Friday, September 20, 2024

Movie Quote of the Day (‘When Harry Met Sally,' With Sally’s Very Particular Dining Request)

Waitress [played by Kimberley LaMarque]: “What can I get you?”

Harry Burns [played by Billy Crystal]: “I'll have a #3.”

Sally Albright [played by Meg Ryan]: “I'd like the chef's salad, please, with the oil and vinegar on the side and the apple pie a la mode.”

Waitress [writing the order down]: “Chef and apple a la mode.”

Sally: “But I'd like the pie heated, and I don't want the ice cream on top, I want it on the side, and I'd like strawberry instead of vanilla if you have it. If not, then no ice cream, just whipped cream but only if it's real. If it's out of a can, then nothing.”

Waitress: “Not even the pie?”

Sally: “No, just the pie, but then not heated.”— When Harry Met Sally...(1989), screenplay by Nora Ephron, directed by Rob Reiner

Thursday, September 19, 2024

Quote of the Day (William Shakespeare, on ‘Time’s Glory’)

“Time’s glory is to calm contending kings,
To unmask falsehood, and bring truth to light;
To stamp the seal of time in aged things,
To wake the morn, and sentinel the night,
To wrong the wronger till he render right.”English playwright-poet William Shakespeare (1564-1616), The Complete Sonnets and Poems, edited by Colin Burrow (2002) 

Wednesday, September 18, 2024

Quote of the Day (George Osborne, on Why Governments Need Periodic Turnover)

“Policy mistakes grow like barnacles. Governments groan under the weight of all the things they've said in the past that no one wants to unsay. Prime ministers become surrounded by an adviser team that has only ever known them as premiers. A soft corruption sets in, where respect for the rules dissipates and every senior official has been appointed to their post by the current administration.”—Former British politician and Chancellor of the Exchequer George Osborne, “Past Master” (review of Tony Blair’s On Leadership), The Financial Times, Sept.7-8, 2024

In an otherwise laudatory review of Blair’s new book, Osborne really takes serious issue only with the former Prime Minister’s contention that the longer leaders stay in power, the better they become.

Much of Osborne’s argument clearly derives from his own experience as a British Cabinet official, but there remains the necessity for continuity in administration—hence, the survival of bureaucracy in the UK and the United States.

(The image accompanying this post, showing George Osborne speaking on the launch of the Conservative Party manifesto for the 2009 European Parliament elections, at Keele University, was created May 18, 2009, by M. Holland.)

Tuesday, September 17, 2024

This Day in Yankee History (Mantle Summons Fading Magic in Last Days of Dynasty)

Sept. 17, 1964— Mickey Mantle reached his 2,000th career hit in the same game he recorded his 450th home run, a 6-2 victory over the Los Angeles Angels that kept momentum going in a pennant race for the proud but aging veteran core of the New York Yankees.

With a sixth-inning single to go with a double and his milestone home run, Mantle was just a triple shy of hitting for the cycle. His bat and leadership by example were proving more essential than it ever had been before, as the Bronx Bombers, in a grim portent of the future, was fending off a younger, hungrier Baltimore Orioles squad.

In third place and 4 ½ games out in mid-August—and having endured a much-publicized bus “harmonica incident” between infielder Phil Linz and manager Yogi Berra—the Yankees would go 30-13 through the rest of the season to secure their fifth straight World Series berth. But they won the pennant by only one game.

Mantle was not the only reason the team was able to survive: rookie pitcher Mel Stottlemyre, for instance, was virtually lights out when called up in October, and Roger Maris’s return to something like peak offensive form and late-season replacement for Mantle in centerfield took much of the burden off his power-hitting teammate.

But Mantle’s consistency and dominance (35 homers, 111 RBIs, .303 batting average, 1.015 OPS) throughout the season were recognized by sportswriters now in a way that finally matched how his admiring teammates had felt for years. When the season was over, he finished second in the voting for Most Valuable Player, surpassed only by Orioles third baseman Brooks Robinson.

Just as the team fed off Mantle’s offensive brilliance in 1964, they collapsed when their string of injuries began to mirror his own the following season. Maris, catcher Elston Howard, shortstop Tony Kubec, and starting pitcher Jim Bouton would join Mantle on the injured list in 1965. The team would not make it back to the World Series again until 1976.

It turned out that 1964 would be the last great year for the 32-year-old Mantle. His power, batting average, and speed steadily declined over the following four seasons, only staying on because the Yankees implored him to lend his leadership to a team transitioning to youth. When he retired following the 1968 season, he was mortified that his career batting average had dipped below .300. 

Quote of the Day (Robert Henri, on How ‘Art is an Outsider’)

"Art is an outsider, a gypsy over the face of the Earth."— American painter and teacher Robert Henri (1865-1929), The Art Spirit (1923)

Monday, September 16, 2024

This Day in Music History (Mary Travers, Golden Center of ’60s Folk Hitmakers, Dies)

Sept. 16, 2009— Mary Travers, a willowy blonde whose soaring soprano and liberal-left politics helped lift the vocal trio Peter, Paul and Mary and a generation of folk music singer-songwriters onto the top of the charts and into the heart of the civil-rights and antiwar movements, died at age 72 in Danbury, CT, of side effects from chemotherapy for leukemia.

As I write this, Taylor Swift’s endorsement of Kamala Harris led Donald Trump first to speculate that the singer-songwriter might “pay a price for it…in the marketplace,” then to post, in all caps, “I HATE TAYLOR SWIFT” on Truth Social. 

In a sense, Swift is the spiritual descendant of Travers—who, like fellow trio members Peter Yarrow and Noel (Paul) Stookey, was an outspoken social activist—and, unlike Swift, advocated relentlessly on multiple issues.

PPM’s 1963 cover version of Bob Dylan’s “Blowin’ in the Wind,” for instance, almost instantly became an anthem of the civil-rights movement, and brought his literate, serious songs to the attention of a public that at the time was buying softer pop fare like Lesley Gore’s “Judy’s Turn to Cry.”

This Kentucky native came to Greenwich Village as a child with her mother. A newspaper reporter and single parent, Virginia Travers had little time to spend with Mary, but left her with an important bit of advice—beware the thin line between compromise and complicity—and with an unexpected adult female role model: an African-American friend who often took Mary into her Harlem home on weekends, where the young girl developed an acute understanding of racial inequality.

Though in high school she joined the Song Swappers, which sang backup for Pete Seeger on several recordings, her initial diffidence about performing left her at loose ends on the Greenwich Village folk scene in the early 1960s until Bob Dylan's aggressive manager Albert Grossman decided to manufacture his own counterpart to the all-male Kingston Trio—only with the svelte Travers to provide sex appeal in combination with the goateed Yarrow and Stookey.

Grossman had particular instructions for Travers. Perhaps to increase her mystique, she was to leave the speaking onstage to Yarrow and Stookey (a request she agreed to, given her stage fright at the time). More oddly, according to a December 2020 episode of the podcast "500 Songs" by Andrew Hickey, Grossman also insisted that Travers stay inside, lest any tan that resulted spoiled her image.

Yarrow and Stookey composed only a handful of songs themselves (“Puff the Magic Dragon” and “I Dig Rock ‘n’ Roll Music”) and they exhibited serviceable rather than virtuoso guitar skills. But, after considerable refinement by arranger and producer Milt Okun, they learned how to blend their harmonies effortlessly with Travis.

Moreover, they proved excellent interpreters of works by others, as they exposed listeners not only to Dylan but also to the likes of Gordon Lightfoot (“Early Morning Rain”), Laura Nyro (“And When I Die”), Tom Paxton, Phil Ochs and John Denver (“Leaving on a Jet Plane”).

Commercial success and high cultural visibility followed. Twelve hit singles came in the nine years after their formation in 1961, and the three singers appeared at the 1963 March on Washington, at the White House for the celebration of John F. Kennedy's second year in office, and at Martin Luther King's 1965 march on Selma.

The group broke up in 1970, not because of the clashes over ego, money, and creative direction that bedevil so many other musical combos, but simply because Stookey feared a heavy touring schedule would jeopardize his family life.

Travers used the next several years away from her musical partners to good effect—writing poetry, hosting her own radio show (even landing the first interview that Dylan had given in over a decade), and, by necessity, taking greater command in her solo concerts than she had done with Yarrow and Stookey.

The three singers stayed on good terms after they ceased working together in 1970, so no tensions had to be eased over when they reunited eight years later for a no-nukes benefit concert.

An album, titled, appropriately enough, Reunion, followed, and though its pop arrangements reportedly disappointed Yarrow by departing from their more folk-oriented sound, it provided a pretext for touring and reconnecting with their audience.

When I saw them in an August 1978 concert at Central Park, they were received rapturously by fans.

Peter, Paul and Mary continued to perform together, albeit less frequently, until a few months before Travers' death. But they were aware that they were fighting rather than in sync with the national zeitgeist, as they contrasted the "Us Decade" of the 1960s with the "Me Decade" of the Jimmy Carter years.

Moreover, from the 1980s on, they were often condescendingly regarded as relics of a bygone era, even the model for "The Folksmen" for the film mockumentary "A Mighty Wind," according to this January 2015 blog post by Glen Herbert

All of this was beside the point, as far as their musical legacy was concerned. Was the trio's sometimes-derided earnestness really any worse than other musical artists' snarkiness? 

In any case, the group still enjoyed playing for appreciative audiences, and their harmonies remained largely undimmed by the inevitable aging process. Travers herself was now more ready to challenge convention, whether in public, on US policy towards Central America in the Reagan years, or even privately with Yarrow and Stookey. 

Even in these later years, she was influencing a later generation of folksingers, according to singer-songwriter Nerissa Nields in a blog post appropriately titled "Thank You, Mary" right after Travers' death:

"The Mary we all saw in the sixties was much more complicated and interesting than the blond, leggy, silent-except-when-belting-her heart-out Greenwich Village waif we mostly got to see.... By the time [sister] Katryna and I got to watch her perform in person in the mid-80s, she was silent no longer. Au contraire: she was full of opinions. She was also significantly overweight, a fact she joked about from the stage. She was breaking all the rules, tossing out all the adjectives assigned to her. And through that singular revolution, she liberated two future folk singers." 

Now in their eighties, Yarrow and Stookey continue to perform together, but I am sure they would acknowledge that something is inevitably missing without their longtime female partner. Those yearning for that missing element can find a Peter, Paul and Mary tribute band on YouTube. But nothing compares to the charismatic blonde with the ringing alto that touched the heart.


Movie Quote of the Day (‘The Two Towers,’ With One of My Favorite Inspirational Scenes)

Frodo [played by Elijah Wood]: “I can't do this, Sam.”

Sam [played by Sean Astin]: “I know. It's all wrong. By rights we shouldn't even be here. But we are. It's like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness and danger, they were. And sometimes you didn't want to know the end. Because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end, it's only a passing thing, this shadow. Even darkness must pass. A new day will come. And when the sun shines it will shine out the clearer. Those were the stories that stayed with you. That meant something, even if you were too small to understand why. But I think, Mr. Frodo, I do understand. I know now. Folk in those stories had lots of chances of turning back, only they didn't. They kept going. Because they were holding on to something.”

Frodo: “What are we holding onto, Sam?”

Sam: “That there's some good in this world, Mr. Frodo... and it's worth fighting for.”—The Two Towers [Part Two of The Lord of the Rings] (2002), screenplay by Fran Walsh, Philippa Boyens, Stephen Sinclair, and Peter Jackson, adapted from the novel by J.R.R. Tolkien, directed by Peter Jackson