Thursday, September 11, 2003

September 11, 2001: Remembering Through Pictures

On the second anniversary of the massive tragedy that shook America, I find myself somber and looking for a way to appropriately commemorate the occasion. I woke up this morning to Good Morning America, just as I did two years ago. Today I watched as they replayed the unfolding of events that came into play just moments after I had left the house for school. Today’s was a special program, dedicated entirely to remembrances of that day and profiles of survivors. Going into the 9:00 hour, the children of those who died that day were reading off the names of the victims, a very poignant tribute.

Therefore, while I reflect upon that tragic day myself, I present a volume that captures all of the history and emotion of that day in a moving and compelling manner. Life’s One Nation: America Remembers September 11, 2001 is a commemorative book that all Americans would do well to have on their shelves. The cover itself is remarkable: an American flag made up of tiny portraits of September 11 victims. The back cover, meanwhile, features the photograph of one of the brave firefighters who became such a symbol of courage and heroism in the hours and days that followed. The Introduction comes from former Mayor Rudolph Giuliani, whose leadership in the midst of the terror helped give many Americans a sense of stability. Giuliani was almost killed himself as he fled the area of the collapsing towers. His words are strengthening and full of hope: “We have met the worst of humanity with the best of humanity.”

The book begins with a brief history of the World Trade Center and a discussion of its symbolic importance. It then moves into a timeline of the significant moments on September 11, starting at 5:45 a.m. when Mohammed Atta passed through the security check in the airport and ending at 10:21 p.m. when President Bush ended a security meeting and retired for the night. This 60-page section is punctuated by dozens of crisp, dramatic pictures, such as the New York skyline as the second plane approached and just as it hit, the evacuation of those in the tower, their collapse, the dust-covered people fleeing the vicinity, President Bush being informed of the second plane’s attack while visiting a second-grade class, and the Pentagon burning. It also features a map of the attacking planes’ routes.

The next section features photographs taken by photographer James Nachtwey on September 11. He was awakened when the first plane hit and ran towards the WTC in order to capture the destruction on film. The next pages deal with the aftermath of the attack, from the widespread destruction near the Towers to the swelling of patriotism in the American public. Following this are some profiles of individuals who went beyond the call of duty on that day. These include Todd Beamer, Jeremy Glick, Tom Burnett, and Mark Bingham, the men who attempted an overthrow of the Flight 93, which crashed in Pennsylvania, and many emergency workers, including canines.

Faces of Ground Zero contains full-page photographs of those in close proximity to the attacks, from firefighters and WTC workers to high school students and former Mayor Giuliani. These moving photographs are accompanied by reflections by each subject. The next portion is dedicated to reflections from accomplished writers. Elsewhere, poems by Maya Angelou and Gordon Parks inspired by September 11 are featured. The book ends with The New Normal, featuring poignant photographs of people continuing with their lives in the wake of the national tragedy.

The factual information in One Nation is fascinating and the reflections moving, but most powerful of all are the photographs, for which Life is so well known. These images capture every possible aspect of that day: the destruction, fear, heartache, compassion, heroism… It’s all in these pictures, leaving owners of this nearly 200-page coffee table book an indelible record they can return to on days such as this. As they page through the photographs, they will see a testament to the powers of hatred and love. Let love win the day.

Wednesday, September 10, 2003

Let Snoopy Tell You How Not to Write!

I am a lifelong Peanuts fan. I am also an aspiring writer. So I was justifiably tickled when my mom bought me Snoopy’s Guide to the Writing Life. It’s not exactly a collegiate primer to the writing life, but to be honest, I’ve never found writing instructional books to be particularly effective for me. And who wants to read something collegiate during the beginning of the first school year following college graduation? This is a pretty quick read, with only the Forward and Introduction taking some time to read. The remainder of the book consists of short reflections by 30 different writers in response to a particular Peanuts strip related to writing. Several strips act as transitions from one reflection to the next.

The Forward by Monte Schulz, son of Peanuts creator Charles Schulz, discusses the cartoonist’s love of literature, which he and Monte came to share. There is also a discussion of the impact Schulz had in his medium, despite his feeling that his offering was lowly in comparison with the authors of great literature. One particularly enjoyable anecdote features Schulz at a restaurant with his daughter. He noticed that legendary actors Richard Burton and Elizabeth Taylor were seated nearby and expressed his desire to introduce himself and say how much he admired them. However, he did not want to bother them and felt unworthy to approach. Suddenly he heard a voice behind him speak his name, and there were Burton and Taylor, telling him that they hated to intrude but wanted to tell him how much they loved his cartoons.

Conrad provides insight into Schulz’s life and discusses his history and the thought that went into his work. He also touches on the widespread appeal of Peanuts and on the cartoonist’s love of the written word. This portion ends with an acknowledgement to all the writers who participated in this book and prints the most unique letter declining the offer, from John Updike. One of the few who passed up the invitation, Updike said that he was no good at giving advice and that if he had something really good, he would keep it to himself because there are too many writers out there trying to get published.

The essays contained herein are brief, focusing on various aspects of the writing life, from trying to come up with an idea and dealing with criticism to figuring out what is funny and picking a good title. I’ll admit I’d never heard of many of these authors before, but their credits are good and their advice sound. Among the most famous: Danielle Steel (who writes of the feeling, after she has finished a book, that she was merely the instrument by which it was written), Ray Bradbury (who says that he has had stories rejected hundreds of times), and Julia Child (who offers her advice on writing a cookbook). Most essays take about five minutes to read but contain worthwhile information nonetheless.

The highlight for me, though, is the strips. It’s great to have all these writers come together to celebrate Snoopy’s connection to writing, but Snoopy himself steals the show. A couple years ago, a couple friends and I started a weekly writing club with Snoopy as our unofficial mascot. I brought in whatever Snoopy writing comics I could find as inspiration. Poor Snoopy serves as the perfect example of a publisher’s worst nightmare. Young writers can look at everything he does and make a note not to repeat it themselves. Meanwhile, the editors he sends his work to are indicative of the stereotypical response of publishers to young writers. Here, they become the most cold-hearted discouraging people imaginable. To add insult to injury, Snoopy must endure the constant insults and suggestions of Lucy, the born critic.

Not all of the strips feature Snoopy, but most do. There is a curious predictability to his movements that somehow makes me laugh in spite of the fact that I guessed the punch line in the first frame. Many of his stories, of course, begin with the famous “It was a dark and stormy night.” This is usually followed by “Suddenly, a shot rang out!” or some variation thereof; for instance, when Lucy complains of the abundance of violence in the world, Snoopy changes the word “shot” to “kiss.”

Sometimes, he has trouble getting as far as the first word; in one strip, he labors over the beginning, “The,” and presents it to Linus, who responds unfavorably, leading Snoopy to change the beginning to “It.” Other times, he can’t seem to figure out when to quit: “those years in Paris were to be among the finest of her life. Looking back, she once remarked, ‘Those years in Paris were among the finest of my life.’ That was what she said when she looked back upon those years in Paris where she spent some of the finest years of her life.”

Lucy often suggests that Snoopy write a book like a certain existing literary work. Thus, Treasure Island inspires Long John Beagle, Little Women inspires Small Women, and You Can’t Go Home Again inspires You Can Go Home Again If You Want To. Snoopy produces a number of short groaners on his own, picking just the right names for characters in order to set up a particularly pungent pun. All of this work goes well rewarded by the publishers, who send him especially memorable rejection slips, often before he has even sent out his manuscript.

I would recommend this volume to all Peanuts fans, writers or not. Schulz’s strips always seem to be right on target where Snoopy’s writerly plight is concerned. These are among the funniest strips he ever wrote. But the book is especially valuable for writers, giving them a chance to keep the negative example of Snoopy in mind and to laugh at themselves a bit in the process.

Tuesday, September 9, 2003

Simon and Garfunkel, Together and Apart

I’ve been a big Simon and Garfunkel fan most of my life, but I never really delved much into their history until my freshman year of college, when I hit “Simon and Garfunkel mode” with particular fervor and found myself shocked to wind up in “Simon-less Garfunkel mode.” I don’t recall identifying Artie as my favorite prior to this time, and I’m not entirely sure what made me shift my loyalties most strongly in his direction. I had been familiar with his solo music before I embraced Simon and Garfunkel; when I was two one of my favorite songs was Feuilles-Oh/Do Space Men Pass Dead Souls on their Way to the Moon? from his Angel Clare album. And I empathized with his personality more than Simon’s. And of course, there was that voice. At any rate, he became the clear favorite, and has been ever since. But Paul Simon remains my favorite songwriter, along with John Denver (an odd pairing), and he is probably my most powerful literary influence when I am writing poetry (not that it shows…). When I began my intensive Internet search for everything I could find out about Simon and Garfunkel, and later Garfunkel solo, Victoria Kingston’s book was referenced over and over again. So just recently, gearing up for the possible Simon and Garfunkel reunion tour, I purchased the book online and awaited it eagerly. Simon and Garfunkel: The Biography has heightened, if that is possible, my desire to see them perform as a duo and renewed my appreciation for Simon and Garfunkel’s master wordsmith.

Since I already had spent hours researching the duo before, there were not many grand revelations for me here in the text. The real pleasure for me was in the small details and the recollections of Art, Paul, and the many people associated with them through the years. Details like Paul deciding to become a singer because once, when he was ten, his father commented that he had a nice voice. Like Paul penning a song, at the age of eighteen, entitled “I’d Like to be the Lipstick on your Lips.” Or deciding he would be a failure if he wasn’t a millionaire by age 30. Or Artie coming into the recording of Bright Eyes sick and leaving the piano off the track because the piano didn’t get tuned in time. Or the fact that Art and Paul’s movies Bad Timing and One Trick Pony were shown in parallel theaters at the same cinema. Or that Art spent a year working out the harmonies for the Simon and Garfunkel reunion album Think Too Much, only to have Paul decide to make it a solo effort. Dozens of friends, acquaintances, and business associates weigh in on their experiences with the men by themselves and as a duo, offering fascinating insights throughout the book.

In 32 chapters, the biography takes us through the lives of Paul Simon and Art Garfunkel from birth to the early nineties. Their lives, even when not closely intertwined, often run parallel. They release solo albums at the same time, find and lose love at the same time, sink into a depression at the same time, find happiness again at the same time. And while their partnership becomes more improbable as their individual tastes diverge, their friendship apparently remains, for the most part, intact. Comical evidence of this can be found on The Breakup, found on Art’s Up ‘Til Now album. This track features the two in the studio, with Art trying to explain to listeners why Simon and Garfunkel broke up and Paul constantly cutting in with corrections until the address dissolves into laughter. This a comradeship that is enduring but has gone through many rocky times; the two were estranged until recently, when they began spending more time together and contemplating another tour. Interestingly, the book quotes Simon in the early eighties as saying the next big reunion would be in 2000; let’s hope this is that reunion!

This biography is not perfect. Kingston has a tendency to insert a bit too much of her opinion, particularly in regard to songs. For instance, she complains that the extended “lie-la-lie” fadeout in The Boxer is too long (I think it’s brilliant) and says the length is reminiscent of Hey Jude, an unwanted comparison because The Boxer is a superior song (I agree The Boxer is better, but not by much – they’re both great). I also found several typos, and was somewhat stymied by her references to Saturday Night, always leaving off the Live!. And, of course, there is so much to say about these two that there are aspects of their lives not explored as deeply as they could be. Still, I thought the book seemed complete. It was packed with information and really didn’t favor one artist over another. It alternated between Paul’s time on the folk circuit in England and Art’s collegiate studies in New York; between Art’s Angel Clare and Paul’s Paul Simon; between Art’s second marriage, to Kim Cermak, and Paul’s third, to Edie Brickell. There are also 10 nice photographs in the middle, starting with a super-sharp shot of the clean-cut, coordinated 16-year-old Tom and Jerry and ending with a rather fuzzy image of a 46-year-old Paul signing autographs.

Despite its imperfections, I was very pleased with the book and think that it deserves its distinction of being their definitive biography. Anyone looking for a crash course in Simon and Garfunkel should turn to this book, which I acquired second-hand at Amazon. And now, I am off to hear Simon and Garfunkel’s announcement and hope that they say they’re coming somewhere near Erie!

With Old Friends Tour Looming, Simon and Garfunkel's Concert in the Park DVD Especially Appropriate

Well, it’s official. At a press conference in New York City yesterday, Simon and Garfunkel announced that they will embark on a tour of America as a duo. The tour, appropriately named Old Friends, will begin in Michigan on October 8 and stop at more than 30 cities throughout the country. This is terribly exciting news for me, having never had the opportunity to see them perform together live before, and for countless other fans across the country. Just as exciting is the fact that the two musicians whom I admire so much and whose friendship was such an integral part of the music they made seem to have abandoned whatever animosity they may have harbored for one another in recent years. From what I heard in the press conference, they’ve got the groove back in their music, and their spoken words are laced with affection.

It’s appropriate then, that this DVD just came out, allowing fans to watch the two in action as preparation before they go to see them live – or, if they can’t make it, as some small consolation. One of the press conference’s most tender moments came when the duo were asked about their reaction to the Concert in Central Park. Art admitted he hadn’t been pleased with his performance; Paul went on to say, something to the effect of “Let me tell you what happened. We went backstage and I asked Artie, ‘So how do you think it went?’ He just looked at me and said, ‘Disaster.’” They both laughed. "Five hundred thousand people! ‘Disaster,’ he says!” Then Art went on to say what a trip the whole thing was. “We knew that we’d done something right in the sixties, but we didn’t know it was this right.” He said that if you watch the concert, you can tell they are “blissed out.” Indeed you can, particularly Artie. I recall watching VH-1’s 2000 program 100 Greatest Rock and Roll Moments on TV. The Concert in the Park came in, I believe, at 93, and when asked what he felt when he was standing there on the stage in front of 500,000 people, Artie replied, “Love.” I feel the love, and you can too.

I’m not going to give a track-by-track listing here; for that, check out my review of the album. This review is more about getting a general feel for the event in itself. When I got this DVD, I was particularly excited because I had only seen snippets of their performances together before, plus the one on the Grammys. It was, for me, like actually having seen a concert. And I imagine I got a much better view of them than most of the folks in the audience!

The event is introduced by then-mayor Ed Koch, and Paul and Artie take the stage, visibly impressed by the size of the audience. Artie throws his arms out and utters a silent “wow.” Later, he addresses the audience with a huge grin and some nervous rubbing together of his hands: “What a night! I thought it might be somewhat crowded, but we seem to have filled the place.” It’s a lot of fun to watch him in this concert. At 40, his face is still as boyish as ever, framed by that halo of curly blond hair. He’s never looked more angelic. His bliss level is off the charts, but he also seems to be nervous. He seems a little unsure of what to do with his hands, particularly when he is not singing. He also frequently bites his lip with a nervous half-smile, an adorable gesture that Clay Aiken shares, though Clay usually exhibits it in speech rather than while singing. The lip bite adds to his boyish appearance, as does his charming manner of mouthing the words off to the side when he is not singing. This appears to convey not only a love of singing but a deep respect and affection for the lyrics. Accompanying his lip-synching are movements and gestures, most humorously in the reprise of Late in the Evening when he mimes “smoking himself a ‘j.’” Paul doesn’t lip-synch when Artie’s singing, but he also rarely is sitting on the sidelines; when he’s not singing, he’s usually still playing his guitar.

The guys don’t attempt much banter with the massive audience, but when they do it’s great. Early in the show, Paul says, “It’s great to do a neighborhood concert” and indicates, much to Art’s amusement, that the guys rolling loose joints will be donating half their profits to the city. Paul gets a couple of credited solos - Still Crazy After All These Years and Fifty Ways to Leave Your Lover - and Art gets three - April Come She Will, Bridge Over Troubled Water, and A Heart in New York (the only tune in the set from Art’s solo career, to the eight of Paul’s). Interestingly, Paul has another which is not listed in the table of contents: The Late Great Johnny Ace, a song I’d heard about but never heard. I was thrilled to find that it was on the DVD after all; it’s not on the CD. The performance is infamous because of what occurred during the singing of it. The minor, melancholy tune chronicles the shooting deaths of three Johns: sixties rocker Johnny Ace, JFK, and John Lennon. Eerily, during the verse about Lennon, who had died the previous year, a man leaps on the stage, shouting; you see Paul jump back, clearly disturbed, but security soon hustles the man offstage and he continues with the song as though nothing had happened. I read in an interview that Paul feared in that moment that he would be killed, right then and there, like Lennon. A very unsettling experience.

Those songs from Simon’s solo career that the duo tackle work very well. They both get really into the energetic Me and Julio Down By the Schoolyard, Kodachrome, and Late in the Evening and seem to be having a great time. But it’s the slower songs that are especially well suited to the Simon and Garfunkel treatment. Art lends a special wistfulness to Slip Slidin’ Away, and the voices work together very well despite some apparent confusion prior to the song as to who was supposed to take what verse. To me, though, the high point of the concert is American Tune, exceeding even Bridge (a silky smooth rendition in which, unfortunately, Artie flubs the last line of the second verse, though he doesn’t flinch with his mistake). Beforehand, Art proclaims that he is “in the mood.” That much is clear as pitch-perfect, soaring vocals are perfectly placed here to complement the loneliness in Paul’s voice. Art gets the first verse, while the two take the rest of the verses together. Paul starts on the chorus, sounding alone and vulnerable for the first half. When Art joins him for the slightly more hopeful second half, it’s like a whisper of encouragement. A song that clearly should have been Simon and Garfunkel all along. These latter two, incidentally, will most likely be incorporated into their current tour.

Of the duo songs, probably the highlight is The Boxer, featuring their perfect harmonies and an extra verse not included in the original recording. Though this verse was written years earlier and they sometimes performed it in concert in the sixties, it seemed as though it was written especially for the event. The lyrics are particularly appropriate for this aging duo: “Now the years are rolling by me, they are rocking easily, and I am older than I once was and younger than I’ll be. That’s not unusual. Ah, but isn’t it strange? After changes upon changes, we are more or less the same. After changes, we are more or less the same.” As I watch this track now, it is particularly affecting, recalling Paul’s statement at the press conference that this would probably be the last time that he and Artie embark on a tour like this, implying that time was about to catch up with them. I think he’s being a bit premature here, but it’s a very sobering thought nonetheless.

Then, of course, there is the audience. This is a huge crowd, and they’re clearly loving every minute of the show. They can often be seen dancing or swaying, and they let loose torrents of applause after each song while maintaining a respectful silence during the songs aside from occasional outbursts of cheers (“counting the cars on the New Jersey Turnpike,” “lookin’ down on Central Park, where they say you should not wander after dark,” "ten thousand people, maybe more”). I found it rather amusing that they chose to start a clap along with The Sound of Silence; not exactly a clap-along song, and they eventually abandon it. But if the guys were “blissed out,” the audience clearly was too. And the band is having a great time as well, and doing a great job. While the some of the songs seem a bit overproduced (just two guys and a guitar would’ve been rather nice, though very impractical for Paul’s hand and for projection), the musicians do a wonderful job with their parts and add depth to the instrumentation.

All in all, this is a very worthwhile investment for any Simon and Garfunkel fan or fan-to-be. If you’ve never seen them perform, this is your chance, and at $15 or less, it’s quite affordable even if concert tickets are not. If you have seen them, this will bring back beautiful memories. And if you’re lucky enough to be going to see them (I fully intend to be!), this exuberant reunion will get you in the mood.

Monday, September 8, 2003

Play Bridge Over Troubled Water Like a Pro!

One lucky thing about having musical tastes reaching back into my parents’ generation is that many of my relatives share those tastes. I found the sheet music for Bridge Over Troubled Water and Simon and Garfunkel’s Greatest Hits years ago, in the garage where my aunt had been storing many of her possessions and which we had to evacuate in her absence, and also at my grandma’s house, presumably from the days when my aunts were learning to play the piano. I’m not sure from whom I snagged these books, but they’ve gotten a great deal of use since then, particularly Bridge Over Troubled Water, which is advanced music while the Greatest Hits collection is for beginners. The books were a bit ragged before I got them, and only more so since. I’m not sure how much longer the binding will hold!

This book features music from Simon and Garfunkel’s best-selling final album. The photographs have a rather fuzzy quality to them. The front and back cover are the same as the album, with a frontal shot of Art walking along behind Paul, apparently in the winter as Art’s in an overcoat and Paul has a jacket and scarf. It’s a fun picture because it just has Art looming behind Paul, his face fully visible from just below the nose to his poofy hair, which gets cut off at the top. He’s also a lot broader than Paul, with he shoulders coming out far beyond Paul’s head and his overcoat providing a black background for Paul’s green jacket. They’re walking along outdoors. On the back, they seem to be in a blue studio, wearing the same clothes. This time Art is in front, tilted slightly backwards and looking jaunty, with a spring in his step. Paul, by contrast, seems to be dragging; because of the blur of the picture it’s hard to tell for sure, but it looks like he’s burying his head in Art’s coat. He looks exhausted. It’s a very comical picture.

The inside cover has a sharp picture of a contemplative Paul and Art sitting next to one another, with a photo of a smiling Paul in the studio on the facing page. The back inside cover has a blurry shot of them singing together in the studio. The middle of the book features a headshot of Paul on the left, Art on the right. Paul’s wearing a hood and wisps of hair are whipping out underneath it. Art’s smiling, his hair so illuminated by the sunlight it almost disappears toward the top of the picture. By contrast, his face is shrouded in shadow.

The bulk of the book, of course, is the sheet music. I only play the piano and my brother was never too interested in playing these songs on the guitar, so I can only comment on the book from a pianist’s experience. The title song is the first in the book, and if no other songs were in the collection, it would still be worth the price. Bridge Over Troubled Water is very much a piano song. When Art performs it during concerts, it’s always a chance for the pianist to shine. When played properly, this arrangement sounds pretty much identical to the piano part on the recording, from the first distinctive rolled chords to the ultra-forte finale. I’ve spent much more time with this song than any other, and I can play the first two verses perfectly from memory. The third verse always trips me up, but I am able to play it while looking at the music. It’s a complicated piece of music, but it is well worth the time it takes to learn it. By far the most satisfying piece in the book for the piano.

The book contains a wide range from there. Next is the intricate but rather brief El Condor Pasa and the chord-driven Cecilia. Keep the Customer Satisfied starts out fairly simple and gets more complex, but still remains one of the book’s simpler compositions, not quite sounding right without the brass section. So Long, Frank Lloyd Wright is quiet and legato and well suited to the piano. The Everly Brothers standard Bye Bye, Love is a fun little number whose chorus is fairly simple and easy to punch out with great enthusiasm.

Song for the Asking is soft and flowing with a waltz feel to it. Unfortunately the song also has five sharps, so it’s not much fun to play. The Only Living Boy in New York is also well suited to the piano, though I find that when I play it the song sounds a bit jazzier than it should. Still great, though. One of my favorite arrangements. Why Don’t You Write Me , like Keep the Customer Satisfied, sounds a little strange without the accompaniment of louder instruments. It’s still energetic, though, and fun to play, though I’ve never quite gotten the hang of it.

The Boxer is as nice a piano arrangement as one could hope for, but this is a song meant for the guitar, so it really doesn’t sound right with the piano. Because I like the song so much, it was probably my biggest disappointment in the book. It’s well done, but it’s just the nature of the song to suffer under the treatment of a piano. Guitarists would probably name this their favorite song in the book to play. The book ends with energetic, rather simplistic Baby Driver. Not bad, but as it’s probably my least favorite song on the album, I don’t play it much.

Well, there you have it. For a more detailed analysis of the songs on their own terms, check out my review of the album: Bridge Over Troubled Water. If you’re a Simon and Garfunkel fan who wants to play some of their songs yourself, then this is the book for you!

Friday, September 5, 2003

It May Not Be Christmas, But Rocky Mountain Holiday Is A True Gift

I'm going to put in a little plug here for one of my favorite websites, Muppet Central (www.muppetcentral.com). It's the best gathering place for Muppet fans on the Internet, and it is because of this site that I learned Rocky Mountain Holiday would be coming to DVD. I composed the following in response to Muppet Central's call for fan reviews, and it occurred to me today that I might as well post it here as well. So, without further ado, the brilliance that is John Denver and the Muppets...

Although I am a huge John Denver fan, I purchased Rocky Mountain Holiday on DVD without ever having seen the program before. In fact, not only had I never seen this Emmy-nominated program, I had it in my head that this was a Christmas special like John Denver and the Muppets: A Christmas Together, so I was surprised to discover that this particular holiday was a summertime camping trip. Even better. Being a nature girl myself, I love camping and could appreciate the fun and beauty of this excursion.

Anyone unfamiliar with the frequent participation of John Denver in Muppet shows and specials would quickly pick up on the affection among John and his cloth companions. He comes across as a revered friend inviting his pals to share in the wonder of his beloved Rocky Mountains, which provide an awe-inspiring backdrop in several scenes. While the Muppets may be used to the comforts of city life (especially refrigerators and televisions), for the most part the plaid-wearing compadres seem right at home amidst the forests and streams of the Colorado wilderness. Ironically, it is Fozzie, who claims the closest link with the land because of his “Ursine persuasion,” who seems most out of his league here; after failing to communicate with a fellow bear, his ineptitude becomes the special’s biggest running gag.

There are 16 musical sequences here, leaving time for only brief dialogue between or during songs. But what dialogue is in place is right on target, and there are plenty of one-line zingers that kept me chuckling. For instance, Statler and Waldorf wander the forest throughout the special, separate from the rest of the gang. They periodically add their curmudgeonly take on the scene or song we have just witnessed (i.e. “Show me a home where the buffalo roam, and I’ll show you a dirty house!”). The other Muppets have their moments as well. I particularly enjoyed two of the exchanges during the second song, Going Camping. In the first, John notes that the mosquitos are not bad and Kermit replies that they are delicious. In the second, Janice and Floyd ruminate on how “groovy” and “far out” this place is.

The songs are a mix of campfire favorites, Denver songs, and tunes I presume were written for the special. I suspect the first three songs fall into this latter category. The first two set the stage for the rest of the trip, with John and each of the Muppets commenting on how exciting it is to be on this trip, while the third, a lively ditty by a mountain-dwelling jug band, serves as a PSA of sorts reminding everyone to keep nature clean and not pollute it with heavy machinery or trash. Of the remaining songs, John sings four completely solo. Two of these, Catch Another Butterfly and No One Like You, cement the tender big brother-little brother relationship between John and Robin that develops throughout the special. Both are aimed at convincing the tiny, overzealous Frog Scout that he is someone special and has something to contribute despite his minuscule size. Robin’s struggles and John’s encouragement constitute the strongest continuing plot thread of the special.

Notably absent from the assembly is Miss Piggy, who nonetheless shows up in two flashback numbers: the ensemble She’ll Be Comin’ ‘Round the Mountain, during which various Muppets recall the extravagant entourage escorting Miss Piggy to the mountains over the winter, and Tumbling Tumbleweeds / Happy Trails, a horseback duet between John and Miss Piggy that makes normally level-headed Kermit just a wee bit jealous. Floyd gets a chance to shine in Gone Fishin’, a duet with John Denver accompanied by Zoot's mean saxophone solo, and Kermit takes the lead on the rollicking Grandma’s Feather Bed. In a flashback, Rowlf is unceremoniously toppled from his innertube in the river, and in the present day he suffers from hiccups. Gonzo, meanwhile, keeps up his oddball ways, complaining that John foiled his plans of breaking the record for Standing on the Bottom of a Lake with a Dog on your Head and getting all “duded up” to woo the legendary Man-Eating Chicken that haunts the mountains.

The evening closes with a sing-along, and the Muppets provide lovely harmonies on Home on the Range and Poems, Prayers and Promises. They have a grand old time with the fast-paced, interjection-laced Down By the Old Mill Stream and the reverberating round Oh How Lovely. Then they all sing in unison to produce a full, rich closing number, It’s In Every One of Us, capping off the evening with a reinforcement of their togetherness.

To this day, I can’t help but feel rather melancholy after listening to John Denver. Add Jim Henson to the equation and it ought to make for a double-whammy of regret that the world has lost two such brilliant and compassionate talents. But instead, after watching this special, I am struck by the legacy that both left the world, a legacy that overlapped time and time again. Amidst great music and laugh-aloud gags is a deep-seated message of altruism and respect, making for a trip that I intend to take many more times in the future.

They Can Be Good the Second (or Hundredth) Time Around - Cool Covers Write-Off

I’ve only participated in a handful of write-offs in my nearly four years with Epinions, but this is the third I’ve tackled this week. What can I say: they’re fun, and nice to happen upon when I’m stuck for figuring out what to review next! I have taken up kokladj’s challenge of coming up with a list of ten favorite cover songs. I’ll say just ten cover songs that I like; I know as soon as I’ve submitted the list I’ll think of a couple that should have made the list and displaced a couple others. I’m so bad at picking favorites! After you read mine, check out some of the other entries: kokladj, teamfreak16, sublimist03, shilmafone, pmills1210, insomniac1587, speeddemon531, plorentz, cryptosicko, lambchops, jeff_wilder78.

Well, since it’s one of only two Clay Aiken covers on a widely distributed album at this point, I’m going to have to mention Bridge Over Troubled Water, since I’ve gotta put Clay on here. It’s not my favorite cover of his, but I do think he does a really nice job with it. While Simon and Garfunkel’s version will always be my favorite, Clay’s approach to the song is very different, with much more of a Gospel feel to it (when he performed it on the Jerry Lewis Telethon Monday, he added a “my lord” to the second verse). It’s triumphant and showcases his voice and range marvelously, as well as being a great match to his personality. I really hoped he would perform this song, and I’m glad he did. Originally on Simon and Garfunkel’s Bridge Over Troubled Water album, this is available as a single along with This is the Night.

I recently saw Maid in Manhattan and discovered a gorgeous cover of Simon and Garfunkel’s Kathy’s Song by the late Eva Cassidy. This song is generally a Paul solo effort in the Simon and Garfunkel canon, though Art performs it in concert now. Eva’s vocals are haunting in what Art calls Paul’s most beautiful love song, and her acoustic guitar, like Paul’s in the original, suits her singing very well. The only bad thing about this track is that she only recorded an abbreviated version of the song, containing only three of the six verses. Still, very, very nice. You can find the original version on Simon and Garfunkel’s Greatest Hits, and Eva’s on her album Time After Time.

Art Garfunkel is a toughie, since he has recorded so many brilliant covers throughout his solo career, but I don’t want to fill my list with just him. These include, among others, When a Man Loves a Woman, So In Love, Goodnight My Love, and pretty much all of the Songs From a Parent to a Child album. I’m going to go with I Only Have Eyes For You, not necessarily because it’s my favorite, but because it is the one I have heard the most versions of. It seems every time I turn around I hear another rendition of this song on the TV or a movie, and I still think Artie’s is the best. Very smooth and romantic. One album you can find it on is Garfunkel, while it’s the title song of the Flamingos’ I Only Have Eyes For You. (I think this was the first version, but as I said, there have been many.)

Before I leave Artie altogether, I’m going to mention What a Wonderful World, which isn’t just him but also Paul Simon and James Taylor. Talk about a terrific trio! It was recorded in the mid-1970s, so it’s a reunion of sorts for Simon and Garfunkel, but Taylor adds even more rich layers to their harmonic sound. (He also collaborated with Garfunkel later for the Everly Brothers’ Cryin’ in the Rain.) It just seems like it’s three old buddies getting together and singing a song they enjoyed listening to when they were younger. It has a very different sound to it from the original, very mellow and slow as opposed to snappy and danceable, and they really milk the harmonies for all they’re worth. When I first got Watermark, the Art Garfunkel album containing the song, I thought it would be a cover of the Louis Armstrong song. But this is even better, and I like the irony that Art, an architecture and mathematics major in college, sings “don’t know much about algebra.” Sam Cooke’s original can be found on his compilation album Best Of.

The Irish Rovers have also done many great covers, but I’m going to mention Rhymes and Reasons because that is a song by one of my all-time favorite singers, John Denver, but I like their version better. In fact, I may have heard it first; I wouldn’t be surprised if I heard Denver’s version when I was very young, but the first time I remember encountering this song was on The Irish Rovers Greatest Hits. It’s a tender song of hope and peace in typical Denver fashion, with just a bit of a hippie-ish ring to it, as we are urged to follow the example of “the children and the flowers.” The Rovers supplement their version with natural sound effects such as singing birds, running water, and the laughter of children, and the ensemble of Irish voices doesn’t hurt at all either. Denver’s original version is available on his Country Roads Collection.

Speaking of John Denver, I’m partial to his cover of Fire and Rain on Poems, Prayers and Promises. I don’t know if I would say I like it better than James Taylor’s version; they are actually rather similar. Both have extraordinarily mellow voices, similar timbre, perfect pitch. It’s just nice to hear Denver’s take on this plaintive song about an adolescent dealing with the death through suicide of his close friend. Taylor’s version can be found on his Greatest Hits.

I just mentioned House at Pooh Corner in my Nitty Gritty Dirt Band review, but I’ll stick it in here as well. Their cover of this Kenny Loggins song, which is featured on his album of the same name, is my favorite track on Will the Circle Be Unbroken II. It’s a rowdy, electrified version of Loggins’ lullabye-like tune, written at a time when he was standing on the brink of adulthood and reluctant to leave childhood behind. Loggins’ version is wistful, but the Nitty Gritty folks pump it so full of energy that it seems getting back to the Hundred Acre Wood is entirely possible, and they’re going to make sure it happens!

Bob Dylan is a brilliant songwriter, but let’s face it, he doesn’t exactly have one of the most pleasing voices in recent music history. I think he has every right to sing the songs he wrote and it’s great that people appreciate hearing the tunes straight from the source, but I personally find his voice grating, very irritating to listen to. Blowin’ in the Wind, from The Freewheelin’ Bob Dylan, is one of Dylan’s most famous songs – it’s always the first one I think of – but I think Peter, Paul & Mary do it far more justice than the artist himself does. Theirs is what I always have considered the definitive version, complete with its rich harmonies and simple accompaniment. They sing with true passion, and their voices blend beautifully for a truly resonant cover. You can find it on The Best of Peter, Paul & Mary.

The first time I heard John Lennon’s Merry Christmas / War Is Over, it was on Neil Diamond’s The Christmas Album. It’s very nice, complete with a tambourine and a chorus of children. For the most part, Neil sings the Christmas part, while the kids sing the “war is over” part as a counter-melody. It starts out very quiet and simple and builds to a grand and jubilant conclusion. Very nice, and one of my favorite tracks on the album. Lennon’s version is available on his Shaved Fish album.

The Muppets introduced me to Kokomo, one of my favorite Beach Boys songs. It’s featured on Muppet Beach Party and is just a really fun rendition of a song that’s pretty nifty to begin with. It’s even more fun with the video; lots more, in fact, because of all the crazy things the Muppets are doing in the background on the sunny beaches the song describes. I actually happened across this song as a promo for a Muppet sing-along on another video I had purchased. The Muppets do a bang-up job; I think I like this version better than the original, which is also great and can be found on the Beach Boys’ Greatest Hits.

Well, that does it for me. Ten covers that I especially like. Check out the other reviews in this Write-off for a wide variety of covers. It’s always fun to see another artist redo an already terrific song. Add your own entry and spill the beans on which song remakes especially impressed you!

"Will You Succeed? Yes! You Will Indeed! (98 and 3/4 Percent Guaranteed)"

Dr. Seuss may be considered one of the premier authors of children’s books, but his whimsical rhymes and colorful illustrations aren’t solely suited for the elementary set. Many of his books are especially well-crafted tales that can be equally enjoyed by adults; I place The Lorax and How the Grinch Stole Christmas in the top of that category. But Oh, the Places You’ll Go! seems to be aimed especially at those who are just starting out in the world of adulthood. That doesn’t mean that this book won’t be enjoyed by children, and its message is worthwhile even if the reader is years away from a major crossroads in life. But there are few books that make more appropriate graduation gifts than this, with one foot in childhood and one in the future, with all its possibilities and pitfalls.

The main character in this book is “you,” a random person meant to represent the reader, much like the “you” in The Lorax. This character, a youngish-looking chap in what looks like yellow pajamas (maybe the book is all supposed to be a visionary dream…), is directly addressed throughout the book. He (well, he looks male to me, but is fairly androgynous; again, probably to make him identifiable with the reader, whoever that may be) starts off his adventure on a wide pathway out of town, along which he encounters all sorts of fantastic sights, such as elephant caravans and hot air balloons. Yes, it’s a grand adventure.

But, the narrator warns, the road will not always be paved with happiness. Troubles await you, no matter who you are, and you will need to be prepared to face them. Once you’re down in the doldrums, it’s hard to pull yourself out, and all those options that seemed so appealing before are now only cause for a headache. The illustrations, so bright and cheery in the beginning, grow dark, ominous, twisted. And the narrator warns that when you hit this low point, you may be tempted to just stay there, waiting. Wasting days or years waiting for everything under the sun. Not a way to live.

The book takes a turn back into the brightness of the beginning by insisting that this will not happen to you. You will get through the difficult times and come out on top, better than before! Or maybe not. The illustrations once more become dark and dreary… indeed, rather frightening. That picture of “you” paddling through the dark swirling waters surrounded by yowling Hakken-Kraks is particularly unnerving. But the book ends on a positive note once again, encouraging you to keep going because there’s always hope around the corner, and an adventure filled with peril is better than one never started.

The illustrations are filled with fantastic Seussical creations, but the text itself is pretty straightforward and practical with very few nonsensical words thrown in. It makes perfect sense and contains a lot of good solid advice that happens to rhyme particularly well. And it’s honest, not hiding the fact that the real world can be an awfully scary place and that a roller coaster of emotions is likely to follow. Our principal read us this book prior to our graduation from eighth grade, and I seem to recall its being quoted at my high school graduation as well. In fact, it’s one of the most quoted sources in graduation speeches and consistently remains a high seller when the time of year rolls around for those diplomas to be awarded. It’s no wonder. That Dr. Seuss, he was a pretty smart guy. So take the good doctor’s prescription and get on your way!

Wednesday, September 3, 2003

I Can Feel the Love Tonight - Bob_tomato's Spread the Love Write-Off

Well, I was scanning through some recent reviews and I came across bob_tomato’s invitation to participate in his Spread the Love Write-Off. The idea: come up with songs, singers, lyrics, etc. containing the word “love” and write about why each is significant. It caught my eye as something unique and kinda reminded me of playing Encore, the game in which players must compete to see how many lyrics they can come up with containing a certain word or theme. So let’s see, here goes…

All You Need Is Love: Maybe this is kinda tacky since it’s the title of bob_tomato’s entry. But hey, I’ve gotta include the Beatles. And while this is certainly not the only song of theirs containing the word “love,” it’s the first one that popped into my head. Pretty simple statement, and a darn good one to keep in mind. It also was the mantra of I Am Sam, a movie I enjoyed very much for its Beatles-heavy soundtrack and its heart. And that adorable Dakota Fanning.

Unchained Melody: That is, “Oh, my love, my darling, I’ve hungered for your touch a long, lonely time.” Simon Cowell calls it the best song ever written, proving the crusty curmudgeon has a soft spot somewhere. I always knew he did. Clay Aiken performed a fantastic rendition of this song on the second-to-last Tuesday in this year’s American Idol competition, but even he could not outdo the Righteous Brothers. It’s quite simply a perfect record, and one of the absolute best love songs ever recorded. It also is the theme song of Ghost, one of my favorite movies. The orchestral interpretation in the film’s final scene gives me shivers. Good shivers.

For Emily, Wherever I May Find Her: “Oh, I love you, girl, oh I love you!” And that lyric on the page does nothing whatsoever to convey the euphoria of Art Garfunkel’s vocals here. It’s one of the Simon and Garfunkel songs that Art gets to himself, and he makes the most of it, letting his voice float ethereally along until this final crescendo. His extended notes aggravated me when I first heard them at the age of 8, but not anymore. I think they’re brilliant.

Long Line of Love / What’s Forever For: I’ll group these songs together because we were talking about both of them the other day. The latter poses the question “If love never lasts forever, tell me, what’s forever for?” Both are Michael Martin Murphy songs, or at least songs which he recorded. The first talks of the enduring love spouses have for one another in a particular family tree, while the second bemoans the fact that so many people in love are throwing it away. While I’m at it, I’ll throw in Randy Travis’ Forever and Ever, Amen: “I’m gonna love you forever, forever and ever, amen.” Along the same lines as Long Line of Love, and a very catchy tune with cute lyrics. I especially like “As long as old men sit and talk about the weather, as long as old women sit and talk about old men.”

So In Love: An old barbershop-type song with some really swinging harmony. I’ve heard several versions of this; my favorite is Art Garfunkel’s. Just a very fun song with a '50s feel to it.

I Don’t Want to Live on the Moon: My favorite Muppet song, sung by my favorite Muppet. I like it so much I used it as the basis for my screen name on Muppet Central. This song is rather atypical of Ernie, who is usually so hyper and adventurous. He’s caught in a contemplative mode here, gazing out at the night sky and realizing that there’s no place like home. He wants to go away and see the world, but only for a short time. “Though I’d love to look down at the Earth from above, I would miss all the places and people I love.”

So It Goes: I’ve got this one on a Nitty Gritty Dirt Band album, sung by John Denver, who I love forever. Lousy Long-EZ. This is a nice slow country-Gospel song discussing the ultimate impermanence of everything in the world except for love. A really pretty song with a nice message. “…Mountains will disappear, rivers will dry up. So it goes with everything but love.”

Longer: One of my favorite love songs, it’s very quiet, contrasting the grandiose scale on which the lyrics work. Just a beautiful, fairly simple song, touching in its earnestness and sincerity. “Longer than there’ve been stars up in the heavens, I’ve been in love with you.” And while I’m on Dan Fogelberg, I might as well point to another of his songs, also on the Greatest Hits album. There aren’t a whole lot of songs out there that I am aware of that are about fathers. I’ve fast become a fan of Luther Vandross’ Dance With My Father, and I also love Harry Chapin’s unsettling Cat’s in the Cradle, but Leader of the Band takes the cake. A mellow tribute to Fogelberg’s father (I presume this is autobiographical), it tries to sum up what this man has meant to him. Very touching. “Papa, I don’t think I’ve said ‘I love you’ near enough.”

Candle on the Water: I am an absolute sucker for Disney, and given their long track record of love songs, I would be remiss to not include at least one. And this is one of the most gorgeous songs in the entire Disney canon. When I think about it, it’s actually quite similar to what I generally call my favorite song, Bridge Over Troubled Water. Similar theme (when you’re in trouble, I’ll be there for you), and even a similar metaphor (in both cases, the water is the source of trouble; the bridge allows safe crossing from one shore to another while the lighthouse allows one already in the water to guide themselves safely to shore). Helen Reddy did a beautiful job with this in Pete’s Dragon, and it is always the first song I think of even though the man to whom the song is addressed only shows up at the very end. It’s also a song of faith, believing in something beautiful against the odds. “I’ll be your candle on the water. My love for you will always burn.”

Don’t Let the Sun Go Down On Me: I’ve got Clay Aiken on the brain, so I had to stick in one of his songs. Well, I guess I did already, but one where I think he might’ve even outdone the original. Practically every song Clay performed on American Idol contained the word “love,” but I’m going with this one because it’s the song that changed him from geek to chic in the American perception. He already had a lot of fans before this, but he still seemed like a long shot until he blew everybody away on Wild Card night with this song. Man, what a performance. I love Elton John, and there is nothing wrong with his own original version of the song, but Clay’s is so terrific, I think he may have even shown up Sir Elton. “These cuts I have, they need love to help them heal.”

Theme song from Sharon Lois and Bram’s Elephant Show: Hey, at least it’s not Barney, who couldn’t even come up with his own tune for his ever-so-irritating theme song! Okay, I guess it’s not that bad, but in its heyday I got awfully tired of it. But I used to watch the Elephant show when I was little, and I even got to see these guys in concert once (minus the elephant, I believe). It’s a fun upbeat song, and I suppose it doesn’t have much more lyrical merit than Barney’s song, but I like it anyway. “Skinnamarinky dinky dink, skinnamarinky doo, I love you.”

Well, I could go on for pages; I can think of dozens of songs containing the word “love,” and these are just the first few that randomly popped into my head. But I think I’ll give it a rest before I get too carried away and leave some of those other dozens to the other participants! Check out bob_tomato’s entry, and those of whoever else decides to participate. Let’s spread this love as far as it can go!

Tuesday, September 2, 2003

The Deep Dark Secrets of Bilbopooh... (Bella4's Countdown Writeoff)


Well, after reading a number of these write-off entries, I finally decided to bite the bullet and submit one myself. I'm not so good at lists; I always wind up looking at them afterwards and saying, "Wait! I should have said this!" or "Ugh! Why did I say that?" But here goes.

***10 Bands You’ve Been Listening To Lately***
My musical tastes have remained very consistent throughout my life. For the most part, I listen to the same music my parents listen to, so a lot of it has been a part of my life for as long as I can remember. There are dozens of musicians whose works I enjoy, but I guess these are my top 10, at least at the moment: Simon and Garfunkel (***love*** them), John Denver (***love*** him too), the Irish Rovers (long live Ireland!), Don McLean, the Beatles, James Taylor, Billy Joel, Elton John and a newbie, the divine Clay Aiken (***THUD***).

***9 Things I Look Forward To***
I look forward to having a steady source of income, to getting a book published (keeping my fingers crossed), seeing Simon and Garfunkel on tour with the Everly Brothers this fall (it sounds official...), receiving my Celtic harp in the mail next week, getting my Simon and Garfunkel Concert in the Park DVD in the mail this week, reaching the 500 review mark on Epinions, Wednesday pizza night with Grandma, going to the grocery store (food is fun!) and seeing my article published in the Erie Times-News this Sunday. I don't want to think too far ahead...

***8 Things I Like To Wear***
I'm not too particular about clothing, never have been. But let's see... Pooh clothes of any kind, my class rings, my glasses, my ratty old Pooh winter coat, khaki pants, shorts, novelty t-shirts, and chenille.

***7 Things That Annoy Me***

Computer sound effects!!! (My brother Nathan, conversely, is annoyed when I turn off the volume...) Others: loud noises of any kind, people making fun of my taste, people being rude to Nathan, mean-spiritedness, buzzing insects, and the sun in my eyes.

***6 Things You Touch Everyday***

My computer keyboard, my dog's fur, my cat's fur, my glasses, my hair, and food.

***5 Things You Do Everyday***

Read, write, spend quality time with my parents and Nathan, cuddle my pets, and sing.

***4 People You Want to Spend Time With***

Mom, Dad, Nathan, and Sandy.

***3 Movies You Could Watch Over and Over Again***

Mary Poppins, The Sound of Music, and Forrest Gump.

***2 of My Favorite Bands at the Moment***

Simon and Garfunkel and Clay Aiken!!!!

***1 Person That You’d Spend the Rest of Your Life With***

I've always been a homebody, and it's still hard for me to imagine spending my life with anybody other than my parents. I just want to stay close to my folks, but I won't rule out the possibility of somebody sweeping me off my feet someday...

Well, that's about it. One day I'll be especially creative and come up with my own Write-Off, but this will have to do for now! Don't forget to check out the lists of Bella4 and the other participants in this write-off too. Hope I lent a little insight into the eccentricity that is Erin!

Monday, September 1, 2003

Jane Austen Plus Emma Thompson Equals Moviemaking Brilliance

Generally, when I see a movie based on a book which I have read, I prepare myself for disappointment. It is pretty hard to pull off a film adaptation that does true justice to a great book. Sense and Sensibility does just that. I watched a portion of this film in my Canon and Its Critics class, headed by the venerable Dr. Morris. This was maybe a month and a half into the semester, my first with him as a professor, but he had quickly made his way onto my list of favorite educators. So his ecstasy over Emma Thompson and unbounded admiration for Alan Rickman’s Colonel Brandon may have influenced me. But I was impressed enough that I later rented the film and fell in love with it. Along with The Green Mile (in which case I saw the movie before reading the book), this is probably the best book-to-film adaptation I have seen.

The cast is superb, with the afore-mentioned Thompson taking the role of Elinor, the patient, practical eldest Dashwood sister. Kate Winslet portrays Marianne, Elinor’s over-emotional, romantic younger sister. (As Dr. Morris filled us in on what we would be missing before he started the movie towards the end, he said, “And then there’s this great scene where Marianne and Willoughby are standing on the bow of this ship, and she throws out her arms, and… wasn’t in the book, though.”) The dynamic between these two sisters is the heart of the film. They are diametrically opposed, each exhibiting one end of the personality spectrum. Elinor is the heroine of the film, always a perfect model of poise and manners, selfless to the point of bursting (which she eventually does in one of the film’s best scenes). Marianne is likable enough, but she is rather flighty and self-centered and possesses some very impractical ideas about romance. In the end, both girls learn from one another, moving just a bit towards the middle of the spectrum.

Hugh Grant is utterly adorable as the bumbling Edward Ferrars, the honorable gentleman who earns Elinor’s affection at the beginning of the film. He doesn’t get much air time in the film, mainly the very beginning and end, but his appearances are both riotously comical and extraordinarily tender. I’ve seen Hugh Grant in many movies, but this performance is my hands-down favorite. I’ve already noted Dr. Morris’ opinion of Rickman’s performance, and I concur. But then Rickman has blown me away in everything I’ve seen him in. Could there possibly be a more perfect Severus Snape? His Colonel Brandon is formal, reserved, honor-bound. Shrouded in melancholy, he is a tender man bewitched by Marianne. Best line: Towards the end of the film, he paces in agitation as Marianne lies sick in bed upstairs. Upon Elinor’s entrance, he pleads, “Give me an occupation or I shall run mad!” Perfect. Greg Wise turns in a good performance as the tall, dark and handsome Willoughby, to whom Marianne’s affections belong for the bulk of the film.

More minor characters shine in their respective roles. This is a comedy, and the smaller roles tend to accentuate that. Harriet Walter is deliciously conniving as the Dashwoods’ unsympathetic sister-in-law, Fanny. Another of the film’s great scenes involves Fanny reacting to a secret told to her by Lucy Steele (Imogen Stubbs), a pseudo-friend to Elinor. Robert Hardy and Elizabeth Spriggs are amusing in their roles as the grandparently Sir John Middleton and Mrs. Jennings. In addition to being affectionate, they also have a nose for gossip, which Marianne particularly resents. Imelda Staunton and Hugh Laurie sparkle as the hilariously mismatched Mr. and Mrs. Palmer. Think Farmer Hoggett and his wife, Babe. She is a cheerful chatterbox, he a silent man with an air about him that telegraphs the fact that he finds his wife exceedingly silly. Much of the humor between these two is nonverbal, but chuckles should follow whenever these two appear. Mr. Palmer regards his wife’s frivolity with apparent indifference, and while one wonders how they ever got together, they seem pretty content with their life together. Mr. Palmer also shows himself to be gentlemanly and compassionate on several occasions.

Of all the roles here, the one that really stepped this movie up a notch for me was Margaret Dashwood (Emile Francois). In the book, this poor unfortunate third Dashwood sister is rendered practically a non-entity. She certainly doesn’t show up in the book much, and when she does she doesn’t contribute much or boast much of a personality. What’s there to say about Margaret in the book? Not much. But the film, which Thompson wrote, gives Margaret a distinct personality and an important place in the affairs of the main characters. She is a tomboy who is fascinated by geography and wants to travel the high seas as the captain of a pirate ship. This spunky gal brings Elinor and Edward together for the first time, as the visiting gentleman locates her hiding under a dresser, conceals her from Fanny and cleverly draws her out later. The two become fast friends, and Edward’s kindness to her sister wins Elinor over.

I am reminded of the book The Princess Bride with this film because the book claims to be the “good parts version” of a classic written long ago. Periodically, the author fills the reader in on all the boring stuff that he skipped. This movie does that masterfully. I loved Sense and Sensibility, but I think it was a lot wordier than it needed to be. This film takes the heart of the book, pruning and fleshing out to produce an adaptation that in some ways exceeds the novel.

In addition to Margaret, the movie filled another hole that the book left me. In this case, it was the ending. The main events of the film lead up to a certain point in the novel, but when that point is reached, it gets essentially skimmed over and we don’t get to see the glorious moment when everything comes together. In the film, this scene is accomplished with comical brilliance and heart. It’s a perfect moment worthy of the build-up of tension that precedes it.

Not everyone will love this movie. It’s set in the 1800s in England, and that means a lot of fancy talk in British accents. My grandma complained that everyone sounded the same, while my dad and brother just found the film boring. If you can get into the proper mode, however, the movie is both hilarious and touching. What’s more, its setting is so prim and proper that I can’t think of much of anything that would offend someone in this PG-rated film. It’s good clean literary fun, and it’s brilliant. Nicely done, Emma Thompson.

Music Through Heartsongs: Songs Based on the Poems of Mattie J.T. Stepanek - Billy Gilman

I first heard of Mattie Stepanek a couple years ago when my grandma mentioned having seen this frail young boy sharing his inspirational poetry on a talk show. I read through his first two books the next time I visited and awoke to his message of hope on Christmas morning on Good Morning America. Here was a boy with Muscular Dystrophy who had known more pain in his 11 years than most people will in a lifetime yet approached life with a positive attitude and brought hope to thousands who heard his message. Very impressive. So when I heard that Mattie, the MDA’s Goodwill Ambassador, had collaborated with child country star Billy Gilman, the MDA’s National Youth Chairperson whose music I had been wanting to check out for quite some time, I knew I had to get the album. I picked it up the beginning of this summer but never got around to listening to it until last week. It didn’t occur to me at the time that the Jerry Lewis MDA Marathon was just around the corner and I would be bound to see him then.

I usually only catch snippets of Lewis’ marathon, but I found myself glued this year. The sight of all those amazing performers and ordinary people from all walks of life coming together for the common cause of fighting this malicious disease was a true inspiration. It didn’t hurt that Clay Aiken was given the supreme honor of closing out the telethon’s performances with the extremely appropriate Bridge Over Troubled Water, which he performed radiantly. In spite of time constraints, Jerry made a point of announcing that Clay’s fans had donated $30,000 in his name and of calling Clay over after his performance to share his affection and accolades for the 24-year-old, whom he compared to his old buddy Frank Sinatra. But Mattie got the last word in the telethon, and he and Billy were frequent presences throughout the telethon. Music Through Heartsongs formed a continuing thread through the program, with both boys speaking out in support of the MDA and Billy singing several songs from the album.

Mattie is an incredibly intelligent, articulate, compassionate 13-year-old, and through his poems, some written when he was a toddler, he gives voice to the plight of children with Muscular Dystrophy and the hope that he maintains and which drives the MDA Telethon. Who Mattie is and what he has suffered lend poignancy and urgency to his poems. He now has five books out, and the lyrics for the album’s twelve tracks were drawn from four of these. Several different musicians worked with Mattie’s words and molded them into songs. The final product is a message from two boys to the rest of the world. It’s an album giving voice to the young victims of Muscular Dystrophy, and the songs are earnest and honest. We never forget that this is a collaboration between a couple of kids. But what a couple of kids they are.

For Our World: As far as I know, Billy sang three songs during the telethon. I was half-asleep during the second song and don’t remember too clearly, but I think this was what he sang. If not, it would have been appropriate. Billy’s plaintive vocals with strong piano backing give great voice to this song pleading people to be kind to one another. I heard Mattie read this poem on television late in 2001 as a sort of response to September 11. Simple but powerful. “We need to stop, just stop, stop for a moment before anybody says or does anything that may hurt anyone else.”

About Things That Matter: This one starts out with Mattie uttering the statement “It matters that the world knows.” This guitar-driven upbeat track reminds people to appreciate the joy of life and not squander it with unkind actions. “We all have a song in our heart that inspires us in good times and hard times if we take the time to listen.”

Morning Gift: This one features the pennywhistle and follows along the same lines as the second track. This song is more specific, however, referring to the beauty of morning in particular. “Don’t you just love the morning when you’re reminded of the special gifts of life?”

I Am / Shades of Life: This is the longest track on the album and seems to be the album’s centerpiece. Billy sang this one last night on the telethon, and it seemed to go beyond the Mattie’s own identity to the many faces of children with Muscular Dystrophy. Most of Mattie’s poems are free verse, but this has a pretty regular rhyme and rhythm to it, as well as a pattern; all of the lines in the verses begin with “I am.” It’s basically a list of identifying characteristics, many of which seemingly contradict one another. The idea seems to be that he is a little bit of everything. The chorus focuses on the various colors to be found in the world, concluding, as Mattie often does, with a statement of peace. “The color of peace is people together.” This is another track on which Mattie contributes his voice, speaking several lines toward the end.

It Happened Anyway: A very sad and personal song about the time Mattie lost his brother Jamie to MD. The most downcast tune on the album. “If crying could bring him back he’d be here with me today. But then I remember... It happened anyway.”

Possession: A song about the hold that Mattie’s disease has upon him. It leaves him with a fear that never fully departs, but the song ends on the hopeful note that it can be conquered. “The less my world revolves around it then I can just live out my life without the fear of ‘it.’”

Songs of the Wind: This breezy song has a tropical feel to it and is backed by Hawaiian-sounding instruments and chanting. Another song about finding a message of peace in nature. “Listen to the wind. If you listen carefully you will hear soft notes. Listen with your mind.”

Making Real Sense of the Senses: A tribute to the different senses and what they can do for us. It starts with the most practical applications of the senses, moving on to particularly altruistic uses. “Our hands are for feeling but also for hugging and touching so gently.”

The Gift of Color: This jazzy number is a prayer of thanks for all the colors of the world and the things that they make more beautiful. “And thank you for the colors of the Heaven-in-the-earth and of the Heaven-in-the-sky.”

I Could... If They Would: Billy performed this song towards the end of the Telethon. Here, Mattie ruminates on the things he could do at various points in his life if a cure were found in time. Although he wants the chance for a normal life, he ends with the sentiment that he will be happy as long as he can help future children have a better life. “If they would find a cure when I’m alive I could live each day without pain and machines, and I could celebrate the biggest thank you of life ever.”

About Memories: This is a dramatic, rather prophetic song encouraging people to pay attention to their memories, treasuring them and learning from their lessons. This one is only slightly shorter than the longest song on the album. It also is the third and final song to feature Mattie’s speech on the track. “Memories are a gift of the past that we hold in the present to create what can be a great future.”

About Watches: This fast-paced number is a reminder of the general urgency with which Mattie lives his life, as time is not on his side; he has already beaten nearly impossible odds to live to this day. Wearing lots of watches gives him the illusion of having plenty of time when, in truth, he knows that his time could well run out very soon. “With all these watches on me it’s like having ‘all the time in the world’ and never having to think about the end of time or about dying.”

Music Through Heartsongs is a unique collaboration between two idealistic boys raising awareness and funds for the Muscular Dystrophy Association. Check it out, let their message move you, and pray for a day in the near future when children like Mattie can enjoy a normal life free from pain and debilitation.