And one more quote, this time from Bill Clinton reflecting on the prevailing sentiment these days which he calls 'negative populism' and defines this way ... "You may not win in this new deal, but at least they'll lose."
Tuesday, December 17, 2024
Friday, December 13, 2024
Being a force of nature instead of a feverish, selfish little clod of ailments and grievances ...
“This is the true joy in life, being used for a purpose recognized by yourself as a mighty one. Being a force of nature instead of a feverish, selfish little clod of ailments and grievances, complaining that the world will not devote itself to making you happy. I am of the opinion that my life belongs to the whole community and as long as I live, it is my privilege to do for it what I can. I want to be thoroughly used up when I die, for the harder I work, the more I live. I rejoice in life for its own sake. Life is no brief candle to me. It is a sort of splendid torch which I have got hold of for the moment and I want to make it burn as brightly as possible before handing it on to future generations.”
― George Bernard ShawThat time of year, Messiah
The Handel + Haydn Society of Boston first performed Handel's Messiah (or at least portions of it) on Christmas night 1815, only 73 years after it was first performed in Dublin around Easter, 1742.
And starting in 1854, H + H has performed the entire Messiah every year at Christmas time. This year was no exception, with concerts in late November and early December in Boston's Symphony Hall.
Generations upon generations of Bostonians, both native born and transplants, have been able to hear this music every single year.
As I sat in the concert hall -- itself a throwback unchanged in character since its very first opening night in 1900 (according to Wikipedia, "The hall's leather seats are the originals installed in 1900") -- I started to count back through the generations with this question in mind, "How far back do you have to go until you find an era of audience who are now all dead?"
Is anyone who attended the performance in Christmas 1963, one month after Kennedy's assassination, still alive? Probably yes.
How about the audience of 1953? Or the audience of 1943? If children were in attendance, and they were probably in audience in 1943, then yes.
But at some point, for some audience, there are no longer any living members of THAT performance, whichever performance it was. And all of the musicians who played the notes that were heard by that audience are also dead.
And I thought to myself: Different musicians. Different audience members. Old ones replaced by new ones. Yet, the music doesn't change. Always the same music.
That must be a definition of culture.
Monday, November 18, 2024
The Commodore Hotel
Characters:
Marco Antonius (aka Marc Anthony) - Italian impresario
Morty Blumenstein, aka Ferdinand de Bullock, diplomat
Grace Belleville de Quincy-Beaufort, matron
Constance Belleville de Quincy-Beaufort, her daughter
Svetlana Plekova, wife of Andrei Abromovitsky, Russian oligarch
The location: The Commodore Hotel, in the English seaside village of BlanketBarn
Story:
Marco Antonius, the famous Italian impresario, has arrived in the small English seaside village of BlanketBarn to find the cast for his upcoming show “Girls, Girls, Girls, a comedy in three acts!”
He will stay at the Commodore Hotel, the most ritzy of the local pensions, with its tea served precisely at 4pm and its tiny little restaurant with its understaffed kitchen off the back.
Marc Antony, as he is commonly called in England, produces extravangzas of the first order and it’s the dream of many an aspiring young actress to get into one of his shows. Hence, the dancing girls (well, really young women) who have packed onto trains to get to BlanketBarn early are now lined up outside the hotel to see if they might find a room there. Or do they need to traipse around town looking for other lodging?
In the lobby, they fail to see a short fat man in a seersucker jacket, sweating profusely while trying to stuff the last bites of a sandwich into his mouth as he leans uncomfortably against the concierge’s oak desk. He is Morty Blumenstein, of New Jersey in the United States, trying to check into the hotel under the name of Ferdinand de Bullock, Spanish diplomat. Morty is here because Grace Belleville de Quincy-Beaufort is here, with her 16-year old daughter Constance.
Why are Grace and Constance here, you ask? The annual meeting of the British Temperance Union, Grace Belleville de Quincy-Beaufort president.
Every year, the Union (as it’s known) hosts a gala ball with Grace presiding. It is Morty’s firm belief that she will be wearing the famous Madagascar diamond. “Worth a trip from Jersey to try to get my hands on that rock,” is what he said to his mother as he departed for the docks in lower Manhattan to get on the boat that would take him here.
Grace’s daughter Constance is here because as a 16-year old, she had no choice. Grace’s husband, William Belleville de Quincy-Beaufort, retired ambassador to Kumpour, cares not a wit for the Temperance Union, indeed enjoys his tipple a little, and wouldn’t be caught dead in the Commodore Hotel this weekend. He’d rather take care of his tomatoes, sunflowers and zucchini than be dragged down to BlanketBarn for that dreadful affair.
So, Grace decided it would be best to bring Constance along. Little does she know that Constance … virginal, pure, unblemished Constance … wants nothing more than to be in one of Marc Antony’s shows. This she has kept from her dear mother because of the shock it would cause. This precious, some would say mischievous, innocent angel would never want to be in a show like that!
Meanwhile, Svetlana Plekova is also standing in the lobby. Dark black hair tied back in a bun, she is trying to check into
Thursday, November 7, 2024
Dog walking on the Harvard campus the morning after Election Day
"More than a few people have a stunned, glazed look on their faces as they wander silently and slightly aimlessly towards their morning destinations."
Wednesday, November 6, 2024
A letter to a colleague after yesterday's election
This is a brief note I wrote this morning to a colleague --
Thank you for going out to OH and PA to do the hard work of campaigning for the issues and the people we all care about. I didn’t do more than contribute some money.
It’s hard to imagine why anyone would invite that guy back in, given all that we already know about him. It’s scary not to recognize one’s own country. I can’t decide if this feels closer to Germany of the 1930s or the final days of the Roman Republic. Both historical examples come to mind.I only hope that the upcoming damage to our institutions, our reputation and our personal liberties will not be irreversible.For the time being, we are relegated to working in our regional enclaves to defend and promote the principles and truths we hold to be self-evident, those that make America a truly great nation. We also must work on reducing the divisions in our land. As the saying goes, united we stand, divided we fall.
Thursday, October 17, 2024
Friday, September 27, 2024
Our mother
Phyllis Munro Ferguson Seidel (1938-2024), circa 1963 |
Tuesday, September 3, 2024
The subway is a sewer
The sewer scene in Les Miserables and the movie The Taking of Pelham 1, 2, 3 really are the same story -- life underground when there is a great city above. For Victor Hugo, it's Paris of 1832. For director Joseph Sargent, it's New York of 1974. The main question is, will any of their characters ever see the light of day again.
Tuesday, August 13, 2024
In defense of loneliness
The Streets of London is a folky tune by Ralph McTell with delicate guitar and smoky vocals evocative of Donovan or Bob Dylan. First recorded in 1969, it reeks of that decade's lingering sadnesses and melancholic pursuits of social justice. If you're old enough, you'll remember this song even if you're only hearing it now for the first time.
Its basic lyrical premise is to dissuade an unnamed listener from feeling lonely by pointing out at all the people who are truly lonely, out on the streets of London.
It led me to this thought: I wonder if our device-driven world has deprived us too completely of loneliness. Force feeding us togetherness. Unrelentingly pushing information. Virtually drowning us.
Perhaps we'd be better off if we could once again sit in a crowded cafe too late into an evening, alone and alone in our thoughts, listening to that bloke on stage gently walking his guitar, telling us not to cry by telling us how better off we've got it than those people. It's a strange longing, but not without some merit.
It's here if you want to listen to a version of it.
Monday, July 15, 2024
I dreamed I saw St. Augustine
What days are these that political violence reemerges in our midst. Heinous, the violence. January 6th condemnable, July 13th condemnable. This violence must be condemned. By all parties. And the gun. Always the gun. Americans and their guns.
How did we get here? For whatever reason, I think of 1968, when the veritable world must have seemed to be collapsing. The Vietnam War churning through ever more American lives, Hue and Tet in January. King then Kennedy killed within two short months of each other by June, and cities aflame in rage and fear.
There is fear now too ... Trump as a kind of Caesar, set out to destroy the Republic and all its restraints on the accumulation of power once power is bestowed on him. But that is a future state of affairs. And as we know, the future is unknown. The current state of affairs is now.
America, never so healthy, wealthy or powerful, tearing itself apart. How so ever did we get here?
Tuesday, July 9, 2024
Please note.
A note recently written to a women’s college alumnae class secretary about getting older:
Your job must be tough too. For some reason, I have a baseball analogy in my head: an outfielder standing alone in the outfield of an empty stadium, catching fly balls during practice. Very methodical and routine and (perhaps) lonely, with one sharp twist every time -- each ball always has the same message scrawled on it ... "So and so has died. Please note."
Wednesday, June 5, 2024
The Stranger
"Mother died today. Or was it yesterday. I don't remember." These words start The Stranger by Albert Camus. So I recollect. As it turns out, the internet tells me I'm essentially right. It was most likely was the Penguin translation of the 1980s that I'm recalling.
I have thought about these words for many a decade whence I first read them. And on June 3rd of this year, if I had posted this then, they would have been accurate to me.
This whole little tale, those few sentences you have just read, is an odd compilation of the impression that literature left on the mind of a young man, the passage of time from that impression to the moment described therein, and a retrospective telescope back through time from that moment to that long ago initial impression.
Or in my case, Mother died today. Or was it yesterday. I don't remember.
Friday, May 31, 2024
Thursday, May 23, 2024
Holocaust Commemoration, 2024
Earlier in May, the city of Cambridge held its annual Holocaust Commemoration hosted by Brian Corr and the Cambridge Peace Commission.
This year was a particularly harrowing one given the explosive mix of the world's events: the war in Gaza and the rise of right-wing authoritarianism and fascism in this country and around the globe. Brian made it clear that this ceremony was to remember events of 1930s and '40s Europe and was not an opportunity to editorialize on our current topics du jour, no matter how pressing or upsetting they may be. The speaker was the 100-year-old Esther Adler, who grew up in Breslau but fled the Nazis in 1938 to Palestine. Her amazing story and her redolent humor filled the room. It's not often that you hear a gathering of Jewish people laugh at the mention of Kristallnacht, but that is what happened. It's also worth noting that this is an interfaith event, with rabbis, pastors and imams all present.
I was asked to introduce the poem Bashert which is read aloud every year. Here are the brief comments I made before we began. It is a truncated version of my comments from the 2019 event, which I also posted in this blog.
As part of tonight's commemoration, we read Bashert. "Bashert" is written by Irene Klepfisz and it means something like "destiny" in Yiddish.
Klepfisz tells us the fate of many people, propelled by random chance or simply a desire to survive.
These were people she presumably knew, and they come alive for us because we know them too, in our memories, in our lives and in ourselves.
We say about the Holocaust that we should "Never Forget." Tonight, we remember many things:
- We remember all communities that have faced or face repression or persecution or genocide, wherever and whoever they may be.
- We remember our own commitment to confronting intolerance and our recommitment to one common humanity.
- And we remember our admiration for the human spirit ... its profound ability to resist and be resilient ... but also its deep ability for caring and kindness.
This is a responsive reading ...
Wednesday, May 8, 2024
My movie list
I am a fan of film noir, and have been for a long time. Perhaps it's the atmospherics or the long shadows - or maybe the tough guys and dames on the streets of some long beleaguered city. Whatever the reason, I've been knocking away at a strong number of them over the past few years, and so I tallied a list.
As for directors, there's lots of Henry Hathaway and Alfred Hitchcock with some Carol Reed, Jules Dassin and Fritz Lang thrown in for good measure.
On the actors side, James Mason has become a fan favorite, followed closely by Ray Milland and Robert Donat.
And of course let's not forget the best Holmes-Watson pairing of them all, Basil Rathbone and Nigel Bruce.
Anyway, it's all just fun stuff from long ago.
Title | Year | Actor(s) | Director |
13 rue Madeleine | 1947 | James Cagney | Henry Hathaway |
49th Parallel | 1941 | Leslie Howard | |
5 Fingers | 1952 | James Mason | |
Adventures of Tartu | 1943 | Robert Donat | |
Berlin Correspondent | 1942 | ||
British Intelligence | 1940 | Boris Karloff | |
Captain Horatio Hornblower | 1951 | Gregory Peck | |
Cash on Demand | 1961 | ||
Charade | 1963 | Cary Grant; Audrey Hepburn | |
Circle of Danger | 1951 | Ray Milland | |
Cottage to Let | 1941 | Alistair Sim | |
Counterspy meets Scotland Yard | 1950 | ||
Cry of the City | 1948 | Victor Mature | |
Damn the Defiant! | 1962 | Alec Guinness | |
Deadline USA | 1952 | Humphrey Bogart | |
Dial M for Murder | 1954 | Ray Milland; Grace Kelley | Alfred Hitchcock |
Dick Tracy | 1945 | ||
Dick Tracy’s Dilemma | 1947 | ||
Diplomatic Courier | 1952 | Tyrone Power | Henry Hathaway |
Dracula: Dead and Loving It | 1995 | Harvey Korman; Mel Brooks | |
Enter Arsene Lupin | 1944 | ||
Foreign Correspondent | 1940 | Joel McRae | |
Funeral in Berlin | 1966 | Michael Caine | |
House on 92nd Street | 1945 | Henry Hathaway | |
I’ll Get You | 1952 | George Raft | |
Johnny O’Clock | 1947 | Lee Cobb | |
Lady in the Fog | 1952 | Caesar Romero; Lois Maxwell | |
Man Hunt | 1941 | Walter Pidgeon; Joan Bennett | Fritz Lang |
Man in Cairo | 1953 | George Raft | |
My Favorite Brunette | 1947 | Bob Hope; Dorothy Lamour | |
Mystery of Marie Roget | 1942 | ||
Naked City | 1948 | Jules Dassin | |
Nazi Agent | 1942 | Jules Dassin | |
New York Confidential | 1955 | ||
Night Train to Munich | 1940 | Rex Harrison | Carol Reed |
No Highway in the Sky | 1951 | Jimmy Stewart | |
North Sea Hijack | 1980 | Roger Moore; James Mason | |
Pimpernel Smith | 1941 | Leslie Howard | |
Port of New York | 1949 | Yul Brenner | |
Rear Window | 1954 | Jimmy Stewart; Grace Kelly | Alfred Hitchcock |
Sabotage | 1936 | Alfred Hitchcock | |
Scarlet Street | 1945 | Edward G. Robinson | Fritz Lang |
Sherlock Holmes films | 1939 | —Hound of the Baskervilles | |
Sherlock Holmes films | 1939 | —The Adventures of Sherlock Holmes | |
Sherlock Holmes films | 1942 | —Sherlock Holmes and the Voice of Terror | |
Sherlock Holmes films | 1943 | —Sherlock Holmes and the Secret Weapon | |
Sherlock Holmes films | 1943 | —Sherlock Holmes in Washington | |
Sherlock Holmes films | 1943 | —Sherlock Holmes faces death | |
Sherlock Holmes films | 1944 | —The Spider Woman | |
Sherlock Holmes films | 1944 | —The Scarlet Claw | |
Sherlock Holmes films | 1944 | —The Pearl of Death | |
Sherlock Holmes films | 1945 | —The House of Fear | |
Sherlock Holmes films | 1945 | —The Woman in Green | |
Sherlock Holmes films | 1945 | —Pursuit to Algiers | |
Sherlock Holmes films | 1946 | —Terror by Night | |
Sherlock Holmes films | 1946 | —Dressed to Kill | |
Sink the Bismarck! | 1960 | Kenneth More | |
Spy Hunt | 1950 | ||
Strangers on a Train | 1951 | Alfred Hitchcock | |
The 39 Steps | 1935 | Robert Donat | Alfred Hitchcock |
The Dark Corner | 1946 | Lucille Ball | Henry Hathaway |
The Deadly Affair | 1967 | James Mason | Sidney Lumet |
The Fake | 1953 | ||
The Heroes of Telemark | 1965 | ||
The Iron Curtain | 1948 | Tyrone Power | Henry Hathaway |
The Lady Vanishes | 1938 | Alfred Hitchcock | |
The Naked Street | 1955 | ||
The Secret Ways | 1961 | Richard Widmark | |
The Stranger | 1946 | Orson Welles | Orson Welles |
The Underground | 1941 | ||
The Upturned Glass | 1947 | James Mason | |
Triple Cross | 1966 | Christopher Plummer; Romy Schneider | Terrence Young |
Waterfront | 1944 | John Carradine | |
Where There’s Life | 1947 | Bob Hope | |
Whispering City | 1947 | Paul Lukas | |
Woman in the Window | 1944 | Edward G. Robinson |