You will believe a man can fly.

I promise that even as the local football club, the Buffalo Bills, may possibly be enjoying their best season ever, I will not turn this blog into a place for frequent football-ish commentary. For one thing, I’m not watching the games anymore; for another thing, football opinion often turns out to be dead wrong, and I’m wrong enough without tempting the Wrong Gods.

But…well, the Bills played at Kansas City the other day, and that is a matchup that many see in today’s NFL as being possibly equivalent to Patriots-Colts back in the 2000s, when those two teams always seemed to be squaring off in memorable contests pitting Tom Brady (boooo!) against Peyton Manning. And in the contest the other day, which ended with a 24-20 Bills victory (at Kansas City, which is amazing enough), there was a play toward the end of the game that typifies the Bills now. Quarterback Josh Allen took the ball and ran with it. Allen is quite the running quarterback, and he doesn’t just “take off and slide before he gets hit”; Allen runs the ball. Earlier in the season he stiff-armed a defender, which was amazing to see, but there’s another thing he does that he’s kind of made his calling-card:

Josh Allen hurdles guys.

He literally jumps over defenders, and he does so in such a way that he comes down and keeps running.

On this particular play, Allen took off. He was running toward the sideline, and then he turned upfield. Chiefs safety Justin Reid–wearing number 20–executed perfect technique to bring down a ball-carrier in this situation. Reid got in front of Allen’s lane, squared his shoulders, lowered himself to make the tackle, and brought up both arms. His arms closed–on nothing.

Because as Reid executed his perfect tackling technique, Allen went airborne and flew right over Reid’s head. Allen then landed and kept running, picking up another few yards, while Reid grappled with nothing but air. It was the kind of play that you almost always remember.

No, I’m not going to be a regular football blogger again. But I have to tip my blogging hat once in a while when something like this happens.

Just…wow.

 

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Twenty Years of Sheila O’Malley!

Amazing!

By the fall of 2002 I leveled out and I felt more like myself. I sat with Allison in a speakeasy, I set a newspaper on fire, and I started a blog.

I miss those days, when starting up a blog just seemed like…something possibly cool to do for a bit, on a lark.

Here’s to twenty more!

 

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Tone Poem Tuesday

Norwegian composer Edvard Grieg wrote a concert overture, inspired by the familiar landscapes he knew around this time of year, and he titled it simply, In Autumn. That’s pretty straightforward, isn’t it? The piece is melodic and brooding in precisely the way we’d expect from the composer of one of the best piano concertos of the 19th century, or from the man who wrote “In the Hall of the Mountain King”.

In Autumn has definite rustic feel to it. Grieg seems to be writing about a more turbulent kind of fall than we usually picture when thinking of the season; but maybe he was on to something. As I write this, it’s a cold and windy day outside, and hillier locations south of where I live are reporting dustings of snow for the first time. Hmmmm.

Here is In Autumn by Edvard Grieg.

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EA Poe, Nature Writer

I woke up early yesterday morning–quite early, in fact, well before sunrise and well well well before I had any intention of getting out of bed–so I reached for my Kindle and looked for something to read. I landed on a short essay by Edgar Allan Poe, about a stream near Philadelphia. Called “Morning on the Wissahiccon”, I found it a fascinating little piece, parts of it appealing to me on a number of levels.

Poe:

Indeed, in America generally, the traveller who would behold the finest landscapes, must seek them not by the railroad, nor by the steamboat, nor by the stage-coach, nor in his private carriage, nor yet even on horseback — but on foot. He must walk, he must leap ravines, he must risk his neck among precipices, or he must leave unseen the truest, the richest, and most unspeakable glories of the land.

Now in the greater portion of Europe no such necessity exists. In England it exists not at all. The merest dandy of a tourist may there visit every nook worth visiting without detriment to his silk stockings; so thoroughly known are all points of interest, and so well-arranged are the means of attaining them. This consideration has never been allowed its due weight, in comparisons of the natural scenery of the Old and New Worlds. The entire loveliness of the former is collated with only the most noted, and with by no means the most eminent items in the general loveliness of the latter.

I looked up the Wissahiccon, which is now more commonly spelled “Wissahickon”. It is a stream that rises north of Philadelphia and flows into the Schuylkill River (and then to the Delaware, Delaware Bay, and finally the Atlantic Ocean). I am unfamiliar with the Wissahiccon personally, though looking it up on the map I see that I have almost certainly ridden by it more than a few times, first many years ago when we were frequently traveling from home in NY to the Philly area to visit relatives, and more recently when we drove past its mouth at the Schuylkill as we drove through Philly to New Jersey for vacation.

Looking through some photos the last day, the Wissahiccon looks like exactly the kind of stream I love most: rocky, with occasional waterfalls and vestiges of very old industry now abandoned and returned to nature. As urban as this entire region is, the Wissahiccon has largely been allowed to remain parkland; I’m sure for people in the North Philly region and those suburbs, the Wissahiccon forms a lovely place for respite.

Poe, again:

A singular exemplification of my remarks upon this head may be found in the Wissahiccon, a brook, (for more it can scarcely be called,) which empties itself into the Schuylkill, about six miles westward of Philadelphia. Now the Wissahiccon is of so remarkable a loveliness that, were it flowing in England, it would be the theme of every bard, and the common topic of every tongue, if, indeed, its banks were not parcelled off in lots, at an exorbitant price, as building-sites for the villas of the opulent. Yet it is only within a very few years that any one has more than heard of the Wissahiccon, while the broader and more navigable water into which it flows, has been long celebrated as one of the finest specimens of American river scenery. The Schuylkill, whose beauties have been much exaggerated, and whose banks, at least in the neighbourhood of Philadelphia, are marshy like those of the Delaware, is not at all comparable, as an object of picturesque interest, with the more humble and less notorious rivulet of which we speak.

Poe’s entire essay can be found here. I’ve always loved Poe as a writer, but even having read much of his poetry and his prose fiction, I’ve read very little of his essaying. Fascinating man, Edgar Allan Poe.

(Image credits: 1, 2, 3)

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A bit of color

This is a tree down the street. I may have played around with color and saturation settings and put it through a filter. Maybe. You be the judge!

 

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They don’t make Honorary Sheriffs like they used to

Since Herschel Walker is apparently citing his status as being an “Honorary Sheriff” or some such thing among his law enforcement expertise credentials, I’m reminded of this scene from the brilliant film Inherit the Wind.

The more things change….

 

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Friday Night: Three hours to DALLAS!

For no real reason other than I need a blog post (and I’m waiting for The Wife to get ready so we can go out to dinner), here’s a memorable clip from the finale of the sixth season of Dallas.

When I was a kid, I loved Dallas. That show was golden–at least for several seasons; later on it started getting a bit cornier and even slapsticky (there was even an episode where JR got hit with a pie!). Early on, though, it was a blast, even if I think the delightful portrayal of someone as awful as JR on a huge hit show helped pave the way for where we are today.

Anyway, in this clip, JR’s plan to get even with Cliff Barnes has almost come to fruition. What happened was this: Cliff was blackmailing JR’s secretary for inside info that allowed him to beat JR to the punch on several deals. JR found out and rather than firing the secretary, used her to feed him information that he wanted. JR manipulated Cliff into overextending his company to purchase offshore drilling leases, and then JR continued to manipulate things so Cliff’s company, Barnes-Wentworth, was nearly beankrupt*. Cliff went to a shady banker for last-minute capital, a guy named Vaughn Leland, but guess what! JR was behind that, too! Adding to injury, JR paid off Cliff’s drilling crew in the Gulf of Mexico to pretend to drill but never actually strike oil, so now Cliff’s time is running out.

That’s where this scene happens, and it’s really a well-done scene, with Larry Hagman delivering some of his best work as the sociopathic oil millionaire. Hagman and Ken Kercheval, who played Cliff, always bounced off each other so very well! Anyway, this scene is a perfect illustration of 80s soap-opera villainy.

Oh, what happened after this? Well, in this episode a whole lot of people are established as having reason to hate hate HATE JR, and in the end an unseen person with a gun goes to Ewing Oil and fires three bullets into JR’s chair…but it’s Bobby who falls to the floor, fate unknown. Oh NO! (It would turn out to be Bobby’s spurned would-be lover, Katherine Wentworth, who shot Bobby, and she meant to kill him all along; JR was never her target. As for Cliff’s company, a scene a few minutes after this one has Vaughn Leland returning to Barnes-Wentworth to foreclose, but not before the new foreman Cliff hired, in a Hail-Mary attempt to strike oil in the Gulf earlier in the episode, calls with the news that he has indeed struck oil. When the next season started, Cliff was rolling in money.

* Obviously a typo that should be “bankrupt”, but I’m leaving it in because “beankrupt” amuses me. It’s like a fictional German word.

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Something for Thursday

Ralph Vaughan Williams, 1872-1958

I did not realize, until late in the day yesterday, that it was the 150th anniversary of the birth of British composer Ralph Vaughan Williams. I’m going to have do some feature work on him in the coming months, I think. I’ve loved Vaughan Williams ever since I first encountered him via his “English Folk Song Suite”, a perennial favorite for concert band, while I was in high school. Vaughan Williams’s work has always fascinated me, representing a different kind of nationalistic post-Romanticism, not exactly modernist in its approach, but definitely a rejection of (or maybe a reaction to? Correction of?) the dominance in Europe of the German symphonic traditions.

Vaughan Williams looked inward for his influences, both to English folk song (a common approach of many English composers of his day) and to early English music, specifically that of the Tudor era. His Fantasia on a Theme of Thomas Tallis is probably his most famous such work. Vaughan Williams also had other fascinations, too: the poems of Walt Whitman seem to have spoken to him, as he set several of them in prominent works and in some of his art songs.

One such poem by Whitman, “Darest Thou Now O Soul”, has a pretty clear subject, as it appeared in a section of Leaves of Grass called “Whispers of Heavenly Death”. Here is the text:

DAREST thou now O soul,
Walk out with me toward the unknown region,
Where neither ground is for the feet nor any path to follow?
No map there, nor guide,
Nor voice sounding, nor touch of human hand,
Nor face with blooming flesh, nor lips, nor eyes, are in that land.

I know it not O soul,
Nor dost thou, all is a blank before us,
All waits undream’d of in that region, that inaccessible land.

Till when the ties loosen,
All but the ties eternal, Time and Space,
Nor darkness, gravitation, sense, nor any bounds bounding us.
Then we burst forth, we float,
In Time and Space O soul, prepared for them,
Equal, equipt at last, (O joy! O fruit of all!) them to fulfil O
soul.

Vaughan Williams would set this poem in to a deeply moving, beautiful and compelling work for chorus and orchestra, which he called “Toward the Unknown Region”. Shades of Shakespeare’s “undiscovered country”. This is as good an entry point in Vaughan Williams and his uniquely English twentieth-century sound world that I know.

More Vaughan Williams to come, I think. I won’t pledge a weekly exploration, but…we’ll come back to RVW a bit over the next few months, I think.

 

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Moonrise, Sunrise

 

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Dame Angela

NBC News, among others, is reporting that Dame Angela Lansbury has died at 96.

Lansbury has been a part of my cultural life for just about as long as I can remember. She wasn’t exactly omnipresent, but she just…showed up every once in a while (especially a long stint in the 80s during the run of Murder, She Wrote). By the time she was on my radar she was slightly pigeonholed as the elderly grandmother type, so it was quite refreshing to watch The Manchurian Candidate in which she was disturbingly cold and chilling.

Still, for me, this movie and in particular this song will always be Peak Angela Lansbury.

 

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