coyote 1

My friend from high school, Michael Peter Smith, wrote a song called “There’s a Panther in Michigan,” inspired by an actual incident, but it turns out the panther isn’t half the problem. The Detroit Free Press reports today that there have been several accounts in the metropolitan Detroit area of dogs being killed and coyotes fingered as the suspects.

Detroit. Coyotes. I grew up associating coyotes with Tex Ritter, the prairie, and tumbleweed, but it turns out the wolf relatives are an adaptable lot, easily moving into new habitats. They are now known from Panama to Alaska and most of Canada. That’s why they are not an endangered species—good on them—but it’s also why they are now a problem in my New Jersey neighborhood. A woman who lives about a mile from our condo reported last week that coyote were systematically exterminating her sheep.

coyote 3

© Warner Brothers

We’re accustomed to deer and squirrels and foxes and rabbits. There is even a herd of bison about four miles down the road—though, I’m glad to say, they are penned in. But the coyote is a relatively new  blush on life in these parts.

The article in the Free Press cited a research report in ZooKeys magazine that reported that since 1900 coyotes have been expanding their territory across North America (by around 40 percent since the 1950s) while other species have been in decline. And they’re not afraid of traffic. The Free Press writes that the largest urban study of coyote is going on in the Chicago area where more than 1,000 of the buggers have been tagged,

Although there has never been a report in Michigan of a coyote attacking a human being, it has happened elsewhere, sometimes with fatal consequences. Despite the aggressive personality of the Warner Brothers character, a spokesperson for the Michigan Department of Wildlife Resources said coyotes are “docile” and “retiring” by nature, a notion that you might not want to test. Keep your dog on leash, and don’t carry no hamburger in your pocket neither.

You can hear Michael sing “There’s a Panther in Michigan” by clicking HERE.

 

 

 

 

 

 

 

Advertisements

 

Raggedy 1

David Lindquist, writing in the Indianapolis Star, recently took note of the end of the television series The Middle by recalling 20 fictional characters that, as Lindquist wrote, “put Indiana on the map.”

I’m pretty sure that Indiana, which I understand has been populated since around 8,000 years before the birth of Jesus, has been “on the map” at least since 1800 when Congress defined the Indiana Territory, which included what is now the sovereign state, so to speak.

Raggedy 3 Johnny Gruelle

Johnny Gruelle

Anyway, the characters that Lindquist cites for reminding us of Indiana in more recent times included James Whitcomb Riley’s “Little Orphant Annie” who was from Greenfield; M*A*S*H surgeon Frank Burns, who was from Fort Wayne; and Woody Boyd of Cheers, who was from Hanover.

And Linquist’s Hall of Indiana Fame included Raggedy Ann and Andy, who were created by former Indianapolis Star cartoonist Johnny Gruelle who featured them in a series of children’s books that he wrote and illustrated. Gruelle made the first Raggedy Ann doll in 1915 and published the first book, Raggedy Ann Stories, in 1918, and the second, Raggedy Andy Stories, in 1920. Ann and Andy were siblings. I suppose they still are. For a time, the dolls and the books were sold together.

IMG_2574

My personal Ann and Andy, circa 1968

Although there are alternative versions of the origin of Raggedy Ann, it appears that was planted in Gruelle’s mind when he found a homemade rag doll in the attack of his parents’ home in Indianapolis and mused that the doll could be the subject of a story. After his daughter, Marcella, was born, and Gruelle observed her playing with dolls, he was inspired to write what became the Raggedy Ann stories.

It is not true, as is often reported, that his daughter found the doll in the attic; nor is it true that Gruelle created Raggedy Ann as a tribute to Marcella after she died, at the age of 13, as a result of a contaminated injection. Anti-vaccination interests have adopted Raggedy Ann as a symbol, based on the latter myth, but Marcella’s death was attributable to the contamination, not to the vaccination itself.

FullSizeRender

Mug purchased by my parents circa 1941

As for the name of the doll, it is notable that Gruelle’s father, Richard, an artist, was a friend of James Whitcomb Riley, whose poems included “The Raggedy Man” and “Little Orphant Annie”—though why “orphant” rather than “orphan” I am not aware.

Gruelle’s inspiration after finding the forgotten doll has lived on in many forms besides the books, including animated films, a television series, a comic book, a stage play, and a Broadway musical.

Johnny Gruelle was an exceptional talent whose work appeared in theRaggedy 5 Twee Deedle Star as well as the Toledo News-Bee, the Pittsburgh Press, the Tacoma times, and the Spokane Press. In 1911, he and about 1500 other aspirants entered a cartooning contest sponsored by the New York Herald, and Gruelle won with a creation he called Mr. Twee Deedle. The strip ran in the Herald  for several years. Not too raggedy at that.

You can read a lot about the history of Raggedy Ann and Andy by clicking HERE.

She Was Nice to Mice coverIn 1977, I reviewed a book about Queen Elizabeth I, who was the British monarch from 1558 to 1603. It wasn’t the dense tome the topic might suggest, nor was it written by an historian.

This was a little book called She Was Nice to Mice, written two years earlier by Ally Sheedy, later a very successful actress, when she was 12 years old, and illustrated by her friend Jessica Ann Levy, who was 13.

The book, published first by McGraw-Hill and then in paperback by the Dell Publishing Company, was a fanciful look at the public and private life of the queen, told in the form of a memoir written by a mouse that lived in the palace. The discussion of Elizabeth’s relationship with the Earl of Essex, including a peek into the boudoir, has prompted a lot of lively discussion among readers.

J.L. Willow

J. L. Willow

This book came to mind recently as I was reading The Scavenger, a novel published last year by a high school junior who writes under the pen name J. L. Willow.

Willow, by her own account, has been a writer since she was six years old. I identify with that; I was the same way. I filled many notebooks with fiction, essays, and poetry while my mother good-naturedly encouraged me to “go outside.” I eventually went outside and took the notebook and pen with me. When I was 11, one of my elementary school teachers told me, “When it’s time for you to think about a career, you should seriously consider being a writer.” I’ve been a professional writer and editor for 53 years.

Because of my own experience, I am drawn to books written by young writers. When Willow told me in a chance meeting that she had written The Scavenger, I was eager to read it. I wasn’t disappointed.

The Scavenger 3The novel is the story of four people whose lives intersect amid a crisis in a New York City community that has experience the drug-overdose deaths of several young people—a circumstance that has prompted an active police investigation focused on the school. The four principal characters in the book play various roles in this drama, which involves a drug dealer and a troubled boy whom he inveigles into drawing teenagers into addiction.

Willow uses a engaging device to tell this story, devoting each chapter to a first-person narrative by one of these characters. Her storytelling is enhanced by the fact that she has a keen ear for everyday speech and the ability to convey it in the written word.

I’d like to be in my teens again and finding my way as a writer. I’ll content myself with following the literary career of this young artist.

The Scavenger is available from Amazon and as a Kindle download.

 

 

Elizabeth Jennings Graham

Elizabeth Jennings Graham

If the face of Elizabeth Jennings Graham ever appears on a U.S. dollar coin, part of the credit will go to Chester A. Arthur, the reluctant 21st president.

Arthur, as I recounted in a recent post, was a product of the New York Republican machine of the late 19th century. He was a successful candidate for vice president in 1880 only because the party needed an easterner to balance the ticket led by James A. Garfield of Ohio.

When Garfield was murdered and Arthur was vaulted into the presidency, no one was more shocked than Arthur himself. Although he was a decent man despite his connection  to the GOP machine, he wasn’t Mr. Ambition, and he did not have his sites set on the presidency.

Chester A. Arthur 2

Chester A. Arthur

He surprised many people, and at times dismayed his own party, by being not only a serious chief executive but something of a reformer—the most notable example being his successful call for a civil service system in which merit and not political connection determined who got public jobs.

Although he finishes low in the perennial polls that rank the presidents, he had some admirable qualities, and none more admirable than his unswerving opposition to slavery before and during the Civil War and his belief that black citizens should be afforded the same rights as white citizens—and that’s where Elizabeth Jennings Graham comes in.

Elizabeth Jennings was born in New York City in March 1830. Her father, Thomas, was a free black American, and her mother, Elizabeth, had been born in slavery and was an indentured servant during the period in which the State of New York gradually abolished human bondage. Thomas—a tailor and the first known black American to hold a patent in the United States (for a dry-cleaning process) was prosperous enough to buy his wife’s freedom.

Thomas Jennings

Thomas Jennings

Both parents were prominent members of the black community. The elder Elizabeth Jennings was a member of the Ladies Literary Society of New York, an organization established by black women who wanted to encourage self-improvement for black females. In 1834, she delivered an address, “On the Cultivation of Black Women’s Minds,” in which she stressed that black Americans must cultivate their minds if they did not want to remain subordinate to white people.

The younger Elizabeth Jennings was her mother’s daughter. She was well educated, and she became a teacher at the private African Free School, and then in the public schools, and a church organist. She was also a forerunner of Rosa Parks.

On Sunday, July 16, 1854, Jennings was rushing to play the organ at the First Colored Congregational Church. At the corner of Pearl and Chatham streets, in her haste, she boarded a segregated horse-drawn streetcar operated by the Third Avenue Railroad Company. The New York Tribune reported what happened next:

NYC streetcar

A New York City streetcar in the 19th century

The conductor undertook to get her off, first alleging the car was full; when that was shown to be false, he pretended the other passengers were displeased at her presence; but (when) she insisted on her rights, he took hold of her by force to expel her. She resisted. The conductor got her down on the platform, jammed her bonnet, soiled her dress and injured her person. Quite a crowd gathered, but she effectually resisted. Finally, after the car had gone on further, with the aid of a policeman they succeeded in removing her.

Elizabeth Jennings sued the driver, the conductor, and the railroad company. She was represented by the law firm of Culver, Parker, and Arthur, and the case was handled by the junior partner, Chester A. Arthur, who was 24 years old.

street-sign.jpg
Arthur was successful. The three-day trial ended in Jennings’ favor: Judge William Rockwell of the Brooklyn Circuit Court said, in his charge to the jury, that “colored persons” who were sober, orderly, and free of disease, had the same rights as anyone else and, therefore, the company could not bar black people from its conveyances.

The jury also awarded Jennings damages in the amount of $250, which was a substantial amount of money in 1855. The day after the trial concluded, the Third Avenue Railroad Company ordered its streetcars desegregated. In 1895, after the death of her husband, Charles Graham, Jennings, who had lived for a time in New Jersey, returned to Manhattan and established at her West 42nd Street home a kindergarten for black children; she operated it until her death in 1901.

Rev Pennington

Rev. James Pennington

Only a month after the Jennings trial, the Rev. James W.C. Pennington who, with Thomas Jennings, was active in a campaign to end discrimination on transit facilities—was prevented from boarding a whites-only car operated by the Eighth Avenue Railroad Company. Pennington also took legal action and won a judgment on appeal to the State Supreme Court. In 1865, New York’s public transportation system was finally fully desegregated—the culmination of a movement in which Chester A. Arthur had played a critical role.

 

Dickie, Don, and Andy

July 28, 2017

Impeach 1

Andrew Johnson shortly before his death in 1869.

A former colleague of mine used to say that I could work Enos Slaughter, Harpo Marx, or Andrew Johnson into any conversation.

He might have been right, but where Johnson is concerned, I didn’t need any help to work him into the general discourse about the presidency of Donald Trump. Others did it for me by invoking the impeachment of Andrew Johnson as a precursor to what—in theory, at least—could be in store for the 45th president of the United States.

That was understandable. Once impeachment was added to the discussion, there were only three precedents to turn to—the cases of Johnson, Nixon, and Clinton. The impeachments of Johnson and Clinton and the likelihood that Nixon would have been impeached had he not resigned all arose from circumstances that were particular to the behavior of those three men. In Johnson’s case, the circumstances were also particular to that time in history—the immediate aftermath of the Civil War and the murder of Abraham Lincoln. There is a limit to the parallels that can be drawn between those three cases and that of Donald Trump.

Impeachment 2

Richard Nixon

There are parallels, though, limited as they might be. The myriad authorities—the former directors of this and the professors of that—who help TV faces torture and dissect the matter virtually around the clock—have frequently recalled Nixon’s dismissal of special Watergate prosecutor Archibald Cox as the sort of  decision that Trump might take regarding the investigation of Russian meddling in the last presidential election. And the authorities have speculated that such a decision on Trump’s part—with respect to special prosecutor Robert Mueller II, for example—would lead to the same sort of disaster that befell Nixon.

There is also this parallel—in this case concerning, if you’ll forgive me, Andrew Johnson. This has to do with the arms-length dust-up between Trump and his attorney-general, Jeff Sessions. Johnson also had a falling out with a member of his cabinet—the able secretary of war, Edwin M. Stanton, who had served in that capacity under Abraham Lincoln and as attorney-general under James Buchanan.

Johnson, although an admirable man in many respects, was famously the wrong person to succeed Lincoln at such a contentious and sensitive time in the nation’s history. There were several reasons for that, and one of them was that he was incapable of compromise. He and a Congress that was dominated by the Republican Party disagreed fundamentally about how the federal government should proceed with the defeated Confederate states and with the millions of black men and women who had been freed from lives of slavery.

Impeachment 3

Edwin M. Stanton

The short-hand version of this dispute is that the Republicans—led by the so-called Radical wing—wanted to put the southern states through a process of re-admission to the Union—including a period of military government—and extend to black Americans the same right to vote enjoyed by white Americans. Johnson, a southern Democrat who had stuck with the Union to the point of risking his life—wanted to restore the southern state governments with relatively little to-do, and he did not want to give the vote or much of anything else to the former slaves. Besides the obvious disagreements, there was an underlying difference with respect to the prerogatives the states and the prerogatives of the federal government—or the “general government,” as it was sometimes called in those days.

Included in the thrusts and parries of this contest was the Tenure of Office Act, a law passed by Congress, over Johnson’s veto, restricting the president’s power to remove from office, without the consent of the Senate, any federal officer the president had appointed with the consent of the Senate. That would include cabinet officers, of course, and it was designed to protect Stanton, who not only supported the whole Radical program but worked against the president’s agenda. This was a wry turn of events, because one of the bona fides Johnson could lay claim to was that he had retained Lincoln’s whole cabinet, even though Johnson was a conservative Democrat. In fact, he and others believed that he could not have violated the Tenure of Office Act by removing an officer he had not appointed in the first place.

Impeachment 4

Ulysses S. Grant

The law was in place, however, and it specifically provided that if the president suspended an officer while the Senate was not in session, the Senate, when it reconvened, could reinstate the rascal, and the president would have to keep him on. That provision meant a lot more then than it does now, because in the mid 19th century, Congress was not in session for most of the year.

Eventually, Johnson had enough of Stanton; while the Senate was in recess in August 1867, Johnson suspended Stanton and told him to turn the office over to Ulysses S. Grant—who not only opposed the suspension but disagreed with Johnson’s policies regarding reconstruction of the South. When the Senate returned in January, it did not uphold the suspension. Johnson believed, correctly, that the law was unconstitutional, and he decided to force the question in the courts. He removed Stanton and appointed in his place the comic-opera Adjutant-General Lorenzo Thomas who was not up to the fight when Stanton refused to leave office. When Johnson was impeached in February 1868, the charges against him boiled down to his violation of the Tenure of Office Act and his public challenges to the legitimacy of what he had referred to as a “rump Congress”—meaning that it represented only part of the country.

Johnson was acquitted by one vote, although some historians have maintained that several more Senators were prepared to vote for acquittal if there was a chance of conviction. Being partisan politicians, they weren’t about to climb out on that limb if it were not necessary.

The charges against Johnson regarding the dismissal of Stanton were flimsy, and the charges related to his public speeches were absurd. But impeachment is a political process, not a legal one, which is why—whenever the possibility of impeachment arises—the question of what constitutes an impeachable offense is argued anew. Gerald Ford once observed that grounds for impeachment are whatever Congress says they are; that’s true on a certain level, but the republic can’t stand if Congress can remove a president for expressing his opinion, much less for the color of his ties.

Many wished for the conviction of Andrew Johnson, but they might unwittingly have been wishing too for a serious jolt to the balance of powers intended by the founders.

 

 

 

 

 

“Who wants people?”

July 21, 2017

Stockton 1

As misanthropic as that title sounds—”Who wants people?”—misanthropy wasn’t what Lorenz Hart had in mind when he wrote that lyric in 1935 to go along with Richard Rodgers’  melody for “There’s a Small Hotel.”

No, Hart was thinking about solitude when he wrote, “Looking through the window / You can see a distant steeple /Not a sign of people, who wants people?” It was all about a couple, Junior and Frankie, who were planning get cozy in a remote way station where, according to Hart’s imagination, the amenities included “cheerful prints of Grant and Grover Cleveland” and an organ that was tuned every other fall.

Stockton 2

Richard Rodgers and Lorenz Hart

By most accounts, Hart’s lyric was inspired by Rodgers’ visit to a place most recently known as the Stockton Inn, a restaurant and hotel whose history can be traced to a quarry-stone residence that was built in Stockton, New Jersey, hard by the Delaware River, in 1710, and still stands as the focal point of the establishment.

That area along the Delaware, including New Hope, Pennsylvania, a stone’s throw to the south, was once the haunt of New York’s creative community, including the Algonquin crowd.

If Dorothy Parker and Scott Fitzgerald were heading for the inn now, they’d be disappointed. We rushed down there for dinner recently after reading that it was closing in a week. It appears, and one hopes, that the original building will be preserved in the comprehensive redevelopment envisioned for the site. The structure does appear in a rendering, posted on the inn’s web site, of the mixed-use development proposed for the property.

Stockton 3

Jimmy Durante

Meanwhile, “There’s a Small Hotel” has a quirky history in that Rodgers and Hart wrote it for “Jumbo,” a famous Broadway show—and later a movie—produced by Billy Rose. It was in that show that Jimmy Durante got to utter one of the shortest and most enduring lines in Broadway lore. Durante is leading a live elephant across the stage in order to keep it from being seized as the circus goes bankrupt. He is stopped by a sheriff who asks, “Where are you going with that elephant?” to which Durante replies, “What elephant?”

Anyway, “There’s a Small Hotel” was cut from “Jumbo” because the show was running too long, but it was introduced by Ray Bolger and Doris Carson in 1936 in the Rodgers and Hart hit “On Your Toes.”

Hart reputedly didn’t like the melody of the song, and frequently made fun of it in Rodgers’ presence by making up off-color lyrics. Others took to the tune, though, and it has been recorded by Josephine Baker (in French), Erroll Garner, Petula Clark, Ella Fitzgerald, Billy Eckstein, Della Reese, Barbara Cook, Tony Bennett, Benny Goodman, Count Basie, Diana Ross, Peggy Lee, Sammy Davis Jr., Jerry Orbach, and Frank Sinatra (in the soundtrack of “Pal Joey”).

You can hear Carmen MacRae and Sammy Davis Jr. sing their version of “There’s a Small Hotel” by clicking HERE.

Lawrence - 4

In my last post, I mentioned Jack Lawrence, who wrote the song “If I Didn’t Care,” which became the signature of The Ink Spots. Their recording of that song in 1939 sold 19 million copies and still ranks as the tenth best-selling single of all time.

Still, that barely scratched the surface where Lawrence was concerned—either professionally or personally. In terms of his profession, consider this:

  • “Play, Fiddle, Play,” 1932, which Lawrence wrote when he was 20 years old, became an international hit, a favorite of singers, violinists, and orchestras. It earned Lawrence membership in ASCAP at that young age.
  • “All Or Nothing At All,” 1939, with music by Arthur Altman, was Frank Sinatra’s first solo hit.
  • “Never Smile at a Crocodile,” 1939, with music by Frank Churchill, became a children’s classic.
  • “Yes, My Darling Daughter,” 1940, which Lawrence wrote using music from a Ukrainian folk song, was introduced by Dinah Shore on Eddie Cantor’s radio show, and it was Dinah Shore’s first recording—and a hit.
  • “By the Sleepy Lagoon,” 1940, with music written by Eric Coates in 1930, provided hit records for the Harry James Orchestra, Dina Shore, Glenn Miller, Fred Waring and others, including—in 1960—The Platters.

Lawrence - 1

  • “Linda,” 1942, which Lawrence wrote during his tour of duty with the Maritime Service during World War II, was published in 1946. The recording in which Buddy Clark sang this song with the Ray Noble Orchestra, was on the Billboard charts for 17 weeks, peaking at No. 1. The title referred to the five-year-old daughter of Lawrence’s attorney, Lee Eastman. Linda Eastman would be known to later generations as Linda McCartney.
  • “Heave Ho, My Lads! Heave Ho!” 1943, which Lawrence wrote while he was a bandleader at the Maritime Service Sheepshead Bay Training Center, became the official anthem of the Service and the Merchant Marine.
  • “Tenderly,” 1946, with music by Walter Gross, was a hit for Sarah Vaughan in 1947, but went on to become the theme song for Rosemary Clooney.
  • “Beyond the Sea,” 1946, with music from Charles Trenet’s “La Mer,” became indelibly associated with Bobby Darin.
  • “Hold My Hand,” 1950, which Lawrence wrote with Richard Myers, was used in the 1954 film Susan Slept Here and nominated for an Academy Award as best song.

Lawrence - 2

In later life, Lawrence owned two New York theaters, and his credits as a producer  included “Lena Horne: The Lady and Her Music” and “Come Back to the Five & Dime, Jimmy Dean, Jimmy Dean.”

Lawrence was born in Brooklyn and, although he was already writing songs when he was still a child, he acceded to his parents’ wishes and, after completing high school, received a doctorate in podiatry—a specialty that was not destined to be his career.

Lawrence was gay, and he was the longtime partner of Dr. Walter David Myden, a psychologist and a social worker in Los Angeles. The men met while serving in the Maritime Service. By the 1960s, their relationship was well known in their circles.

Lawrence and Myden were major art collectors and, in 1968, they donated about 100  20th century works to the American Pavilion of Art and Design at the Israel Museum in Jerusalem. An interview concerning that donation, published in The New York Times, made no attempt to disguise their relationship—an unusual circumstance at the time but one that Lawrence and Myden could carry off with confidence and dignity. They were major supporters of the Israel Museum, which had just been established. Their donations in 1968 included works by Georgia O’Keeffe, Ben Shahn, John Marin, and Morris Graves.

Myden died suddenly of a heart attack in 1975, but Lawrence lived to the age of 96, dying in 2009 after a fall at his Connecticut home.

 

 

Ink Spots 3When we saw Arlo Guthrie at Carnegie Hall in November, he recalled—again—how he was having a beer after a gig in Chicago when he was approached by a young man who wanted Arlo to listen to a song. Arlo grudgingly agreed. The young man was Steve Goodman, the song was “City of New Orleans,” and rest is—well, never mind the cliche.

It’s one of those “near miss” stories. If Arlo had told Goodman to buzz off, who knows how history would have been altered?

The same goes for Jack Lawrence—or so it seems. There are differing accounts of this event, but according to Marv Goldberg in his book More Than Words Can Say: The Music of the Ink Spots, Lawrence made a cold-call visit on January 12, 1939 to the Decca Records recording studio in Manhattan where The Ink Spots were about to cut “Knock Kneed Sal,” and offered his own composition, “If I Didn’t Care.”

Jack Lawrence

JACK LAWRENCE

The Ink Spots, whose membership evolved over the years, had been around since the early 1930s and by the middle of the decade were popular in the United States and abroad. They continued performing into the mid 1950s, although other groups peddled themselves as the originals for many years after that.

“If I Didn’t Care” was the first studio recording in which The Ink Spots used a style that would become the group’s trade mark. The lead vocal was sung by tenor Bill Kenny, and a spoken bridge was provided by bass Hoppy Jones.

Kenny, who is often cited as a forerunner of Johnny Mathis, sang with a precise, elegant diction and a remarkable high register. Jones would recite the bridge in a colloquial drawl, improvising on the original lyrics and peppering them with terms such as “darlin,” “honey chile,” “doggone,” and “askaird.”

Ink Spots 1I recently bought a double-CD collection of 50 of The Ink Spots’ recordings, the preponderance of them delivered in this fashion. I was familiar with The Ink Spots because my parents were fans of theirs, and there were some of the group’s Decca records around our house. But until I listened to the collection I just bought, I didn’t appreciate the effect created by the contrast between Kenny’s refined phrasing and Jones’s down-home style.

Besides Kenny’s purported influence on Mathis, The Ink Spots are regarded as ancestors of  the R&B, rock ‘n’ roll, and doo-wop groups of later generations.

“If I Didn’t Care” never got higher than No. 2 on the pop charts, but it sold 19 million copies, making it the tenth best-selling single of all time. Their numerous other hits included “I Don’t Want to Set the World on Fire,” “My Prayer,” “Don’t Get Around Much Any More,” and “Lovely Way to Spend an Evening.”

Ink Spots 2My favorite among their recordings is “Whispering Grass,” written in 1940 by Fred Fisher and his daughter, Doris Fisher. Perhaps it appeals to me because the lyric seems to have been inspired by Kahlil Gibran: “If you reveal your secrets to the wind, you should not blame the wind for revealing them to the trees.” You can hear “Whispering Grass” by clicking HERE.

You can hear “If I Didn’t Care” by clicking HERE.

Ink Spots 5

Billy Bowen, Bill Kenny, Hoppy Jones, and Bernie Mackey at the Club Zanzibar in New York City, October 18, 1944. Hoppy Jones died that same day.

Florence - 1

When my son, Christian, told me last July that Meryl Streep would play Florence Foster Jenkins in a movie, my first hope was that the filmmakers would not ridicule Mrs. Jenkins, who would be an easy mark.

I first learned about Florence Foster Jenkins when I reviewed a regional production of Steven Temperley’s play, Souvenir, which recounts the unorthodox singer’s career.

Mrs. Jenkins, who had had several disappointments in her life, inherited a fortune and used her wealth to break into New York society as a significant patron of the arts. She thought of herself as a talented classical singer—whereas in reality she had no sense of tone or pitch—and gave private recitals to controlled audiences that would not tell her the truth. Her ambition exceeded her grasp, however, when she decided to give a public performance at Carnegie Hall.

Some dismiss Mrs. Jenkins as a fool, but others see in her a certain heroism, and her belief in herself may rise to that level when it is viewed in the whole context of her life, including her seriously compromised health.

Anyway, Pat and I saw the Meryl Streep film and found that there was no need to worry. While the filmmakers depart from the facts in that compulsive way that they have, the movie is a fair representation of the woman’s life and, most important, it treats her kindly.

My earlier blog about Florence Foster Jenkins is at THIS LINK.

 

 

Cassius Clay 1

Mohammed Ali, who died yesterday, was named after his father, Cassius Marcellus Clay Sr., a descendant of slaves.

The senior Clay, in turn, was named after a 19th century political and diplomatic figure. When Ali adopted Islam and changed his name, he explained that it was his “slave name,” that he didn’t choose it and didn’t want it.

I get what he meant by “slave name,” but there was a certain irony in the term inasmuch as the original Cassius Marcellus Clay was an abolitionist. In fact, although he was a Kentucky planter, the scion of a wealthy family, and a member of the state legislature, he argued for the immediate abolition of slavery.

During a political debate in 1843, a hired assassin named Sam Brown shot Clay in the chest, but Clay went after Brown with a Bowie knife and threw him off an embankment.

Cassius Clay - 3

Two years later, Clay founded an anti-slavery newspaper in Lexington. Kentucky. This inspired so much antagonism toward him, that he carried two pistols and a knife and sealed himself behind armored doors at his office, which was equipped with two cannons. After a crowd of about sixty men broke into the office and confiscated the printing equipment, Clay moved his operation to Cincinnati, Ohio, but continued to live in Kentucky.

Clay served in the Mexican-American War as a captain with the 1st Kentucky Cavalry from 1846 to 1847. He opposed the annexation of Texas and expansion of slavery into the Southwest. While making a speech for abolition in 1849, Clay was attacked by six brothers, who beat and  stabbed him and tried to shoot him. Clay fought them all off and killed one of them, Cyrus Turner, with a Bowie knife.

Clay later served as minister to Russia under Presidents Abraham Lincoln and Andrew Johnson, resigning after Ulysses S. Grant took office. Clay was in Russia when Tsar Alexander II issued an edict emancipating serfs throughout the empire. Clay received a military commission from Lincoln and returned to the United States for a time during the Civil War, apparently influencing Lincoln to prepare the Emancipation Proclamation.

Cassius Clay 2

Clay was influential in the Tsar’s decision to threaten war against France and Britain if they were to recognize the Confederate States of America, and also in the sale of Alaska to the United States, which occurred during Andrew Johnson’s administration.

Clay and his wife, Mary Jane, had seven children, but the marriage ended after forty-five years, due to Clay’s chronic infidelity. At 84, he married Dora Richardson, who was 15 years old at the time. Not surprisingly, two of Clay’s daughters, Laura and Mary Barr, were women’s-rights activists.