendition (actually two takes: one with Rosemary Clooney and one without) is very enjoyable, with a light, cheerful arrangement, but it hardly distinguishes itself from so many other versions. Sinatra’s 1967 take on the song is adventurous in that it is a swinging and bopping rendition, but to these ears it unfortunately doesn’t quite get where it’s aiming to go.
So it is the simplest arrangement, the purest and most romantic reading of the song, from 1949 on Columbia Records, that this listener at least would recommend most fully.
Once you have found her, never let her go.
(This post is in honor of Frank Sinatra’s centenary, which we’re marking at the present moment by looking at some of the songs as sung by Frank Sinatra that Bob Dylan selected for his new album Shadows In The Night.)
“Where Are You?” is the title track of the first of the two dark albums that Frank Sinatra recorded during his 1950s’ artistic peak with arranger Gordon Jenkins (the second being 1959’s No One Cares). It’s funny: Sinatra himself was known sometimes to refer laughingly to his loneliness-themed concept records as “suicide albums,” but when he was behind the microphone he was clearly nothing but totally serious about each syllable and every note, and was masterful at constructing these albums with an almost terrifying emotional precision.
All of that would have to start with the selection of songs. “Where Are You?” was a song written by Jimmy McHugh and Harold Adamson in 1937 for the film Top of the Town. It was introduced by Gertrude Niesen (and at the moment you can hear all 78 rpms of her rendition via YouTube).
The song treads riskily on an interesting line (I think) between poignancy and blandness. The lyric is so very straightforward, so plain, so seemingly devoid of device, that its very plainness is its only device. Continue reading Frank Sinatra – “Where Are You?”
In a career not short on greatness, “Why Try to Change Me Now” is an especially great Frank Sinatra song, and a great Sinatra moment, all the more so as it is actually two moments: two great studio recordings. There are of-course many songs that Sinatra recorded twice (and more) and they’re always very good for providing a window into how he developed as an artist, as this one is. It can also be noticed that the songs he revisited through his career are all great songs. He recorded his share of cheesy or schlocky tunes over the years—a few of which were big hits, indeed—but each of those he recorded just once.
His first recording of this tune was in 1952, and it was his final recording for the Columbia record label.
Sinatra had signed with Columbia in 1942, at the age of 27, after leaving the Tommy Dorsey band, and it was during this era that he came to be known as The Voice, and what a voice it was. Although no longer as purely angelic as on some of those great Tommy Dorsey sides, Frank’s voice wasn’t straying in these years so very far from paradise; it was deeply romantic, and he could conjure with it just the sufficient level of ache when needed. It was the voice that brought out the bobby-soxed girls and made them faint (and worse). But it was a voice anyone could appreciate, with wonderful expressiveness and the remarkable vocal and breath control that Sinatra had worked for years to achieve. It can be heard at its best on the great ballads that Sinatra sang in those Columbia years, like “I Fall in Love Too Easily,” “She’s Funny That Way,” “Try A Little Tenderness,” and “I’m Glad There Is You,” often with the great Axel Stordahl conducting and breaking new ground in the musical framing of a vocalist. Sinatra could swing pretty good too, on tracks like “S’Posin'” and “Five Minutes More,” even if he would find his best shoes for swinging years later with Nelson Riddle and Billy May.
On that final recording date in 1952, the bobby soxers and the acclaim must have seemed to be in the very distant past. His divorce from his first wife, Nancy, and his relationship with actress Ava Gardner had knocked him off any angelic cloud in the popular consciousness, and he’d been struggling as a recording artist and performer. He’d been let go by not only his record company, but also by his movie studio and talent agency. He’d been having real problems with his all-important voice, having difficulty just getting through performances. For his own part, Sinatra maintained that he was glad to get away from Columbia Records: he’d fought for years with producer Mitch Miller over matters of taste, Miller being very fond of novelty records (most infamously represented in Sinatra’s case by the record “Mama Will Bark“) and had to have been dreaming of the freedom to record just what he wanted, just how he wanted. The only problem was that he had no replacement record contract and poor prospects for one. No one on earth could have predicted then how well Sinatra would be doing in just a few short years, following his own muse (albeit ably abetted by other great talents in the studio).
The title of this song, “Why Try to Change Me Now,” seems almost too pat in retrospect as his final turn at the microphone for the record company that he’d felt was trying to change who he was as an artist. But it being Frank Sinatra with a great song in his hands, the record is far, far more than merely a gimmicky goodbye.
The composer, Cy Coleman, noted that Sinatra slightly changed the melody at the opening of the song. He is quoted by Will Friedwald (in the best book I know on Sinatra):
I listened to the record and it sounded so natural, the way that Frank did it, that I thought to myself, “He’s right.” So I left it that way. So I changed the music! That’s the first and only time I’ve ever done that.
The song opens:
I’m sentimental, so I walk in the rain
I’ve got some habits even I can’t explain
Could start for the corner, turn up in Spain
But why try to change me now?
It is in this verse, the next verse and the bridge the song of a misfit, someone who feels himself a bit off-kilter, something of an odd man out in the conventional, modern world. This is not such an unusual theme for a popular song: one could make a very long list of songs with similar sentiments. “Pretty Vacant,” by the Sex Pistols, would be one. “Subterranean Homesick Blues,” by Bob Dylan, would be on that list too. And both are enormous fun in their distinct ways. But the beauty and grace of this take on the theme is just that much more conspicuous when you compare it to such others. There is a restraint in the anguish and alienation that is being expressed with merely a wry shrug (as opposed to a molotov cocktail) and there is no singer better able to distill and express that than Frank Sinatra. His voice is beautiful here, but, knowing where he was at in his life, you can just read the great weariness between the lines.
And then there is the final verse, where the song reveals itself as being addressed in just one all-important direction:
So, let people wonder, let ’em laugh, let ’em frown
You know I’ll love you till the moon’s upside down
Don’t you remember I was always your clown?
Why try to change me now?
It is a plea to someone whose acceptance matters more than all the rest of the world. And Sinatra voices that last questioning couplet with an exquisitely unstrained sense of yearning and of heartbreak. It is inexpressibly masterful.
Envision, if you will, a tragic twist of fate or two, and this might have been the last record Frank Sinatra ever made.
But, thank God, it was not. And seven years later, in 1959, Sinatra was standing in front of a microphone to sing “Why Try To Change Me Now” again, this time for his album No One Cares.
In the preceding years, under a new contract to Capitol Records, Frank Sinatra had recorded masterpiece after masterpiece, and along the way defined the potential of the long-playing record in popular music. In the Wee Small Hours, Songs for Swingin’ Lovers, Only the Lonely, Come Fly with Me: these and others can be seen now not merely as great records but irreplaceable cultural treasures. (We’re lucky indeed that millions of copies exist.) Sinatra’s very voice had changed; it had gathered maturity, acquiring some cracks that weren’t there before but only an ever-deeper capacity to communicate a song to a listener. Working with brilliant arrangers and musicians, but commanded finally by his own discerning vision, Sinatra recorded some of the most refined, truly adult and simply marvelous popular music that has ever been committed to any medium, before or since.
By this point, he was coming close to the end of this near-perfect run (though he had lots of great stuff still to come). No One Cares was without doubt one of his “mood” albums, the mood succinctly expressed in the title. For these LPs, a crucial element was the way in which Sinatra chose songs without regard to their vintage. There were songs specifically written for the project (like the title track by Sammy Cahn and Jimmy Van Heusen) and others from decades previous (like “I Can’t Get Started,” by Vernon Duke and Ira Gershwin, from 1936). The point was to create a whole that held together, greater even than the sum of its great parts. The arranger in this case was Gordon Jenkins. He is not treated by critics as untouchable to the same degree as fellow arranger Nelson Riddle; he had an approach that could sometimes be considered a bit repetitive or simplistic, featuring what are often described as “high keening strings.” (Riddle, by contrast, was always varied and inventive.) Yet, in these years, Sinatra did not over use Jenkins’ talents. So, the two albums from this period, Where Are You? and No One Cares, stand as great examples of Sinatra’s voice framed by Jenkins’ sparse, emotive and exceedingly dark arrangements. (Ironically enough, Sinatra also called on Jenkins for his marvelous Christmas album.)
While Sinatra, in the second act of his American life, had enjoyed enormous professional success in the middle and late 1950s, he was still a human being, and other aspects had not gone quite as well. His very anguished relationship with Ava Gardner was officially ended with their divorce in 1957.
But from wherever it came, there was never much doubt that great darkness was there under the surface for Frank, and he could tell the truth about it, like no one else, when he was in front of a microphone.
So, his second recorded reading of “Why Try To Change Me Now” is taken significantly more slowly than the first, every note and syllable carefully measured out. It can be heard via iTunes or via Amazon and currently via YouTube.
Frank’s singing still possesses enormous grace and restraint, but the song is performed as if treading on a ledge that is now substantially thinner. Sinatra’s voice has that added depth that maturity has brought and at the same time some added weaknesses, and he puts all of this into play with devastating but still ultimately unstrained effect (and therein lies a crucial element of his genius).
When he reprises, in the end, the final questioning lines of the song …
Don’t you remember I was always your clown?
Why try to change me now?
… his voice conveys an expectation that is different than before. In the Columbia recording, the singer has a love, and he is at least yearning for a positive, accepting answer to his questions. Here—it seems at least to these ears—the words are sung as if to an abyss, to a lover who he wishes would answer him, but one who he knows is no longer listening …
(This post is in honor of Frank Sinatra’s centenary, which we’re marking at the present moment by looking at some of the songs as sung by Frank Sinatra that Bob Dylan selected for his new album Shadows In The Night.)
Some of us are date-oriented and some of us are not. By dates, I refer neither to the fruity nor to the romantic kind (though the same statement would probably apply to both) but rather the chronological sort: anniversaries, birthdays, milestones and the like. Some of us are date deniers, wondering whether it matters that such and such happened so many years ago on this date. This day is still little different from yesterday or tomorrow, after all; it’s just another day, significant only for what it achieves for itself, surely, and not its numerical coordination with some other day.
Bob Dylan, however, has apparently been paying some attention to dates. The first track (“Full Moon and Empty Arms”) to be heard from his forthcoming Sinatra-themed album was released to the world last May 13th, the day before the anniversary of Frank Sinatra’s death in 1998 (perhaps someone’s itchy promotional trigger finger caused it to come out a few hours early, at least state-side). And the album itself is being released right here in the first part of 2015 A.D., which happens to be the centenary of Sinatra’s birth (his birth date being December 12th, 1915). Continue reading Bob Dylan, Frank Sinatra, 2015: A Very Good Year
Barely a week since the Charlie Hebdo massacre and the additional murders that followed, the Bishop of Rome, Pope Francis, has made some remarks on the broader issue of free speech and the appropriate response to insults to one’s religion. According to the Associated Press, he spoke in an interview aboard the papal airplane and opined that there should indeed be limits to free speech, which he illustrated with this example:
If my good friend Dr. Gasparri [an aide to the Pope] says a curse word against my mother, he can expect a punch. It’s normal. You cannot provoke. You cannot insult the faith of others. You cannot make fun of the faith of others.
[…] There are so many people who speak badly about religions or other religions, who make fun of them, who make a game out of the religions of others. They are provocateurs. And what happens to them is what would happen to Dr. Gasparri if he says a curse word against my mother. There is a limit.
It may be surprising to many to hear Pope Francis speak uncritically of punching someone for merely delivering an insult or curse. What happened to turning the other cheek? That was, after all, kind of a big theme with the gentleman who started this whole Christianity racket (in which—full disclosure—yours truly endeavors to sometimes participate). What was his name again? Continue reading Pope Francis Punches Out the Wrong Guy
What happened today in Paris at the offices of the publication Charlie Hebdo ought to be a watershed moment that forces just about everyone in what we think of as the free Western world to remember what freedom is, and one that makes the ever growing threats against that freedom no longer possible to deny or excuse. However, a few hours into the watershed moment, it’s not exactly clear that this will the result. There has already been plenty of equivocation, talk of how what the satirists at Charlie Hebdo did was too provocative, and so on. Indeed, it was meant to be provocative, but in a free society provocation by way of ideas and statements should only produce in response other ideas and statements: not riots, not punishment under the law, and not bullets from a Kalashnikov. The spontaneous gathering of people in the streets in France (and around the world) to stand up for those massacred today, symbolically lifting pens into the air, is, on the other hand, a reason to hope that the correct lesson is being drawn by the critical mass of citizens. Continue reading Pens versus AK-47s and Cartoons versus Atrocities
Rafael Ramos and Wenjian Liu were murdered in Brooklyn yesterday, five days before Christmas. They were shot to death as they sat peacefully in their patrol car, eating lunch, and performing duty that would have found them without question coming quickly to the assistance of anyone in trouble in the nearby public housing project, as NYPD officers do on a routine and daily basis. The church that Officer Rafael (Ralph) Ramos regularly attended was reportedly packed this morning with those showing sympathy to his bereaved family. Ramos himself, a devout Christian, was to graduate today from the New York State Chaplain Task Force. His partner, Officer Wenjian Liu, had gotten married just two months ago. He and his bride were described today by a neighborhood acquaintance as having been “quiet and clearly in love.” Continue reading For Christmas in New York: Murder
Taking up an issue central to the platform of Mayor Bill de Blasio, the New York City Council this week introduced legislation that would ban the horse and carriage business in New York City. It remains to be seen if it will be passed. It’s likely no visitor to Manhattan would be unfamiliar with the sight—especially in and around Central Park— of these iconic horse-drawn carriages.
If the legislation passes, it should be emphasized that only the horses will be banned from the city, and not the drivers. The drivers might be offered job “retraining,” or apply for green aka Boro Taxi medallions, or perhaps drive proposed novelty electric vehicles in place of the horse carriages. The horses will be, well, put out to pasture, ostensibly. Continue reading Will the Last Horse to Leave New York City Please Sweep Up After Himself?
However strange one might think it that the president of the United States was first reported to have been sent to the hospital today for “a sore throat” and afterwards was diagnosed with “acid reflux,” it seems an opportune time to share a bit of knowledge I wish someone had shared with me much sooner.
In particular, this piece of advice ought to be shared on every bottle of TUMS® or ROLAIDS® or PEPCID® AC® or [fill in your own preferred over-the-counter antacid preparation]. Informing people of this, however, would necessarily reduce the sales of such substances; so, even in the information age, this information is not very commonly available. Continue reading Heartburn? Try Sleeping On Your Left Side
So, on his current tour—or, if you prefer, the current leg of his “Inevitably Going to End One Day” tour—Bob Dylan has been closing his shows in an unprecedented manner, with a song he had never sung in concert before. I’d daresay that precious few singers have sung this song in concert before (and I’d bet the house that no one has ever closed the show with it).
It is a song titled “Stay with Me,” and it was written specifically for a 1963 film directed by Otto Preminger called The Cardinal. Jerome Moss composed the score for the film, and Carolyn Leigh wrote the lyrics for this, the film’s main theme. And the film is about an actual Roman Catholic cardinal; that is, it follows the life of a protagonist named Stephen Fermoyle from Boston as he becomes a priest and goes through various dramas before ultimately rising to that office in the Church. (Curious fact: the “Vatican liaison” on the film was one Joseph Ratzinger.) Continue reading Bob Dylan Abides with “Stay with Me”
There’s been a flurry of stories in the press in response to a study that “reveals” the fact that sad or melancholy music provides consolation to human beings. There are references in these stories to the concept of “nostalgia;” a quote from the study itself states this: Continue reading Why Sad Music is Cheering
Under Milk Wood is Dylan Thomas’s “play for voices” (i.e. intended for radio rather than the stage), a quite wild and sometimes soaring portrait of the inhabitants of a fishing village in Wales, the fictional Llareggub, depicting both their dreams and a day in their lives.
One of the quieter moments comes at sunset, when the town vicar, the Reverend Eli Jenkins, goes out and says a prayer. The remarkable Cerys Matthews, a woman of so many hats, has just put out a new album with musical treatments of sundry works of Dylan Thomas, titled A Child’s Christmas, Poems and Tiger Eggs [full review at this link], and below via YouTube is her performance of “The Reverend Eli Jenkins’ Prayer.” Continue reading Cerys Matthews – “The Reverend Eli Jenkins’ Prayer”