
Month: October 2021
Repost-Is There Any Island Left For Islanders Like Him? From The New Yorker On Billy Joel: ‘Thirty-Three Hit Wonder’
I think you’ve got to look at Billy Joel’s raw talent; the prodigious musical gifts and compositional ability; the mimicry, the voices, the piano-playing which became a vehicle for so many of his hits. Add a quite nice voice and a road-warrior mentality trying to offer value at every show, and you’ve got quite a package.
An American Songbook kind of guy.
I can barely think of anyone more Lon-Giland, who put his abilities to the American grindstone, but whose talent often hovers above any chosen genre he finds himself in.
Thanks, Billy.
Nick Paumgartner on a Slate review of Joel:
‘He was terrible, he is terrible, he always will be terrible. Anodyne, sappy, superficial, derivative, fraudulently rebellious. . . . Billy Joel’s music elevates self-aggrandizing self-pity and contempt for others into its own new and awful genre: ‘Mock-Rock.’ ”
He [Rosenbaum] called Joel “the Andrew Wyeth of contemporary pop music.”
When I mentioned this to Joel, he said, “What’s wrong with Andrew Wyeth?”
What is wrong with Andrew Wyeth? On this site see: Spring Beauties’-A Brief Post And A Link On Andrew Wyeth
On sitting down with Joel:
‘In between pieces, he began to explain that these were variations on a motif and that they were telling the story of the history of Long Island, from its pastoral beginnings to the arrival of the Europeans—“I’m imagining the prow of a ship, and a Puritan hymn”—and then the bustle of the nineteenth century. Farming, fishing, the railroad. “Getting busy on Long Island,” he said. “This one’s almost Coplandesque, with big open fifths.” We were a long way from Brenda and Eddie. He played intently as the room went dark.’
That sounds like a pretty talented artist looking for roots and sifting through American history and Americana for inspiration to me…
Here’s a popular song in the seafaring style trying to do good for local people without the righteous self-flattery and regard stars so often bring to the table:
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Repost-A Reaction To Jeff Koons-For Commerce Or Contemplation?
Roger Scruton says keep politics out of the arts, and political judgment apart from aesthetic judgment…this includes race studies/feminist departments/gay studies etc.: Roger Scruton In The American Spectator Via A & L Daily: Farewell To Judgment
Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
Joan Miro: Woman… Goethe’s Color Theory: Artists And Thinkers…Some Quotes From Kant And A Visual Exercise
A Reaction To Jeff Koons ‘St John The Baptist’
Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton’s ‘The Art Instinct’
Repost-Five Short Stories Likely Worth Your Time
I claim no special literary insight, other than these five short stories have stuck with me, as they have for many other readers besides. Links included.
Regular readers will recognize the same ol’ post.
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1. ‘Bartleby, The Scrivener: A Story Of Wall Street‘
Catch-up with Turkey, Nippers, and Ginger Nut; their daily routines at the office.
Our narrator:
‘I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquillity of a snug retreat, do a snug business among rich men’s bonds and mortgages and title-deeds. All who know me consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method.’
We all want to be alone, and to be with others, and Bartleby…Bartleby would just prefer not to:
‘Ah Bartleby! Ah humanity! ‘
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2. ‘An Occurrence At Owl Creek Bridge‘
As they were for many other high-school boys, the first lines were enough for me:
‘A man stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man’s hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck.’
‘Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming I am a man?
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3. ‘Everything That Rises Must Converge‘
O’Connor’s Southern Gothic style often flirts with the grotesque, and can traffic in the macabre, but there’s reason behind it, and a brilliantly skeptical, humane eye. Few writers get so many things right, in my opinion.
The world is changing, and so is the South.
Julian’s mother is living in the past:
‘They had reached the bus stop. There was no bus in sight and Julian, his hands still jammed in his pockets and his head thrust forward, scowled down the empty street. The frustration of having to wait on the bus as well as ride on it began to creep up his neck like a hot hand. The presence of his mother was borne in upon him as she gave a pained sigh. He looked at her bleakly. She was holding herself very erect under the preposterous hat, wearing it like a banner of her imaginary dignity. There was in him an evil urge to break her spirit. He suddenly unloosened his tie and pulled it off and put it in his pocket’
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4. ‘A Distant Episode‘
A lot can be ‘swallowed’ up in the desert, lost in translation; across time, language and civilizations.
Things don’t always end well for the intellectually curious and naive…:
‘It occurred to him that he ought to ask himself why he was doing this irrational thing, but he was intelligent enough to know that since he Was doing it, it was not so important to probe for explanations at that moment.’
Let’s leave it at that.
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5. ‘Araby‘
To what does a man put his hopes?
But such wonderful writing:
‘When the short days of winter came, dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed.’
Sunday Photo-A Break In The Clouds
Seattle Photo-Attack!
Seattle Photo-Fremont Window
Monday Poem-Jay Parini
Lament Of The Middle Man
In late October in the park
the autumn’s faults begin to show:
the houses suddenly go stark
beyond a thinning poplar row;
the edges of the leaves go brown
on every chestnut tree in town.
The honking birds go south again
where I have gone in better times;
the hardy ones, perhaps, remain
to nestle in the snowy pines.
I think of one bold, raucous bird
whose wintry song I’ve often heard.
I live among so many things
that flash and fade, that come and go.
One never knows what season brings
relief and which will merely show
how difficult it is to span
a life, given the Fall of Man.
The old ones dawdle on a bench,
and young ones drool into their bibs;
an idle boffer, quite a mensch,
moves fast among the crowd with fibs.
A painted lady hangs upon
his word as if his sword was drawn.
Among so many falling fast
I sometimes wonder why I care;
the first, as ever, shall be last;
the last are always hard to bear.
I never know if I should stay
to see what ails the livelong day.
I never quite know how to ask
why some men wear bright, silver wings
while others, equal to the task,
must play the role of underlings.
“It’s what you know, not who,” they swore.
I should have known what to ignore.
I started early, did my bit
for freedom and the right to pray.
I leaned a little on my wit,
and learned the sort of thing to say,
yet here I am, unsatisfied
and certain all my elders lied.
A middle man in middle way
between the darkness and the dark,
the seasons have tremendous sway:
I change like chestnuts in the park.
Come winter, I’ll be branches, bones;
come spring, a wetness over stones.
A Larkinesque quality?
Seattle Photo-City Reflections
Friday Photo-A Little Bit Of Mystery
Three Wednesday Photos On That Theme
Seattle Photo-A Few More Fall Colors
Two Seattle Photos-Around A Theme
Wednesday Photo And A Poem-Anne Sexton
For Eleanor Boylan Talking With God
God has a brown voice,
as soft and full as beer.
Eleanor, who is more beautiful than my mother,
is standing in her kitchen talking
and I am breathing in my cigarettes like poison.
She stands in her lemon-colored sun dress
motioning to God with her wet hands
glossy from the washing of egg plates.
She tells him! She tells him like a drunk
who doesn’t need to see to talk.
It’s casual but friendly.
God is as close as the ceiling.
Though no one can ever know,
I don’t think he has a face.
He had a face when I was six and a half.
Now he is large, covering up the sky
like a great resting jellyfish.
When I was eight I thought the dead people
stayed up there like blimps.
Now my chair is as hard as a scarecrow
and outside the summer flies sing like a choir.
Eleanor, before he leaves tell him
Oh Eleanor, Eleanor,
tell him before death uses you up.
**The confessional and often psychiatric despair of many mid-20th century poets can grow tiresome; solipsistic and gauche much of this subject matter can be. It can also fuel some pretty good poems.
Here’s a mildly creepy photo I took, which brought the poem to mind:













