Sunday, January 20, 2008

R.I.P.

By Mitchell

Don Wittman

Don Wittman was Canada's Curt Gowdy, Jim McKay, Chris Schenkel, Keith Jackson. For over 40 years, he was "the soundtrack of Canadian sports" - the CFL, the NHL, the Olympics, golf, curling, and everything in-between. I've written often of the "big-game announcer" - the moment you heard his voice, you knew it was a big game. Don Wittman, who died Saturday of cancer at age 71, had that kind of voice, and was that kind of announcer.

To every event he broadcast, he lent a note of authority, a dash of gravitas, and more than a hint of drama. He called 37 Grey Cups 28 Stanley Cups, 18 Olympic Games, always underplaying the event, letting the action on television speak for itself. It wasn't easy to hear him here in the States, but invariably when you caught the broadcast of a Canadian sporting event - the Grey Cup, the Stanley Cup - you heard Wittman's voice, without the self-hype and malarky that typifies most of what passes for sports broadcasting today. He was a member of the CBC Hall of Fame, to be sure, but also the CFL Hall of Fame, and once drank from the Grey Cup in a memorable post-game broadcast. With his death and that of Don Chevrier in December, Canada has now lost two of its great announcers, and great gentlemen.

Suzanne Pleshette

Suzanne Pleshette was the perfect TV wife. She was smart, sexy, sassy, but also genuine. In her most famous role, that of Bob Newhart's wife Emily on the original Bob Newhart Show, she gave us that television rarety - someone who was a real character, not just a caricature of one.

One of the reasons for the show's success was that it dared to portray its leads as adults rather than children (they even slept in the same bed!) - and that was something, in a medium in which husbands are often shown to be clueless fools and weaklings, the wives empty-headed sexpots or shrews. What made her character so real was the chemistry with her TV husband, a formula consisting in equal parts of love, respect, passion, exasperation, and resignation - in other words, the stuff of all successful marriages. She may have been Bob's foil, as one obit described her, but she was not a fool, nor did she suffer them gladly. But you could see how a man with a sense of humor would appeal to her, how a babe like her could fall for a nerd like Bob and stay together for so many years. Her surprise cameo at the end of Newhart's 80s sitcom, reprising Emily in a scene revealing that the entire series had been a dream and Bob was in fact still in his old show, was one of the great moments in TV history.

It would be a mistake to think that the show was all there was to Suzanne Pleshette - she appeared on the big screen and was a staple in television dramas of the 60s, and appeared in more recent sitcoms such as Will & Grace and 8 Simple Rules - but it was as Emily Hartley that we knew and loved her best; and that, it would seem, is not a bad way to be remembered, on the day she died of cancer at 70.

Friday, January 18, 2008

Bobby Fischer, R.I.P.

By Mitchell

Back in the day, when I was in school, the chess players were the nerds, the bookworms, the boys wearing the horn-rimmed glasses. There was something about them that was, well, a little different.

But there was a time in the early 70s when chess became kind of cool, even sexy. It was a time when chess even became a televised sport. (Don't laugh - if people will actually watch poker on TV, then anything's possible.) Chess was another weapon of the Cold War, wedged somewhere in between the space race and the Olympic hockey team; and chess players were the new scientists or classical musicians, so square they were hip. One man was primarily responsible for that transformation: Bobby Fischer.

When he defeated the evil Boris Spassky (he was a Russian, after all; he had to be evil, if not a Commie) in 1972 to become world chess championship, he also became an American hero, albeit for a very short time. About the time it took to go from an eccentric chess master to a full-blown nutjob.

He was an American champion at 14, a grand master at 15, and world champion at 29. He was tall, youthful and good-looking, the latest matinee idol. His magnetism positioned him to capture the sports spotlight. But, like those chess players we knew in school, Fischer was always a bit odd, seeing conspiracies behind every tree, under every bed. He was always storming out of matches, seeing photographers, journalists, foreign officials (he once referred to the Soviets as "Commie cheats," which endeared him even more to America) and even the lighting guy as potential adversaries. Was it gamesmanship or were we seeing the "idiosyncrasies" of a true paranoid? Were the symptoms there in the young Fischer; was there something in his drive for chess success at such a young age that left him scarred forever? We may never know, although his life should be a harsh lesson for any parents who have seen their children come to great success (athletic or otherwise) at an early stage of life, a time when it is far better to be just a kid.

Fischer gave up his title without ever having defended it, refusing to play Anatoly Karpov. As his grew, his star faded, a comet flaring out, until he was a mostly forgotten champion. He became a ravenous anti-American and anti-Semite - he said 9/11 was a good thing and that America should be "wiped out," and called Jews "thieving, lying bastards." Not only had his elevator ceased going to the top floors, it seldom seemed to emerge from the basement. He renounced his American citizenship and spent the last years of his life in Iceland, where he was still remembered for what he had been, rather than what he had become.

Garry Kasparov, the great Russian champion and anti-Communist, was quoted today as saying, "The tragedy is that he left this world too early, and his extravagant life and scandalous statements did not contribute to the popularity of chess." And that is probably about the best way to put it. Bobby Fischer, who died today of kidney failure at 64, was an icon of the 70s, a mad genius, a great chess player who threw it all away, a victim of his own mind, and he died a mere characture of his former greatness.

Thursday, January 17, 2008

The Writers' Strike and the Month of Money

By Bobby

In a form of automobile racing held primarily in the Midwest known as sprint cars (not to be confused with NASCAR Sprint Cup), a series of races in July and August collectively have the title of the Month of Money. These races, which include the King's Royal (where the winner of the Eldora Speedway (Rossburg, OH) event receives a lavish coronation ceremony, complete with crown, a royal seat, and a robe) and the Super Clean Knoxville Nationals in Iowa, are regarded as the highest-paying races on the schedule and are regarded as the most prestigious races on the schedule.

Television traditionally has its "Month of Money," where networks and affiliates usually aim for the biggest events on television in a span of six to seven weeks, when most major events air during that span. The Month of Money events on television are the Golden Globe Awards (NBC), Super Bowl (Fox, NBC, CBS rotation), Grammy Awards (CBS), Daytona 500 (Fox), and Academy Awards (ABC), all of which air on Sunday nights during the Month of Money. These five events are regarded as highly-rated events that bring in huge revenues for the networks fortunate to air them; all four major networks have at least one Month of Money event, and three (NBC, CBS, Fox) of them can have two if the rotation allows them to have two. Advertising revenues for the networks and their affiliates could make or break the year if they perform well during the Month of Money; a network without a major event could be down millions, and lose precious affiliates. Such was the case after CBS was relegated to minor network status in 1994 following the loss of the NFL, and prestigious affiliates, a situation from which they have never recovered, as they were pushed into lower-power minor stations in major markets (Detroit, Atlanta, Milwaukee, Austin), which have cost them ratings power nationally.

With the Writers Guild of America strike, Fox is sitting pretty in the catbird's seat for winning the Month of Money as NBC lost the Golden Globe Awards to the strike, and ABC may be on the verge of losing the Academy Awards because of the strike, as the support of the Screen Actors Guild of the strike (note United Artists (Tom Cruise) and Worldwide Pants (David Letterman) have made independent collective bargaining agreements with the WGA) leads to boycotts of both entertainment-themed awards shows. CBS has the Grammy Awards, and the status of that awards show is currently in the fate of the union (it will go up against the Pro Bowl two out of every three years; during CBS' turn at the Pro Bowl, they will have the game moved to Saturday). Fox has the Super Bowl and Daytona 500, and both events are live sporting events, so neither event can be stopped by the strike.

The fact the Super Bowl traditionally wins that network the week is important; only a bad game with low appeal will cost the network the week. The Daytona 500 is growing into that level, as the final laps of the race are now held in prime-time, as the 2007 race ended after 7 PM.

Does the announcement of the cancellation of the Golden Globes and potential loss of the Grammys and Oscars mean Fox is home-free in the Month of Money with the Super Bowl and the Daytona 500?

Wednesday, January 16, 2008

Wish I'd Written That

By Mitchell

To the Frenchman, nothing counts, by and large, except what is French. No other culture, language, or heritage isas fine. This narrow patriotism fuses into fierce national pride and, to a great extent, excludes interest in any other culture, language, or heritage.

If France loses, the French tend to belittle the winner, put forth a dozen alibis for their own defeat, and intimate that the prize wasn't worth winning anyway.

If France wins, the instrument of victory is likely to be applauded beyond all proportion, to be hoisted to giddy heights in the popular imagination - and to be a flop all the rest of his life as a result.

Robert Daley, Cars at Speed

Poetry Wednesday

By Judith

The two song lyrics we're going to look at today were written by different people, but what brings them together is the composer, Bert Kaempfert, who recorded these and many other songs he wrote with his orchestra in the 1960s. And - this one's for you Badda - I'm going to tie him in to Frank Sinatra (of course) at the end.

I find these lyrics interesting because of their internal rhythm and rhyme scheme. Even without the music they move along with an infectious beat. The first, written by Kaempfert with Milt Gabler, was penned for Nat King Cole's last album in 1965. Notice the device of using the same word at the end of one line and the beginning of the next that provides emphasis and a strong push-off for the following line ("..game for two, two in love...") and the repeated, internal rhyme of "...make it, Take my heart and please don't break it". Not to mention the correct usage of "me and you", not "I and you" or "myself and you" as is so often used by people who have been scared into never using "me". (Actually, you and me flows better, but then doesn't rhyme. Oh well. Poetic license.)

L O V E

L is for the way you look at me
O is for the only one I see
V is very, very extraordinary
E is even more than anyone that you adore.

Love is all that I can give to you
Love is more than just a game for two
Two in love can make it
Take my heart and please don't break it
Love was made for me and you

The second song was written by Kurt Schwabach (with additional lyric by Milt Gabler) with Kaempfert and recorded in 1962. As with many of Kaempfert's songs, someone else made it famous. Remember 1963 when Wayne Newton was just a kid? Now the interesting thing about this is the mispronunciation of the German word "Schoen" (sounds like shern, not shane) in order to force the rhyme for "pain", "explain", "lane" and "again". To be fair, this isn't the first time it was done; the Andrews Sisters recorded a song called "Bei Mir Bist du Schoen" and also rhymed the last word with "explain".

This one is chock-full of internal rhyme and gives the impression that the singer (or speaker) is trotting down a staircase or skipping a stone on water. You want to move, even while reading it sitting down.

Danke Schoen

Danke Schoen, Darling, Danke Schoen.
Thank you for all the joy and pain.
Picture shows, second balcony, was the place we'd meet,
Second seat, go Dutch treat, you were sweet.

Danke Schoen, Darling, Danke Schoen.
Save those lies, Darling don't explain.
I recall, Central Park in fall.
How you tore your dress, what a mess, I confess. That's not all.

Danke Schoen, Darling, Danke Schoen.
Thank you for walks down Lover's Lane.
I can see, hearts carved on a tree.
Letters inter-twined, for all time, yours and mine, that was fine.

Danke Schoen, Darling, Danke Schoen.
Thank you for seeing me again.
Though we go on our seperate ways,
Still the memory stays, for always, my heart says, Danke Schoen.

Danke Schoen, Oh Darling, Danke Schoen.
I said, Thank you for seeing me again.
Though we go- on our seperate ways,
Still the memory stays, for always, my heart says, Danke Schoen.
Danke Schoen, Auf Wiedersehen, Danke Schoen.

Kaempfert wrote a number of other songs that ended up big hits for other people. "Moon Over Naples" became "Spanish Eyes", recorded by Al Martino and "A Swingin' Safari" reached # 13 on the charts as recorded by Billy Vaughn in 1962. Later that year the song gained even more fame when it became the theme for the game show "The Match Game". When the Beatles were performing and recording in Hamburg in the early 60s, a Croat singer named Ivo Robic convinced Kaempfert to hire them to be back-up for a singer named Tony Sheridan in a recording session. Ivo Robic also co-authored a famous song to be used as part of the score Kaempfert wrote for a movie in 1965 A Man Could Get Killed.

So where does Frank Sinatra come in? That song in the film was "Strangers in the Night", a # 1 hit for ol' blue eyes.

Tuesday, January 15, 2008

When Men Were Men - and Conventions Were Conventions

By Mitchell

Donald at 2Blowhards has a nicely evocative article on a time for which all political junkies hearken: the era of the contested political convention.

There hasn’t really been one since the 1976 Republican convention, in which neither Gerald Ford, the incumbent, nor Ronald Reagan, the challenger, arrived in Kansas City with enough committed delegates to capture the nomination. Ford had the lead going into the convention, however, and barring a procedural vote going in Reagan’s favor (it didn’t, and in the process indicated to the convention the relative delegate strength of each candidate), he was still the solid favorite to win – which he did, on the first ballot.

The Democrats almost had one, in 1980. Again it was the case of a challenger taking on an incumbent. In this case, the challenger was Ted Kennedy, making his one and only run at the presidency; the incumbent was Jimmy Carter. Again there was a procedural vote, on which Kennedy had laid all his chips; again the party machine, arrayed (for better or worse) behind Carter, held the line; again the challenger fell. Carter won the nomination only, as had Ford four years earlier, to lose the general election. (However, for Kennedy, unlike Reagan, there would be no second act on the presidential stage.) And with that, for better or worse. the last excitement that anyone would ever see at a political convention had come to an end.

(And, by the way, doesn’t it really say something about the uselessness of Kennedy’s political career that he wasn’t even able to wrest the nomination away from Carter, perhaps the weakest president of the latter part of the 20th Century? If this doesn’t prove the power of the incumbency, nothing does.)

As Donald points out, 1952 was the last time either national party had a presidential nominating battle go to multiple ballots. (A slight correction on Donald’s post: while the Democrats did indeed go to three ballots before nominating Adlai Stevenson, the GOP convention liked Ike on the first ballot – with Eisenhower only five votes short of the nomination after initial voting, a series of switches in state voting wound up giving him a decisive victory. Then, as now, everyone wants to be seen going with the winner.) In fact, the last time there was a multiple-ballot vote on anything was, of all things, the 1956 Democratic vice-presidential contest. Stevenson, having once again won the presidential nomination, decided to allow the convention to choose his running mate. Stevenson’s rival, Estes Kefauver, bested the young John F. Kennedy on the second ballot to capture the nomination.

Back in those days, political conventions were once the occasion for excitement, anticipation, drama. They represented the climax of a campaign season that wasn't dominated by "Super Tuesday," a time when most candidates didn't announce until early in the same year of the election, when the New Hampshire primary wasn't held until March, for heaven's sake. Take a look at TV Guide in July of 1964 for example, when the Republicans were preparing for one of the most tumultuous conventions they'd had in years. NBC provided live daily coverage of platform and credentials committee hearings. CBS aired a one-hour documentary showing highlights of "Great Conventions" of the past. Both networks provided gavel-to-gavel coverage than ran well past midnight. They actually expected people would want to watch this kind of coverage. And many did.

Today, of course, the national political conventions have less excitement than a cow-milking contest. Why is that? For one thing, as far as political conventions go, excitement usually means controversy, dissention, fighting. All of it in front of the cameras. (Recall 1976, when Vice President Nelson Rockefeller became involved in a brawl on the convention floor that resulted in him ripping out a telephone that connected one of the delegations to the podium.) And while all that makes for riviting TV, it doesn't always translate into effective politics, especially for the party in question. Heck, the role call of the states - the "Mr. Chairman" moment about which Donald writes fondly - is now spread over two or three days. Nobody even bothers to watch it.

2Blowhards commentor Annette mentions the 1972 Democratic convention as a turning point, with George McGovern delivering his acceptance speech at around 3:00 in the morning. She's correct, because after that debacle things do change. But to understand the nature of the change, it's necessary to go back to the tumultuous 1968 Democratic convention in Chicago. You could write a book about that one, but the image one should keep in mind is that of Chicago Mayor Richard Daley (no, not the current one - his legendary father), his iron-fisted response to anti-war demonstrators, and his role in delivering the old-line establishment machine behind Hubert Humphrey. The reformers didn't forget that in 1972, and at the Miami Beach convention they sought to break the hold of the establishment, beginning with their successful challenge that ousted the Daley-controlled Illinois delegation. The result of all this reform was a tyranny of the minority.

Now, I don't use that phrase perjoratively, for in fact we're talking about factions that in and of themselves were true minorities in the political system prior to that time - blacks and women, abortion rights advocates, anti-war protestors, along with the anti-establishment reformers. Put together they made a majority of the delegates in Miami, enough to get George McGovern the presidential nominaiton, but their collective power was somewhat diminished because of their factionalism. Theodore White's The Making of the President 1972 provides a marvelous description of the pinnacle of this disorganization - the chaos surrouding the choice of McGovern's running mate Thomas Eagleton, and the subsequent floor fight over his nomination. It was the voting on that nomination - three other candidates were nominated, and over 70 received votes (including 30 votes for the unknown Georgia governor Jimmy Carter) that pushed McGovern's acceptance speech out of prime time and into a political Twilight Zone.

It must be said that the Democrats learned well from that lesson. Watching the fiasco in Miami Beach - and remembering it four years later - was the new chairman of the Democratic National Committee, Robert Strauss. Strauss was determined not to repeat the mistakes of 1972, and created an ironclad agenda written months in advance of the convention, which included a prime-time acceptance speech. He even specified the exact time, to the minute. The model has been followed ever since.

There's another byproduct of that 1972 convention however, one that tells us a great deal more about our modern politics. Having ruefully discovered the inherent drawbacks to the populist, power-to-the-people movement spearheaded by the McGovern reformers, the Dems took a step back. Oh, the minority - some might say fringe - elements continued to control the party machinery, as they do to this day. But whereas the message of 1972 was "Let Everyone Speak," the message of 2008 has become "Speak Only If You Agree With Us." By allowing the tyranny of the minority to become an ideological dictatorship, the Democrats have essentially stamped out any form of dramatic dissent from the party line, at least at the national level. Pro-life Democrats? Not on the podium at the national convention. Pro-war Democrats? Ask Joe Lieberman. The voiceless elements do indeed have a voice in the Democratic party - the only voice, as it happens, that counts. Even some traditional elements of the Democratic coalition made the switch - unions, which had been staunchly anti-Communist throughout the Cold War, moved steadily to the left. Catholics, long a staple of the party, no longer cast their votes reflexively for the Democrats - and those Catholics left in the Democratic Party tended to be liberal, heterodox ones, now challenging the Church's leadership rather than the party's.

This is only a theory, I admit, but I think it's a useful one. Anyone reading the evolution of the Democratic Party, from Kennedy's 1960 victory through the chaos of 1968 and 1972, to the Strauss-mandated order of 1976, to the monochromatic liberalism of today, would share at least some of these conclusions.

What about the Republicans, you say? Well, they've had their own hierarchical pattern throughout the years, usually bestowing their presidential nomination on candidates who've "earned" it through long years of service. For further examples, see "Nixon, Richard," (although in that case they were right), "Ford, Gerald," "Dole, Robert," and "Bush, George W." The best you can say about them is that the winner usually bears the establishment seal of approval, which puts the same kind of damper on genuine debate and disagreement at the convention as the one-note politics of the Democrats. There's some hope that this year's GOP covention, to be held across the river from us in St. Paul, might be different. I share that hope, but not the optimism that it will actually happen.

At any rate, we didn't set out to discuss ideology or current politics as much as to cast an appreciative, nostalgic eye back in time, to an era when political conventions really meant something, when the smoke-filled rooms and the backstage deals and the packed galleries created their own share of drama and helped write the history of America. It was messy, often unfair, autocratic, splattered with mud - and I miss it tremendously.

What Music Means

By Drew

I meant to write about this a while ago, back when it was more topical. I suppose other things got in the way, and now I'm just coming back to it. I'm glad I waited though, because I've come up with another angle to it.

It starts with this comment by Ray from MN on a previous post. In respose to one of Mitchell's pieces on opera, Ray wrote:


You write on opera and music in a way that stings in that I have ignored it for most of my life. I've missed out on a lot of what it is to be human. [Emphasis added]


Undeniably, there is something in music that touches us in that way, that issues a subtle comment on "what it is to be human."

And so we come to the death, early in December, of the contemporary classical composer Karlheinz Stockhausen in Germany. Alex Ross describes Stockhausen as 'a giant of late-twentieth-century music," a composer who "released sounds of mind-opening and mind-bending power." Andrew Clements, writing in the Guardian, says that Stockhausen "was part of the generation of composers who had seen the old order in Europe come to catastrophe in the chaos of the second world war, and had determined that artistically they had to begin again." Ivan Hewett, also in the Guardian, says that Stockhausen "was one of the great visionaries of 20th-century music." The conductor Esa-Pekka Salonen called Stockhausen "the rock star of my youth." Stockhausen's influence was said to stretch from the Beatles to the avant-garde composer and conductor Pierre Boulez.

Amidst all this praise for Stockhausen, David Pryce-Jones, writing at NRO, comes to a completely different conclusion:


[Stockhausen] preferred not to communicate, to ignore melody and rhythm, and simply to ambush his audience with strangeness and discord. His work is a gigantic gimmick. Much of it is electronic, or consists of the abuse of instruments and people. Players are often left free to begin or to stop, interpreting as they choose. Players are advised in one instance to “Live completely alone for four days, without food in complete silence.” One of his pieces lasts for an hour with six vocalists “meditating” on a single note. In another piece, the members of a string quartet played from an airborne helicopter, their sounds relayed through screens and loudspeakers. It is the musical equivalent of conceptual art. The degradation of the man’s character was shown when he described 9/11 as “a work of art.”

[...]

Egomaniacs like Stockhausen are meat and drink to promoters and sensation-mongers, and nothing much can be done about it except to endure and wait for them to be gone. Unfortunately he and so many like him pass as “artists,” when they are nothing of the kind, but only destroyers of the culture they inherited.


So which is it? The weight of truth seems, to me, to side with Pryce-Jones. I say this not only because of Stockhausen's excreble comments on 9/11, but because so much of Pryce-Jones' charges against Stockhausen's legacy speak to my own opinion on the meaning of music. As Pyrce-Jones says, music "is perhaps the most direct and beautiful of the possible means of communication. Pretty well all of us recognise melody and rhythm, and these correspond to something deep in our common humanity."

In that sense, Stockhausen's music appears to fly in the face of the relationship between music and nature. Rather than harmonizing with our natural rhythms, it would seem to contradict it, and with that our humanity as well. It is destructive, driving apart rather than synthesizing. Hewett himself, in his obit of Stockhausen, is completed to mention "the accusation levelled at Stockhausen's music as a whole, that the vast ideas it contains often sound chaotic or merely ugly."

And there, I think, are the key words: chaos and ugly. Does it not say much about the way we view humanity, and life? There is our constant struggle against the order of natural law, the order given us by God. In place of that order we seek to insert chaos - or, if you will, relativity. Chaos, as seen through its struggle against nature, is not a good thing.

Nor can it be said that there is anything naturally ugly about humanity, although many aspects of it may be thought ugly; just as there is nothing ugly about human beings, even though many of them appear to us that way. In fact, nothing which is created in the image of God can be said to be ugly, except through self-choice. Choices, perhaps, that Stockhausen reflects through his music, fighting the natural instinct toward beauty that exists in the human soul and manifests itself through human creativity.

I don't want to go too far down that road however, because I don't want to fully pass that kind of personal judgement on Stockhausen. He was said to be a man of God, who said that God gave birth to him and called him home. And so perhaps, in his own way, Stockhausen meant to explore some of that mystical relationship through his music. But there have certainly been many ugly explorations of religion in contemporary art; we are constantly exposed to the ugly: ugly churches, ugly religious music, ugly theology.

And so we're left with a continuing plea to remember the relatonship that is supposed to exist between art and beauty. For if, as we've written before, there is an element of truth essential to art, then also there must be that relationship between truth and beauty. Stockhausen's music has been called many things; I'm not aware that beautiful was one of them. And, as Ray reminded us in the quote that began this peace, true beauty is a lot of what it is to be human.

Monday, January 14, 2008

What Not to Write

By Mitchell

As read in The Corner at the end of last week, a wise person writes Jonah Goldberg as follows:

Hello [writes Jonah's correspondent] , I wonder if you could help me save my sanity. The use of periods in the middle of sentences in order to emphasize the gravity of a statement has to be absolutely the most annoying online cliche I have ever seen. [Jonah had described something as the "Most. Painful. Thing. Ever."] Everyone does it. Everyone. It was interesting maybe two years ago when whoever it was (you? I wouldnt be surprised) started this stampede, but I cannot take it anymore. Every blog, every commenter, every diarist, does it and thinks they're being clever.
Well, it isnt clever anymore. Now it's like the visual equivalent of the sound of a broken whiskey bottle being dragged across a chalk board. Please spread the word to your brethren that many of us toiling out here in Readership Land are about to snap. Much obliged!

[Jonah replies]: Noted! Actually, my pet online peeve are people who use the phrase "Just sayin'" as a cutesy way of saying something barbed. I've done it a couple times without catching myself. But I really can't stand it.

Both Jonah and his correspondent are right here. We try very hard at this site to be analytical, concise, and (on rare occasion) profound. What we don't go for is clever or cute, especially when it borders on snarky. To the items listed above I'd add, "Umm," which is almost always both cutesy and snarky. Forget about the broken whiskey bottle and the chalk board; it's a sure inducer of projectile vomiting. As anyone who reads our Rules of the Road knows, something like that'll get you booted right off this site, unless you're willing to pay an exorbident ransom to the Managing Editors.

There's nothing wrong with irony, as long as you don't allow it to become your world-view. It might have been fresh when it started, but by the time I wrote this description in my as-yet unpublished novel, the ironic lifestyle had already become a parody of itself:


In one of the front rows, I recognized Mark Westerman, the beat reporter from the Troyville Sun, Moon and Star, who’d been covering the campaign. Westerman was one of those smart-ass punks who figured that he’d do some time in journalism before writing the great American novel, wowing us all with his hip post-modern observations on the irony of life. In reality, the irony was that he didn’t get it, not at all, so busy was he trying to apply that post-modern spin of his to the political scene. He figured he was too cool, too preoccupied with being hip, to be seen talking to mere politicians; but he also knew that lowering himself to speak with them gave him the opportunity to talk down his nose to them in his articles, which would be even more ironic, and in an ironic kind of way this actually made him more diligent than most local reporters.

Life is rich enough in irony without having to pose for it, but the danger is that when you see life as being too ironic, you lose sight of most of what life is all about, especially meaning. And if you're trying to advocate a particular point of view, you're almost sure to find yourself preaching to the choir and turning everyone else away. And I think most of us are capable of better than that. Aren't we?

Friday, January 11, 2008

Pearls of Wisdom

By Judith

Here are another batch of our cosmic quotes.

1. The best things in life...are better than one.

2. What's good for the goose...doesn't pay.

3. An apple a day...flies when you're having fun.

Think about it.

Wednesday, January 9, 2008

Poetry Wednesday

By Judith

No more calls, we have a winner! Yes, Cathy of Alex indeed answered each question in last week's poetry quiz correctly. Cudos to Cathy.

Now, here are the poets and the titles of the poems from which the quotes came.

1. Ben Jonson "To Celia"

2. Robert Herrick "Gather Ye Rosebuds While Ye May"

3. William Blake "The Tiger"

4. Edgar Allen Poe "To Helen"

5. Percy Bysshe Shelley "Ode to the West Wind"

6. Robert Browning "Home-Thoughts, From Abroad"

7. Robert Browning "song from Pippa Passes"

8. Robert Louis Stevenson "Requiem"

9. John Donne "from Holy Sonnets"

10. Robert Frost "Stopping By Woods on a Snowy Evening"

As I mentioned in one of my comments to last week's post, perhaps the next contest will be "Bible, Shakespeare, Cervantes". No, it's not anything like Rock, Paper, Scissors. These three sources are responsible for a tremendous number of quotes found in every day conversation. I'll work on it.

Beginning next week, we'll move from 20th century poets to survey poems from all different eras and genres.

Tuesday, January 8, 2008

The Rat Pack in Heaven

By Mitchell

A few days before Christmas, I was walking home from work. My regular route takes me past one of those establishments which is often euphemistically referred to as a “gentleman’s club,” the term “gentleman” being applied to various degrees depending on its degree of appeal to the hoi polloi (i.e. truck drivers or professional athletes).

At any rate, what caught my eye was a sign in the window featuring a portrait of what looked to be a Vargas girl dressed up in a Santa suit (or, at least, what Santa would wear if he were in fact a Vargas girl), with an appeal for “Toys for Tots.”

OK, I thought. I suppose even in a place like this people aren’t immune to the spirit of the season and the desire to help out the less fortunate, especially children. If their appeal brings a little happiness to some poor kids at Christmas who don’t have much, then bless their hearts, even if they are a little degenerate.

Upon closer inspection (yes, the things I do for my readers), the sign turned out to be for something that wasn’t quite “Toys for Tots,” although it was close. (I’ll leave it to your imagination as to what it really said although, as they say, consider the source.) But as I continued home, I wasn’t quite able to shake off this thought of strippers colleting toys for kids, and what it all meant.

Most of us believe, to one degree or another, that there is an innate desire within everyone toward goodness. We think, or like to think, that even the meanest, the most irascible, the least pleasant people we know, are all capable of unexpected acts of kindness, even if they’re few and far between. Why these acts of kindness should have to struggle to emerge is just one of those mysteries of life.

In Harlan Ellison’s original script for the classic Star Trek episode “The City on the Edge of Forever,” we are presented with a Spock whose logic is at a loss to explain why a character who is “amoral, evil, a killer. Selfish and capable of anything,” would still risk his own life to save the life of another. Kirk, who understands humanity in a way that Spock cannot, can only offer a philosophical reply:


We look at our race, this parade of men and women, and the unbelievable harm and cruelty they do. And we sigh and we say, “Perhaps our time is past, let the sharks or the cockroaches take over.” And then, without knowing why, without even thinking of it, the worst among us does the great thing, the noble deed, that spark of impossible human godliness. And we say, “Perhaps the human race is entitled to a little more sufferance. Let them keep trying to reach the dream.”


Spock, understanding, sums it up: “Evil can come from Good, and Good from Evil.”

It’s not logical, the thought that a fundamentally bad person can still be capable of selflessness, any more so than why a fundamentally good person can still commit acts of coldness. But then, there are many things about humans that are not completely logical.


*****

Which brings me, in a roundabout way, to the title of this piece. Ah, The Rat Pack - Frank, Dean, Sammy, Joey and Peter (the one everyone forgets). The other night I was watching an old Frank Sinatra TV special from the mid 60s. What a talented man, I thought: charasmatic, confident, able to phrase a lyric like nobody's business. Great actor. Generous, both with his talent and with his money. And, as many people have written, a pretty nasty guy as well: abusive, domineering, thin-skinned, four-times married, a brawler, a dropper of friends at the smallest provocation.

Yeah, Frank was a very tough, very complex guy. The rest of the Pack, though perhaps not as flamboyant as Sinatra, had their own share of flaws - infidelity and divorce, drug and alcohol abuse, arrogance and distain, selfishness and cold-blooded business dealings. Sammy converts to Judaism, and you have to wonder about that. Heaven knows I'm not trying to point fingers here; we all have our own share of flaws, and in proportion ours could well be even worse that that. But it goes to show, as I mentioned earlier, that the human animal is not only a very complex one, but most illogical as well. You look at a celebrity - a movie star, an athlete, a politician, or Frank Sinatra - and you struggle to reconcile their feats and their flaws, their tenderness and their cruelty. On the one hand you marvel at the gift, on the other you despair at the waste. Maybe you feel guilty for liking them so, knowing what you do about them; maybe you make excuses or try to understand, but you can't stop liking them anyway.

Flaunting many of the rules of common decency, treating several of the Commandments with distain - truly, you worry about someone's mortal soul in a case like this. But, you think, there must be some kind of trade-off here. How can someone cause such pain, hurt, humiliation - and at the same time touch you in such a way that produces delight and wonder? There must be something about the charity, the generosity, the simple pleasure and entertainment that they provided for people - that couldn't all be for naught, could it? It has to count for something, you think.

And so you resort to the great bastion of Christianity - hope. You dare to hope that God, in His infinite wisdom and justice, will temper His justice with mercy. You think of the joy you experienced, the memories you have, you recall the generosity you received - and you hope. You trust, because you know that God's judgement is perfect, but you still hope.

Avery Cardinal Dulles writes at length on the population of Hell, addressing the question as to whether or not we can dare to hope that all will be saved. Salvation, we know, is offered to all, even though not all will choose it. As Paul writes, the gospel contains “the power of God for salvation to everyone who has faith” (Rom. 1:16). So we look at The Rat Pack, we love them for the pleasure they gave us, how we laughed at their jokes and thrilled at their talent, how we listened to their music and for a while felt young again. And we hope.

Ultimately, as it should be, salvation remains a mystery of God's province. And while mystery often causes doubt, it also creates hope. As Cardinal Dulles writes,


Paul, without denying the likelihood that some sinners will die without sufficient repentance, teaches that the grace of Christ is more powerful than sin: “Where sin increased, grace abounded all the more” (Romans 5:20). Passages such as these permit us to hope that very many, if not all, will be saved.


That, indeed, is hopeful. So do we dare to hope that The Rat Pack, for all their flaws and imperfections, are there with the rest of the saints, playing their heavenly music even if their halos might be a bit tarnished? Such a hope might seem to some to be most illogical. But humans, as Spock found out, are most illogical beings.

Monday, January 7, 2008

Wish I'd Written That

By Mitchell

"There's some people who say you shouldn't have no weaknesses at all... no vices. But, if a man has no vices he's in great danger of making vices out of his virtues."

- Dialogue written by John Michael Hayes for The Matchmaker

The Moment of Truth

By Drew

By tomorrow night we should know a great deal more about the shape of the presidential race, and it's possible that we may look back someday on the last couple of weeks and see that it was all quite inevitable. On the other hand, we might find ourselves asking how in the world we ever could have thought such ridiculous things as we did. Such is the nature of politics.

There's a great deal being written about the two front-runners, Huckabee and Obama. Some still think of their campaigns as long-shots (Huckabee's in particular), but unquestionably they're being taken more seriously than they were a few months ago. With each man, his primary strength - that he's not a Washington insider - mirrors his primary weakness - his lack of experience in a dangerous world. It's a nice snapshot of life in general, where our strengths and weaknesses tend to be flip sides of the same coin.

I can't say much about Obama since my politics don't swing that way, but Huckabee remains an intriguing figure. It's not that I'm supporting Huckabee; I admit that I don't really care for the man either personally or politically, but every time I try to dismiss him there's something that causes me to come up short. It's an angle that I don't think you see discussed in conventional political circles, and that's why we're going to discuss it here right now. Let's call it the "God Bless America" angle, and as we discuss it understand that there's no irony or cynicism intended in that statement.

Huckabee is the rare Republican, socially conservative and economically moderate (or liberal, if you will). Contrast that with the man who remains the GOP favorite, Rudy Giuliani. Again, flip sides of the coin: Rudy is the social liberal, the economic conservative (or so the perception remains). Huckabee's major weakness - the lack of experience - is Giuliani's strength. (Witness his "Tested. Ready. Now" theme.) To those who value national sercurity as the premier issue in the campaign, Giuliani's strength in this area outweighs all his other faults.

But let's return to that "God Bless America" idea. It's pretty much an ingrained part of our cultural thought through the generations that America has a special relationship with God. Washington's belief in "Providence," Lincoln asking if "we are on God's side," Reagan's "shining city on a hill," all point to this belief. Whether you're for it or against it, there's no denying the belief is there.

Now, if you grant that this special relationship does exist, you also have to think that we've been trying His patience mightily for the last few decades. Again, regardless of your own personal beliefs, you can't really challenge the fact that America is a much different country than she was fifty years ago, or even fifteen.

This said, let's return to the question of Huckabee and Giuliani. If that special relationship between God and America still exists, what would the election of either of these men mean? And here is the point to which I've been building: if Huckabee, the social conservative, the believer in family values, is truly the man who best exemplifies that relationship, would it not be reasonable to conclude that he might receive some kind of Divine Guidance regarding those areas in which he lacks experience? He may well be naïve in the extreme when it comes to foreign policy, dealing with international crisis, defending the country from terrorism - but would it really matter? If God is truly active in the lives of men, could not one assume that He would be particularly active in the administration of a man who most closely reflects His desires?

Conversely, one looks at Giuliani - his tattered personal life, his support for abortion rights, his acceptance of what some would consider torture - and the same question arises. Would God go out of His way to provide that Divine Guidance? We all know of situations where a plan is worked to perfection, is implimented flawlessly, and yet for some reason still fails. Accepting this line of thinking, isn't it reasonable to assume that Giuliani's perceived strengths could turn out to be merely that - a perception, and nothing more?

Again, I want to stress that this shouldn't be seen as any kind of advocacy. I'm no fan of Huckabee, and Guiliani isn't about to see my vote either. But the question is still worth asking, and pondering. What if there really is a special relationship between God and America? What if God's blessing is still there, waiting to be reaffirmed or withdrawn? If this is true, is it not also true that the next president's beliefs may well have something to do with the success of his (or her) policies? This is something you don't see discussed much in the conventional world of politics. Perhaps it's time you should.

Friday, January 4, 2008

Pearls of Wisdom

By Judith

Pearls of Wisdom is a new department here at Our Word. We're going to tap into the cosmic consciousness in search of great universal truths.

For Christmas we received one of those magnetic word/phrase kits that you put on your refrigerator. You can write messages or poems or anything that strikes your fancy. Well, we thought it would be interesting to take the beginning of a phrase (the ones that start with capital letters) and randomly match it up with another phrase (the ones without capitals) to make a complete thought. We figure that there are great cliches just waiting to be found and, by some mysterious guidance, we might stumble upon the words the world is waiting for. Or not.

Anyway, here are the first four. Feel free to use them in your conversations.

1. Birds of a feather...should not throw stones.
2. Dead men...can't be choosers.
3. Haste...is the best medicine.
4. Cleanliness...sweeps clean.

Wednesday, January 2, 2008

Poetry Wednesday

By Judith

Happy New Year to all!

We're going to start out the new year with a little fun. Get out your pencils and close your books; it's time for a poetry quiz. I'll give you a line or phrase from a poem and you have to come up with the author. For extra credit, name the poem from which it comes. They sound so familiar, but... (Hint, two of these are by the same poet.)

Answers will be given next week. Good luck!

1. Drink to me only with thine eyes,/And I will pledge with mine;

2. Gather ye rosebuds while ye may

3. Tiger! tiger! burning bright/In the forests of the night

4. To the glory that was Greece,/And the grandeur that was Rome

5. If Winter comes, can Spring be far behind?

6. Oh, to be in England/Now that April's there

7. God's in his heaven-/All's right with the world!

8. Home is the sailor, home from sea,/And the hunter home from the hill.

9. Death be not proud

10. But I have promises to keep/And miles to go before I sleep

Scoring:
8-10 Wow, you should be writing this column.
5-7 Pretty good. You must have paid attention in English Lit. class.
2-4 Turn off the television and pick up a book.
0-1 You probably shouldn't have played hooky so often.

Monday, December 31, 2007

Remembering at the End of the Year

By Mitchell

We do a lot of obituaries here - someone once said that, although we don't tend to write much of a personal nature, you can tell a lot about each one of us based on the obits we do. Some of them are for people who are simply too important to ignore, but most typify for us a moment in time, an era, a cultural landmark of one kind or another.

I think we do pretty well at painting that kind of cultural picture, but nobody does a better job of remembering those who've passed on than TCM. Their year in review is currently running a few times each day, but you can see it online here. You'd be surprised how many familiar faces died this year - those you knew of, and a few that will come as a surprise. And for good measure, while you're at it check out last year's review and see how quickly those names fall away if you don't take the time to remember.

Notable Quotables 2007

By Bobby

A computer crash removed so many quotes I can't believe how dumb I was! But I had enough quotes from 2007 to compile an entire season of Notable Quotables! A computer crash removed so many quotes I can't believe how dumb I was! But I had enough quotes from 2007 to compile an entire season of Notable Quotables!

“Have we secularized Christmas to the point that at schools and churches, we permit Elmo and Patsy sing ‘Grandma Got Run Over by a Reindeer,’ we let any type of bogus vocalist perform ‘Frosty the Snowman,’ or other winter music tunes of snow (‘Santa Baby,’ or ‘Let It Snow’) replace songs of Christmas such as ‘Rejoice Greatly, O Daughter of Zion’ (as sung by The Mississippi Squirrel), or The Brittnee lead us in ‘O Thou That Tellest Good Tidings to Zion’?

“Of course, the two songs from Messiah are appropriate for Christmas; the winter songs are for the winter season, and could be played once it snows or has ice! Santa Baby, on the other hand, is awful and the only time I've heard it was a 2003 CapitalOne Holiday on Ice event at the Colonial Center that was taped for an InterSport / NBC special.

-- On Messiah.

"Händel's Messiah is the great masterpiece that symbolizes God's greatness. Sadly, today's Emergent Church attitudes dislike such masterpieces while rewarding pieces that lack theology and are based on the beat. These majestic masterpieces with live accompaniment and sound doctrine and theology form the backbone of the Christian life and the Christ Child. The second and third parts are suited for Easter."

-- Another Messiah quote.

"It should be exciting as Helen (an older student of my voice teacher, by two years) wears the 'C' and I wear the 'A' for this event of hope, which is in a way a great way to minister to these adults, when considering the song I sing is 'O Rest in the Lord' from Mendelssohn."

-- On a benefit at Still Hopes (an Episcopal retirement home). The "C" and the "A" are hockey references. The captain's sweater has the "C" and the alternate captain has the "A". Helen is older and has more experience. She sings at her church and in the choral society, something we don't have at home, sadly.

"Five years from now, who will remember 'He Reigns' from the Newsboys, or even the latest Chris Tomlin piece which is the #1 song on the radio, or the current GMA Dove Award winner for Song of the Year? Do you remember the popularity of the latest song off the radio from five years ago?"

-- A question to those about 'modern worship' and the trends of pop that fade away quickly. This was asked in a controversial letter I wrote to the church about the dangers of the Emergent movement.

"Too many 'modern' musicals have adult themes inappropriate for the kids who are in attendance."

-- On the inappropriate themes of modern musicals such as "Hairspray," transvestites) and "Mamma Mia!" (same-sex unions)

"I noticed how even people in my generation and the newer ones have bought hook, line, and sinker the entire idea that the theology-lacking modern rock worship is better than the hymns. In a meeting brought after some younger church members wanted me disciplined for questioning the theology of the songs, one person referred as 'dead music' that children will not listen as Bach, Händel (love participating in the sing-along!), Mozart, and Mendelssohn (whose 'O Rest in the Lord' was sung by me at a recent event at Still Hopes), while the music called 'relevant' is the latest song they hear from the rock radio station, especially (Chris) Tomlin or a wild rock star.

“At this rate, church music singers should ditch the lessons, ditch the classics, and sing or scream only the latest songs off the radio, and even dance to them. I questioned our music leader's decision to tell children 11-17 that they will not be singing -- the only music opportunities will be to dance to pop/rock songs or hip-hop tunes (which they call a great opportunity) or be puppeteers. If they had a choice between singing Händel and dancing to Chris Tomlin tunes (a popular modern rock musician), they would dance to Tomlin. Their MTV philosophy has sadly struck the church, and money, not God, has taken priority in church music it seems.

“I think today that 'relevance' only means relevant to today's secularist minds, as they are taught a diet of secularism in schools today."

-- Reponse to "God, Mammon, and The Worship Wars" by Warren Smith, The Charlotte World.

"Often times, unfortunately, the legacy of a person can be attained to comments made later in their life, especially when the nation is at war. Unfortunately for Beverly Sills, one of her last appearances on television was a November episode of ABC's 'The View,' when she supported the show's outrageous co-moderator, Rosie O'Donnell, days following the Liberal Revolution, which cemented her disgraceful comments to a national audience."

-- On Beverly Sills' death.

"(Spirit in the Sky) violates basic Biblical principles, and after talking to friends at our church's Santee outreach (which is now a full-blown church), the pastor and I both agreed are we sacrificing the Message of the Bible in favor of the danceable beat of pop radio?

“It's a far cry from Bach, who wrote songs to glorify God, and the great composers who set the Bible to music. When you are a classically trained vocalist, you need to learn to sing songs with proper message and theology in church."

-- An investigation of the song "Spirit in the Sky" after it was questioned by a member at church over its lack of theology led to an investigation. It was inappropriate for it to be used in church was the main objection.

"Women have it easy when it comes to fashion over men when they are singing, and that showed when I found myself wearing a shirt that was a little too tight on the collar, because it interferes with my singing, especially when I am wearing a tie!"

-- After a performance went awry because of a collar that was too tight, I noted women don't have the problem of collars! When do you see a female vocalist wearing a blouse that covers the neck the way men's shirts cover their collars?

"The best of those at Darlington was Ann Benson (who sang the Anthem at the 2003 Carolina Dodge Dealers 400; Mike McCarthy of the old motorsportstv.com, now a NASCAR public relations official, asked what demographic the track was aiming with an 'opera singer in a zebra suit'); I was chatting with Ann at 'Postcards from Morocco,' and my voice teacher was talking about 'Ann's national television appearance' with a friend when she saw me, luring me to her. I was about to break into 'Have you ever?' when she talked about Ann's appearance. "

-- While attending Postcards from Morocco, my voice teacher had nobody to sit with her, and I had nobody to sit with me. She was talking about Ann Benson (her boss) to a friend about her national television appearance my voice teacher has been on our state's public television, and that's about it) while I chatted with Ann, and my teacher and I seated ourselves together at the opera. This reference came after Carol Einarsson of Race Journal Online criticized Lisa Hudson's bad performance of the National Anthem at the Dodge Avenger 500 May 12 on her site. "Have you ever" refers to Mike Joy's comments in the aftermath of the finish at the Florentine circuit in 2003 (margin of victory .002 seconds, closest finish in motorsports), and was repeated after the wild 2007 Daytona 500 finish, again by Joy.

"I asked myself this weekend if making sanctuaries friendly to rock bands makes them unfriendly to classical singers. Note how many of the stages now include $25,000 loudspeakers on stage and around the church so the 'house can rock to the wicked subwoofers' (a comment by pop singer Wes King, the brother-in-law of the former Florida Secretary of State Katherine Harris). If people are saying we don't need a Christin Owens, Cynthia Hanna, Walter Cuttino, Marc Rattray, Marina Lomazov, or a Stephen Beall, but we do need boom boxes, As I Lay Dying (the name of a rock group very popular with church youth), Toby McKeehan (another leader of a rock/r&b/hip-hop group popular with the youth), and the latest off the pop charts, that's worth flinging my jacket from the suit and asking this: What good is it for people to be bombarded with loud rock music for 45 minutes before going to church?"

-- Written after a newspaper article referred to a church's sanctuary being revised for rock music.

"So, Sanjaya (Malakar) has met his Waterloo, ironically, on Country Night."

-- An Idols incident. Know your history to understand this quote.

"It tried to make its way down Richard Dawson's Creek, but instead, it was XXX on the board and found itself in the Room of Doom, busted. Miss Troccoli . . . Mr. Waltrip!"

-- An AOL Music site called "Kiss Me" one of the 111 worst songs ever. The reference of the former two would be to a certain RTL game show hosted currently by John O'Hurley. The latter referred to the GMA Dove Awards' notorious inspection of that year and the Song of the Year presenters.

"The church music ministry is not a dance club; what the leader is doing is converting it into a dance club, which is not the goal of music ministries at church."

-- My comments in an official commentary about the church music ministry's troubles.

"(The book by the mother of the Spears sisters) is the type of book I knew would be a signature product of the Thomas Nelson publishing régime after it was sold to secular liberal interests in 2006. Leo Hindery Jr, a top liberal venture capitalist, took over sole control from the Moore family when he bought Nelson Publishing in a leveraged buyout deal in taking the firm private.

“As a private firm, there is no accountability required in the way it was required when it was a public company . . . It's not the Sam Moore people anymore. I don't think Sam Moore or the Board of Directors would have approved this book in the past."

-- On the publishing of a book on parenting by the mother of the Spears sisters in the light of Jamie Lynn, an MTV star, being knocked up by a boy.

Friday, December 28, 2007

This Just In

By Steve

Clemens Vows to Launch Own Steroid Probe
Says He Will Not Rest Until He Determines His Own Guilt

(Houston, Texas—December 28, 2007) Citing what he called “dubious sources, innuendo, and lack of clear-cut evidence,” baseball legend Roger Clemens announced today that he plans to launch his own probe into illegal steroid use in major league baseball to determine whether or not he is guilty of using performance-enhancing drugs.



(Left) Is Roger Clemens guilty? That's the question Roger Clemens wants answered.



“If I am guilty of using steroids or any other drug, I want to know about it,” Clemens announced at a packed press conference. “So far the evidence in the Mitchell Report doesn’t prove anything. It is time to get to the bottom of this and let the truth be known.”

Clemens announced that he will seek to retain noted self-investigator O.J. Simpson to assist him in his independent probe. “Who better to find out whether or not I’m on the juice than the Juice?” Clemens asked rhetorically, prompting laughter and applause from many of the journalists attending the conference. Simpson, facing legal problems of his own recently, and still purportedly engaged in a decade-long search for his wife’s killer, had a 10 a.m. tee time and was not available for comment.

“Justice must be served,” Clemens continued, his voice at times quivering with indignant, some said slightly exaggerated, rage. “If I am guilty of illegal drug use, I will demand that I be punished to the fullest extent of the law and Commissioner Selig’s authority. If I am innocent, I will seek to clear my own name. America’s baseball fans, especially the kids, deserve nothing less.”

Clemens, winner of seven Cy Young Awards, abruptly ended the news conference without taking further questions, telling reporters he needed to return to the gym where he has begun a training regimen for his 2008 late summer baseball comeback.

Thursday, December 27, 2007

The Top 10

By The Editors

We don't normally do memes here - nothing wrong with them, but they often take more time than we have, and they usually refer to things we aren't big into. But we received one the other day from our old friend Cathy of Alex that was too good to pass up - our list of the top 10 blog posts we've done.

Now, this can be a particularly challenging task in the best of times, let alone when you're talking about a blog that has six people sharing writing responsibilities. Nevertheless, exercising our authority as Managing Editor, we've come up with the following selection, in no particular order, of the posts we're most proud to have hosted:

1) Perhaps the best piece that Mitchell has written didn't appear on the blog at all, at least not directly. His TVParty article on the premiere of Amahl and the Night Visitors, he says, will always occupy a special place in his heart.

2) The "Triumph" of Leni Riefenstahl. Drew originally was commissioned to write a series of posts exploring the relationship between art and morality. We liked him so much we asked him to stick around. This, one of his early pieces, challenges readers to take an honest look at art and the artist.

3) Aussie Police Searching for New Suspects in Irwin Killing. One of our true pleasures has been welcoming Steve and his often absurd, always hilarious "This Just In" pieces. This one is a typical Steve masterpiece - so good it inspired this follow-up from new Hadleyblogger Kristin.

4) Rider Stripped of Title After Having Failed to Fail Drug Test was Steve's first piece for Our Word. It convinced us in a hurry that this guy was too good to let go.

5) The Indignity of Work was a very early piece, but still holds up as one of the best at describing what we see as the contrast between morality and whatever it is that so much of Corporate America believes in nowadays.

6) Snow White and the Seven Wagners was Judie's piece that combined Wagner and Christmas. Come on, how could you pass this up?

7) No Such Thing as a Free Lunch, also known as "The Holiday Diversity Party," says all we care to say on the subject. As we said in another context, don't read it on a full stomach.

8) This is a trick selection - actually four posts in one. But our roundtable discussion on Art in Politics was the first of what we hope will be more discussions between our contributors, and was perhaps the most fun we've had - here's your chance to see what our editorial discussions really sound like.

9) Broken Families: How Dale Earnhardt, Jr. Sided With Hendrick Motorsports was Bobby's behind-the-scenes look at the breakup of one of NASCAR's leading families. Not only did Bobby have the story, he had the facts to back it up.

10) This is an unusual selection, and a personal one. It's the post we haven't written. What does that mean? Well, bloggers tend to get themselves into a lot of trouble by writing first and thinking later. It's a great temptation - after all, in this age of instant communications, technology has made it just so easy to shoot your mouth off, without much thought as tot he consequences that follow. Now, we're not saying we're perfect around here, but we surely know that there are some pieces that came very close to publication, but were dumped at the last minute after we'd thought better of it. There are blogs and bloggers out there that drive us crazy - two in particular for which we have a fair amount of contempt - and it's a constant temptation to take off the gloves and rip them a new belly button. (And we don't doubt at lesat some of us are capable of it.) But to what end? It doesn't dignify us, nor what it is we're trying to accomplish. It's one of those things that feels good at the time, but you regret it afterward. This doesn't mean we're better than everyone else, or smarter. We know that's not the case. It just points out the value of counting to 10 before doing something that's going to go out under your name, and has the ability to affect a lot of people other than yourself.

So that's the top 10 - feel free to agree, disagree, or make your own suggestions.

Wednesday, December 26, 2007

Poetry Wednesday

By Judith

As everyone is recovering from the excesses of Christmas Day, here's a Merry Christmas message that gives the best reason for all the celebration. It's nice sometimes to look at the lyrics of Christmas carols without hearing the music (except in your head) and ponder what they mean and why they were written. Happy Christmas everyone.

Joy to the World

Joy to the world, the Lord is come!
Let earth receive her King!
Let every heart prepare Him room
And heaven and nature sing,
And heaven and nature sing,
And heaven, and heaven and nature sing!

Joy to the earth, the Saviour reigns!
Let men their songs employ!
While fields and floods, rocks, hills and plains
Repeat the sounding joy,
Repeat the sounding joy,
Repeat, repeat the sounding joy!

He rules the world with truth and grace
And makes the nations prove
The glories of His rightousness
And wonders of His love,
And wonders of His love,
And wonders, wonders of His love!

Monday, December 24, 2007

Christmas Eve

By Mitchell

It's Christmas Eve, for children (and many adults) the most magical night of the year. Christmas Eve was always a very special time for me when I was a child, and it's remained so ever since, filled with its own rituals and traditions.

Tonight we have a bit of the bleak mid-winter; the air is cold, the ground white with new-fallen snow, the streets quiet and still. Some of you may have already attended church services, others are on their way or planning to go tomorrow. In the house the tree is trimmed, the presents wrapped, turkey and ham in the refrigerator ready for tomorrow's meal. Company is on the way, or already there.

And as we prepare to celebrate this day which the Lord has made, on behalf of all the Hadleybloggers from Minnesota to South Carolina, we wish each and every one of you a blessed and most joyous Christmas. Enjoy this day, revel in the moment, and cherish the memories for years to come.

Saturday, December 22, 2007

Random Christmas Notes

By Mitchell

  • As most of you know, I'm a big fan of TVParty, and not just because I've written for it. Billy Ingram's site is one of the most entertaining around, with an exceptional collection of TV clips, facts, and other features. Be sure to check out its wonderful collection of stories on Christmas TV shows (here, here, here and here, just for starters) and see if they don't bring back some fun memories.
  • So what was wrong with Tiny Tim anyway? LiveScience provides some interesting possibilities. (Thanks to Jonah at NRO.)
  • Speaking of A Christmas Carol, is this one of the greatest Christmas stories around, or what? And one of the most-often made. Mr. Magoo stars in a wonderful animated version that's actually pretty faithful to the story, with a musical score that would put some Broadway shows to shame. (Not surprising, since vets Bob Merrill and Jule Styne were responsible for it.) Naturally, TV Party has a rundown on many of the TV versions. But if you want the complete story of A Christmas Carol and its adaptations, check out the book of the same name, which I guarantee will delight you with its detail.
  • Boomers like us have a continuing affection for the classic Rudolph the Red-Nosed Reindeer. Perhaps it's the Animagic animation, or the songs, or even the General Electric commercials featuring the Rudolph characters. It's definitely of an age, and it's impossible for anyone of that age to watch it without being swept back in time. (Speaking of books, Rick Goldschmidt has a terrific book about it, as well as more info on his blog.) Good thing it has all that going for it because, let's admit, the story is a little weak. Do Santa's reindeer really have families? (No. Everyone knows there are only eight flying reindeer.) Would Santa disparage Rudolph's nose? (Of course not. Santa would never do such a cruel thing.) And what's with that misfit toy bit? I thought I'd covered all the bases over the years, but Likeks provides the definitive version.

Friday, December 21, 2007

It’s a Wonderful (Financial Development) Life

By Steve

I work in financial development for a living. And to most people, "financial development" means one thing: asking people for money.

But is there more to it than that? That was the basic but crucial question that faced me when I entered the field later in my career. And I needed a quick answer.

I found it on Christmas Eve while holding a bowl of popcorn.

My holiday tradition is watching “It’s A Wonderful Life” on Christmas Eve. This now classic Capra film features Jimmy Stewart as broken and befuddled George Bailey. You remember that George discovers life’s true meaning when Clarence, a clumsy but lovable old angel, shows him what the world would have been like if George had never been born. It’s a bit sappy but deftly delivers touching moments and I find myself pulling it out again each year.

When you’ve seen a movie more than once, you appreciate new angles and nuances. Last year I discovered the story’s real hero. Not George. Not even Clarence. But dear, sweet Mary Bailey, George’s loyal and loving wife, played by Donna Reed. Mary’s shining moment is the film’s finale, and although her screen time in it is brief, it is unforgettable.

A large sum of money from George’s savings-and-loan business has gone missing. The next couple of busy hours find him facing financial ruin, getting drunk, getting punched, contemplating suicide, being touched by an angel, and straightening out life’s priorities. But George still has a problem—that missing money. A warrant is out for his arrest that could land him in jail. On Christmas Eve, no less.

In steps Mary. While George gambols about with Clarence, Mary takes off her apron and goes to work. She intentionally and creatively communicates to George’s family and friends that he’s in trouble. Big trouble. George needs them right now. Specifically, he needs their financial help. And it’s urgent. Very urgent.

They respond in a big way. People who care for George and respect him for the good work he’s done—and the good man he is—joyously converge at the Bailey house with donations galore. It’s an incredible scene with lots of laughter and singing and ornament bells ringing and giant smiles all around.

The biggest smile belongs to Mary. You find her standing quietly next to the Christmas tree in her husband’s warm embrace, surrounded by her children, family and friends. And she is absolutely beaming, just soaking in the joyous waterfall of love and support that’s flooding into their home.

As I watched that scene, with popcorn in hand, I discovered the answer to my financial development question. I found it in the actions—and the face—of Mary Bailey. I realized I was watching a world-class financial development professional.

What Mary did was simple but powerful. She wasn’t just “asking for money.” She was helping connect a recipient with a giver, and ended up meeting deep needs in both. And it did something very special for her as well.

What did George Bailey need? Obviously, for practical reasons, he needed money. But George also needed the support of his friends and loved ones at a crisis point in his life. And that’s exactly what he received.

What did his family and friends—the “givers”—need? Whether they realized it or not, they needed an opportunity to express appreciation to George for the ways he had helped them in the past. They also needed to say thanks for the blessings in their own lives. And here was a perfect way to do it.

And what about Mary? What was she so happy about? Definitely for her husband, who would still be home for Christmas. And happy for the love and support she was seeing him receive from people who meant so much to him.

But at least a small part of Mary’s smile was knowing she had played a vital role in all of this. She had taken the initiative—intentional and creative initiative—to connect the need to the giver. And it worked. And she felt great.

Look at Mary’s face one more time. That is the smile of a financial development professional who has discovered what it’s all about. Financial development is intentionally and creatively connecting a need to a giver for the mutual benefit of both. And when it works, all three parties involved—need, giver, professional—share a joy that well, makes for a wonderful life.

Thanks, Mary Bailey, for a Christmas story and a career lesson that lasts way beyond Christmas Eve. And please pass the popcorn.

Thursday, December 20, 2007

New Energy Act a Product of "Dictator" Pelosi

By Bobby

The federal Energy Act of 2007 has shown how House Speaker Nancy Pelosi has virtually assumed control of the federal government. The policy was nearly singlehandedly written based on the virtues of fringe environmentalists who endorse policies of former Vice President Al Gore, who won the Nobel Peace Prize for promoting this policy. Having the two-thirds majority pass the bill following the dictatorial policy of writing the bill, not permitting much debate, and forcing an up-or-down vote on the policy as it was written by the virtual dictator shows the tactics of modern liberalism resemble Hugo Chávez, North Korea, or other known dictators. What is wrong with this bill? Let me count the ways.

The incandescent bulb ban is outrageous because it enforces a ban that makes no sense. Most cars on the road use incandescent bulbs in their domelights, interior lights, and most turn signal lights. Many restaurants' heating lamps are also incandescent, and some facilities must use incandescent lamps because they do not have mercury. The ban will effectively take cars off the road, eliminate heating lamps used for restaurants, and create more safety hazards, But liberals, more interested in feelings than logic, override the national security in favor of the ideas of "An Inconvenient Truth."

The new fuel economy standards are also designed to destroy the American automobile industry and give the budding Chinese Communist automobile industry the upper hand in the process. Furthermore, safety standards will be sacrificed even more than they were when the original CAFE standard was set, since this standard also affects light trucks. It would seem the environmentalists would rather have Americans in two-seat minicars with 40-cubic inch two or three-cylinder engines that save fuel but may cost lives (since they are easily destroyed in light crashes), while virtually banning the bread and butter of American automobile manufacturers, the eight-cylinder full-size truck. This is reminicent of how the first CAFE rule killed the eight-cylinder family sedan. They write this law once again to please the standards established by the"An Inconvenient Truth" crowd and European policies. The 35 MPG policy also bans the specially secured vehicles used by world leaders and businesses to fight the terrorists.

When a two-thirds majority using tactics of dictators written by the new leader of this country, Nancy Pelosi, base policy on European policy and films created by fringe environmentalists, and not based on common business sense, this country's decline can be traced to these leaders who base themselves strictly on unrealistic policies that have no logic, just feelings.

But feelings is the only thing needed in modern liberalism, since feelings override all forms of common sense.

Wednesday, December 19, 2007

Poetry Wednesday

By Judith

I'm giving myself a birthday present today by looking at a poem by one of my very favorite poets, Christina Rossetti (1830 - 1894). We'll review her work again in the coming year, so I'll save the biographical material for later. However I will say that this poem, like last week's Longfellow selection, is a poem that was adapted as a Christmas carol. Often, only the first and last stanzas are sung, and the lyrics are slightly altered to fit the tune, but the whole poem describes the power and majesty - as well as the humility - of the story of the Nativity. It has a quiet strength like "Silent Night."

The song is called "In the Bleak Mid-Winter" (click here to see it performed by the Gloucester Cathedral Choir, music by Gustav Holst), but Miss Rossetti calls her poem, simply, "A Christmas Carol."

A Christmas Carol

In the bleak mid-winter
Frosty wind made moan,
Earth stood hard as iron,
Water like a stone;
Snow had fallen, snow on snow,
Snow on snow,
In the bleak mid-winter
Long ago.

Our God, Heaven cannot hold Him
Nor earth sustain;
Heaven and earth shall flee away
When He comes to reign:
In the bleak mid-winter
A stable-place sufficed
The Lord God Almighty
Jesus Christ.

Enough for Him whom cherubim
Worship night and day,
A breastful of milk
And a mangerful of hay;
Enough for Him whom angels
Fall down before,
The ox and ass and camel
Which adore.

Angels and archangels
May have gathered there,
Cherubim and seraphim
Throng'd the air,
But only His mother
In her maiden bliss
Worshipped the Beloved
With a kiss.

What can I give Him,
Poor as I am?
If I were a shepherd
I would bring a lamb,
If I were a wise man
I would do my part, -
Yet what I can I give Him,
Give my heart.

Tuesday, December 18, 2007

Wish I'd Written That

By Judith

In an interview with Colin Covert of the Star Tribune, Francis Ford Coppola had this to say in response to the question, "If you could speak to the Coppola of 30 years ago,...what would you want to tell him?"

"Trust your personal instincts, trust your feelings and don't be afraid of risk because you're going to die anyway. The one risk that you don't want to take is that when you die you say, 'Oh, I wish I had done this and I wish I had done that.' Do it all because that's what life is for. The things you're fired over when you're young are the same things that they later give you lifetime achievement awards for. So trust your intuition."

The World's Stupidest Lovers

By Mitchell

The second season of Metropolitan Opera high-def broadcasts to movie theaters began on Saturday with Gounod’s sumptuous Roméo et Juliette, Shakespeare’s famed story of the world’s stupidest lovers. I mean, think about it for a minute. Juliet we can at least understand – after all, she’s a giddy fifteen-year-old drama queen, caught in the throws of passion for the first time in her life, and as heady teenagers will, looks at everything as life and death. For her the choice is obvious – once things start to head south, the only alternative is to take her own life, in the most dramatic fashion possible.

But Romeo, we expected far more from you. He’s often thought to be older than Juliet, perhaps as old as 18. He’s old enough to kill a man, at any rate, and it’s obvious from his conduct that he knows how to carry himself in public. Therefore, we’d hoped for a little better than an impetuous suicide. His simultaneous reactions of surprise, joy and despair when he discovers that Juliet is still alive truly bring home the value of thinking important decisions through carefully before jumping into them. Alas, wisdom is often wasted on the young, and the dead.

Not surprisingly, the audience in the movie theater Saturday was younger than had been the norm last season, especially when it came to teen-aged girls, who have become the natural audience for the Bard’s tear-jerker. Fortunately, for those of us who are neither teen-agers nor girls, we had Anna Netrebko in the title role. For those of you who might not be familiar with Netrebko, she’s what opera aficionados would call a diva. To everyone else she is, simply put, a babe. She leaps off the screen in these HD broadcasts, as if only she was in HD and everyone else was analog. Both on-stage and off, it is clear that she loves the camera, and the camera loves her back with a passion. There may well be some controversy as to whether or not Netrebko has the chops to be considered one of the all-time greats, but there can be no doubt that visually she more than fits the bill. (And, by the way, she does sing awfully well.) Her Juliet was by turns bubbly and despairing, full of the confidence of youth, struck with the headiness of first love, at once both self-centered and totally giving. If Britney Spears can sing of being “not a girl, not yet a woman,” it was clear that Netrebko’s Juliet was all girl and all woman.

Needless to say, it takes a special Romeo to be able to stand next to this kind of wattage without being either totally eclipsed or burned to a crisp. Roberto Alagna, Saturday’s Romeo, was up to the task. He joked during the intermission interview that his graying hair made it more challenging to get into roles such as this, and perhaps it was this visual maturity that gave his Romeo a gravitas that isn’t always present in these productions. His Romeo was no pretty-boy; indeed, in the thrilling fight scene that brings Act One to a conclusion he carries himself as a man accustomed to the ways of fighting as well as those of the world. Unlike Juliet, this is not the first time he has found himself ensnared in the throws of passion, although this may well be his first experience of true love. In his initial encounter with Juliet, he courts her through the mask of a masked ball, in a sort of wooing by proxy, showing himself to be confident, teasing, ardent, a man of far more experience than his counterpart. Yet he, too, succumbs to the pain of Cupid’s arrow, only to be replaced in the end by pain of a much different kind.

The supporting cast, including the chorus, showed themselves to be reliable as usual. All of this, however, would have been of less import without Gounod's romantic melodies, seldom put to better use than in this piece. And surely there was no better ensemble to pull it off than the Met Opera Orchestra, conducted this day by Placido Domingo. One suspects that it was Domingo's presence in the pit, as much as Netrebko's on the stage, that gave this production its bling. The opera world is by no means unanimous in its view of Domingo as conductor, but on this day he kept the orchestra in line, kept time with the singers (especially after the intermission), and delivered a sound worthy of both the orchestra and the composer. As a personal aside, I thought the camera lingered over shots of Domingo far more often that it did with other conductors in previous broadcasts (with the exception of James Levine, who we all know is King of New York) . But it is Domingo's dedication to music and opera, as he makes the transition from performer to conductor, that helps wash away the bad taste left from the Three Tenors cheese, and serves to put further distance between Domingo and Pavarotti. (Can one seriously envision the lumbering Pavarotti, barely able to navigate the stage at the end, going down in the pit where he'd be invisible to the audience for most of the performance? Not likely.)

The Met has expanded its schedule from six to eight in this, its second year of HD theater moviecasts. By all accounts it's been a roaring success, with crowds growing and the number of theaters increasing. The theater we go to started out last year with one screen; it soon expanded to two, with both filled nearly to capacity. And, as we saw this year with the decision of St. Olaf College to simulcast its famed Christmas concert in theaters nationwide, it is a trend that appears to have legs. With this, the Met has reinforced its reputation as a national opera company, and it's going to give regional companies such as our own Minnesota Opera something to think about. The MO had a table set up in the lobby with information on the current season and an opportunity for people to register for free tickets to its own production of Romeo and Juliet (as if we couldn't figure out the French translation), running next month. As season ticket holders we already have ours, but in the lobby between acts one could hear more than one conversation, the jist of which asked why anyone would want to by tickets for our own Romeo after having experience the Met's production.

Why indeed? With the superior technology available in movie theaters, and the star power on both sides of the footlights, it's no longer good enough to simply cite the live theater experience as justification to spend one's disposable income. Operas such as the MO are going to have to deliver an experience that confirms the ticket buyer's decision. I haven't always been sure that the MO could deliver on such an experience - next month's production of Romeo will go a ways in telling whether or not such apprehension is justified. Time, as always, will tell.

Stingray Attack Linked to Irwin's Killer

By Kristin

New photographic evidence captured last week appears to have debunked the Lone Stingray theory dominating conversations surrounding the late naturalist Steve Irwin. This dramatic secquence of pictures, captured by world renowned nature photographer K.A. Barbieri, show grusome images of a man being attacked by the murderous stingray:





"I wanted to help," recalls Barbieri, "but professional photographers have a strict no interference policy when it comes to photographing nature. " Authorities remain on the lookout for the murderous stingray. Supporters of Stingrays Anonymous have declined to comment.

Monday, December 17, 2007

It Is What It Is

By Drew

The great thing about being a blogger on Monday is that when you find someone who says exactly what you feel, you don't have to bother trying to improve on it. You just accept it with gratitude. Here's Jay Nordlinger in this morning's NRO:

Oprah has given Obama a powerful boost, and that provoked a memory. In September 2000, Governor Bush was trailing Vice President Gore, pretty significantly. A prominent political analyst declared Bush “toast.” And then Bush went on Oprah and Regis — had very good appearances. And his numbers rose. The Oprah appearance, in particular, was thought to be a real boost.

A second prominent political analyst, in a private remark, said, “What a stupid country.” I’ve never forgotten that.

What more, really, can you say?

Saturday, December 15, 2007

This Just In

By Steve

Selig Stunner: "I Used 'Roids"
MLB Commish Admits He Too Was On the Juice

(Milwaukee , WI)—December 14, 2007—Bud Selig acknowledged for the first time today that he, too, had taken steroids during his time as Commissioner of Major League Baseball. Unnamed sources had earlier claimed that Selig confessed his usage to former U.S. Senator George Mitchell as part of Mitchell’s probe of steroid use in the major leagues in the last decade. Today was the first time Selig personally acknowledged those reports were true.




(Left) Baseball commissioner Bud Selig, pondering the future after admitting he had been implicated in his own probe of performance-enhancing drugs in baseball.




“Look at me,” said Selig, in an angry, some said almost "‘roid rage" tone, at his press conference this morning. “I’m a pretty wimpy guy, not much meat on my bones. It might have been enough to run a mediocre baseball club in Milwaukee, but it sure as hell wouldn't do in New York. How was I going to stand up to guys like Steinbrenner and Pete Rose and Donald Fehr and all the rest of them? I needed something extra to give me a boost, and steroids is where I turned. Sure, it wasn’t right, but I had to do something. And, by God, it worked.”

Selig pointed out that the extra confidence led to some of his finest moments as commissioner.

“Remember that All-Star game in Milwaukee , when I had to decide whether to call off the game or keep it going in extra innings?” he asked rhetorically. “The ol’ Bud would have just caved in, or maybe just crawled under my seat until they stopped yelling at me. But not Bud on the juice. I was able to stand up to the whole world, Fox Sports and everybody, and boldly call the whole thing a tie. I definitely grew a new set of them that night.”

Selig admits, however, that what he did was wrong and that he thinks he won’t do it again. “We must set a good example for the youth of America . They need to know that taking these illegal drugs is wrong and that it really won’t help you get ahead in life. Sure, many of the players on the Mitchell list are hundreds of millions of dollars richer today than they would have been, and some will still make it to the Hall of Fame. But are they happier for it? I mean, really.”

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