WEBVTT

1
00:00:12.580 --> 00:00:13.819
Me, too.

2
00:00:13.820 --> 00:00:15.639
I'm not sure

3
00:00:15.640 --> 00:00:16.800
I'm going to make it. We'll see.

4
00:00:17.950 --> 00:00:19.179
OK. Cell phones.

5
00:00:20.710 --> 00:00:22.030
You got your cell phones off.

6
00:00:23.470 --> 00:00:24.780
Good on.

7
00:00:25.840 --> 00:00:26.840
Good.

8
00:00:28.690 --> 00:00:30.519
How are we doing, a.v?

9
00:00:30.520 --> 00:00:32.379
Is this OK?

10
00:00:32.380 --> 00:00:34.779
I can't see you, so it must be.

11
00:00:34.780 --> 00:00:35.780
Thank you.

12
00:00:38.140 --> 00:00:39.340
Thank you for coming out.

13
00:00:42.520 --> 00:00:43.630
I'm Stephen Yenser

14
00:00:45.160 --> 00:00:48.009
from the UCLA English Department,

15
00:00:48.010 --> 00:00:49.839
which is one of the sponsors of the

16
00:00:49.840 --> 00:00:52.149
series which

17
00:00:52.150 --> 00:00:54.009
originated 50 years ago, more

18
00:00:54.010 --> 00:00:55.089
or less.

19
00:00:55.090 --> 00:00:57.639
We're gonna call next year, 50 years

20
00:00:57.640 --> 00:00:59.829
at the Sunset Canyon Recreation

21
00:00:59.830 --> 00:01:00.830
Center, and they

22
00:01:01.900 --> 00:01:04.149
continue to be made possible by

23
00:01:04.150 --> 00:01:05.439
sponsorship of the English

24
00:01:05.440 --> 00:01:07.629
Department and

25
00:01:07.630 --> 00:01:09.699
the Office of Cultural and

26
00:01:09.700 --> 00:01:11.349
Recreational Affairs

27
00:01:12.550 --> 00:01:14.259
at UCLA.

28
00:01:14.260 --> 00:01:16.109
And obviously the scene,

29
00:01:16.110 --> 00:01:17.110
a well-known

30
00:01:18.010 --> 00:01:20.379
is public programing here

31
00:01:20.380 --> 00:01:23.049
at the Great

32
00:01:23.050 --> 00:01:24.050
Museum,

33
00:01:25.210 --> 00:01:27.069
which and the programs

34
00:01:27.070 --> 00:01:29.019
operate under Claudia Bestor.

35
00:01:29.020 --> 00:01:30.879
As as most you know,

36
00:01:34.150 --> 00:01:36.189
I'm delighted to have David

37
00:01:36.190 --> 00:01:38.809
Lehman back after some years.

38
00:01:38.810 --> 00:01:39.810
There he is here.

39
00:01:41.470 --> 00:01:43.449
We owe his return

40
00:01:43.450 --> 00:01:45.489
in part to the opportunity

41
00:01:45.490 --> 00:01:47.589
it afforded him to attend

42
00:01:47.590 --> 00:01:48.909
some Dodger games.

43
00:01:51.070 --> 00:01:53.289
David, a New Yorker,

44
00:01:53.290 --> 00:01:55.329
has been dedicated Dodgers fan

45
00:01:55.330 --> 00:01:56.330
all his life,

46
00:01:57.760 --> 00:01:59.379
even though the team left its

47
00:01:59.380 --> 00:02:01.569
original Brooklyn home.

48
00:02:01.570 --> 00:02:03.489
Well, I think when David was nine

49
00:02:03.490 --> 00:02:04.490
years old,

50
00:02:05.800 --> 00:02:07.780
I say he's a fan.

51
00:02:08.830 --> 00:02:10.179
Really. He's an expert

52
00:02:11.530 --> 00:02:13.989
as he is an expert on a dazzling

53
00:02:13.990 --> 00:02:16.569
variety of subjects.

54
00:02:16.570 --> 00:02:18.429
I think of him as a kind of

55
00:02:18.430 --> 00:02:21.129
Odysseus among contemporary

56
00:02:23.050 --> 00:02:25.869
people of letters in this country.

57
00:02:25.870 --> 00:02:28.299
He is Polly 30%+,

58
00:02:28.300 --> 00:02:31.449
as they say, is Polly Maher knows

59
00:02:31.450 --> 00:02:33.549
a man of many guises that is.

60
00:02:33.550 --> 00:02:35.709
And devices like

61
00:02:35.710 --> 00:02:37.569
like Odysseus, many too

62
00:02:37.570 --> 00:02:40.149
many for me to encapsulate.

63
00:02:40.150 --> 00:02:42.339
Tonight, though, I will

64
00:02:42.340 --> 00:02:44.769
mention his authorship of

65
00:02:44.770 --> 00:02:47.349
a book called The Perfect Murder,

66
00:02:47.350 --> 00:02:49.629
which is a study of mystery

67
00:02:49.630 --> 00:02:51.549
stories that

68
00:02:51.550 --> 00:02:53.379
takes in the Oedipus

69
00:02:53.380 --> 00:02:55.299
myth and comes

70
00:02:55.300 --> 00:02:56.679
all the way up to, I guess.

71
00:02:56.680 --> 00:02:58.509
Ross Macdonald and

72
00:02:58.510 --> 00:02:59.819
I'm not sure who else more

73
00:03:00.820 --> 00:03:01.820
nearer us,

74
00:03:02.890 --> 00:03:05.049
but is a fascinating book.

75
00:03:05.050 --> 00:03:07.239
David David writes Many books

76
00:03:07.240 --> 00:03:09.419
are very good as

77
00:03:09.420 --> 00:03:10.420
as you know.

78
00:03:11.380 --> 00:03:13.839
And then there is his own detective

79
00:03:13.840 --> 00:03:15.819
work focused on a

80
00:03:15.820 --> 00:03:17.739
suspect literary

81
00:03:17.740 --> 00:03:19.599
theory entitled

82
00:03:19.600 --> 00:03:21.849
Signs of the Times

83
00:03:21.850 --> 00:03:23.969
Destruction and the Fall of Paul

84
00:03:23.970 --> 00:03:24.970
A Man.

85
00:03:26.520 --> 00:03:28.479
The fall of poled a man.

86
00:03:28.480 --> 00:03:29.599
Get it?

87
00:03:29.600 --> 00:03:30.419
Follow me.

88
00:03:30.420 --> 00:03:32.109
Of course you do.

89
00:03:32.110 --> 00:03:33.270
There's a poetry reading.

90
00:03:36.330 --> 00:03:37.919
More recently, there are books on

91
00:03:37.920 --> 00:03:38.920
Frank Sinatra

92
00:03:40.290 --> 00:03:42.329
and the New York School of Poets,

93
00:03:42.330 --> 00:03:44.549
of which David is now the the

94
00:03:44.550 --> 00:03:46.740
preeminent representative.

95
00:03:48.430 --> 00:03:50.319
Notwithstanding the demands that

96
00:03:50.320 --> 00:03:52.449
such things make, Odysseus

97
00:03:52.450 --> 00:03:54.279
Leamon has kept

98
00:03:54.280 --> 00:03:56.199
his dauntless craft

99
00:03:56.200 --> 00:03:57.399
sailing along

100
00:03:58.690 --> 00:04:00.159
to and from his home,

101
00:04:01.480 --> 00:04:04.779
which is, by the way, in Ithaca,

102
00:04:04.780 --> 00:04:06.719
New York. But still, this is his

103
00:04:06.720 --> 00:04:07.720
car.

104
00:04:08.590 --> 00:04:10.569
And by craft, of course,

105
00:04:10.570 --> 00:04:12.579
I mean poetry

106
00:04:12.580 --> 00:04:14.469
play list from which he'll

107
00:04:14.470 --> 00:04:16.299
read tonight is

108
00:04:16.300 --> 00:04:18.458
a delectable, be addictive

109
00:04:18.459 --> 00:04:20.768
journal of the musings

110
00:04:20.769 --> 00:04:23.019
provoked by the sirens

111
00:04:23.020 --> 00:04:25.329
encountered on his radio

112
00:04:25.330 --> 00:04:27.579
for 56 straight days.

113
00:04:28.780 --> 00:04:30.729
The music he hears and

114
00:04:30.730 --> 00:04:32.949
alludes to is chiefly American

115
00:04:32.950 --> 00:04:34.839
popular song and

116
00:04:34.840 --> 00:04:37.329
jazz from the 1930s

117
00:04:37.330 --> 00:04:39.999
through, I'd say, the 1960s.

118
00:04:40.000 --> 00:04:42.159
Basically, though, classic

119
00:04:42.160 --> 00:04:43.550
music figures, too.

120
00:04:44.950 --> 00:04:46.779
And the music he makes.

121
00:04:48.390 --> 00:04:50.909
Definitely splices in

122
00:04:50.910 --> 00:04:53.309
contemporaneous elements

123
00:04:53.310 --> 00:04:55.589
from those years JFK

124
00:04:55.590 --> 00:04:57.569
assassination,

125
00:04:57.570 --> 00:04:59.519
the 1975 World

126
00:04:59.520 --> 00:05:00.520
Series.

127
00:05:01.470 --> 00:05:02.909
In which the Dodgers did not

128
00:05:02.910 --> 00:05:03.910
participate

129
00:05:05.470 --> 00:05:07.319
in the assorted bonds

130
00:05:07.320 --> 00:05:09.219
in Hitchcock's films, but

131
00:05:09.220 --> 00:05:10.259
in an appearance

132
00:05:11.370 --> 00:05:13.409
along with the invaluable but

133
00:05:13.410 --> 00:05:15.419
obscure facts

134
00:05:15.420 --> 00:05:17.549
and and heuristic

135
00:05:17.550 --> 00:05:19.709
theories, most

136
00:05:19.710 --> 00:05:21.629
of the songs in David's films

137
00:05:21.630 --> 00:05:23.430
are inevitably love songs.

138
00:05:24.510 --> 00:05:26.409
Quotes from which he can

139
00:05:26.410 --> 00:05:29.089
only excerpts dusts,

140
00:05:29.090 --> 00:05:31.859
burn issues and sets.

141
00:05:31.860 --> 00:05:34.049
So the wisdom in them

142
00:05:34.050 --> 00:05:35.790
outshines the banality.

143
00:05:37.470 --> 00:05:39.599
One of the mad, lazy composers,

144
00:05:39.600 --> 00:05:41.729
or conducts as he says,

145
00:05:41.730 --> 00:05:43.649
is subtitled Mahler's

146
00:05:43.650 --> 00:05:45.749
Third A Tour

147
00:05:45.750 --> 00:05:47.129
de Force.

148
00:05:47.130 --> 00:05:49.379
It brings together the 6th movement

149
00:05:49.380 --> 00:05:51.239
of that symphony

150
00:05:51.240 --> 00:05:52.289
around L.A.

151
00:05:52.290 --> 00:05:54.119
From Nature's Zarah

152
00:05:54.120 --> 00:05:56.069
to a Straw and

153
00:05:56.070 --> 00:05:57.989
a 1938 song by

154
00:05:57.990 --> 00:06:00.179
Sammy Fain and Irving

155
00:06:00.180 --> 00:06:01.180
Cahow.

156
00:06:02.250 --> 00:06:04.439
I'll be seeing you

157
00:06:04.440 --> 00:06:07.089
in all the old familiar places

158
00:06:07.090 --> 00:06:09.329
you remember. It begins.

159
00:06:09.330 --> 00:06:11.579
I hope some of you know and Ms.

160
00:06:11.580 --> 00:06:13.559
I'll be looking at the moon, but

161
00:06:13.560 --> 00:06:14.640
I'll be seeing you.

162
00:06:17.210 --> 00:06:19.429
Seeing things again and a new

163
00:06:19.430 --> 00:06:21.889
or motifs in this book,

164
00:06:21.890 --> 00:06:24.019
and I take I'll be seeing you

165
00:06:24.020 --> 00:06:26.519
here both as a nostalgic

166
00:06:26.520 --> 00:06:28.609
wistfulness and as a sly

167
00:06:28.610 --> 00:06:30.919
promise steeped

168
00:06:30.920 --> 00:06:33.409
in the past playlist everywhere

169
00:06:33.410 --> 00:06:35.959
anticipates the future.

170
00:06:35.960 --> 00:06:37.939
Another motif is a is also

171
00:06:37.940 --> 00:06:39.799
a song titled A Hundred

172
00:06:39.800 --> 00:06:41.659
Years From Today,

173
00:06:41.660 --> 00:06:43.849
which is one of the great Carpe Diem

174
00:06:43.850 --> 00:06:44.899
songs.

175
00:06:44.900 --> 00:06:46.909
As the poet says,

176
00:06:46.910 --> 00:06:48.649
like I'll Be Seeing You.

177
00:06:48.650 --> 00:06:51.439
It also features the moon.

178
00:06:51.440 --> 00:06:53.209
And today, a hundred years from

179
00:06:53.210 --> 00:06:55.069
today must make

180
00:06:55.070 --> 00:06:57.650
us imagine 21 19.

181
00:06:59.940 --> 00:07:02.259
We won't see the moon shine

182
00:07:02.260 --> 00:07:04.499
then the lyrics remind

183
00:07:04.500 --> 00:07:05.729
us.

184
00:07:05.730 --> 00:07:07.769
But with any luck, real

185
00:07:07.770 --> 00:07:09.659
music lovers,

186
00:07:09.660 --> 00:07:11.939
most of whom are our Dodger fans,

187
00:07:11.940 --> 00:07:14.399
by the way, will

188
00:07:14.400 --> 00:07:15.239
see it shine.

189
00:07:15.240 --> 00:07:17.489
Of course. Thanks in part to David's

190
00:07:17.490 --> 00:07:19.379
witty, touching

191
00:07:19.380 --> 00:07:21.689
memorialization and guide

192
00:07:21.690 --> 00:07:23.609
to the old familiar

193
00:07:23.610 --> 00:07:25.489
faces and places

194
00:07:25.490 --> 00:07:26.490
that.

195
00:07:36.710 --> 00:07:38.809
Gee, that was just about the best

196
00:07:38.810 --> 00:07:40.699
introduction that I've ever

197
00:07:40.700 --> 00:07:42.709
had and I'd like a copy

198
00:07:42.710 --> 00:07:44.539
of it and I'm glad I

199
00:07:44.540 --> 00:07:46.369
signed that thing that said you can

200
00:07:46.370 --> 00:07:47.720
you can tape the event.

201
00:07:49.820 --> 00:07:51.259
So thank you very much for the

202
00:07:51.260 --> 00:07:53.359
introduction and for inviting

203
00:07:53.360 --> 00:07:53.619
me.

204
00:07:53.620 --> 00:07:55.489
And also, I would like to

205
00:07:55.490 --> 00:07:57.979
say that Stephen Yenser

206
00:07:57.980 --> 00:07:59.899
is the probably

207
00:07:59.900 --> 00:08:01.879
the world's foremost authority

208
00:08:01.880 --> 00:08:04.579
on the great poet James Merrill.

209
00:08:04.580 --> 00:08:06.799
And I'd like to salute

210
00:08:06.800 --> 00:08:09.079
him for a lifetime

211
00:08:09.080 --> 00:08:11.029
of dedication to

212
00:08:11.030 --> 00:08:13.159
James Merrills poetry and

213
00:08:13.160 --> 00:08:14.360
accomplishment, which is

214
00:08:15.660 --> 00:08:16.249
euge.

215
00:08:16.250 --> 00:08:17.300
Oh, look at that.

216
00:08:20.630 --> 00:08:22.759
She has a book, James Merill essays

217
00:08:22.760 --> 00:08:24.260
and criticism.

218
00:08:25.970 --> 00:08:28.099
But I did want to say that

219
00:08:28.100 --> 00:08:30.349
Stephen is as good a close reader

220
00:08:30.350 --> 00:08:32.538
of challenging poetry

221
00:08:32.539 --> 00:08:34.389
as as there is

222
00:08:34.390 --> 00:08:36.859
in in the country.

223
00:08:36.860 --> 00:08:38.808
So I'm

224
00:08:38.809 --> 00:08:40.520
glad to be able to salute him.

225
00:08:41.539 --> 00:08:42.539
Is that.

226
00:08:47.100 --> 00:08:49.199
And everything he said

227
00:08:49.200 --> 00:08:50.649
was true.

228
00:08:50.650 --> 00:08:53.459
You know, without

229
00:08:53.460 --> 00:08:54.869
any exception.

230
00:08:54.870 --> 00:08:57.239
Also, I can proudly

231
00:08:57.240 --> 00:08:58.289
say that I've

232
00:08:59.370 --> 00:09:01.259
been to Dodger Stadium

233
00:09:01.260 --> 00:09:03.119
five times and to

234
00:09:03.120 --> 00:09:05.339
Ebbets Field in Brooklyn

235
00:09:05.340 --> 00:09:07.409
and the Dodgers have won every game

236
00:09:07.410 --> 00:09:08.460
that I've attended.

237
00:09:09.570 --> 00:09:11.219
So they ought to fly me out here

238
00:09:11.220 --> 00:09:13.379
every year with

239
00:09:13.380 --> 00:09:14.699
the last three games.

240
00:09:14.700 --> 00:09:16.889
We swept the Braves

241
00:09:16.890 --> 00:09:18.869
with a total of 25 runs

242
00:09:18.870 --> 00:09:21.089
and gave them only seven.

243
00:09:21.090 --> 00:09:23.099
So I'd say that was

244
00:09:23.100 --> 00:09:24.419
pretty good.

245
00:09:24.420 --> 00:09:26.109
Well, before reading from a

246
00:09:26.110 --> 00:09:28.139
playlist, I have a book coming

247
00:09:28.140 --> 00:09:30.099
out in the fall called One

248
00:09:30.100 --> 00:09:32.459
Hundred Autobiographies

249
00:09:32.460 --> 00:09:33.869
A Memoir.

250
00:09:33.870 --> 00:09:35.969
And the title was A Gift

251
00:09:35.970 --> 00:09:38.789
from the poet Mark Strand.

252
00:09:38.790 --> 00:09:40.709
And I'd like to read one section

253
00:09:40.710 --> 00:09:42.689
just so you would

254
00:09:42.690 --> 00:09:44.889
get a feel for

255
00:09:44.890 --> 00:09:46.769
what what this book will be like.

256
00:09:46.770 --> 00:09:48.599
It's a it's a autobiography

257
00:09:48.600 --> 00:09:49.679
or a memoir.

258
00:09:51.900 --> 00:09:54.059
In my senior year of college,

259
00:09:54.060 --> 00:09:56.339
I was nervous about getting drafted

260
00:09:56.340 --> 00:09:58.679
and having to go to Vietnam.

261
00:09:58.680 --> 00:10:00.569
Morris Simon, father

262
00:10:00.570 --> 00:10:02.519
of Rachelle, the curly haired

263
00:10:02.520 --> 00:10:05.519
brunette on whom I had a crush,

264
00:10:05.520 --> 00:10:07.319
was considered the wise man of the

265
00:10:07.320 --> 00:10:08.579
synagogue.

266
00:10:08.580 --> 00:10:10.259
And it was to him that my father

267
00:10:10.260 --> 00:10:13.469
suggested I go for advice.

268
00:10:13.470 --> 00:10:15.149
Mr. Simon was the head of the

269
00:10:15.150 --> 00:10:18.059
temples, however, Kadija,

270
00:10:18.060 --> 00:10:19.979
which undertook the community's

271
00:10:19.980 --> 00:10:21.929
funeral arrangements

272
00:10:21.930 --> 00:10:24.569
and cemetery maintenance.

273
00:10:24.570 --> 00:10:26.999
After I had my say,

274
00:10:27.000 --> 00:10:28.889
he made this cheerful

275
00:10:28.890 --> 00:10:30.749
little speech.

276
00:10:30.750 --> 00:10:32.039
There's really nothing to worry

277
00:10:32.040 --> 00:10:34.439
about, he said.

278
00:10:34.440 --> 00:10:36.179
You have to go to the army.

279
00:10:36.180 --> 00:10:38.009
Well, one of two

280
00:10:38.010 --> 00:10:39.090
things will happen.

281
00:10:40.200 --> 00:10:42.419
Either you'll be sent to Vietnam

282
00:10:42.420 --> 00:10:44.069
or you won't.

283
00:10:44.070 --> 00:10:44.959
If you were.

284
00:10:44.960 --> 00:10:46.739
If you if you're not.

285
00:10:46.740 --> 00:10:49.049
What's there to worry about?

286
00:10:49.050 --> 00:10:50.969
But let's say they send you to

287
00:10:50.970 --> 00:10:52.319
Vietnam.

288
00:10:52.320 --> 00:10:55.289
One of two things will happen.

289
00:10:55.290 --> 00:10:57.419
You'll get a cushy desk job

290
00:10:57.420 --> 00:10:59.399
in Saigon

291
00:10:59.400 --> 00:11:01.199
or you'll go to the front.

292
00:11:01.200 --> 00:11:03.569
If you get the desk job,

293
00:11:03.570 --> 00:11:04.920
there's nothing to worry about.

294
00:11:06.450 --> 00:11:08.739
But even suppose they volunteer,

295
00:11:08.740 --> 00:11:10.619
you went to the one hundred seventy

296
00:11:10.620 --> 00:11:12.689
third airborne brigade

297
00:11:12.690 --> 00:11:14.639
and God forbid, they send you to the

298
00:11:14.640 --> 00:11:16.559
Mekong Delta

299
00:11:16.560 --> 00:11:19.259
as part of Operation Marauder.

300
00:11:19.260 --> 00:11:22.049
And there are two short artillery

301
00:11:22.050 --> 00:11:23.219
rounds.

302
00:11:23.220 --> 00:11:25.320
One of two things will happen.

303
00:11:26.400 --> 00:11:27.989
Either you'll get wounded in the

304
00:11:27.990 --> 00:11:30.449
blast or you won't.

305
00:11:30.450 --> 00:11:31.889
If you won't.

306
00:11:31.890 --> 00:11:33.389
What's there to worry about?

307
00:11:34.470 --> 00:11:36.479
But even suppose you do

308
00:11:36.480 --> 00:11:38.159
get wounded, hoss.

309
00:11:38.160 --> 00:11:40.049
The shall I'm one of two

310
00:11:40.050 --> 00:11:41.849
things will happen.

311
00:11:41.850 --> 00:11:43.799
Either you'll recover

312
00:11:43.800 --> 00:11:44.800
or you won't.

313
00:11:45.570 --> 00:11:47.609
If you recover, what's

314
00:11:47.610 --> 00:11:49.469
there to worry about?

315
00:11:49.470 --> 00:11:52.319
But even suppose you don't recover,

316
00:11:52.320 --> 00:11:54.779
one of two things will happen.

317
00:11:54.780 --> 00:11:57.179
You'll be buried in hallowed ground

318
00:11:57.180 --> 00:11:59.599
like a good Jewish boy.

319
00:11:59.600 --> 00:12:00.839
Or you won't.

320
00:12:00.840 --> 00:12:03.809
If you're buried in hallowed ground,

321
00:12:03.810 --> 00:12:06.029
what's there to worry about?

322
00:12:06.030 --> 00:12:07.859
But suppose you're not buried in

323
00:12:07.860 --> 00:12:08.999
hallowed ground.

324
00:12:09.000 --> 00:12:11.219
Well, Mr. Simon

325
00:12:11.220 --> 00:12:11.999
paused.

326
00:12:12.000 --> 00:12:13.949
Well, then, my dear

327
00:12:13.950 --> 00:12:15.779
David, you're in one

328
00:12:15.780 --> 00:12:16.980
hell of a fix

329
00:12:19.970 --> 00:12:20.970
no

330
00:12:22.680 --> 00:12:24.089
playlist.

331
00:12:24.090 --> 00:12:25.919
I live part of the time in Ithaca,

332
00:12:25.920 --> 00:12:28.229
New York, where Archie Aman's

333
00:12:28.230 --> 00:12:30.149
A.R. Ammons lived.

334
00:12:30.150 --> 00:12:31.349
He was a neighbor of mine, is a

335
00:12:31.350 --> 00:12:33.450
great poet, and

336
00:12:34.680 --> 00:12:36.629
he lives he lived around

337
00:12:36.630 --> 00:12:38.459
the corner from where my wife and

338
00:12:38.460 --> 00:12:39.449
I live.

339
00:12:39.450 --> 00:12:41.579
And I started

340
00:12:41.580 --> 00:12:42.799
writing this as a dead

341
00:12:44.180 --> 00:12:45.719
in honor of him.

342
00:12:45.720 --> 00:12:47.099
He wrote a book called Tape for the

343
00:12:47.100 --> 00:12:48.269
turn of the Year

344
00:12:49.380 --> 00:12:51.059
with daily entries from

345
00:12:52.320 --> 00:12:54.449
December through January.

346
00:12:54.450 --> 00:12:56.729
I think 1964.

347
00:12:56.730 --> 00:12:59.099
So eleven,

348
00:12:59.100 --> 00:13:00.299
twenty, seventeen.

349
00:13:00.300 --> 00:13:02.009
Dear Archie.

350
00:13:02.010 --> 00:13:03.869
Today I drove past 6 0

351
00:13:03.870 --> 00:13:05.979
6 Hanshaw Road,

352
00:13:05.980 --> 00:13:08.669
where you haven't lived since 1993

353
00:13:08.670 --> 00:13:11.099
and where you had green shutters.

354
00:13:11.100 --> 00:13:13.049
The current occupants have

355
00:13:13.050 --> 00:13:14.519
maroon ones.

356
00:13:14.520 --> 00:13:16.379
Yours were better.

357
00:13:16.380 --> 00:13:19.169
You left us in February 2001,

358
00:13:19.170 --> 00:13:22.679
a week after you turned 75.

359
00:13:22.680 --> 00:13:24.539
I thought of your coil of tape

360
00:13:24.540 --> 00:13:26.459
for the turn of the year while I

361
00:13:26.460 --> 00:13:28.289
was driving and listening to

362
00:13:28.290 --> 00:13:30.179
the radio and deciding

363
00:13:30.180 --> 00:13:32.249
I would write this poem to you,

364
00:13:32.250 --> 00:13:33.449
old friend.

365
00:13:33.450 --> 00:13:35.789
Now that I'm the age you were

366
00:13:35.790 --> 00:13:38.069
when we edited a book together,

367
00:13:38.070 --> 00:13:40.229
and you were so much older then

368
00:13:40.230 --> 00:13:42.089
than I, if

369
00:13:42.090 --> 00:13:44.099
you were here you would ask me what

370
00:13:44.100 --> 00:13:46.079
a. The radio enchants me

371
00:13:46.080 --> 00:13:48.749
so much, it's randomness.

372
00:13:48.750 --> 00:13:50.939
I would say someone else is choosing

373
00:13:50.940 --> 00:13:53.009
the order, the sequence which

374
00:13:53.010 --> 00:13:55.679
may never cohere into sense,

375
00:13:55.680 --> 00:13:57.059
but the day is like that.

376
00:13:57.060 --> 00:13:59.129
It gives you what it has and lets

377
00:13:59.130 --> 00:14:00.479
you arrange it.

378
00:14:00.480 --> 00:14:02.729
And sometimes you luck into Sinatra

379
00:14:02.730 --> 00:14:04.979
singing the song as you

380
00:14:04.980 --> 00:14:07.979
arranged by Billy May in 1958.

381
00:14:07.980 --> 00:14:09.989
And you understand that, Archie.

382
00:14:09.990 --> 00:14:11.819
You remember the phone call when I

383
00:14:11.820 --> 00:14:13.709
sang. It seems to me I've

384
00:14:13.710 --> 00:14:15.629
heard that song before and you

385
00:14:15.630 --> 00:14:16.439
sang back.

386
00:14:16.440 --> 00:14:19.079
It's from an old familiar score.

387
00:14:19.080 --> 00:14:21.149
You knew all the words and reminded

388
00:14:21.150 --> 00:14:23.069
me that you didn't have a radio

389
00:14:23.070 --> 00:14:24.929
in your Toyota, which I

390
00:14:24.930 --> 00:14:27.089
can still see you in your driveway.

391
00:14:27.090 --> 00:14:29.309
But you didn't need a radio

392
00:14:29.310 --> 00:14:31.829
because you had a very entertaining

393
00:14:31.830 --> 00:14:32.830
mind.

394
00:14:34.110 --> 00:14:36.269
Eleven twenty one seventeen

395
00:14:36.270 --> 00:14:39.419
on Coleman Hawkins is birthday.

396
00:14:39.420 --> 00:14:41.169
It's November twenty one.

397
00:14:41.170 --> 00:14:44.369
Tomorrow, JFK will get assassinated.

398
00:14:44.370 --> 00:14:46.529
The late Hoagy Carmichael, born

399
00:14:46.530 --> 00:14:49.549
on the 22nd in 1899,

400
00:14:49.550 --> 00:14:52.009
will play among my souvenirs

401
00:14:52.010 --> 00:14:54.479
in the best years of our lives,

402
00:14:54.480 --> 00:14:56.369
and Matthew Zapruder will turn

403
00:14:56.370 --> 00:14:57.809
50.

404
00:14:57.810 --> 00:14:59.759
But today, today, I take my

405
00:14:59.760 --> 00:15:01.889
Audi out for a spin across

406
00:15:01.890 --> 00:15:04.109
various bridges spanning

407
00:15:04.110 --> 00:15:06.119
the gorges of Ithaka

408
00:15:06.120 --> 00:15:08.549
under a brilliant blue sky

409
00:15:08.550 --> 00:15:10.439
darkening as I drive and

410
00:15:10.440 --> 00:15:12.509
continuing to do so

411
00:15:12.510 --> 00:15:14.549
after I step out of the car

412
00:15:14.550 --> 00:15:16.559
and onto my favorite perch

413
00:15:16.560 --> 00:15:18.749
above colleages waters

414
00:15:18.750 --> 00:15:21.089
the porch where majestic trees

415
00:15:21.090 --> 00:15:23.279
devoid of leaves stand

416
00:15:23.280 --> 00:15:24.569
like scarecrows.

417
00:15:24.570 --> 00:15:26.469
The sky a deeper you and

418
00:15:26.470 --> 00:15:28.379
orange and blue blazer

419
00:15:28.380 --> 00:15:31.109
dipping below the horizon.

420
00:15:31.110 --> 00:15:33.629
The car radio was on Sirius

421
00:15:33.630 --> 00:15:35.699
71 and my mind

422
00:15:35.700 --> 00:15:36.719
wanders.

423
00:15:36.720 --> 00:15:38.519
I think how brilliant the bridges

424
00:15:38.520 --> 00:15:39.299
are in.

425
00:15:39.300 --> 00:15:40.919
Isn't this a lovely day?

426
00:15:40.920 --> 00:15:42.239
Irving Berlin.

427
00:15:42.240 --> 00:15:44.369
And can't help loving that man

428
00:15:44.370 --> 00:15:46.349
of mine. Jerome Kern,

429
00:15:46.350 --> 00:15:48.329
who also wrote the music for

430
00:15:48.330 --> 00:15:50.069
the way you look tonight.

431
00:15:50.070 --> 00:15:52.439
And that the way you look tonight

432
00:15:52.440 --> 00:15:54.419
is playing on the kitchen radio

433
00:15:54.420 --> 00:15:56.489
right now with Coleman

434
00:15:56.490 --> 00:15:58.469
Hawkins on tenor sax,

435
00:15:58.470 --> 00:16:00.269
whose birthday is today.

436
00:16:00.270 --> 00:16:02.129
And tremendous sidemen, Max

437
00:16:02.130 --> 00:16:04.469
Roach, Milt Jackson at all.

438
00:16:04.470 --> 00:16:06.359
So w.b case ya's doing

439
00:16:06.360 --> 00:16:08.369
all Hawkins all day

440
00:16:08.370 --> 00:16:10.259
as they have done since

441
00:16:10.260 --> 00:16:12.399
the Johnson administration.

442
00:16:12.400 --> 00:16:13.259
Lyndon.

443
00:16:13.260 --> 00:16:14.849
Not Andrew.

444
00:16:14.850 --> 00:16:17.009
And now I am nursing my Gibson

445
00:16:17.010 --> 00:16:19.619
with gin from a Chicago distillery,

446
00:16:19.620 --> 00:16:22.169
having made a sidecar for Stacee

447
00:16:22.170 --> 00:16:23.939
and had a quiet moment with Dean

448
00:16:23.940 --> 00:16:26.279
Martin under the bridges

449
00:16:26.280 --> 00:16:27.869
and Keely Smith.

450
00:16:27.870 --> 00:16:29.759
Can't think of anything I'd rather

451
00:16:29.760 --> 00:16:30.760
do.

452
00:16:31.690 --> 00:16:34.369
Eleven twenty two, seventeen.

453
00:16:34.370 --> 00:16:36.079
A good day for a drive to the

454
00:16:36.080 --> 00:16:38.059
country underneath the apple tree

455
00:16:38.060 --> 00:16:40.399
with Carmen McRae proving

456
00:16:40.400 --> 00:16:42.589
you can sing and talk at the same

457
00:16:42.590 --> 00:16:44.719
time and hear the Bluebird

458
00:16:44.720 --> 00:16:46.879
sing, she sings

459
00:16:46.880 --> 00:16:49.459
as if there were a hyphen separating

460
00:16:49.460 --> 00:16:51.649
blue from birds

461
00:16:51.650 --> 00:16:53.699
and we shoot up with

462
00:16:53.700 --> 00:16:54.700
summertime.

463
00:16:56.140 --> 00:16:58.469
Eleven twenty three, seventeen

464
00:16:58.470 --> 00:17:00.569
seventy two hours have passed

465
00:17:00.570 --> 00:17:02.909
since my momentous decision

466
00:17:02.910 --> 00:17:04.889
to organize a poem

467
00:17:04.890 --> 00:17:07.078
around the symphonies and songs

468
00:17:07.079 --> 00:17:09.659
I hear on the radio on consecutive

469
00:17:09.660 --> 00:17:12.029
days as fall fades

470
00:17:12.030 --> 00:17:14.578
into the early darkness of winter

471
00:17:14.579 --> 00:17:16.529
and I'm still up for a jazz

472
00:17:16.530 --> 00:17:18.659
version of Stravinsky while

473
00:17:18.660 --> 00:17:20.608
Harry Sweets Edison

474
00:17:20.609 --> 00:17:22.588
isn't misbehaving.

475
00:17:22.589 --> 00:17:24.689
I just spent the dizzy night in

476
00:17:24.690 --> 00:17:26.759
Tunisia and word reaches

477
00:17:26.760 --> 00:17:28.619
me that Jennifer Lawrence

478
00:17:28.620 --> 00:17:30.539
will play the lead in a soon

479
00:17:30.540 --> 00:17:33.119
to be released female empowerment

480
00:17:33.120 --> 00:17:34.949
thriller in which she is

481
00:17:34.950 --> 00:17:37.769
a Soviet agent or double agent

482
00:17:37.770 --> 00:17:39.059
back in the day.

483
00:17:43.090 --> 00:17:44.289
Eleven twenty five.

484
00:17:44.290 --> 00:17:45.519
Seventeen.

485
00:17:45.520 --> 00:17:47.349
I'd be a beggar or a knave

486
00:17:47.350 --> 00:17:48.549
for you.

487
00:17:48.550 --> 00:17:51.189
Peggy Lee, why don't you do right?

488
00:17:51.190 --> 00:17:53.649
And why Lee Wiley?

489
00:17:53.650 --> 00:17:55.269
You'll find my reasoning is

490
00:17:55.270 --> 00:17:57.069
logically sound.

491
00:17:57.070 --> 00:17:59.109
And if that isn't love, it will have

492
00:17:59.110 --> 00:18:00.939
to do back in

493
00:18:00.940 --> 00:18:02.889
your own backyard.

494
00:18:02.890 --> 00:18:04.809
Jo Stafford's impeccable

495
00:18:04.810 --> 00:18:07.239
tale for Embraceable You

496
00:18:07.240 --> 00:18:09.159
and Helen Forrest, who sang

497
00:18:09.160 --> 00:18:11.229
All the things you are with Artie

498
00:18:11.230 --> 00:18:13.449
Shaw Comes Love.

499
00:18:13.450 --> 00:18:15.939
Nothing can be done.

500
00:18:15.940 --> 00:18:18.339
No one could love you more than I.

501
00:18:18.340 --> 00:18:20.799
Singers of the 1940s.

502
00:18:20.800 --> 00:18:22.719
But today I'm in the men's sauna

503
00:18:22.720 --> 00:18:24.609
with a poet from Nepal

504
00:18:24.610 --> 00:18:26.019
doing yoga.

505
00:18:26.020 --> 00:18:28.209
And the bonhomie of the bent men's

506
00:18:28.210 --> 00:18:30.579
locker room is what stays with me.

507
00:18:30.580 --> 00:18:32.529
And therefore, I wish to salute

508
00:18:32.530 --> 00:18:33.579
Steve Lawrence.

509
00:18:33.580 --> 00:18:35.529
With or without Eddie and

510
00:18:35.530 --> 00:18:37.719
Mel Torme, a Nat Cole,

511
00:18:37.720 --> 00:18:39.729
Joe Williams with the Basey band.

512
00:18:39.730 --> 00:18:41.709
Johnny Hartman, my one and only

513
00:18:41.710 --> 00:18:43.749
love the depth of that

514
00:18:43.750 --> 00:18:46.719
voice matching Coltrane's

515
00:18:46.720 --> 00:18:47.860
tenor sax.

516
00:18:51.990 --> 00:18:53.819
11:28 17, a

517
00:18:53.820 --> 00:18:55.679
man named Yun

518
00:18:55.680 --> 00:18:58.649
wrote A hundred years from today,

519
00:18:58.650 --> 00:19:00.479
one of the great Carpe IDM

520
00:19:00.480 --> 00:19:02.609
songs whose premise

521
00:19:02.610 --> 00:19:04.609
is Use is fleeting.

522
00:19:04.610 --> 00:19:06.869
Victor Young wrote the music,

523
00:19:06.870 --> 00:19:09.269
Ned Washington, the lyrics.

524
00:19:09.270 --> 00:19:10.419
So let's play Jack.

525
00:19:10.420 --> 00:19:12.779
Tea Gardens, Decca recording

526
00:19:12.780 --> 00:19:14.729
from nineteen forty one

527
00:19:14.730 --> 00:19:16.019
with the moon above.

528
00:19:16.020 --> 00:19:16.799
It's yours.

529
00:19:16.800 --> 00:19:18.119
And it's mine.

530
00:19:18.120 --> 00:19:20.069
Remember, darling, we won't

531
00:19:20.070 --> 00:19:21.559
see it shine.

532
00:19:21.560 --> 00:19:23.369
A hundred years from today.

533
00:19:26.410 --> 00:19:28.059
Eleven twenty nine, seventeen.

534
00:19:28.060 --> 00:19:30.039
I'm listening to Eric Dolphy without

535
00:19:30.040 --> 00:19:32.409
understanding a word.

536
00:19:32.410 --> 00:19:33.939
There are no words, but I know what

537
00:19:33.940 --> 00:19:34.999
you mean.

538
00:19:35.000 --> 00:19:36.759
On the drive back to Hamilton

539
00:19:36.760 --> 00:19:38.739
College, after visiting Archie

540
00:19:38.740 --> 00:19:41.139
for the first time in Goldwin

541
00:19:41.140 --> 00:19:44.409
Smith Hall in 1976.

542
00:19:44.410 --> 00:19:46.449
I brought my hard cover copy

543
00:19:46.450 --> 00:19:48.219
of Diversifications.

544
00:19:48.220 --> 00:19:50.919
He signed it and took me

545
00:19:50.920 --> 00:19:52.929
to EPIK headquarters.

546
00:19:52.930 --> 00:19:54.819
We took a walk around the Cornell

547
00:19:54.820 --> 00:19:56.079
Arts Quad.

548
00:19:56.080 --> 00:19:57.789
He showed me the one building on

549
00:19:57.790 --> 00:19:59.109
campus he liked.

550
00:19:59.110 --> 00:20:01.029
Was it Barnes Hall?

551
00:20:01.030 --> 00:20:02.649
Because it, quote, has some

552
00:20:02.650 --> 00:20:05.169
diversity to go with its unity

553
00:20:05.170 --> 00:20:06.219
and quote.

554
00:20:06.220 --> 00:20:08.289
He complained of bad health,

555
00:20:08.290 --> 00:20:10.809
bad teeth, bad skin.

556
00:20:10.810 --> 00:20:13.119
Well, I said, you look good.

557
00:20:13.120 --> 00:20:15.250
Well, he said, I fuck a lot.

558
00:20:17.430 --> 00:20:19.619
Eleven thirty, seventeen.

559
00:20:19.620 --> 00:20:21.569
Hey, Archie, I thought of dialing

560
00:20:21.570 --> 00:20:23.489
your phone number today 2 5

561
00:20:23.490 --> 00:20:25.889
7 6 1 8 1

562
00:20:25.890 --> 00:20:28.259
to see if I can still make you laugh

563
00:20:28.260 --> 00:20:29.789
like the time I called the English

564
00:20:29.790 --> 00:20:32.639
department and ask for you.

565
00:20:32.640 --> 00:20:34.319
You weren't there, but Margaret took

566
00:20:34.320 --> 00:20:36.329
a message. I said Archibald

567
00:20:36.330 --> 00:20:38.459
MacLeish called for you.

568
00:20:38.460 --> 00:20:40.079
And sure enough, an hour and a half

569
00:20:40.080 --> 00:20:41.730
later, you returned my call.

570
00:20:42.930 --> 00:20:44.789
So today I am phoning

571
00:20:44.790 --> 00:20:46.949
you to say I'm going to write a poem

572
00:20:46.950 --> 00:20:49.139
you'll like called Empty

573
00:20:49.140 --> 00:20:50.819
Calories, a memoir.

574
00:20:55.510 --> 00:20:57.469
12:03 symptoms, skipping

575
00:20:57.470 --> 00:20:59.329
around action, skipping

576
00:20:59.330 --> 00:21:00.879
the best porn.

577
00:21:00.880 --> 00:21:02.829
So I've got to get

578
00:21:02.830 --> 00:21:05.129
the book 12:03

579
00:21:05.130 --> 00:21:05.959
70.

580
00:21:05.960 --> 00:21:08.629
When I listen to Ralph's new blues.

581
00:21:08.630 --> 00:21:10.549
Modern Jazz Quartet.

582
00:21:10.550 --> 00:21:12.439
The epiphany was the music

583
00:21:12.440 --> 00:21:14.389
that remained when the melody was

584
00:21:14.390 --> 00:21:15.289
removed.

585
00:21:15.290 --> 00:21:17.149
Even for such as I

586
00:21:17.150 --> 00:21:19.219
who can't think of a better way

587
00:21:19.220 --> 00:21:21.079
to say our love is

588
00:21:21.080 --> 00:21:23.269
here to stay than the song.

589
00:21:25.030 --> 00:21:26.389
For 17.

590
00:21:26.390 --> 00:21:28.799
Archie, you must guide me now,

591
00:21:28.800 --> 00:21:30.679
be to me what Virgil was

592
00:21:30.680 --> 00:21:32.629
to don.t what Rousseau was

593
00:21:32.630 --> 00:21:33.619
to Shelley.

594
00:21:33.620 --> 00:21:34.969
I made you laugh today.

595
00:21:34.970 --> 00:21:37.669
We were talking about Lolita,

596
00:21:37.670 --> 00:21:40.189
the movie with Shelley Winters

597
00:21:40.190 --> 00:21:42.589
as the poor mother of the nymphet.

598
00:21:42.590 --> 00:21:44.779
And I said, if Shelley Winters

599
00:21:44.780 --> 00:21:46.879
comes, can spring be far

600
00:21:46.880 --> 00:21:47.880
behind?

601
00:21:48.740 --> 00:21:51.019
Archie, your guide was the wind.

602
00:21:51.020 --> 00:21:53.509
Mine is the voice of Cecile McLorin

603
00:21:53.510 --> 00:21:54.499
SALVANT.

604
00:21:54.500 --> 00:21:56.329
Nothing like you has ever been

605
00:21:56.330 --> 00:21:57.470
seen before.

606
00:22:01.110 --> 00:22:02.699
12 17.

607
00:22:02.700 --> 00:22:03.809
I'm trying to catch up.

608
00:22:03.810 --> 00:22:05.909
It's hard Blue Rondo Alla

609
00:22:05.910 --> 00:22:07.739
Turk with Al Jarreau.

610
00:22:07.740 --> 00:22:09.989
My philosophy about the news is

611
00:22:09.990 --> 00:22:11.879
ignore the news the way you

612
00:22:11.880 --> 00:22:13.769
avert your eyes from an ugly

613
00:22:13.770 --> 00:22:15.689
car crash or the stock

614
00:22:15.690 --> 00:22:17.550
market on a down day.

615
00:22:18.640 --> 00:22:20.819
12:06 70,

616
00:22:20.820 --> 00:22:22.769
the greatest nickname in the history

617
00:22:22.770 --> 00:22:25.079
of jazz is Cannonball

618
00:22:25.080 --> 00:22:26.909
Adderley, the Jive

619
00:22:26.910 --> 00:22:27.959
Samba.

620
00:22:27.960 --> 00:22:31.109
Sam Jones with him in 1963.

621
00:22:31.110 --> 00:22:33.839
San Francisco, The Jazz Workshop.

622
00:22:33.840 --> 00:22:35.669
Ladies and gentlemen, here is the

623
00:22:35.670 --> 00:22:37.679
saxophone, as you heard on

624
00:22:37.680 --> 00:22:39.749
kind of blue brother

625
00:22:39.750 --> 00:22:41.579
of cornetist Nat

626
00:22:41.580 --> 00:22:43.949
Cannonball, a corruption of

627
00:22:43.950 --> 00:22:45.899
cannibal because

628
00:22:45.900 --> 00:22:47.519
he could eat a horse.

629
00:22:47.520 --> 00:22:49.880
Mercy, mercy, mercy.

630
00:22:53.920 --> 00:22:55.739
Twelve nine, seventeen say

631
00:22:55.740 --> 00:22:57.719
zah francs violin

632
00:22:57.720 --> 00:23:00.299
sonata in a major

633
00:23:00.300 --> 00:23:01.079
a.k.a.

634
00:23:01.080 --> 00:23:03.180
the Franks Inotera

635
00:23:04.230 --> 00:23:05.230
we like.

636
00:23:06.180 --> 00:23:08.579
I'm glad we settled that.

637
00:23:08.580 --> 00:23:11.159
Now if you play Robert Schumann's

638
00:23:11.160 --> 00:23:13.859
Piano Concerto in a minor,

639
00:23:13.860 --> 00:23:16.169
I guarantee you'll stop

640
00:23:16.170 --> 00:23:18.299
what you're doing and listening.

641
00:23:18.300 --> 00:23:20.189
And I find that whenever

642
00:23:20.190 --> 00:23:21.779
I'm talking with a serious

643
00:23:21.780 --> 00:23:23.609
musicologist and the

644
00:23:23.610 --> 00:23:25.829
talk turns to the romantic

645
00:23:25.830 --> 00:23:27.719
period and he or she

646
00:23:27.720 --> 00:23:29.759
says something profound

647
00:23:29.760 --> 00:23:30.869
and complicated.

648
00:23:32.410 --> 00:23:34.299
I guess if I say

649
00:23:34.300 --> 00:23:36.549
how about Schumann's piano concerto

650
00:23:36.550 --> 00:23:38.109
in a minor?

651
00:23:38.110 --> 00:23:40.029
My interlocutor will reply

652
00:23:40.030 --> 00:23:41.229
as if I've said something

653
00:23:41.230 --> 00:23:43.239
intelligent and make me feel

654
00:23:43.240 --> 00:23:44.559
like less of a fraud.

655
00:23:48.170 --> 00:23:50.369
12, 11, 17, Mahler's

656
00:23:50.370 --> 00:23:52.409
third. You can tell that the guy

657
00:23:52.410 --> 00:23:54.869
who wrote I'll be seeing

658
00:23:54.870 --> 00:23:56.789
you in all the old

659
00:23:56.790 --> 00:23:58.889
familiar places

660
00:23:58.890 --> 00:24:01.199
was listening to the long some last

661
00:24:01.200 --> 00:24:03.179
movement of Mahler's 3rd

662
00:24:03.180 --> 00:24:04.979
Symphony at the time.

663
00:24:04.980 --> 00:24:07.259
But in a less exalted,

664
00:24:07.260 --> 00:24:09.929
though equally schmaltzy mood,

665
00:24:09.930 --> 00:24:11.999
just as you can be sure that Mahler

666
00:24:12.000 --> 00:24:13.769
had Nietzsche on the brain in the

667
00:24:13.770 --> 00:24:15.869
fourth movement, when the alto

668
00:24:15.870 --> 00:24:17.699
asks the deep DeepMind

669
00:24:17.700 --> 00:24:19.289
to speak. And it does.

670
00:24:19.290 --> 00:24:21.419
It says the world's pain is deeper

671
00:24:21.420 --> 00:24:23.129
than daytime can guess.

672
00:24:23.130 --> 00:24:24.959
But pain passes and

673
00:24:24.960 --> 00:24:27.119
joy seeks eternity

674
00:24:27.120 --> 00:24:29.430
as I do when I wave my baton.

675
00:24:30.700 --> 00:24:32.189
12. Twelve.

676
00:24:32.190 --> 00:24:32.969
Seventeen.

677
00:24:32.970 --> 00:24:35.129
Somewhere some summer

678
00:24:35.130 --> 00:24:37.439
a few decades ago, Mahler's

679
00:24:37.440 --> 00:24:39.899
First Symphony, The Titan

680
00:24:39.900 --> 00:24:41.789
is playing and melodies

681
00:24:41.790 --> 00:24:43.769
familiar from his songs

682
00:24:43.770 --> 00:24:45.749
are turning up with so much sturm

683
00:24:45.750 --> 00:24:47.099
und drang.

684
00:24:47.100 --> 00:24:49.289
No wonder Lenni loved conducting

685
00:24:49.290 --> 00:24:50.339
him forever.

686
00:24:50.340 --> 00:24:52.379
Ajaka As a funeral march

687
00:24:52.380 --> 00:24:54.659
and D minor dazzling

688
00:24:54.660 --> 00:24:57.119
a double bass solo, no less.

689
00:24:57.120 --> 00:24:59.399
And as for the agitated end,

690
00:24:59.400 --> 00:25:01.709
Möller storms the heavens

691
00:25:01.710 --> 00:25:03.569
with an apotheosis of D

692
00:25:03.570 --> 00:25:04.589
major.

693
00:25:04.590 --> 00:25:06.419
But only after staring at the

694
00:25:06.420 --> 00:25:08.579
abyss and having a good long cry.

695
00:25:10.850 --> 00:25:13.949
12, 13, 17.

696
00:25:13.950 --> 00:25:15.839
Before I passed out,

697
00:25:15.840 --> 00:25:18.239
Ella Fitzgerald saying

698
00:25:18.240 --> 00:25:20.219
it's all right with me.

699
00:25:20.220 --> 00:25:21.719
Don't you want to forget someone,

700
00:25:21.720 --> 00:25:22.559
too?

701
00:25:22.560 --> 00:25:24.479
I do, but I am both

702
00:25:24.480 --> 00:25:26.429
laywer walking among the homeless

703
00:25:26.430 --> 00:25:28.259
and I burn to paint the

704
00:25:28.260 --> 00:25:30.239
woman who visits me in my hotel

705
00:25:30.240 --> 00:25:32.429
room and makes a quick exit

706
00:25:32.430 --> 00:25:34.589
like an apparition or something

707
00:25:34.590 --> 00:25:37.019
the previous occupant left behind

708
00:25:37.020 --> 00:25:38.789
with her nightgown.

709
00:25:38.790 --> 00:25:40.709
I burn for her,

710
00:25:40.710 --> 00:25:42.539
for her black son

711
00:25:42.540 --> 00:25:44.689
and drunk. Making moon

712
00:25:44.690 --> 00:25:46.349
to burn is to yearn.

713
00:25:46.350 --> 00:25:48.569
A rhyme is natural in the 19th

714
00:25:48.570 --> 00:25:50.219
century as gloomy.

715
00:25:50.220 --> 00:25:52.169
And to me are

716
00:25:52.170 --> 00:25:54.029
in the minds of Johnny Mercer

717
00:25:54.030 --> 00:25:55.679
and Leo Robin.

718
00:25:55.680 --> 00:25:57.719
And you did say you wanted Harold

719
00:25:57.720 --> 00:25:59.729
Arlen to take a bough with

720
00:25:59.730 --> 00:26:01.559
blues in the night, or

721
00:26:01.560 --> 00:26:02.729
with Ella singing.

722
00:26:02.730 --> 00:26:04.619
It's only a paper moon

723
00:26:04.620 --> 00:26:06.149
in the context of the Great

724
00:26:06.150 --> 00:26:08.189
Depression, a critique of

725
00:26:08.190 --> 00:26:10.679
make believe that exemplifies

726
00:26:10.680 --> 00:26:12.569
what it criticizes

727
00:26:12.570 --> 00:26:13.919
at honky tonk.

728
00:26:13.920 --> 00:26:16.079
You in Penny Lane,

729
00:26:16.080 --> 00:26:17.080
P.A..

730
00:26:18.840 --> 00:26:21.559
12, 14, 17.

731
00:26:21.560 --> 00:26:24.199
Joe Williams has my full attention.

732
00:26:24.200 --> 00:26:26.659
Speaking of bad luck and trouble,

733
00:26:26.660 --> 00:26:28.129
it isn't every day you have the

734
00:26:28.130 --> 00:26:30.169
blues with the Count Basie

735
00:26:30.170 --> 00:26:32.119
band backing you up

736
00:26:32.120 --> 00:26:33.469
in the big city.

737
00:26:33.470 --> 00:26:35.479
Where to live is to love, is

738
00:26:35.480 --> 00:26:37.309
to lose change

739
00:26:37.310 --> 00:26:39.999
achieved one letter at a time

740
00:26:40.000 --> 00:26:42.439
and Malcolm X Boulevard.

741
00:26:42.440 --> 00:26:44.269
IRA Gershwin's lyric for

742
00:26:44.270 --> 00:26:47.029
But Not for Me, Genius.

743
00:26:47.030 --> 00:26:49.429
But it's 8:00 in time for

744
00:26:49.430 --> 00:26:50.839
The Manchurian Candidate.

745
00:26:52.030 --> 00:26:54.149
12, 15, 17.

746
00:26:54.150 --> 00:26:55.709
You asked me to explain Janet

747
00:26:55.710 --> 00:26:57.659
Leigh's character in The Manchurian

748
00:26:57.660 --> 00:26:59.639
Candidate and what motivates

749
00:26:59.640 --> 00:27:01.919
her to come on to Major Marco.

750
00:27:01.920 --> 00:27:03.569
While he is having a cigaret and a

751
00:27:03.570 --> 00:27:05.729
nervous breakdown on the train

752
00:27:05.730 --> 00:27:06.869
from D.C.

753
00:27:06.870 --> 00:27:08.699
to NY, perhaps

754
00:27:08.700 --> 00:27:10.619
she works for the FBI or

755
00:27:10.620 --> 00:27:12.479
CIA, like

756
00:27:12.480 --> 00:27:14.309
Eva Marie Saint in North by

757
00:27:14.310 --> 00:27:15.329
Northwest.

758
00:27:15.330 --> 00:27:16.619
But the scenes were left on the

759
00:27:16.620 --> 00:27:18.269
cutting room floor.

760
00:27:18.270 --> 00:27:20.309
Or maybe she represents the plight

761
00:27:20.310 --> 00:27:21.929
of an attractive woman in

762
00:27:21.930 --> 00:27:23.999
pre-feminist days

763
00:27:24.000 --> 00:27:25.709
when the best she can hope for is to

764
00:27:25.710 --> 00:27:27.899
be a nurse or auxiliary

765
00:27:27.900 --> 00:27:30.809
to the chain smoking male hero.

766
00:27:30.810 --> 00:27:32.429
On the other hand, she wears a pearl

767
00:27:32.430 --> 00:27:34.679
necklace when she gives Sinatra

768
00:27:34.680 --> 00:27:35.999
her phone number.

769
00:27:36.000 --> 00:27:38.159
Eldorado 5 9 9

770
00:27:38.160 --> 00:27:39.569
7 0.

771
00:27:39.570 --> 00:27:41.459
As if she were a model in a John

772
00:27:41.460 --> 00:27:43.409
O'Hara novel, I

773
00:27:43.410 --> 00:27:45.299
conclude she needs no further

774
00:27:45.300 --> 00:27:47.879
justification for being there

775
00:27:47.880 --> 00:27:49.739
than the fact that she's

776
00:27:49.740 --> 00:27:50.740
Janet Lee

777
00:27:52.430 --> 00:27:54.419
12, 16, 17

778
00:27:54.420 --> 00:27:55.829
as one who has written on

779
00:27:55.830 --> 00:27:57.509
Hitchcock's America.

780
00:27:57.510 --> 00:27:59.489
I keep waiting for a magazine editor

781
00:27:59.490 --> 00:28:01.709
to ask me to write Hitchcock's

782
00:28:01.710 --> 00:28:03.749
Blondes, who has the most

783
00:28:03.750 --> 00:28:05.129
beautiful of all.

784
00:28:05.130 --> 00:28:07.369
Stacy says Grace Kelly.

785
00:28:07.370 --> 00:28:09.449
And I guess I agree, though Ingrid

786
00:28:09.450 --> 00:28:11.429
Bergman is either a spy

787
00:28:11.430 --> 00:28:13.289
or a psychoanalyst

788
00:28:13.290 --> 00:28:15.149
is to the 1940s.

789
00:28:15.150 --> 00:28:17.039
What grace as a model

790
00:28:17.040 --> 00:28:18.989
or a Riviera princess

791
00:28:18.990 --> 00:28:21.179
is to the 1950s?

792
00:28:21.180 --> 00:28:22.679
And from the point of view of sheer

793
00:28:22.680 --> 00:28:24.569
sexuality, I don't see

794
00:28:24.570 --> 00:28:26.519
how anyone can outdo Kim

795
00:28:26.520 --> 00:28:28.409
Novak and Vertigo

796
00:28:28.410 --> 00:28:30.139
for this sophisticated spy.

797
00:28:30.140 --> 00:28:32.369
You can't be even Marie Saint

798
00:28:32.370 --> 00:28:34.619
in North by Northwest

799
00:28:34.620 --> 00:28:36.449
and for the heroines of psycho and

800
00:28:36.450 --> 00:28:38.639
the birds who could outshine

801
00:28:38.640 --> 00:28:41.099
Janet Lee and Tippi Hedren,

802
00:28:41.100 --> 00:28:42.989
who Tippi is also

803
00:28:42.990 --> 00:28:45.599
well cast as the kleptomaniac

804
00:28:45.600 --> 00:28:47.969
in Marnie, who gets to say,

805
00:28:47.970 --> 00:28:50.249
you, Freud, me, Jane,

806
00:28:50.250 --> 00:28:52.229
and oh, men,

807
00:28:52.230 --> 00:28:54.099
you say no thanks to one of them.

808
00:28:54.100 --> 00:28:56.039
And bingo, you're a candidate

809
00:28:56.040 --> 00:28:57.150
for the funny farm.

810
00:28:59.200 --> 00:29:00.200
12:17.

811
00:29:01.410 --> 00:29:02.410
17.

812
00:29:03.020 --> 00:29:04.909
I live in Hitchcock's America.

813
00:29:04.910 --> 00:29:06.469
What does that mean?

814
00:29:06.470 --> 00:29:08.479
It means the ride always ends

815
00:29:08.480 --> 00:29:10.669
in an amusement park and a girl

816
00:29:10.670 --> 00:29:12.349
and her uncle can have the same

817
00:29:12.350 --> 00:29:13.849
first name.

818
00:29:13.850 --> 00:29:15.379
Kari Grant is suave.

819
00:29:15.380 --> 00:29:17.209
Jimmy Stewart has a broken leg

820
00:29:17.210 --> 00:29:19.009
or a bruised psyche.

821
00:29:19.010 --> 00:29:20.839
Doris Day's voice fills the

822
00:29:20.840 --> 00:29:21.769
house.

823
00:29:21.770 --> 00:29:23.509
Even the Jews and the blacks are

824
00:29:23.510 --> 00:29:24.619
white.

825
00:29:24.620 --> 00:29:26.929
Even the brunettes are blond.

826
00:29:26.930 --> 00:29:28.999
I confess I met the end

827
00:29:29.000 --> 00:29:31.669
of my rope, spellbound

828
00:29:31.670 --> 00:29:33.859
by the notorious master

829
00:29:33.860 --> 00:29:35.629
of suspicion.

830
00:29:35.630 --> 00:29:37.489
Maybe Janet shouldn't have taken

831
00:29:37.490 --> 00:29:40.129
that dough or had that tryst.

832
00:29:40.130 --> 00:29:41.959
Joel McCrea tells America that

833
00:29:41.960 --> 00:29:43.789
all Europe's lights are out

834
00:29:43.790 --> 00:29:45.739
and Priscilla Lane recites Emma

835
00:29:45.740 --> 00:29:47.629
Lazarus, his lines

836
00:29:47.630 --> 00:29:49.519
atop the Statue of Liberty.

837
00:29:52.140 --> 00:29:53.969
12:19.

838
00:29:53.970 --> 00:29:55.859
Why didn't Schubert finish his

839
00:29:55.860 --> 00:29:58.619
eighth symphony, the unfinished

840
00:29:58.620 --> 00:30:00.359
or more exactly why did he write a

841
00:30:00.360 --> 00:30:01.619
Ninth Symphony?

842
00:30:01.620 --> 00:30:03.839
The Great before finishing

843
00:30:03.840 --> 00:30:04.879
the eighth.

844
00:30:04.880 --> 00:30:07.169
The greater the classical

845
00:30:07.170 --> 00:30:08.999
deejay thinks maybe

846
00:30:09.000 --> 00:30:11.879
Schubert got bored with the piece.

847
00:30:11.880 --> 00:30:13.979
Not bloody likely.

848
00:30:13.980 --> 00:30:15.029
You could counter that.

849
00:30:15.030 --> 00:30:16.529
He didn't think he could write a

850
00:30:16.530 --> 00:30:18.599
third and fourth movement as good

851
00:30:18.600 --> 00:30:20.069
as the first two.

852
00:30:20.070 --> 00:30:21.899
So the better part of valor

853
00:30:21.900 --> 00:30:24.449
was to quit while he was ahead.

854
00:30:24.450 --> 00:30:26.429
It is, of course, possible to argue

855
00:30:26.430 --> 00:30:28.589
that it is perfect, as is

856
00:30:28.590 --> 00:30:30.239
whether planned or not.

857
00:30:30.240 --> 00:30:32.549
The immortal melody and the Electro

858
00:30:32.550 --> 00:30:34.409
meeting, its match and the clashing

859
00:30:34.410 --> 00:30:36.390
sun tenez of the Second Movement

860
00:30:38.010 --> 00:30:40.109
12:20 Sublime

861
00:30:40.110 --> 00:30:41.939
as Schubert's string quintet in

862
00:30:41.940 --> 00:30:43.919
C Major his last

863
00:30:43.920 --> 00:30:46.019
and greatest chamber work.

864
00:30:46.020 --> 00:30:48.179
Now what makes it greater than, say,

865
00:30:48.180 --> 00:30:50.609
the piano quintet known as the Trout

866
00:30:50.610 --> 00:30:52.589
or any of a string quartets?

867
00:30:52.590 --> 00:30:54.479
Maybe. Maybe because he wrote

868
00:30:54.480 --> 00:30:56.309
it with a taste of death in

869
00:30:56.310 --> 00:30:59.789
his mouth in September 1828

870
00:30:59.790 --> 00:31:02.519
and collapsed weeks later,

871
00:31:02.520 --> 00:31:04.409
weakened by syphilis and

872
00:31:04.410 --> 00:31:06.299
the toxic medications he

873
00:31:06.300 --> 00:31:08.189
took for it dying on

874
00:31:08.190 --> 00:31:09.869
November 19.

875
00:31:09.870 --> 00:31:11.519
The string quintet has an extra

876
00:31:11.520 --> 00:31:13.619
cello, replacing the customary

877
00:31:13.620 --> 00:31:15.269
second viola.

878
00:31:15.270 --> 00:31:16.979
Maybe that has something to do with

879
00:31:16.980 --> 00:31:18.689
it. But when you get to the fourth

880
00:31:18.690 --> 00:31:20.579
movement, Allegretto,

881
00:31:20.580 --> 00:31:22.259
there's no doubt about it.

882
00:31:22.260 --> 00:31:24.390
The music has scored a victory.

883
00:31:27.000 --> 00:31:29.399
12, 21, 17,

884
00:31:29.400 --> 00:31:31.499
last shoot. Dylan

885
00:31:31.500 --> 00:31:33.839
is a great French phrase

886
00:31:33.840 --> 00:31:36.509
for the curve at the back

887
00:31:36.510 --> 00:31:39.209
at the base of a lady's back.

888
00:31:39.210 --> 00:31:41.009
Archie would have approved.

889
00:31:41.010 --> 00:31:42.609
After lunch, we'd had the mayor

890
00:31:42.610 --> 00:31:44.579
smoke shop and I'd read

891
00:31:44.580 --> 00:31:46.859
Barron's while he ambled

892
00:31:46.860 --> 00:31:48.749
over to Penthouse

893
00:31:48.750 --> 00:31:50.219
after he found a dime.

894
00:31:50.220 --> 00:31:52.109
And I. Three pennies

895
00:31:52.110 --> 00:31:54.299
on the corner of Tioga and Buffalo,

896
00:31:54.300 --> 00:31:56.459
where the old post office

897
00:31:56.460 --> 00:31:57.839
used to be.

898
00:31:57.840 --> 00:32:00.209
And later that day, I wrote a poem

899
00:32:00.210 --> 00:32:02.039
for John Ashbery.

900
00:32:02.040 --> 00:32:03.909
Let's have it. He said,

901
00:32:03.910 --> 00:32:06.179
OK. I said, here goes.

902
00:32:06.180 --> 00:32:08.099
And John said he liked it,

903
00:32:08.100 --> 00:32:10.769
particularly the third line.

904
00:32:10.770 --> 00:32:12.499
The poem was two lines long.

905
00:32:17.790 --> 00:32:20.029
Twelve twenty to seventeen second

906
00:32:20.030 --> 00:32:21.799
shortest day of the year slips into

907
00:32:21.800 --> 00:32:23.629
memory with snow on the

908
00:32:23.630 --> 00:32:25.759
branches of tall maples, giving

909
00:32:25.760 --> 00:32:27.709
them the look of Birch's,

910
00:32:27.710 --> 00:32:29.419
the ground covered with Irving

911
00:32:29.420 --> 00:32:31.399
Berlin's white dream

912
00:32:31.400 --> 00:32:33.569
virginal except for the footsteps

913
00:32:33.570 --> 00:32:35.629
between me and the mailbox,

914
00:32:35.630 --> 00:32:37.549
the sky divided between the blue

915
00:32:37.550 --> 00:32:39.229
clouds and the gray, like the

916
00:32:39.230 --> 00:32:41.269
uniforms in a bowl game

917
00:32:41.270 --> 00:32:43.159
on television with the sound

918
00:32:43.160 --> 00:32:45.169
turned off so I can listen to Billie

919
00:32:45.170 --> 00:32:46.459
Holiday sing.

920
00:32:46.460 --> 00:32:48.519
Nice work if you can get it.

921
00:32:48.520 --> 00:32:49.759
Or maybe there's something rougher

922
00:32:49.760 --> 00:32:51.679
like Mingus is tonight at noon,

923
00:32:51.680 --> 00:32:53.509
where all hell's about to

924
00:32:53.510 --> 00:32:56.239
break out an idiom Ashbery

925
00:32:56.240 --> 00:32:57.259
favored.

926
00:32:57.260 --> 00:32:59.629
I'd like to write an image to j.a

927
00:32:59.630 --> 00:33:01.039
that begins.

928
00:33:01.040 --> 00:33:02.869
I had tried every pillow

929
00:33:02.870 --> 00:33:05.509
out there and none of them worked.

930
00:33:05.510 --> 00:33:07.759
But first the orange ball dips

931
00:33:07.760 --> 00:33:08.760
out of sight.

932
00:33:10.550 --> 00:33:12.499
12:24

933
00:33:12.500 --> 00:33:14.899
Vladimir Horowitz is playing Souza's

934
00:33:14.900 --> 00:33:16.729
Stars and Stripes forever,

935
00:33:16.730 --> 00:33:18.559
and the piano sounds like all

936
00:33:18.560 --> 00:33:20.989
the instruments in a marching band

937
00:33:20.990 --> 00:33:23.329
without ever ceasing to be a piano

938
00:33:23.330 --> 00:33:25.549
most majestic of instruments.

939
00:33:25.550 --> 00:33:27.709
And didn't Balanchine choreograph

940
00:33:27.710 --> 00:33:29.999
a ballet to the same music?

941
00:33:30.000 --> 00:33:32.329
A triumph of legs, hot dogs

942
00:33:32.330 --> 00:33:34.159
and the Fourth of July.

943
00:33:34.160 --> 00:33:35.719
But the nice thing about turning

944
00:33:35.720 --> 00:33:37.699
your room into a radio

945
00:33:37.700 --> 00:33:39.619
is that you can then turn around and

946
00:33:39.620 --> 00:33:41.899
play Beethoven's Fifth

947
00:33:41.900 --> 00:33:43.729
and relish the moment when

948
00:33:43.730 --> 00:33:45.829
the third movement turns into

949
00:33:45.830 --> 00:33:46.830
the fourth.

950
00:33:52.710 --> 00:33:54.150
So a lot a lot of this

951
00:33:55.190 --> 00:33:57.059
is really insightful about

952
00:33:57.060 --> 00:33:58.049
the music.

953
00:33:58.050 --> 00:34:00.179
You know, it's not.

954
00:34:00.180 --> 00:34:02.159
I mean, it really you should listen

955
00:34:02.160 --> 00:34:03.160
to some of these.

956
00:34:04.690 --> 00:34:06.519
Pieces with what I

957
00:34:06.520 --> 00:34:07.520
write because.

958
00:34:08.960 --> 00:34:11.209
Anyway, twelve twenty six,

959
00:34:11.210 --> 00:34:13.089
seventy one o'clock.

960
00:34:13.090 --> 00:34:14.988
Jump with Count Basie now.

961
00:34:14.989 --> 00:34:16.509
They'll grab your attention.

962
00:34:16.510 --> 00:34:17.859
And when it's over, you change

963
00:34:17.860 --> 00:34:19.959
stations and you get the saxophone

964
00:34:19.960 --> 00:34:21.819
and piano solos

965
00:34:21.820 --> 00:34:24.849
in Charlie Parker out of nowhere.

966
00:34:24.850 --> 00:34:26.678
But there are days you have to

967
00:34:26.679 --> 00:34:28.509
mute the sound and

968
00:34:28.510 --> 00:34:30.399
listen to the dialog in The

969
00:34:30.400 --> 00:34:31.629
Godfather.

970
00:34:31.630 --> 00:34:33.789
My theory is that line's spoken

971
00:34:33.790 --> 00:34:35.769
to Tom Hagan.

972
00:34:35.770 --> 00:34:37.329
Have a special importance

973
00:34:37.330 --> 00:34:38.649
throughout.

974
00:34:38.650 --> 00:34:40.419
I don't like violence, Tom.

975
00:34:40.420 --> 00:34:41.678
I'm a business man.

976
00:34:41.679 --> 00:34:43.749
Blood is a big expense.

977
00:34:43.750 --> 00:34:45.129
I don't feel I have to wipe

978
00:34:45.130 --> 00:34:46.178
everybody out.

979
00:34:46.179 --> 00:34:48.759
Tom, just my enemies.

980
00:34:48.760 --> 00:34:50.709
Tom, this is business

981
00:34:50.710 --> 00:34:52.988
and this man is taking it very, very

982
00:34:52.989 --> 00:34:54.339
personal.

983
00:34:54.340 --> 00:34:56.948
Can you get me off the hook, Tom,

984
00:34:56.949 --> 00:34:58.599
for old time's sake?

985
00:35:01.100 --> 00:35:02.829
12:27 on MARLINA.

986
00:35:02.830 --> 00:35:04.749
Dietrich's 100 16th

987
00:35:04.750 --> 00:35:05.799
birthday.

988
00:35:05.800 --> 00:35:08.019
She wears a top hat for me and sings

989
00:35:08.020 --> 00:35:09.669
with a lovely lisp.

990
00:35:09.670 --> 00:35:10.929
She knows what she wants.

991
00:35:10.930 --> 00:35:12.849
Iron Man, Agrestic and

992
00:35:12.850 --> 00:35:14.739
Man Christmas music

993
00:35:14.740 --> 00:35:15.669
on most stations.

994
00:35:15.670 --> 00:35:17.619
But Wynton Marsalis

995
00:35:17.620 --> 00:35:19.659
on mine can't get started

996
00:35:19.660 --> 00:35:20.469
with you.

997
00:35:20.470 --> 00:35:22.689
One of IRI's finest lyrics

998
00:35:22.690 --> 00:35:24.639
with music, ByVal Idema do

999
00:35:24.640 --> 00:35:26.469
Kelsey alias

1000
00:35:26.470 --> 00:35:28.329
Vernon Duke on

1001
00:35:28.330 --> 00:35:29.319
the jazz station.

1002
00:35:29.320 --> 00:35:31.299
And then comes Chet Baker, owner

1003
00:35:31.300 --> 00:35:33.669
of the youngest voice of all time.

1004
00:35:33.670 --> 00:35:36.459
An old man singing imagination.

1005
00:35:36.460 --> 00:35:38.199
A young man's song.

1006
00:35:38.200 --> 00:35:40.299
Not much of a lyric, but a lovely

1007
00:35:40.300 --> 00:35:41.300
tune.

1008
00:35:41.950 --> 00:35:43.829
12 8:17 My

1009
00:35:43.830 --> 00:35:45.129
Struggle. Some of these have

1010
00:35:45.130 --> 00:35:47.049
subtitles like this

1011
00:35:47.050 --> 00:35:48.639
one, My Struggle.

1012
00:35:48.640 --> 00:35:51.159
Denmark's a prison substitute

1013
00:35:51.160 --> 00:35:52.299
marriage.

1014
00:35:52.300 --> 00:35:54.369
This was when one was 26

1015
00:35:54.370 --> 00:35:56.229
or 28 and

1016
00:35:56.230 --> 00:35:58.419
one yearned to go to prison,

1017
00:35:58.420 --> 00:36:00.969
which was located in Copenhagen,

1018
00:36:00.970 --> 00:36:03.279
not far from the Tivoli Gardens,

1019
00:36:03.280 --> 00:36:04.329
which you must visit.

1020
00:36:04.330 --> 00:36:06.609
If you go to Copenhagen,

1021
00:36:06.610 --> 00:36:08.979
one even committed crimes solely

1022
00:36:08.980 --> 00:36:11.019
for the purpose of getting caught

1023
00:36:11.020 --> 00:36:12.699
and sentenced to prison.

1024
00:36:12.700 --> 00:36:15.159
Their time in solitary

1025
00:36:15.160 --> 00:36:17.049
would be the time it took to write a

1026
00:36:17.050 --> 00:36:18.999
book as crazy as

1027
00:36:19.000 --> 00:36:20.559
Mein Kampf.

1028
00:36:20.560 --> 00:36:22.749
The time would go as slowly as time

1029
00:36:22.750 --> 00:36:25.119
and a hot September afternoon

1030
00:36:25.120 --> 00:36:27.069
when one has vowed to fast

1031
00:36:27.070 --> 00:36:28.179
until sundown.

1032
00:36:31.280 --> 00:36:33.169
I gotta check my

1033
00:36:33.170 --> 00:36:34.170
watch

1034
00:36:35.240 --> 00:36:37.339
since I didn't check it before I

1035
00:36:37.340 --> 00:36:38.299
started reading.

1036
00:36:38.300 --> 00:36:40.669
That's a completely

1037
00:36:40.670 --> 00:36:41.989
gratuitous gesture.

1038
00:36:41.990 --> 00:36:42.990
But say,

1039
00:36:44.670 --> 00:36:46.849
12:30, 17,

1040
00:36:46.850 --> 00:36:48.499
March on, March on.

1041
00:36:48.500 --> 00:36:50.199
But first, let's dance a ballet

1042
00:36:50.200 --> 00:36:52.249
belong with show pans lace still

1043
00:36:52.250 --> 00:36:54.259
feed on a Newey Blanche,

1044
00:36:54.260 --> 00:36:56.209
the ballerina in white, the shape

1045
00:36:56.210 --> 00:36:58.249
of the bell, the dress down

1046
00:36:58.250 --> 00:36:59.629
to her calves.

1047
00:36:59.630 --> 00:37:01.399
You do feel like cheering.

1048
00:37:01.400 --> 00:37:02.779
But tell me, what does this have to

1049
00:37:02.780 --> 00:37:04.789
do with Stravinsky's Soldiers

1050
00:37:04.790 --> 00:37:06.889
Tales Suite, which follows

1051
00:37:06.890 --> 00:37:09.289
sounding Russian to my ears

1052
00:37:09.290 --> 00:37:11.209
as Mozart's Piano Concerto number

1053
00:37:11.210 --> 00:37:12.649
twenty seven in B-flat.

1054
00:37:12.650 --> 00:37:14.419
Sounds Viennese now.

1055
00:37:14.420 --> 00:37:16.309
Why is that? I don't know, but

1056
00:37:16.310 --> 00:37:17.779
that's what I am thinking.

1057
00:37:17.780 --> 00:37:19.669
When the strings take over, the

1058
00:37:19.670 --> 00:37:21.709
woodwinds interrupt like birds

1059
00:37:21.710 --> 00:37:23.569
on spring mornings and the

1060
00:37:23.570 --> 00:37:25.429
mood is lively with

1061
00:37:25.430 --> 00:37:27.079
a fantastic script.

1062
00:37:27.080 --> 00:37:29.119
Now if I could only put

1063
00:37:29.120 --> 00:37:31.209
it into words.

1064
00:37:31.210 --> 00:37:32.159
Twelve thirty.

1065
00:37:32.160 --> 00:37:33.619
One, seventeen.

1066
00:37:33.620 --> 00:37:35.509
I can't wait for five o'clock

1067
00:37:35.510 --> 00:37:37.099
to listen to Duke Ellington

1068
00:37:37.100 --> 00:37:38.989
cocktails for two.

1069
00:37:38.990 --> 00:37:40.459
And maybe it makes a difference.

1070
00:37:40.460 --> 00:37:41.329
Maybe not.

1071
00:37:41.330 --> 00:37:43.279
But I'm going to use the high priced

1072
00:37:43.280 --> 00:37:45.259
wormuth with the small

1073
00:37:45.260 --> 00:37:47.329
batch gin and a purple

1074
00:37:47.330 --> 00:37:49.519
onion stir with mucho

1075
00:37:49.520 --> 00:37:51.589
yellow and served with one

1076
00:37:51.590 --> 00:37:52.609
ice cube.

1077
00:37:52.610 --> 00:37:54.499
Now I'm in the mood for Broadway

1078
00:37:54.500 --> 00:37:55.419
with Mel Torme.

1079
00:37:55.420 --> 00:37:57.529
May, with the Joy of Living holds

1080
00:37:57.530 --> 00:37:59.929
sway and a great underrated

1081
00:37:59.930 --> 00:38:02.209
song like Memories of You

1082
00:38:02.210 --> 00:38:04.819
for Sinatra in 1957

1083
00:38:04.820 --> 00:38:07.459
or for Art Tatum on Solo Piano

1084
00:38:07.460 --> 00:38:09.889
or for Benjamin David Goodman

1085
00:38:09.890 --> 00:38:11.119
on Clarinet.

1086
00:38:11.120 --> 00:38:12.889
In conversation with Fletcher

1087
00:38:12.890 --> 00:38:14.719
Henderson at the piano

1088
00:38:14.720 --> 00:38:16.579
and Lionel Hampton on

1089
00:38:16.580 --> 00:38:17.929
the vibraphone.

1090
00:38:17.930 --> 00:38:19.429
Now I want to hear it sung.

1091
00:38:19.430 --> 00:38:21.379
So Rosemary Clooney

1092
00:38:21.380 --> 00:38:23.479
follows Benny's clarinet

1093
00:38:23.480 --> 00:38:25.100
in 1956.

1094
00:38:26.680 --> 00:38:28.299
I can't believe how many names I

1095
00:38:28.300 --> 00:38:29.610
drop in these poems.

1096
00:38:32.150 --> 00:38:34.419
One, one, a team.

1097
00:38:34.420 --> 00:38:36.069
Happy New Year. As I was saying,

1098
00:38:36.070 --> 00:38:38.049
Artie Shaw. Disbands his troupe.

1099
00:38:38.050 --> 00:38:39.159
Goes to Mexico.

1100
00:38:39.160 --> 00:38:41.229
Comes back with frenzy.

1101
00:38:41.230 --> 00:38:43.149
I play that and follow

1102
00:38:43.150 --> 00:38:44.769
with Amber Pola.

1103
00:38:44.770 --> 00:38:46.959
The background music as Hart saw

1104
00:38:46.960 --> 00:38:48.819
Noodles pursues Deborah

1105
00:38:48.820 --> 00:38:51.639
in Once Upon a Time in America

1106
00:38:51.640 --> 00:38:53.649
and Perfidia, the background

1107
00:38:53.650 --> 00:38:55.929
music in the scene where the petty

1108
00:38:55.930 --> 00:38:57.849
Yugoslav bureaucrat gets

1109
00:38:57.850 --> 00:39:00.099
blackmailed for state secrets

1110
00:39:00.100 --> 00:39:01.809
in the mask of Demetrius.

1111
00:39:01.810 --> 00:39:03.769
With Zachary Scott as

1112
00:39:03.770 --> 00:39:05.619
Demetrius perfect for the

1113
00:39:05.620 --> 00:39:06.549
part.

1114
00:39:06.550 --> 00:39:08.169
And the fourth of my one word

1115
00:39:08.170 --> 00:39:10.059
foreign titles is the

1116
00:39:10.060 --> 00:39:11.919
LRA, with Dean Martin

1117
00:39:11.920 --> 00:39:14.619
sliding into an evening in Roma

1118
00:39:14.620 --> 00:39:16.719
always lifts my spirits.

1119
00:39:16.720 --> 00:39:19.119
And then Sinatra in 1954.

1120
00:39:19.120 --> 00:39:21.579
Lee Wiley 1934.

1121
00:39:21.580 --> 00:39:23.979
June Hutton, 1961.

1122
00:39:23.980 --> 00:39:25.829
MAXINE Sullivan when she was

1123
00:39:25.830 --> 00:39:27.159
75.

1124
00:39:27.160 --> 00:39:29.349
And Sarah Vaughan take turns

1125
00:39:29.350 --> 00:39:31.779
singing from beyond the boundary.

1126
00:39:31.780 --> 00:39:33.699
One hundred years from today.

1127
00:39:37.330 --> 00:39:39.159
1 to 18

1128
00:39:39.160 --> 00:39:41.319
Bronze expected his close friends

1129
00:39:41.320 --> 00:39:44.199
to leap to their feet and say Bravo!

1130
00:39:44.200 --> 00:39:46.269
But their misgivings woke his own.

1131
00:39:46.270 --> 00:39:47.889
And there were only three weeks to

1132
00:39:47.890 --> 00:39:50.379
go, so he had no choice

1133
00:39:50.380 --> 00:39:52.839
but to forge ahead with his fourth

1134
00:39:52.840 --> 00:39:55.219
in E! Minor Opus 98.

1135
00:39:55.220 --> 00:39:57.069
A restless Alla Allegro,

1136
00:39:57.070 --> 00:39:58.569
beginning with two notes in a

1137
00:39:58.570 --> 00:40:00.459
falling third for the

1138
00:40:00.460 --> 00:40:01.989
whole of that mood movement.

1139
00:40:01.990 --> 00:40:03.969
I felt as if I was getting beaten up

1140
00:40:03.970 --> 00:40:06.729
by two very intelligent people.

1141
00:40:06.730 --> 00:40:08.379
Brief, melancholy.

1142
00:40:08.380 --> 00:40:09.639
The winds are lovely.

1143
00:40:09.640 --> 00:40:12.459
The guide says tragic pathos.

1144
00:40:12.460 --> 00:40:14.559
And maybe Jan Swafford is right.

1145
00:40:14.560 --> 00:40:16.839
Who says minor key dramas usually

1146
00:40:16.840 --> 00:40:19.119
moved from darkness to light

1147
00:40:19.120 --> 00:40:21.249
and fatality to triumph by returning

1148
00:40:21.250 --> 00:40:22.239
to the major mode.

1149
00:40:22.240 --> 00:40:23.439
By the end.

1150
00:40:23.440 --> 00:40:24.789
But here the combination is

1151
00:40:24.790 --> 00:40:26.979
resolutely minor.

1152
00:40:26.980 --> 00:40:28.599
Still, I'm with the guy who hears

1153
00:40:28.600 --> 00:40:30.039
the ring of defiance.

1154
00:40:32.260 --> 00:40:34.199
1 3 ating.

1155
00:40:34.200 --> 00:40:36.539
Step lightly with Bobby Hutcherson

1156
00:40:36.540 --> 00:40:38.429
Vibe's 14 minutes, 19

1157
00:40:38.430 --> 00:40:39.689
seconds.

1158
00:40:39.690 --> 00:40:41.669
Then the 1963 recording

1159
00:40:41.670 --> 00:40:43.559
of the same song by Baloo Mitchell,

1160
00:40:43.560 --> 00:40:45.689
Trumpet with Joe Henderson

1161
00:40:45.690 --> 00:40:47.039
and Herbie Hancock.

1162
00:40:47.040 --> 00:40:48.389
You don't have to choose.

1163
00:40:48.390 --> 00:40:50.009
That's the beauty of it.

1164
00:40:50.010 --> 00:40:51.749
I learned this one evening when we

1165
00:40:51.750 --> 00:40:53.639
had guests and I put on

1166
00:40:53.640 --> 00:40:55.469
a disc consisting

1167
00:40:55.470 --> 00:40:57.299
exclusively of versions

1168
00:40:57.300 --> 00:40:59.159
of all of me.

1169
00:40:59.160 --> 00:41:01.379
Sinatra, Billie Holiday.

1170
00:41:01.380 --> 00:41:02.369
Ruth adding.

1171
00:41:02.370 --> 00:41:03.569
Mildred Bailey.

1172
00:41:03.570 --> 00:41:05.339
Harry. James Campisi.

1173
00:41:05.340 --> 00:41:06.209
Benny Goodman.

1174
00:41:06.210 --> 00:41:07.259
Lewis Armstrong.

1175
00:41:07.260 --> 00:41:08.399
Teddy Wilson.

1176
00:41:08.400 --> 00:41:09.569
Dinah Washington.

1177
00:41:09.570 --> 00:41:10.559
Others, too.

1178
00:41:10.560 --> 00:41:12.449
And the volume was low, and no

1179
00:41:12.450 --> 00:41:14.369
one was listening until a break

1180
00:41:14.370 --> 00:41:15.809
in the conversation.

1181
00:41:15.810 --> 00:41:18.089
And Nick Christopher, who said Hey,

1182
00:41:18.090 --> 00:41:19.919
this is great music, won the

1183
00:41:19.920 --> 00:41:20.920
prize,

1184
00:41:22.440 --> 00:41:24.659
won for 18 Doris

1185
00:41:24.660 --> 00:41:26.579
Before Day is

1186
00:41:26.580 --> 00:41:28.949
a great screen name

1187
00:41:28.950 --> 00:41:31.079
because of Oscar Levant

1188
00:41:31.080 --> 00:41:32.039
Witticism.

1189
00:41:32.040 --> 00:41:34.049
He knew Doris Day before

1190
00:41:34.050 --> 00:41:35.129
she was a virgin,

1191
00:41:36.750 --> 00:41:38.849
but mostly because of the voice

1192
00:41:38.850 --> 00:41:40.949
of Doris at break of day

1193
00:41:40.950 --> 00:41:43.169
or when driving on Route 17

1194
00:41:43.170 --> 00:41:44.519
and listening to her sing

1195
00:41:44.520 --> 00:41:46.379
Sentimental Journey with less

1196
00:41:46.380 --> 00:41:49.199
Brown and his band of renown

1197
00:41:49.200 --> 00:41:51.119
and dream a little dream of me

1198
00:41:51.120 --> 00:41:52.829
or someone like you.

1199
00:41:52.830 --> 00:41:54.689
A hundred years from today.

1200
00:41:54.690 --> 00:41:56.969
Or Love Me or Leave Me the face

1201
00:41:56.970 --> 00:41:58.019
cherubic.

1202
00:41:58.020 --> 00:42:00.359
The flip side of Sinatra's brooding

1203
00:42:00.360 --> 00:42:02.279
and young at heart, blond and

1204
00:42:02.280 --> 00:42:04.019
relentlessly upbeat.

1205
00:42:04.020 --> 00:42:06.949
But there is sex in that voice.

1206
00:42:06.950 --> 00:42:09.389
1 5 18 Mozart's

1207
00:42:09.390 --> 00:42:11.459
25th Symphony, written

1208
00:42:11.460 --> 00:42:13.229
when he was 17.

1209
00:42:13.230 --> 00:42:15.299
Known as the Little Jean Myners

1210
00:42:15.300 --> 00:42:17.159
Symphony to distinguish it

1211
00:42:17.160 --> 00:42:19.019
from his 40th symphony,

1212
00:42:19.020 --> 00:42:21.149
the great G Minor Symphony

1213
00:42:21.150 --> 00:42:22.409
and the height of Western

1214
00:42:22.410 --> 00:42:24.269
civilization is moving

1215
00:42:24.270 --> 00:42:26.789
the traffic nicely on Route 13,

1216
00:42:26.790 --> 00:42:28.199
where yesterday's snow has been

1217
00:42:28.200 --> 00:42:30.089
swept. But you get to see it on

1218
00:42:30.090 --> 00:42:32.010
the trees and the hills.

1219
00:42:34.200 --> 00:42:36.649
1 7 2 1 7

1220
00:42:36.650 --> 00:42:38.969
ating evening summer breeze

1221
00:42:38.970 --> 00:42:40.709
warbling of a meadowlark.

1222
00:42:40.710 --> 00:42:42.479
My mother was born today if I

1223
00:42:42.480 --> 00:42:44.339
lighted a candle for her last

1224
00:42:44.340 --> 00:42:45.329
evening.

1225
00:42:45.330 --> 00:42:47.779
My new favorite word is if

1226
00:42:47.780 --> 00:42:50.249
F is the foundation of all fantasy

1227
00:42:50.250 --> 00:42:52.079
and much poetry, which is

1228
00:42:52.080 --> 00:42:54.059
an Armitage to the subjunctive

1229
00:42:54.060 --> 00:42:56.129
mood, as Robert Musil

1230
00:42:56.130 --> 00:42:57.119
wrote.

1231
00:42:57.120 --> 00:42:59.459
And didn't Woody Allen quote

1232
00:42:59.460 --> 00:43:01.919
What is this thing called love?

1233
00:43:01.920 --> 00:43:03.869
Sinatra seems intent on proving

1234
00:43:03.870 --> 00:43:05.639
he could hold a note longer than

1235
00:43:05.640 --> 00:43:07.589
you'd have thought possible in

1236
00:43:07.590 --> 00:43:10.439
April in Paris reprieves.

1237
00:43:10.440 --> 00:43:12.149
Today he is touring the cities, the

1238
00:43:12.150 --> 00:43:13.919
states beginning with Vermont and

1239
00:43:13.920 --> 00:43:16.349
Paris. London by night, Brazil.

1240
00:43:16.350 --> 00:43:18.239
Stacey calls from the kitchen.

1241
00:43:18.240 --> 00:43:21.089
Jon Hamm is on WNYC.

1242
00:43:21.090 --> 00:43:23.309
Let Dorothy Fields be your teacher

1243
00:43:23.310 --> 00:43:25.349
and don't blame me or Sidney

1244
00:43:25.350 --> 00:43:27.959
Barshay with Muskrat Ramble.

1245
00:43:27.960 --> 00:43:29.669
Which country? Joe and the Fish

1246
00:43:29.670 --> 00:43:31.710
turned into an anti-war song.

1247
00:43:34.210 --> 00:43:35.210
No.

1248
00:43:35.690 --> 00:43:37.179
1 8.

1249
00:43:37.180 --> 00:43:38.229
There are two things.

1250
00:43:38.230 --> 00:43:40.539
All investors need to know.

1251
00:43:40.540 --> 00:43:42.189
Don't sell your winners.

1252
00:43:42.190 --> 00:43:44.229
And it's always a good time

1253
00:43:44.230 --> 00:43:46.270
to take some money off the table.

1254
00:43:47.500 --> 00:43:48.879
Now, how you implement these

1255
00:43:48.880 --> 00:43:50.979
contradictory averages

1256
00:43:50.980 --> 00:43:52.839
is anyone's guess.

1257
00:43:52.840 --> 00:43:54.999
But this I know jazz

1258
00:43:55.000 --> 00:43:56.949
is the music of the stock market

1259
00:43:56.950 --> 00:43:58.959
as it zigs and zags

1260
00:43:58.960 --> 00:44:01.539
from dearly beloved, Sonny Rollins

1261
00:44:01.540 --> 00:44:03.039
to September song.

1262
00:44:03.040 --> 00:44:05.019
Gary Burton Blue Rondo.

1263
00:44:05.020 --> 00:44:05.859
Well, ad Turk.

1264
00:44:05.860 --> 00:44:07.779
Chris Brubeck sermon

1265
00:44:07.780 --> 00:44:10.029
that Lambert, Hendricks and Ross

1266
00:44:10.030 --> 00:44:11.949
and Honeysuckle Rose.

1267
00:44:11.950 --> 00:44:13.169
Ella Fitzgerald.

1268
00:44:13.170 --> 00:44:15.009
All of my play list for

1269
00:44:15.010 --> 00:44:16.029
today.

1270
00:44:16.030 --> 00:44:17.979
A Facebook friend asks

1271
00:44:17.980 --> 00:44:20.049
if I have one piece of advice

1272
00:44:20.050 --> 00:44:21.489
and only one to give.

1273
00:44:21.490 --> 00:44:23.649
A young writer, what would it be?

1274
00:44:23.650 --> 00:44:25.199
And I say play.

1275
00:44:25.200 --> 00:44:26.139
Count Basey.

1276
00:44:26.140 --> 00:44:27.489
April in Paris.

1277
00:44:27.490 --> 00:44:28.490
And write.

1278
00:44:31.880 --> 00:44:33.979
1 10:18 Thanks

1279
00:44:33.980 --> 00:44:35.869
to Nat King Cole, there's an orange

1280
00:44:35.870 --> 00:44:37.789
colored sky and the Dow

1281
00:44:37.790 --> 00:44:40.759
is now in positive territory,

1282
00:44:40.760 --> 00:44:43.759
erasing earlier losses.

1283
00:44:43.760 --> 00:44:45.559
The two most boring words in the

1284
00:44:45.560 --> 00:44:47.809
language are Russia

1285
00:44:47.810 --> 00:44:49.099
investigation.

1286
00:44:50.210 --> 00:44:52.159
Rod Stewart trying to sing.

1287
00:44:52.160 --> 00:44:54.409
Gershwin is even sadder

1288
00:44:54.410 --> 00:44:56.689
than Sinatra, wasting his voice

1289
00:44:56.690 --> 00:44:59.559
on Winchester Cathedral.

1290
00:44:59.560 --> 00:45:01.639
And if Revelle wrote a Piven

1291
00:45:01.640 --> 00:45:03.889
for the Princess of Monaco,

1292
00:45:03.890 --> 00:45:06.739
he wasn't thinking of Grace Kelly.

1293
00:45:06.740 --> 00:45:08.589
But I can.

1294
00:45:08.590 --> 00:45:10.759
One 11:18 fake

1295
00:45:10.760 --> 00:45:11.760
news.

1296
00:45:12.620 --> 00:45:14.389
On the bad news station, they're

1297
00:45:14.390 --> 00:45:16.339
doing interactive multiple

1298
00:45:16.340 --> 00:45:18.469
choice questions such as.

1299
00:45:19.530 --> 00:45:21.749
The difference between 50 and 100

1300
00:45:21.750 --> 00:45:24.119
dollars is one

1301
00:45:24.120 --> 00:45:26.039
a lot to

1302
00:45:26.040 --> 00:45:27.899
an insignificant sum.

1303
00:45:27.900 --> 00:45:29.939
Three fifty percent

1304
00:45:29.940 --> 00:45:32.039
or for the difference

1305
00:45:32.040 --> 00:45:35.189
between 50 and 100 dollars.

1306
00:45:35.190 --> 00:45:37.709
Then the host introduces a guest

1307
00:45:37.710 --> 00:45:39.449
who will, on the basis of your

1308
00:45:39.450 --> 00:45:41.339
answer, tell you

1309
00:45:41.340 --> 00:45:42.749
how you will vote in the next

1310
00:45:42.750 --> 00:45:43.750
election.

1311
00:45:47.250 --> 00:45:49.499
1, 12, 18.

1312
00:45:49.500 --> 00:45:51.809
Some day my prince will come

1313
00:45:51.810 --> 00:45:54.359
and Miles Davis is his name.

1314
00:45:54.360 --> 00:45:55.979
The more I see you, the more I hear

1315
00:45:55.980 --> 00:45:57.479
Johnny Hartman in the next

1316
00:45:57.480 --> 00:45:58.829
department.

1317
00:45:58.830 --> 00:46:00.569
I sat on a bar stool next to

1318
00:46:00.570 --> 00:46:01.769
Stephanie Patrick.

1319
00:46:01.770 --> 00:46:03.689
We sang Good Morning and the girl

1320
00:46:03.690 --> 00:46:05.579
one stool over joined in and we

1321
00:46:05.580 --> 00:46:06.509
agreed.

1322
00:46:06.510 --> 00:46:08.219
There are three reasons to watch.

1323
00:46:08.220 --> 00:46:09.929
There's no business like show

1324
00:46:09.930 --> 00:46:11.999
business. And those three reasons

1325
00:46:12.000 --> 00:46:14.339
are the three songs Marilyn

1326
00:46:14.340 --> 00:46:15.239
sings.

1327
00:46:15.240 --> 00:46:17.189
Not to mention how she seduces

1328
00:46:17.190 --> 00:46:19.109
the lyrics of Bye Bye

1329
00:46:19.110 --> 00:46:21.749
Baby and Gentlemen Prefer Blondes

1330
00:46:21.750 --> 00:46:23.609
and the pathos she finds in

1331
00:46:23.610 --> 00:46:25.649
Gus cons- lyric for

1332
00:46:25.650 --> 00:46:27.599
I'm Through with love in

1333
00:46:27.600 --> 00:46:28.739
some like it hot.

1334
00:46:31.400 --> 00:46:32.579
The last two are

1335
00:46:33.600 --> 00:46:35.489
1, 14, 18 and then

1336
00:46:35.490 --> 00:46:37.889
one fifteen, eighteen,

1337
00:46:37.890 --> 00:46:39.929
one, fourteen. I began thinking

1338
00:46:39.930 --> 00:46:41.879
that listing the titles would

1339
00:46:41.880 --> 00:46:43.709
be poetry enough.

1340
00:46:43.710 --> 00:46:45.989
And now it is 30 degrees

1341
00:46:45.990 --> 00:46:47.969
and rising in Ithaca

1342
00:46:47.970 --> 00:46:50.189
with the dazzle of sunlight

1343
00:46:50.190 --> 00:46:52.799
like diamonds, spangles

1344
00:46:52.800 --> 00:46:55.139
in the snow, the sky

1345
00:46:55.140 --> 00:46:56.999
blue and cumulus

1346
00:46:57.000 --> 00:47:00.119
clouds drift slowly south.

1347
00:47:00.120 --> 00:47:02.849
Tonight, sun Joe and I

1348
00:47:02.850 --> 00:47:05.819
will watch the Seven Samurai.

1349
00:47:05.820 --> 00:47:07.769
Until then, I must work on my

1350
00:47:07.770 --> 00:47:09.719
forward with Bill

1351
00:47:09.720 --> 00:47:11.879
Evans round midnight, backing

1352
00:47:11.880 --> 00:47:13.949
me up while the sun

1353
00:47:13.950 --> 00:47:15.779
shines right through the

1354
00:47:15.780 --> 00:47:18.509
shades, so I can't even see

1355
00:47:18.510 --> 00:47:20.469
the type on the screen.

1356
00:47:20.470 --> 00:47:22.319
On the 40 station Frances

1357
00:47:22.320 --> 00:47:24.179
Langford serenade in

1358
00:47:24.180 --> 00:47:26.609
blue with its amazing

1359
00:47:26.610 --> 00:47:28.289
mood shifting bridge.

1360
00:47:28.290 --> 00:47:30.119
But you remained in my

1361
00:47:30.120 --> 00:47:31.120
heart.

1362
00:47:32.660 --> 00:47:33.909
115.

1363
00:47:33.910 --> 00:47:35.119
Eighteen.

1364
00:47:35.120 --> 00:47:37.429
The agenda for today

1365
00:47:37.430 --> 00:47:39.739
is an array of dancing to

1366
00:47:39.740 --> 00:47:41.959
Nat Cole singing Nature

1367
00:47:41.960 --> 00:47:43.789
Boy and I

1368
00:47:43.790 --> 00:47:45.649
happy to be alive.

1369
00:47:45.650 --> 00:47:47.629
Sad to bring this poem to

1370
00:47:47.630 --> 00:47:48.619
an end.

1371
00:47:48.620 --> 00:47:51.289
Propose a toast to Archie.

1372
00:47:51.290 --> 00:47:53.299
And what did we accomplish

1373
00:47:53.300 --> 00:47:54.769
along the way?

1374
00:47:54.770 --> 00:47:56.299
Did we communicate?

1375
00:47:56.300 --> 00:47:58.339
Did we say anything new

1376
00:47:58.340 --> 00:48:00.939
or something old in a new way

1377
00:48:00.940 --> 00:48:02.419
or something borrowed?

1378
00:48:02.420 --> 00:48:04.279
Something blue, the color

1379
00:48:04.280 --> 00:48:05.509
of the sky.

1380
00:48:05.510 --> 00:48:07.369
Today, despite the zero

1381
00:48:07.370 --> 00:48:09.379
at the bone temperature,

1382
00:48:09.380 --> 00:48:10.879
the music was great.

1383
00:48:10.880 --> 00:48:13.159
From Ithaca to New York City

1384
00:48:13.160 --> 00:48:14.660
with you beside me.

1385
00:48:28.240 --> 00:48:29.240
Thank you very much.

1386
00:48:30.810 --> 00:48:32.619
It is usually customary at this

1387
00:48:32.620 --> 00:48:34.869
point for the poet

1388
00:48:34.870 --> 00:48:37.089
to acknowledge the applause

1389
00:48:37.090 --> 00:48:39.099
and gracefully make his way

1390
00:48:39.100 --> 00:48:40.899
off the stage.

1391
00:48:40.900 --> 00:48:42.519
But if you think I'm going to leave

1392
00:48:42.520 --> 00:48:44.559
here quickly,

1393
00:48:44.560 --> 00:48:45.759
you're mistaken.

1394
00:48:45.760 --> 00:48:47.920
I want to stand here for a second

1395
00:48:50.470 --> 00:48:52.419
and look out at this wonderful

1396
00:48:52.420 --> 00:48:54.279
audience and compliment

1397
00:48:54.280 --> 00:48:56.979
you on your excellent

1398
00:48:56.980 --> 00:48:59.829
taste acumen,

1399
00:48:59.830 --> 00:49:00.909
your attentiveness.

1400
00:49:00.910 --> 00:49:02.349
I could tell you were with me the

1401
00:49:02.350 --> 00:49:04.179
whole time.

1402
00:49:04.180 --> 00:49:06.189
I've enjoyed

1403
00:49:06.190 --> 00:49:06.819
it so much.

1404
00:49:06.820 --> 00:49:08.799
I want to extend it further

1405
00:49:08.800 --> 00:49:11.289
like a piece of prose,

1406
00:49:11.290 --> 00:49:13.119
as if I were writing a poem

1407
00:49:13.120 --> 00:49:15.039
right now and wanting

1408
00:49:15.040 --> 00:49:17.319
to include each person by name.

1409
00:49:17.320 --> 00:49:19.239
Or if not, by the way,

1410
00:49:19.240 --> 00:49:21.099
they look at me

1411
00:49:21.100 --> 00:49:22.539
the way you look tonight.

1412
00:49:25.000 --> 00:49:26.000
I think that does it.

1413
00:49:42.390 --> 00:49:45.119
It's nice sitting in a store,

1414
00:49:45.120 --> 00:49:47.499
multi-colored confetti.

1415
00:49:47.500 --> 00:49:49.659
20TH Century's been chewed up and

1416
00:49:49.660 --> 00:49:52.149
falling down on your informal name.

1417
00:49:52.150 --> 00:49:53.559
Wonderful. You left out Slam

1418
00:49:53.560 --> 00:49:54.560
Stewart.

1419
00:49:58.020 --> 00:49:59.020
Slam Stuart.

1420
00:50:00.310 --> 00:50:01.510
Yeah. Are you

1421
00:50:03.460 --> 00:50:04.509
kidding?

1422
00:50:04.510 --> 00:50:05.709
Thank you very much.

1423
00:50:05.710 --> 00:50:07.630
That was wonderful of the

1424
00:50:08.800 --> 00:50:09.789
book.

1425
00:50:09.790 --> 00:50:10.790
Maybe more than one

1426
00:50:12.040 --> 00:50:14.139
is a writer for sale at the back.

1427
00:50:14.140 --> 00:50:16.209
And David will be glad to

1428
00:50:16.210 --> 00:50:18.399
sign them up here.

1429
00:50:18.400 --> 00:50:19.959
So thank you very much for coming

1430
00:50:19.960 --> 00:50:20.960
out tonight.

1431
00:50:21.880 --> 00:50:23.260
Come back in a week.