Posts Tagged ‘Izzy song’

Photo taken by Izzy from the 2nd tier of the opera house at Kennedy Center (where we were seeing An American in Paris)

Where does Christmas occur? for those who dream. First we must define what we mean by this word. It does not occur in the events we experience outwardly but the feeling in an individual heart that gave rise to a willingness to go to them and (if you are very lucky) a good feeling while you are there and just after.

An American in Paris: Gene Kelly hero (MeGee Maddox as Jerry Mulligan) and French ballerina heroine (Allison Walsh as Lise Dassine)

Yesterday (Saturday) Laura came over around 11 and she and I and Izzy proceeded to the Kennedy Center to see An American in Paris. As a story it has great problems: a re-make of a 1951 movie clearly devised to showcase Gene Kelly’s extraordinary presence, dancing, it suffers from the Hays Code so the males are emasculated and females child-like.

We were bored by the first tame act but somehow momentum was built, it emerged one of the three males absurdly in love with the heroine is homosexual (Henri Bauel played by Ben Michael), the second more than physically disabled, probably Aspergers (Adam Hochberg played by Matthew Scott), the heroine herself a Jew whose parents were murdered by the Vichy-Hitler regimes, and the grand moneyed lady had a brain (Milo Davenport played by Kirsten Scott), and they all began to dance these entrancing absorbing numbers with a large troop of dancers. Meanwhile Gerswin’s music took over the brain. The great hall was beautifully decorated, the terrace so pleasant by the water.

Then we had little trouble getting to a very good Asian restaurant where Laura’s husband joined us, we had Peking duck and exchanged gifts. Drinks. Good talk. Hugs when bidding adieu.

Marley’s ghost visiting Scrooge (Alistair Sim)

The night before (Friday) I’d watched the 1951 A Christmas Carol with Alistair Sim. We are observing Christmas on Trollope and his Contemporaries by reading Dickens’s tale for two weeks and then Margaret Olphant’s Beleaguered City (another profound ghost story). I’d finished Staves 1 and 2; my reaction I felt I had read these lines hundreds of times before. I haven’t. It must be that bits are quoted so frequently. The air is filled with phantoms. One “cried piteously at being unable to assist a wretched woman with an infant, whom it saw below upon a door-step.” Sim is wonderful at irony and sarcasm and succeeds in undercutting somehow perfectly the emotionalism of the film. He makes fun of the ghosts at first; he produces wry comments; he is shy over his new found joy. While the first ghost’s journey is fully done, and the second graphically vivid, the third is scanted and the lesson too self-centered: Scrooge fears he will die, a desire for love is re-awakened, and pity.

Still I found myself crying suddenly and strongly suddenly at moments of great power from Alistair Sim’s performance (his face is so mobile, his eyes) in the context of an older aesthetic of civility, kindliness, humaneness.

As ever I paid attention to last part when he sees the older Alice in the workhouse: I used to have a fantasy I would go to homeless shelters where they do lunch on Christmas day when I was alone but I’ve discovered in DC at any rate, you have to register online to do that, tell about yourself (I suppose that makes sense but the form is intrusive, seeking to know my status) and now this year pay $50 — with nothing on the website telling what the $50 is used for.

Jimmy Stewart as suicidal George Bailey

And then last night (back to Saturday) I dosed myself further with the 1945 It’s a Wonderful Life. I was again moved and entered into the fiction. Like Alistair Sim, Jimmy Stewart’s deeply emotional and distraught presence was essential; he was supported by a cast which was allowed (more than the British actors) to have their intense moments of near suicide, several famous names: Thomas Mitchell as Uncle Billy, Henry Travers as Clarence, the angel who wants his wings and speaks over-voice, Lionel Barrymore as Mr Potter (Scrooge as capitalist); over-voice was important, Donna Reed as the wife and Gloria Grahame as the promiscuous woman.

Living in the Trumpian American that has been created by 50 years of propaganda (since 1947 — the severe control to prevent anything cooperative, socialistic in the least begins with the McCarthy era) and is now triumphing I saw something I had not before: before I concentrated on the fallacious nature of the bargain: George Bailey is made to experience the world as if he had never lived and all else the same happening the same way. The way the film is discussed is it teaches us that each individual matters.

Now I saw the overarching larger story: what is shown is when the Building and Loan association is not there to give reasonable loans, gradually the town’s life is destroyed under the cruel infliction and imposition of Potter’s ruthless high rates of interest, low paying jobs, no social services. Not only is there no lovely set of houses for the average person. The center of town is given over to drink and whoring and violence, and people behave angrily and suspiciously because it’s each person for him or herself in this capitalist environment. The movie shows us not only the results of this tax code in a few years but how it came to be: the mindset engendered by 50 years of propaganda and insufficient social services and destruction of union. I’m not exaggerating.

Scrooge stopped short by death (Ghost of Christmas Yet to Come)

So as opposed to the Christmas Carol, which is about an individual, George Bailey’s life and choices are about a whole society his behavior and norms fostered. Unjust economic arrangements are central again and again. Capra said he got many letters of people upset that Mr Potter is allowed to get away with stealing the $8000 which Uncle Billy misplaced. The fable shows that George doesn’t erase ruthless capitalism, he ameliorated it. I was impressed by how much better everyone behaved to one another when all were doing better and/or well.

We might ask what should a good Christmas story or movie have? Anthony Trollope argued it should exemplify charity. Of Trollope’s Christmas stories my favorite is The Widow’s Mite. I recommend it, and ask if you think the moral is the one I conclude Trollope turns the old parable into. When giving it matters not if the gift takes anything from the giver, what matters is to give something needed to the person given the gift. He reveals the self-centered fallacy at the heart of the fable. See what you and if you agree with me.

The idea of a miracle is more to the forefront in both A Christmas Carol and It’s a wonderful life. Both have ghosts; Clarence does not look so different from the ghost of Christmas past. The 20th century fable has other people seeing Clarence.

Henry Travers as Clarence explaining himself to George

Capra’s movie also uses the of two realms of time going on at the same time and since George’s nightmare doesn’t last it’s a fantasy, but it does use the time-traveling trope with its improbabilities and deeply structured “what if” idea — in Outlander the heroine, Claire, again and again fights against history and fails to stop happening whatever was destined or already happened. I was happy to notice something else not emphasized enough: it is Mary who saves the day. While George is off with Clarence, she calls Uncle billy, finds out what happened and she goes off to individuals and customers and everyone asking for help. George’s happiness in life is also attributed to their relationship.

A parallel incident in Winston Graham’s 1977 The Angry Tide: there is a run on the bank engineered by the ruthless capitalist banker, George Warleggan. So instead of paying the miners the salary Ross had been gathering for them from profit, Demelza ostentatiously puts it in the attacked bank, and, this explained, the miners accept the way the people of Bedford Falls do — for a while. A week later Ross comes home and with his high status, maleness, abnd good will engineers a consortium of banks to overcome Warleggan. But the idea of the people helping the man who was providing a good life against the establishments’ wishes is in both books. This latter is not a miracle though and thus not a Christmas story?

Ghosts. Traditionally Christmas stories use ghosts, and I have been reading Tyler Tichelaar’s exploration of real ghosts testified to in the history of Marquette, Upper Michigan (Haunted Marquette), spiritual mediums, haunted institutions, people to whom great cruelty was done. Appropriately or serendipitiously, Victorian Studies for December published something highly unusual: a funny scholarly article, Victorian Studies, 50:2 (Winter 2007):

Aviva Briefel in “Freaks of Furniture” writes about critical appraisals in magazines and periodicals of the popularity of ghost stories and séances. It seems that people were worried lest readers and the public become afraid of their furniture. And indeed Briefel quotes articles and letters ordinary people wrote about their fear of a piece of furniture; that some chair or bureau or lamp was not to be trusted to sit there unmoved. Things were behaving badly in some Victorian households. How spectral displays of objects got in the way of servants doing their jobs. Tables were particularly aggressive. Photography had begun to be used by spiritual mediums – Tyler’s book records some uses of this – the light in the center of the photo which seem inexplicable. This was seen by some as “excess energy” we could put to better use. Of course some is direct parody: Punch published a directive telling prospective customers they need to “carefully source” their stuff before buying it. Scrutinize it, find out its history, how it had behaved in previous houses …

Of course it’s skeptical but it also shows how this belief in ghosts and presences was pervasive. In my case I have never seen any furniture or other object in any house I’ve lived in act up, much less in similar ways. When I was very young and lived with my father’s sister (my aunt) and her children, these children did play mean tricks and once the trick was aimed at me. I was terrified and they didn’t reveal this trick until my aunt came home and discovered of course what was occurring. Because of such experiences (there were a couple of such) when I read of tricks played on some specific young person in a family — say in Smollett or Burney or more recently Waugh or Anthony Powell — I am not amused.

There are powerful ghost stories from the 1930s — I could cite them if anyone is interested, where the event is a mean trick. The person is fooled, but then what happens towards the end is suddenly the trick is real, and some real revenant punished someone hard. One of these was called “It,” and the idea of the story was to reveal to the reader that these games with an “It” in the center are left-over scapegoating rituals. Sometimes I’m glad I was an only child. These Christmas stories can turn mean.

But there is another sine qua non, a very different kind of Christmas event to hallucinatory movies, riveting musicals, transformative stories: the Christmas pantomime and music hall antics in taverns and theaters. These connect to traditional plays (as in the medieval Second Shepherd’s). A Christmas Carol and It’s a Wonderful have very comic moments. Clarence is oddly hilarious.

Albert Coia and Tracey Stephens (Miss Florrie Ford)

Today at 3 Izzy and I re-found Metro-stage. A flyer had come onto my stoop about a month ago: once again Catherine Flyte, impresario, was staging Christmas at the Old Bull and Bush, this time in Alexandria City. I phoned, reserved with a credit card, took down the address, and trusted to my garmin to get us there. We were getting nervous as the garmin kept disagreeing with our paper map but as we drove up, both of us said, Oh, we’ve been here before — with Dad. I felt happy that Izzy remembered so well a moving play we saw here years ago, Sea Marks with Michael Toleydo and Catherine Flyte as an aging fisherman and lonely woman finding love again. I have a still from it on my wall today.

Jim and I used to go here justthe two of us occasionally for rarely-done plays too: we saw Aeschylus’s Agamemnon. It’s a small theater-auditorium in a plain small building at the end of a residential block of attached houses, very suitable for intimate plays — and shows. They had only the one piano.

Then we looked at our program and there was the unique Albert Coia, still alive and doing Mr Bertie Ramsbottom, and routines like “The Night I appeared as Macbeth:” he didn’t get the laughter over how he had missed Bill’s [Shakespeare] being ill, much less dead, that he should have. No one can do British music hall the way he does — or Catherine Flyte as the aging Fairy (“Nobody Loves a Fairy”) and the schoolmistress putting on play with young children. Izzy said it was 1994 that Laura interned at the British embassy and we saw a genuine full Christmas pantomime: “Little Red Riding Hood,” complete with two dames, and then in 2001 that we saw this show with Toleydo himself as Chairman. He made me laugh that time until I almost couldn’t stop.

This time Brian O’Connor was Chairman. I again found parts of routines hilarious that around me other people were made uncomfortable by (some of the numbers are very salacious: “Spotted Dick” and “Me Little Yo-Yo” for male performers and “Please Don’t Touch Me Plums” for women). To some in the audience this was like Gilbert and Sullivan to the audience I was in 4 weeks ago: another culture. Still it draws people wherever it plays.

This is not the one we saw but a version of it I found at YouTube

Well there was “Champagne Charlie is my name,” “The Road to Mandalay or Come into the Garden Maud” mashed into “The Green Eye of the Little Yellow God” (a man speaks Kipling like lines and behind him is a woman whose arms do much work about his body), other routines (“Christmas in the Trenches”), altogether some 30 songs, in bits, as choruses, with audience singing along or in competition, continual moan-and-groan puns, questions and answers, interruptions, repetitions, a soprano (Katherine Riddle as Miss Daisy May), a wonderfully resonant baritone (Bob McDonald), sad songs (“In the Bleak Midwinter”), gay (“Let’s All Go Down the Strand”) and longing — many from World War One: “It’s a long way from Tipperary.” Christmas crackers were pulled. This iteration has been very favorably reviewed and it was (alas) the last performance for this year.

So another outward manifestation of Christmas is (to quote the reviewer) is “soothing the soul” by “spending a couple of hours laughing in the dark at silly jokes and stomping to give your approval.” Something cathartic.

Again this is not from the Gershwin production we saw, but is Judy Garland singing on the radio one of the songs we heard (“Not for me”)

When we were at the Old Bush and Bull and Izzy was singing sitting next to me I heard her beautiful soprano voice so clearly and knew it was superior to anyone else’s in the row; and when we returned from the Asian place after Kennedy Center she had such a relaxed tone in her voice, it sounded so harmonious and easy for a moment. She has had Christmas happen to her this year.

Miss Drake


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My daughter:

Eve 6,

Sleeping through the evening
Singing dreams inside my head
I’m heading out
I’ve got some friends who say they care
And they just might
Run away with you
If things don’t go as planned
Plannin’ big could be a gamble
I’ve already rolled the dice

I spit and stutter stuff and clutter
Worries in my worried corner
Just untrusted
Sometimes brilliant trusted thoughts
Think ill stay for a while
I’m intrigued and I’m
Red as a newborn white as a corpse

I promise not to try not to fuck with your mind
I promise not to mind if you go your way and I go mine
I promise not to lie if I’m looking you straight in the eye
I promise not to lie and not to let you down

I am elated
I am all smiled and dated
In my man bites dog small town
With a Spanish name
I am my own bone
I am two toned
Red as a newborn white as a corpse

I promise not to try not to fuck with your mind
I promise not to mind if you go your way and I go mine
I promise not to lie if I’m looking you straight in the eye
I promise not to try not to let you down
Girl let me down

Why do you gotta keep the fan on high when its cold outside?
Just want to let you know I’m still a fan get it
Everybody wants charm in a smile and a promise

Promise not to try

I promise not to try not to fuck with your mind
I promise not to mind if you go your way and I go mine
I promise not to lie if I’m looking you straight in the eye
I promise not to try not to not to leave
(Promise not to try)
Not to leave
(Promise not to try)
Not to not to leave-yay
(Promise not to try)
I won’t leave
I won’t leave

Read more: Eve 6 – Promise Lyrics | MetroLyrics

Perhaps I ought to mention that Izzy loved Dorothy Sayers’s Gaudy Night in which Miss Sylvia Drake is a minor comic character.

Miss Drake

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TinaBlau_kanal_in_holland (Medium)
Tina Blau (1845-1916, Austrian landscape painter), A canal by the North Sea

Another of Izzy’s songs:

I fancy this is one of the Beatles’ less familiar songs so begin with the lyrics:

I once had a girl, or should I say, she once had me…
She showed me her room, isn’t it good, norwegian wood?

She asked me to stay and she told me to sit anywhere,
So I looked around and I noticed there wasn’t a chair.

I sat on a rug, biding my time, drinking her wine
We talked until two and then she said, “It’s time for bed”

She told me she worked in the morning and started to laugh.
I told her I didn’t and crawled off to sleep in the bath

And when I awoke, I was alone, this bird had flown
So I lit a fire, isn’t it good, norwegian wood.

Here is Izzy’s blog, where you can comment if you like. I’ve reblogged it too:

The original album cover:

David Santy, The Bird Has Flown

Miss Drake

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Her first recording with a key change:

At her blog,

Today was yet another cold rainy day (we’ve had almost three weeks of it) and her intention to watch the French Open (Roland Garros) was thwarted.

Clarycat catloaf-like availing herself of a rare gleam of sunshine,

Miss Drake

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Another exquisite performance:

Go over to her blog to make comments. There you will find three previous similar renditions of songs

Miss Drake

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