"Autobiographies of great nations are written in three manuscripts – a book of deeds, a book of words, and a book of art. Of the three, I would choose the latter as truest testimony." - Sir Kenneth Smith, Great Civilisations

"I must write each day without fail, not so much for the success of the work, as in order not to get out of my routine." - Leo Tolstoy

I have never believed that one should wait until one is inspired because I think the pleasures of not writing are so great that if you ever start indulging them you will never write again. - John Updike

"The life of every man is a diary in which he means to write one story, and writes another; and his humblest hour is when he compares the volume as it is with what he vowed to make it." - J.M. Barrie, Peter Pan

Poetry is the shadow cast by our streetlight imaginations." - Lawrence Ferlinghetti


[Note - If any article requires updating or correction please notate this in the comment section. Thank you. - res]


Monday, August 5, 2024

Patti LuPone - Meadowlark (song)


PATTI LuPONE ON BROADWAY '95 "Meadowlark"
4:08  /  4:55

Mar 12, 2016 - In her Broadway concert show in 1995, Patti finally got the chance to sing "Meadowlark" on Broadway. Stephen Schwartz's song is from "The Baker's Wife," which closed out of town in '76. Patti's first words refer to the Kennedy Center in D.C. Patti LuPone is a Tony Award-winning actress and original singer of this song.

LYRICS

when i was a girl l i had a favorite story
of the meadowlark who lived where the rivers wind
her voice could match the angels' in its glory
but she was blind, the lark was blind
an old king came and took her to his palace
where the walls were burnished bronze and golden braid
and he fed her fruit and nuts from an ivory chalice
and he prayed:
"sing for me, my meadowlark,
sing for me of the silver morning,
set me free, my meadowlark,
and i'll buy you a priceless jewel
and cloth of brocade and crewel
and i'll love you for life,
if you will sing for me."
then one day as the lark sang by the water
the god of the sun heard her in his flight
and her singing moved him so
he came and brought her the gift of sight
he gave her sight
and she opened her eyes to the shimmer and the splendor
of this beautiful, young god, so proud and strong
and he called to the lark in a voice both rough and tender
"come along.
fly with me, my meadowlark,
fly with me on the silver morning,
past the sea where the dolphins bark
we will dance on the coral beaches,
make a feast of the plums and peaches
just as far as your vision reaches
fly with me."
but the meadowlark said no
for the old king loved her so
she couldn't bear to wound his pride
so the sun god flew away
and when the king came down that day
he found his meadowlark had died
every time i heard that part i cried ...
and now i stand here starry-eyed and stormy
oh, just when i thought my heart was finally numb
a beautiful, young man appears before me,
singing "come, oh, won't you come?"
and what can i do if finally for the first time
the one i'm burning for returns the glow?
if love has come at last it's picked the worst time
still i know
i've got to go
fly away, meadowlark
fly away in the silver morning,
if i stay, i'll grow to curse the dark
so it's off where the days won't bind me
i know i leave wounds behind me
but i won't let tomorrow find me
back this way
before my past once again can blind me
fly away ...
and we won't wait
to say good-bye
my beautiful young man
and i.

-------------
Source: Musixmatch
Songwriters: Neil Sedaka / Howard Greenfield
Meadowlark lyrics © R2m Music, Songs Of Lastrada, Songs Of Sjl-rsl Music Company, Don Kirshner Music, Greydog Music, Grey Dog Music


* * * * * *


A YOUNG Patti LuPone from Broadway

Meadowlark (song)
"Meadowlark"
Song
Written1989
Songwriter(s)Stephen Schwartz

Meadowlark is a song from the musical The Baker's Wife, with music and lyrics by Stephen Schwartz.[1] It has been performed by several famous Broadway singers such as Carole DemasPatti LuPoneBetty BuckleyLiz CallawayAlice RipleySusan EganJudy KuhnJulia MurneySarah BrightmanLea SalongaAlex NewellTituss Burgess,[2] and Andrew Rannells.[3]

In the musical, it is sung by the character Geneviève, trying to decide whether she should stay with her husband or run off with a younger man. She likens her situation to the fairy tale about a meadowlark who lived with a king who adored her. One day, the sun god approached the meadowlark and urged her to come with him. The meadowlark refused and perished. At the end of the song, Geneviève decides to leave with the younger man.

References

  1. ^ "Watch This Stephen Schwartz-Approved A Cappella Cover of 'Meadowlark'"playbill.com. January 18, 2019. Retrieved May 14, 2020.
  2. ^ "Andrew Rannells, Kimberley Locke, Alex Newell, Tyne Daly Raise $285k for APLA in the 29th Star Studded S.T.A.G.E Gala"The Huffington Post. April 11, 2013. Retrieved April 12, 2016.
  3. ^ "Meadowlark"Musicalschwartz.com. Retrieved June 5, 2008.


* * * * * *


Broadway's Tony Award-winning Patti LuPone

Patti LuPone
LuPone in 2014
BornApril 21, 1949 (age 75)
EducationJuilliard School (BFA)
Occupation(s)Actress, singer
Years active1971–present
Spouse
Matthew Johnston
(m. 1988)
Children1
RelativesRobert LuPone (brother)
Adelina Patti (great-great aunt)
Websitepattilupone.net

Patti Ann LuPone (born April 21, 1949) is an American actress and singer best known for her work in musical theater. After starting her professional career with The Acting Company in 1972 she soon gained acclaim for her leading performances on the Broadway and West End stage. She has won three Tony Awards, two Olivier Awards, and two Grammy Awards, and was a 2006 inductee to the American Theater Hall of Fame.[1][2]

She made her Broadway debut in Three Sisters in 1973. She went on to receive three Tony Awards: two for Best Actress in a Musical for her roles as Eva Perón in Tim Rice and Andrew Lloyd Webber's Evita (1980), and Rose in Gypsy (2008) and one for Best Featured Actress in a Musical for playing Joanne in the Stephen Sondheim revival Company (2022).[3] She was Tony-nominated for The Robber Bridegroom (1975), Anything Goes (1988), Sweeney Todd: The Demon Barber of Fleet Street (2006), Women on the Verge of a Nervous Breakdown (2010), and War Paint (2017).

For her performances on the West End stage she received three Laurence Olivier Awards, one for Best Actress in a Musical for her performances as Fantine in the original London cast of Les Misérables and Moll in The Cradle Will Rock in 1985, and the second for Best Actress in a Supporting Role in a Musical for Company in 2019. She was nominated for her role as Norma Desmond in Sunset Boulevard in 1993. She has two Grammy Awards for the recording of the 2007 Los Angeles Opera production of Rise and Fall of the City of Mahagonny.

On television, she starred in the drama series Life Goes On (1989–1993) and received Emmy Award nominations for the TV movie The Song Spinner (1995) and her guest role in the sitcom Frasier (1998). She has also appeared in three Ryan Murphy series, American Horror Story (2013–2014, 2022), Pose (2019), and Hollywood (2020).[4] She also acted in Penny Dreadful (2014–2016) and Crazy Ex-Girlfriend (2017). Her film roles include 1941 (1979), Witness (1985), Driving Miss Daisy (1989), Summer of Sam (1999), State and Main (2000), and Beau Is Afraid (2023).

Early life and training

LuPone was born on April 21, 1949, in Northport, New York, on Long Island, the daughter of Italian-American parents Angela Louise (née Patti), a library administrator at the C.W. Post Campus of Long Island University, and Orlando Joseph LuPone, a school administrator and English teacher at Walt Whitman High School in Huntington, NY.[citation needed] Her great-great aunt was 19th-century Spanish-born Italian opera singer Adelina Patti.[5] Her father's side came from Abruzzo, while her mother's side is Sicilian.[6] Her older brother Robert LuPone was a Tony-nominated actor, dancer, and director who originated the role of Zach, the director, in A Chorus Line.[7] She grew up Roman Catholic.[8]

LuPone was part of the first graduating class of Juilliard's Drama Division (1968–1972: Group 1),[9] which also included actors Kevin Kline and David Ogden Stiers.[10] She graduated from Juilliard in 1972 with a Bachelor of Fine Arts degree.[11] LuPone has a mezzo-soprano vocal range,[12][13][14] and she is known for her strong/high "Broadway" belt singing voice. In a 2008 interview, she maintained that she was "an actor who sings", and thankful she "had a voice".[15]

Career

Theatre

1970s: Early career

In 1972, LuPone became one of the original members of The Acting Company, formed by John Houseman.[16] The Acting Company is a nationally touring repertory theater company.[17] LuPone's stint with the company lasted from 1972 to 1976, and she appeared in many of their productions, such as The Cradle Will RockThe School for ScandalWomen Beware WomenThe Beggar's OperaThe Time of Your LifeThe Lower DepthsThe HostageNext Time I'll Sing to YouMeasure for MeasureScapinEdward IIThe OrchestraLove's Labours LostArms and the Man, and The Way of the World. She made her Broadway debut in the play The Three Sisters as Irina in 1973.[18] For her work in The Robber Bridegroom (1975) she received her first Tony Award nomination, for Best Featured Actress in a Musical.[19] The Acting Company honored LuPone on March 12, 2012, in an event called "Patti's Turn" at the Kaye Playhouse.[20]

In 1976, theater producer David Merrick hired LuPone as a replacement to play Genevieve, the title role of the troubled pre-Broadway production of The Baker's Wife. The production toured at length but Merrick deemed it unworthy of Broadway and it closed out of town.[21]

Since 1977, LuPone has frequently collaborated with David Mamet, appearing in his plays The WoodsAll Men Are WhoresThe Blue HourThe Water Engine (1978),[22] EdmondThe Old Neighborhood (1997),[23] and The Anarchist (2012). The New York Times reviewer wrote of LuPone in The Old Neighborhood, "Those who know Ms. LuPone only as a musical comedy star will be stunned by the naturalistic fire she delivers here. As Jolly, a part inspired by Mr. Mamet's real-life sister and his realized female character, Ms. LuPone finds conflicting layers of past and present selves in practically every line. She emerges as both loving matriarch and wounded adolescent, sentimental and devastatingly clear-eyed."[24] In 1978, she appeared in the Broadway musical adaptation of Studs Terkel's Working, which ran for only 24 performances.[25]

In 1979, LuPone starred in the original Broadway production of Evita, the musical based on the life of Eva Perón, composed by Andrew Lloyd Webber and Tim Rice, and directed by Harold Prince.[26] Although LuPone was hailed by critics, she has since said that her time in Evita was not an enjoyable one. In a 2007 interview, she stated "Evita was the worst experience of my life," she said. "I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee."[27] Despite the trouble, LuPone won her first Tony Award for Best Actress in a Musical.[28] It was not until she had reprised the role in a production in Sydney when she had finally enjoyed the part and felt comfortable singing the score.[29] LuPone and her co-star, Mandy Patinkin, remained close friends both on and off the stage.

1980s

In May 1983, founding alumni of The Acting Company reunited for an off-Broadway revival of Marc Blitzstein's landmark labor musical The Cradle Will Rock at the American Place Theater. It was narrated by John Houseman with LuPone in the roles of Moll and Sister Mister.[30] The production premiered at The Acting Company's summer residence at Chautauqua Institution, toured the United States including an engagement at the Highland Park, Illinois' Ravinia Festival in 1984 and played in London's West End.

When the run ended, LuPone remained in London to create the role of Fantine in Cameron Mackintosh's original London production of Les Misérables, in 1985, which premiered at the Barbican Theatre, at that time the London home of the Royal Shakespeare Company.[31] LuPone had previously worked for Mackintosh in a short-lived Broadway revival of Oliver! in 1984, playing Nancy opposite Ron Moody as Fagin.[32] For her work in both The Cradle Will Rock and Les Misérables, LuPone received the 1985 Olivier Award for Best Actress in a Musical.[33][34]

She returned to Broadway in 1987 to star as nightclub singer Reno Sweeney in the Lincoln Center Theater revival of Cole Porter's Anything Goes. She starred opposite Howard McGillin, and they both received Tony nominations for their performances.[35][36] The Lincoln Center cast reassembled for a one-night-only concert performance of Anything Goes in New York in 2002.[37]

1990s

In 1993, LuPone returned to London to create the role of Norma Desmond in the original production of Andrew Lloyd Webber's Sunset Boulevard at the Adelphi Theater. There was much anticipation of LuPone appearing in another Lloyd Webber musical, the first since her performance in Evita. Her time in the show was difficult, and she was abruptly fired by Lloyd Webber and replaced by Glenn Close, who opened the show in Los Angeles and eventually on Broadway.[38][39]

In November 1995, LuPone starred in her one-woman show, Patti LuPone on Broadway, at the Walter Kerr Theatre.[40] For her work, she received an Outer Critics Circle Award. The following year, she was selected by producer Robert Whitehead to succeed his wife, Zoe Caldwell in the Broadway production of Terrence McNally's play Master Class, based on the master classes given by operatic diva Maria Callas at Juilliard.[38] LuPone received positive reviews, with Vincent Canby writing "Ms. LuPone really is vulnerable here in a way that wasn't anticipated: she's in the process of creating a role for which she isn't ideally suited, but she's working like a trouper to get it right."[41] She appeared in the play in the West End. In November 2001, she starred in a Broadway revival of Noises Off, with Peter Gallagher and Faith Prince.[42]

LuPone with artist Ken Fallin at The Wall Street Journal's Tony Awards party, which LuPone hosted and at which Fallin's work was auctioned for charity

LuPone has performed in many New York concert productions of musicals including Pal Joey with Peter Gallagher and Bebe NeuwirthAnnie Get Your Gun with Peter Gallagher, Sweeney Todd with George Hearn in both New York and San FranciscoAnything Goes with Howard McGillinCan-Can with Michael Nouri for City Center Encores!Candide with Kristin ChenowethPassion with Michael Cerveris and Audra McDonald and Gypsy with Boyd Gaines and Laura Benanti for City Center Encores!. Her performances in Sweeney Todd, and Candide were recorded and broadcast for PBSs Great Performances and were released on DVD. The concert staging of Passion was televised as part of Live from Lincoln Center.

2000s

Since 2001, LuPone has been a regular performer at the Chicago Ravinia Festival. She starred in a six-year-long series of concert presentations of Stephen Sondheim musicals, which began in honor of his seventieth birthday. Her roles here have included Mrs. Lovett in Sweeney Todd, Fosca in Passion, Cora Hoover Hooper in Anyone Can Whistle, Rose in Gypsy and two different roles in Sunday in the Park with George.[43]

She returned to Broadway in October 2005 to star as Mrs. Lovett in John Doyle's new Broadway production of Sweeney Todd. In this radically different interpretation of the musical, the ten actors on stage also served as the show's orchestra, and LuPone played the tuba and orchestra bells as well as performing the score vocally.[44] For her performance, she received a Tony Award nomination as well as Golden Icon Award for Best Female Musical Theater Performance.[45] In August 2006, LuPone took a three-week leave from Sweeney in order to play Rose in Lonny Price's production of Gypsy at Ravinia.[43] Sweeney Todd closed in September 2006.

On February 10, 2007, LuPone starred with Audra McDonald in the Los Angeles Opera production of Kurt Weill's opera Rise and Fall of the City of Mahagonny directed by John Doyle.[46] The cast recording of Rise and Fall of the City of Mahagonny was recognized at the 51st Grammy Awards as Best Classical Album and Best Opera Recording in February 2009.[47]

Following the Ravinia Festival production of Gypsy, LuPone and author Arthur Laurents mended a decade-long rift, and she was cast in the City Center Encores! Summer Stars production of the show. Laurents directed LuPone in Gypsy for a 22-performance run (July 9, 2007 – July 29, 2007) at City Center.[48] This production of Gypsy then transferred to Broadway, opening March 27, 2008 at the St. James Theatre.[49] LuPone won the Outer Critics Circle Award, Drama League Award, Drama Desk Award and Tony Award for her performance in Gypsy.[50][51] It closed on January 11, 2009.

2010s

In August 2010, LuPone appeared in a three-day run of Irving Berlin's Annie Get Your Gun where she played the title role opposite Patrick Cassidy at the Ravinia Festival, directed by Lonny Price.[52] That same year, LuPone created the role of Lucia in the original Broadway production of Women on the Verge of a Nervous Breakdown, which opened at the Belasco Theater on November 4, 2010, and closed on January 2, 2011, after 23 preview and 69 regular performances. LuPone was nominated for a Tony and Drama Desk, and an Outer Critics Circle Award for her performance.

LuPone's memoir recounting her life and career from childhood onwards, was published in September 2010 titled Patti LuPone: A Memoir.[53][54]

In 2011, LuPone played the role of Joanne in a four-night limited engagement concert production of Stephen Sondheim's musical Company at the New York Philharmonic, conducted by Paul Gemignani. The production starred Neil Patrick Harris as Bobby. Harris had previously worked with LuPone in the 2000 and 2001 concert productions of Sweeney Todd. The cast of Company performed the song "Side by Side by Side" at the 65th Tony Awards on June 12, 2011.

LuPone made her New York City Ballet debut in May 2011 in a production of The Seven Deadly Sins directed and choreographed by Lynne Taylor-Corbett. A piece she had previously performed, LuPone sang the role of Anna in the Kurt Weill and Bertolt Brecht score.[55]

Patti LuPone on January 13, 2012, outside the Ethel Barrymore Theatre.

LuPone concluded a 63-performance Broadway engagement of her concert with former Evita co-star Mandy Patinkin entitled An Evening with Patti LuPone and Mandy Patinkin. The run started on November 21, 2011, at the Ethel Barrymore Theater and ended on January 13, 2012.[56]

In the fall of 2012, LuPone appeared with Debra Winger in the premiere of David Mamet's play The Anarchist. Despite the play receiving less than stellar reviews from critics, LuPone received widespread praise for her role as Cathy.

In early 2015, she returned to Los Angeles Opera to perform the role of Samira in a new production of John Corigliano's The Ghosts of Versailles, receiving positive reviews.[57][58] In April 2016, an audio recording of the production was released by Pentatone (PTC 5186538, a 2-SACD album).[59] It won the 2017 Grammy Awards for Best Classical Album and for Best Opera Recording.[60]

In June 2015, LuPone appeared in the Douglas Carter Beane play Shows for Days at Lincoln Center Theater.[61] In October 2015, LuPone, along with the current Fantine on the West End, joined her castmates to celebrate the 30th anniversary of Les Misérables.[62]

In 2017, LuPone originated the role of Helena Rubinstein in the musical War Paint on Broadway, after performing the role in the summer of 2016 in the musical's world premiere at Chicago's Goodman Theatre.[63] Performing opposite Christine Ebersole as Rubinstein's longtime competitor Elizabeth Arden, LuPone stayed with the role for War Paint's entire run at the Nederlander Theatre, from March 7 to November 5, 2017.[64] The show closed prematurely to allow LuPone to undergo hip surgery.[65] LuPone disclosed in an interview that War Paint would be her last musical on stage: "I'm too old. It's been hard—it's been harder than it's ever been. I can't do it anymore."[66]

Nevertheless, in September 2017 it was announced that LuPone would star as Joanne in the 2018 London revival of Company alongside Rosalie Craig as Bobbie in a gender-swapped production directed by Marianne Elliot.[67] For her performance she received her second Laurence Olivier Award, this time for Outstanding Actress in a Supporting Role in a Musical. In August 2019, it was announced that the production would move to Broadway, with LuPone returning as Joanne and Katrina Lenk as Bobbie.[68]

2020s

A transfer of the successful West End production of Company was set to open at the Bernard B. Jacobs Theatre on March 22, 2020, coinciding with Stephen Sondheim's 90th birthday, but was postponed due to the COVID-19 pandemic.[69] The production returned, featuring LuPone starring opposite Katrina Lenk, with previews starting on November 15, 2021, before officially opening December 9, 2021.[70] LuPone won her third Tony Award for the role.

Following the closing of Company, LuPone resigned from Actors' Equity Association, the union for professional stage managers and actors in the United States.[71] It was announced that LuPone would return to Broadway in the Jen Silverman play The Roommate starring opposite Mia Farrow at the Booth Theatre in August 2024.[72]

Solo concerts and tours

LuPone performs regularly in her solo shows Matters of the HeartCoulda, Woulda, Shoulda; and The Lady With the Torch[73] which sold out at Carnegie Hall. For example, she performed her one-woman show The Gypsy In My Soul at the Caramoor Fall Festival, New York, in September 2010.[74]

She also appears at venues across North America in concerts with Mandy Patinkin, at such venues as the Mayo Center for the Performing Arts in September 2010.[75][76]

She appeared as the inaugural act at a new cabaret space, 54 Below, in New York City in June 2012. According to The New York Times reviewer, "Nowadays Ms. LuPone generates more raw excitement than any other performer on the Broadway and cabaret axis, with the possible exception of Liza Minnelli.... And her brilliant show, conceived and directed by her long-time collaborator, Scott Wittman, deserves many lives, perhaps even a Broadway run in an expanded edition. It certifies Ms. LuPone's place in the lineage of quirky international chanteuses like Lotte LenyaMarlene Dietrich and Edith Piaf, who, like Ms. LuPone, conquered show business with forceful, outsize personalities while playing by their own musical rules."[77]

She also appeared as the inaugural act at the Sharon L. Morse Entertainment Center in The Villages, Florida on April 30, 2015, to a sold-out audience of residents mainly 55 years-of-age and older.[78]

Film and television work

Among LuPone's film credits are Fighting BackWitnessSteven Universe: The MovieJust LookingThe VictimSummer of SamDriving Miss DaisyKing of the Gypsies1941Wise GuysNancy Savoca's The 24 Hour Woman and Savoca's Union SquareFamily Prayers, and City by the Sea. She has also worked with playwright David Mamet on The Water Engine, the critically acclaimed State and Main, and Heist. In 2011, the feature film Union Square, co-written and directed by the Sundance Film Festival's Grand Jury Award Winner, Nancy Savoca, was premiered at the Toronto International Film Festival. In it, LuPone co-starred with Mira SorvinoTammy BlanchardMike DoyleMichael Rispoli and Daphne Rubin-Vega.[79]

She played Lady Bird Johnson in the TV movie, LBJ: The Early Years (1987).[80][81] LuPone played Libby Thatcher on the television drama Life Goes On, which ran on ABC from 1989 to 1993.[82][83][84] In the 1990s she had a recurring role as defense attorney Ruth Miller on Law & Order. She has twice been nominated for an Emmy Award: for the TV movie The Song Spinner (1995, Daytime Emmy Award nominee),[85] and for Outstanding Guest Actress in a Comedy Series on Frasier in 1998.[citation needed] She had a cameo as herself that year on an episode of Saturday Night Live hosted by Kelsey Grammer.

LuPone's TV work also included a recurring role on her cousin Tom Fontana's HBO series in its final season, Oz (2003).[86] She appeared as herself on a February 2005 episode of Will & Grace.[87] She also appeared on the series Ugly Betty in March 2007 as the mother of Marc St. James (played by Michael Urie).[88] LuPone had a recurring guest role as Frank Rossitano's mother on 30 Rock. LuPone appeared as herself in the season two finale of the television series Glee.[89]

LuPone guest starred on Army Wives on July 8, 2012. She reunited with fellow guest star Kellie Martin as her mother once again.[90][91] LuPone appeared in the 2013 film Parker, an action-thriller.[92] She voiced the character Yellow Diamond in the animated series Steven Universe (2013–2019) and Steven Universe Future (2019–2020).

In 2013, LuPone was cast in the third season of the FX series American Horror Story as Joan Ramsey, a religious mother with a hidden past,[93] and played herself in the third season of HBO's Girls. In 2015, she appeared in several episodes of the Showtime horror series Penny Dreadful as a cantankerous yet powerful white witch. She returned to the show in 2016 in the role of Dr. Seward, an alienist aiding Eva Green's character. Seward is an adaptation of John Seward from Bram Stoker's Dracula, and claims to be a descendant of Joan Clayton, the character LuPone portrayed in the second season. Also in 2016, she began appearing in Steven Universe as the voice of Yellow Diamond, reprising the role in the movie and the epilogue series Steven Universe Future.[94] In 2019, LuPone played an antagonistic role in Pose, appearing in second season of the series. The following year she teamed up with social media star Randy Rainbow to perform a duet song criticizing Donald Trump three weeks before the 2020 US election.

In 2023 she played Beau's mother, Mona, in the Ari Aster surrealist horror film Beau Is Afraid. The film stars Joaquin PhoenixNathan LaneRichard Kind, and Amy Ryan.[95] LuPone received critical acclaim for her performance with David Rooney of The Hollywood Reporter writing "[the film] features fabulous performances...most of all, LuPone in all her magnificent, scenery-chomping glory."[96] Anthony Lane of The New Yorker also praised LuPone performance, comparing her role of an imperious mother to that of Angela Lansbury's in The Manchurian Candidate (1962).[97]

In 2023, LuPone revealed that she will play the role of Lilia Calderu in the Marvel Cinematic Universe's upcoming Disney+ series Agatha All Along.[98] Calderu is a Romani character in the comics.[99]

Views on theater conduct

LuPone has expressed concern about the conduct and etiquette of some theatergoers. "Where's the elegance?" she asked in a blog post on her official site. "I mean, I'm glad they show up because God knows it's a dying art form and I guess I'm glad they're all comfortable, sleeping, eating and drinking, things they should be doing at home and in a restaurant. But it's just not done in the theater or shouldn't be."[100] LuPone has been the subject of some controversy due to the bluntness of her statements on the matter, which on some occasions have risen to her directly admonishing audience members for their behavior during performances.

2009 incident

At the penultimate performance of Gypsy on January 10, 2009, LuPone, irritated by an attendee taking flash photography in apparent violation of theater policy, stopped in the middle of "Rose's Turn" and demanded that the miscreant be removed from the theater. After he was removed, LuPone restarted her number. The audience applauded her stance.[101][102] The event was recorded by another audience member, who released it on YouTube.[103] She later stated that such distractions drive "people in the audience nuts. They can't concentrate on the stage if, in their peripheral vision, they're seeing texting, they're seeing cameras, they're listening to phone calls. How can we do our job if the audience is distracted?", and also mentioned that "the interesting thing is I'm not the first one that's done it".[104]

2015 incident

On July 8, 2015, during the second act of Shows for Days at the Lincoln Center Theater, LuPone grabbed an audience member's cellphone while leaving the stage as the audience member had been using their phone during the play. It was returned after the show. LuPone stated:

We work hard on stage to create a world that is being totally destroyed by a few, rude, self-absorbed and inconsiderate audience members who are controlled by their phones. They cannot put them down. When a phone goes off or when a LED screen can be seen in the dark it ruins the experience for everyone else – the majority of the audience at that performance and the actors on stage. I am so defeated by this issue that I seriously question whether I want to work on stage anymore. Now I'm putting battle gear on over my costume to marshal the audience as well as perform.[105]

2022 incident

On May 10, 2022, during a live conversation with the American Theatre Wing and her Company co-stars, LuPone called out at audience members who were not wearing their face masks "properly" during the event and not adhering to the COVID-19 safety protocols implemented by The Broadway League yelling, "Put your mask over your nose. That's why you're in the theater ... That is the rule. If you don't want to follow the rule, get the fuck out. I'm serious. Who do you think you are if you do not respect the people sitting around you?" When an audience member called out in response, "I pay your salary," LuPone replied "You pay my salary? Bullshit. Chris Harper [the producer of Company] pays my salary".[106] After the incident, a spokesperson for the show said in a statement: "We stand with Patti [...] support her efforts to keep our entire community—from patrons to ushers, cast to stage crew—safe and healthy so we can keep Broadway open". This also resulted in the League extending the mask guideline end date from May 31 to June 30, 2022.[107][108]

In an interview, LuPone later explained that prior to her dispute with the patron, the patron had already been approached by the theater's COVID safety manager and been asked to wear the mask over her nose and mouth, and that the patron had responded mockingly by placing the mask over her eyes in a dismissive manner. It was the entirety of the patron's disrespectful behavior, not just the manner in which she was wearing her mask, that LuPone was responding to in her outburst.[109]

Personal life

LuPone is married to Matthew Johnston. The couple's wedding ceremony was on the stage of the Vivian Beaumont Theater at the Lincoln Center on December 12, 1988, after filming the TV movie LBJ; Johnston was a cameraman.[110] They have one child.[83] They reside in Edisto Beach, South Carolina,[111] and Kent, Connecticut.[112]

Acting credits

Theatre

Sources: Playbill Vault;[113] Internet Broadway Database;[114] Internet Off-Broadway Database[115]

YearShowRoleNotesRef.
1971IphigeniaUnknownYoung Vic, London (professional stage debut)
1972The School for ScandalLady TeazleOff-Broadway (City Center Acting Company)
Women Beware WomenBianca
The HostageColette/ Kathleen
The Lower DepthsNatasha
Next Time I'll Sing To YouLizzie
1973Three SistersIrinaBroadway (debut)
The Beggar's OperaLucy LockitBroadway
Measure For MeasureBoy and Understudy, Julietta
ScapinHyancinthe
1974Next Time I'll Sing To YouLizzie
1975The Robber BridegroomRosamund MusgroveOriginal Broadway Production
Edward IIPrince EdwardBroadway
The Time of Your LifeKitty Duval
Three SistersIrina
1976The Baker's WifeGenevieveOff-Broadway Tour
(Los Angeles, San Francisco, St. Louis, Boston and Washington)
1977The WoodsRuthSt. Nicholas Theatre, Chicago
1978The Water EngineRita, Lily La PonBroadway
WorkingNora Watson, Roberta Victor
Catchpenny TwistMonaghHartford Stage;[116]
1979EvitaEva PerónOriginal Broadway Production
1981Original Australia Production
1982The WoodsRuthOff-Broadway[117]
EdmondMrs. BurkeReplacement
1983America Kicks Up Its HeelsCleoOff-Broadway[118]
The Cradle Will RockMoll/Sister Mister[119]
1984Oliver!NancyBroadway Revival
Accidental Death of an AnarchistThe ReporterBroadway
1985The Cradle Will RockMollOriginal West End Production, Old Vic[120]
Les MisérablesFantine[121]
1987Anything GoesReno SweeneyBroadway Revival
1993CompanyHostConcert staging of the show
Sunset BoulevardNorma DesmondOriginal West End Production[122]
1995Patti LuPone on BroadwayHerselfBroadway (Walter Kerr Theatre); Solo concert[123][124]
Pal JoeyVera SimpsonEncores! Staged Concert[125]
1996Master ClassMaria CallasBroadway Replacement (July 1996 – January 1997)[126]
1997Original West End Production
The Old NeighborhoodJollyBroadway
1998Annie Get Your GunAnnie OakleyLincoln Center Theater (Benefit Performance)
2000Matters of the HeartHerselfSolo Concert at Lincoln Center Beaumont Theater[127]
Sweeney Todd: The Demon Barber of Fleet StreetMrs. LovettNew York Philharmonic Concert[128]
2001San Francisco Symphony Concert
(Televised on PBS)
Ravinia Festival
Noises OffDotty OttleyBroadway Revival
2002Runt of the LitterVO: National Anthem
Anything GoesReno SweeneyReunion Concert, Lincoln Center, Beaumont Theater[129]
A Little Night MusicDesiree ArmfeldtRavinia Festival
2003PassionFoscaRavinia Festival
2004Can-CanLa Mome PistacheEncores! Staged Concert[130]
CandideOld LadyNew York Philharmonic Staged Concert
(Televised on PBS)
[131]
Sunday in the Park with GeorgeYvonne / Blair DanielsRavinia Festival[132]
2005ReginaRegina GiddensKennedy Center[133]
PassionFoscaLincoln Center Theater
(Televised on PBS)
Children And ArtPerformerStephen Sondheim Tribute Concert Benefit
New Amsterdam Theatre, New York City
[134]
Anyone Can WhistleCora Hoover HooperRavinia Festival[135]
Sweeney Todd: The Demon Barber of Fleet StreetMrs. LovettBroadway Revival
2006GypsyRose HovickRavinia Festival
2007Encores! Staged Concert
2006To Hell and BackAnneWorld Premiere
2007Rise and Fall of the City of MahagonnyBegbickLos Angeles Opera Revival[136]
2008GypsyRose HovickBroadway Revival
2010Annie Get Your GunAnnie OakleyRavinia Festival
Women on the Verge of a Nervous BreakdownLuciaOriginal Broadway Production
2011An Evening with Patti LuPone and Mandy PatinkinHerselfConcert, Ethel Barrymore Theatre[137]
CompanyJoanneNew York Philharmonic Concert[138]
The Seven Deadly SinsAnna I (Singer)New York City Ballet Production
2012The AnarchistCathyOriginal Broadway Production
2015The Ghosts of VersaillesSamiraLos Angeles Opera Revival[139]
Shows For DaysIreneOff-Broadway[140]
2016War PaintHelena RubinsteinWorld Premiere (Chicago)
2017Original Broadway Production
2018CompanyJoanneWest End Revival[141]
2020Broadway Revival[142]
2021–22
2023Gutenberg! The Musical!The ProducerBroadway (One night only)[143]

Film

Sources: TCM;[144] AllMovie[145]

YearTitleRoleNotesRef.
1978King of the GypsiesUnknownUncredited
19791941Lydia Hedberg
1982Fighting BackLisa D'Angelo
1985WitnessElaine Book
1986Wise GuysWanda Valentini
1989Driving Miss DaisyFlorine Werthan
1993Family PrayersAunt Nan[146]
1999The 24 Hour WomanJoan Marshall[147]
1999Summer of SamHelen[148]
2000State and MainSherry Bailey
2001HeistBetty Croft
2002City by the SeaMaggie
2011CompanyJoanneFilmed production[149][150]
Union SquareLucia
2013ParkerAscension Cienfuegos
2016The ComedianFlo Berkowitz
2019Cliffs of FreedomYia-Yia
Last ChristmasJoyce
2022The School for Good and EvilMrs. Deauville
2023Beau Is AfraidMona Wassermann

Television

[edit]

Sources: TCM;[144] AllMovie[145]

YearTitleRoleNotesRef.
1976The Time of Your LifeKitty DuvalTelevision film
1987Cowboy JoeLinda Tidmunk
LBJ: The Early YearsLady Bird Johnson
1989–93Life Goes OnElizabeth "Libby" Thatcher83 episodes
1992The Water EngineRita LangTelevision film
1993FrasierPam (voice)Episode: "Dinner at Eight"
1995The Song SpinnerZantalaliaTelevision film
1996Remember WENNGrace CavendishEpisode: "There But for the Grace"
1996–97Law & OrderRuth Miller2 episodes
1998FrasierAunt Zora CraneEpisode: "Beware of Greeks"
1999Encore! Encore!Wine criticEpisode: "A Review to Remember"
2001Touched by an AngelAlice DupreeEpisode: "Thief of Hearts"
2002Monday Night MayhemEmmy CosellTelevision film
2003In-LawsRochelle LandisEpisode: "Mother's Nature"
OzStella Coffa7 episodes
2005Live from Lincoln CenterFoscaEpisode: "Passion"
Will & GraceHerselfEpisode: "Bully Woolley"
2007Ugly BettyMrs. WeinerEpisode: "Don't Ask, Don't Tell"
2009–1230 RockSylvia Rossitano3 episodes
2011GleeHerselfEpisode: "New York"
2012Army WivesMs. GalassiniEpisode: "Battle Scars"
2013–14American Horror Story: CovenJoan Ramsey4 episodes
2014GirlsHerself2 episodes
2015Law & Order: Special Victims UnitLydia LebasiEpisode: "Agent Provocateur"
Penny DreadfulJoan ClaytonEpisode: "The Nightcomers"
2016–19Steven UniverseYellow DiamondVoice; 8 episodes
2016Penny DreadfulDr. Florence Seward8 episodes
2017Crazy Ex-GirlfriendRabbi ShariEpisode: "Will Scarsdale Like Josh's Shayna Punim?"
BoJack HorsemanMimi StiltonVoice; Episode: "The Judge"
2017–21VampirinaNanpireVoice; 19 episodes
2018MomRitaEpisode: "Taco Bowl and a Tubby Seamstress"[151]
2019The SimpsonsCheryl MonroeVoice; Episode: "The Girl on the Bus"
PoseMs. Frederica Norman5 episodes[152][153]
Steven Universe: The MovieYellow DiamondVoice; Television film[154]
2020Steven Universe FutureVoice; 2 episodes
HollywoodAvis Amberg7 episodes[155]
Penny Dreadful: City of AngelsVocalistEpisode: "Hide and Seek"[156]
2021Central ParkRoberta McCulloughVoice; Episode: "Down to the Underwire"[157]
F Is for FamilyNora MurphyVoice; 3 episodes[158]
2022American Horror Story: NYCKathy Pizazz5 episodes[159]
2024Agatha All AlongLilia CalderuDisney+ series[160]

Discography

Selected recordings include:

  • The Baker's Wife (Original cast recording)
  • Evita (Original Broadway cast recording)
  • The Cradle Will Rock (The Acting Company recording)
  • Les Misérables (Original London Cast recording)
  • Anything Goes (New Broadway Cast Recording)
  • Heat Wave (John Mauceri conducting the Hollywood Bowl Orchestra)
  • Patti LuPone Live (Solo Album)
  • Sunset Boulevard (World Premiere/Original London Cast Recording)
  • Matters of the Heart (Solo Album)
  • Sweeney Todd (New York Philharmonic recording)
  • Sweeney Todd (2005 Broadway Cast recording)
  • The Lady with the Torch (Solo Album)
  • The Lady With the Torch...Still Burning (Solo Album)
  • To Hell and Back (Philharmonia Baroque Orchestra World Premier recording)
  • Gypsy (2008 Broadway Revival Cast Recording)
  • Patti LuPone At Les Mouches (Live Solo Recording of 1980 club act)[161]
  • Women on the Verge of a Nervous Breakdown (Original Broadway Cast Recording)
  • Far Away Places (Solo Album)
  • Company (New York Philharmonic recording)
  • War Paint (Original Broadway cast recording)
  • Don't Monkey with Broadway (Solo Album)
  • Company (Revival London cast recording)

Her live performance of "Don't Cry for Me Argentina" at the Grammy Awards was released on the 1994 album Grammy's Greatest Moments Volume IV.[162]

In 2009, LuPone's 1985 recording of "I Dreamed a Dream" reached No. 45 on the UK Singles Chart[163] It also reached the Billboard magazine Hot Digital Songs and Hot Singles Recurrents charts in the US.

LuPone recorded a duet with Seth MacFarlane (who was in character as Glenn Quagmire) on the 2005 album Family Guy: Live In Vegas.

A live concert special film, An Evening with Patti LuPone, was filmed in July 2012 and released in November 2012 on SethTv.com with 104 minutes of Patti LuPone songs and stories with host Seth Rudetsky.[164]

A new CD of one of her shows, The Lady with the Torch, was released in 2006 on Sh-K-Boom Records. In December she released bonus tracks for that CD only available on iTunes and the Sh-K-Boom website.[165]

Awards and nominations

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Sunday, July 21, 2024

R.E. Slater - Damned Souls



Damned Souls

by RE Slater

I no longer see the world as it once appeared now that misery has come home and men appear more monsters [a'thirst] each other's blood.... And I, a miserable watching spectacle of wrecked humanity pitiable to others and intolerable to myself. - Mary Shelley, p.135


I rise from the grave to tell thee
a treachery far too long suffered,
curdling the blood, quickening the
heart; a treachery so foul as only
betrayal may give; striking upon
the stirred soul a great darkness
within, grasping demented hearts
held insanity's pitiable hate,
gripping one's greatest fears amid
the pummeling swales of black
night befouling awakening souls
desperate redemption.

By each treachery no fey reconcile
is met, nor payment made, til'
foul depravity is rooted out,
pulled forth, burnt to ash, in the
stark wake of day's light beheld
the soul's befouling stenches -
not unlike mine own darkest
demons striding the wretched
watches of hot sulfuric fumes
lit day and night, twilight and
morn, upon broken heart.

Nor may cursed rest so bless
the dead's shriveled souls their
befoulment ridden the cruding
airs silenced heaving breasts
across benighted, lurid breaths
become stillbourne like the
startled bursting song of lark's
winged rise 'oer glowing fields;
so all is bestilled before the
gathering grievous storms on
the latter days fixed incestuous
word and treacherous deed.

Foul words and deeds composed
in monstrous affinity attached all
beating breasts clapped upon
waggling tongues unquit their
larcenous words, their fell acts,
seated like rotting corpses 'neath
fawning crowns abusing, ruining,
all innocents their livelihoods.

Nor may stand pious sanctuaries
upon altars sacred requiems citing
the burning remains of irreverence
to memory's fallen appointments
having engaged the living dead
that revelled one's shames and lust
like night's wicked tendriled paths
'neath bawdy god, or goddess,
whose woeful incense befouls
the nostrils and gleaming eye,
lost all hope or recompense,
where once in the depths of time
twining paths might loiter among
the straggling tares, the suffocating
weeds, till naught grew apace alone.

Such abiding treachery as these
ill reputes, like demons crawling 
earth's terrestrial soils, unstopped
proud eyes, proud hearts, unfearing
nare God nor fated henchmen
bestriding the earth o'er rotting
hearts carrying no bliss nor heavenly
blessing, quit and free of haughty
imperious heaven's demands, but
bereft sole earthly paradise where
souls go to ruin without further
thought or moan or grief; having
abandoned selves to wicked world's
ways and cares, stricken divine
fellowship but only self love.

Damned souls armed hypocrisy's
best blames and curses, cloaking
the snarling miens of fallen men
in ruinous disappointment, falsely
bethinking what truly is required
is living well and happy for the day
with no thought on the morrow,
forsaking their fellow man be truly
well and happy as themselves.
Yea, crackles of lightning break
hot across deep night's lowing
thunders rumbling the deepening
pales and wooded bowers fixed
the sizzling atmospheres cowering
coming storm's reach and draw.

Herewith lie villainous sneers
of many a treacherous soul
beholding their ruined vanity,
bethinking themselves sculpted
Adonais or mighty Zeus, become
tragic Oedipus etched the weary
limestone halls of languorous
beauty; deigning any worthy
work but this life's fleshly offers
of chance atonement in fated
world long ago lost its fortunes.
Lost eons earlier in Adam's first
fall begun on a newborn day
filled with endearing promise
till all crashed by feeble hand
reaching understanding - but
not of wisdom, of self; as quickly
covering naked body in remorse,
not penitence; become broken,
unhealing souls always discontent
impotent at rejoining  self with
self lulled wings of betrayal for
lost realms of glitter and gold.


R.E. Slater
July 21, 2024
edited July 25, 2024

@copyright R.E. Slater Publications
all rights reserved




Tuesday, May 21, 2024

Disney's "Remember Me" from the Movie, "CoCo"




COCO 2 – Tráiler oficial (2024)
Disney•Pixar



CoCo Official Final Trailer
by Pixar

Despite his family's generations-old ban on music, young Miguel dreams of becoming an accomplished musician like his idol Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead. After meeting a charming trickster named Héctor, the two new friends embark on an extraordinary journey to unlock the real story behind Miguel's family history.

Remember Me
from CocoPop Choral Series Octavo

This product has a minimum order quantity of five copies.

The Disney/Pixar animated film Coco celebrates Mexican culture and specifically the tradition of Dia de los Muertos (Day of the Dead). This is not a somber occasion. Rather it is a day to celebrate, to remember, and to honor those who are no longer with us in the physical world. Academy Award-winning composers Robert Lopez and his wife Kristen Anderson Lopez (Frozen) have written a beautiful ballad that offers peace and assurance to those left behind.


Product Details

  •  #HL 00265786
  •  888680732318
  •  6.75"
  •  10.5"
  •  0:02:30
  •  8 Pages

Lyrics: Remember Me


[Chorus: Miguel]

Remember me, though I have to say goodbye

Remember me; don't let it make you cry

For even if I'm far away, I hold you in my heart

I sing a secret song to you each night we are apart

Remember me, though I have to travel far

Remember me, each time you hear a sad guitar

Know that I'm with you the only way that I can be

Until you're in my arms again, remember me


[Post-Chorus: Natalia Lafourcade & Miguel]

Que nuestra canción no deje de latir

Solo con tu amor yo puedo existir

Recuérdame

Que nuestra canción no deje de latir

Solo con tu amor yo puedo existir


[Chorus: Natalia Lafourcade]

Recuérdame, si en tu mente vivo estoy

Recuérdame, mis sueños yo te doy

Te llevo en mi corazón y te acompañaré

Unidos en nuestra canción, contigo ahí estaré

Recuérdame, si sola crees estar

Recuérdame, y mi cantar te irá a abrazar

Aún en la distancia nunca vayas a olvidar

Que yo contigo siempre voy, recuérdame


[Post-Chorus: Miguel]

If you close your eyes and let the music play

Keep our love alive, I'll never fade away

If you close your eyes and let the music play

Keep our love alive, I'll never fade away

If you close your eyes and let the music play

Keep our love alive, I'll never fade away


[Chorus: Miguel]

Remember me, for I will soon be gone

Remember me, and let the love we have live on

And know that I'm with you the only way that I can be

So, until you're in my arms again, remember me


[Outro: Natalia Lafourcade & Miguel]

Que nuestra canción no deje de latir

Solo con tu amor yo puedo existir

Remember me

Que nuestra canción no deje de latir

Solo con tu amor yo puedo existir

Remember me



Kelly Clarkson Covers 'Remember Me'
From 'Coco' | Kellyoke

The Kelly Clarkson Show: Apr 18, 2024 #KellyClarksonShow #Coco. In the latest Kellyoke, Kelly Clarkson and My Band "Y'all" perform a cover of the Academy Award-winning song "Remember Me" from the Pixar film "Coco."


Kelly Clarkson Fans Declare the Singer a "National Treasure"
After Powerful Disney Cover

by Adrianna Freedman

Kelly Clarkson Fans Declare the Singer a "National Treasure"
After Powerful Disney Cover


Kelly Clarkson is memorable for a plethora of reasons, and one that always leaves people moved is the ability to evoke emotion from any song she sings.

The Grammy Award winner showed off her incredible vocal skills during an April 18 taping of The Kelly Clarkson Show, where she's well-known for performing musical covers in her "Kellyoke" segment. While she's sung covers made famous in movies in the past, this time she nodded to the world of Disney with a rendition of "Remember Me" from the Pixar animated film Coco (which won Best Original Song at the 2018 Academy Awards).

As the American Idol alum donned a simple black dress, Kelly shocked viewers by not only slowing down the tempo of the song, but singing in both Spanish and English. What's more, the show's social team went on X (formerly known as Twitter) and let everyone know Kelly's not a singer to forget any time soon.

"Remember Me 🎶," read the official caption.

When fans of the former The Voice coach caught wind of her powerful "Kellyoke" cover, they took to the comments to share how impactful the performance was for them.

"Kelly Clarkson, a national treasure," one person declared on X. "Really got the chills on that one. Beautiful!!" another wrote. "Good god that voice," a different follower added.



Can You Hear- All South Jersey Junior
Senior Choir 2014


Jan 26, 2014
SJC conducted by Dr. Christopher Thomas
of Rowan University. COMBINED PIECE



Terry Pluto - The Girl in Red (prose)


As I think of The Girl In Red, I hear those lyrics from
Don McLean’s “American Pie.”  |  Getty Images


Memories of The Girl In Red
& the soundtrack of ‘American Pie’

by Terry Pluto‘s Faith & You

Updated: Apr. 08, 2024, 2:46 a.m.|
Published: Mar. 17, 2024, 5:01 a.m.


CLEVELAND, Ohio – I think about her once or twice a year. It happens when I see a certain little girl dressed in red.

This girl … the girl in my memory … has chocolate skin, pretty braids and red ribbons in her hair. She is wearing a cute red dress – the kind kids wore to school once upon a time.

I see her walk. It’s more of a bounce. It’s an act of joy, punctuated with an innocent smile. She is young, maybe in the fourth grade.

“A long, long time ago …”

As I think of The Girl In Red, I hear those lyrics from Don McLean’s “American Pie.”

“A long, long time ago, I can still remember
how that music used to make me smile… "

I wish I could remember this story as clearly as I do those lyrics.


A LONG, LONG TIME AGO

It was the early 1970s. I was just starting college. “American Pie” was a constant as I drove to school and work in my blue Dodge Dart. It blared out of my 8-track tape player – one of the worst contraptions invented as it constantly chewed up the tape inside.

But it was a long, long time ago…

I had a part time job as a tutor at John Raper Elementary in Hough. The Hough Riots were in 1966. Several years later, you could still see a few burned-out buildings, some rubble where there once was a house.

I drove by looking for the school. The spot on East 85th is an empty lot. Like The Girl In Red, the school is long gone.

She was in the fourth grade, one of the smallest kids in the class. I was there to help the students learn the multiplication tables. My pay was something like two bucks an hour, a few hours three days a week. I lived on Red Barn cheeseburgers and pizza from the Rascal House near Cleveland State.


Once upon a time, there was a special girl student who Terry
Pluto remembers from almost 50 years ago. Illustration By
JoAnne Coughlin Walsh / Advance Local JoAnne Coughlin
Walsh, Advance Local


WHAT WAS HER NAME?

I wish I could remember her name, but I can’t. To me, she always is The Girl In Red even though I’m sure she wore other colors.

Unlike most of my students, she was excited to have a tutor. Her math was weak but her work ethic was strong. I was told she had moved around a lot. She was intelligent, but “lost time” living in different places, according to one of her teachers.

I had her for a few months, and she was the highlight of my tutoring day. Always dressed neatly – matching shoes, socks and dress. Her hair was immaculately braided with a ribbon, her smile was ever present.

One day, she asked me, “Do you live in a nice house?”

I never thought about it much. At that point, my family owned a split-level in Northfield. I was living at home, commuting to college and my various part-time jobs. Before I answered, I thought about the places I drove past each time I went to Hough.

“Yes,” I said. “I live in a nice house.”

I waited for her to say something else, but she didn’t. She sort of looked at something over my shoulder. I thought of asking her if she lived in a nice house, but wisely kept my mouth shut.


THE BRICK THROWERS

One day I was tutoring a little boy. Suddenly, a brick banged against the classroom window, glass shattering. The little boy ran to the window, me right behind him. We saw a couple of kids in the parking lot, looking up and laughing.

“They used to go here,” said the boy. “They bad.”

I was always thankful The Girl In Red wasn’t in the room with me that day. But I thought about the brick and the broken window right after she asked me about the house.

The little boy and I returned to working on the multiplication tables. What is there to say about any of it? For some of these kids, it seemed like so often someone was throwing a brick right in the middle of something good happening.


WHAT WE REMEMBER

I tell this story peering into the rearview mirror of memory of nearly a half-century ago. I’m not sure what is actually factual, at least the small details and conversations. Is it how I want to remember it, or did it actually happen as I remember?

“February made me shiver with every paper I’d deliver …
“Bad news on the doorstep, I couldn’t take one more step … ”

There they are, more lyrics from “American Pie.”

In my memory, it happened in February. Even though the school was a few miles from Lake Erie, the winter wind whipped and puffs of white came out of my mouth while I walked into the school.

I saw The Girl In Red at the other end of the hall. She was going out the door. She was with an older woman, The Girl In Red hanging on to the lady’s hand.

I walked into the classroom and asked the teacher about her.

“You won’t be seeing her again,” she said.

“What happened?” I asked.

The teacher explained the lady was from “the welfare department.” It was probably Child Protective Services.

“What’s going on?” I asked.

“I told you,” said the teacher. “She won’t be with us anymore.”

The teacher went silent. She gave me the look she gave her students, the stare that could silence a classroom. This woman didn’t babysit, she taught. She kept order. Her kids learned the basics. She was about 50. At that point, it seemed – just for a second – like she might cry.

“I can’t say any more,” she said.

We were talking in the hallway. She turned and walked into the classroom. I followed her.

“I met a girl who sang the blues and
asked her for some happy news …
“But she just smiled and turned away.”

More lines from “American Pie.”

I always wished I had heard some happy news about The Girl In Red. Never heard a word. Never think about her, until I see a little girl in red with braids and a smile.



Don McLean - America Pie (Lyric Video)



[Verse 1]
A long, long time ago
I can still remember how that music
Used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they'd be happy for a while
But February made me shiver
With every paper I'd deliver
Bad news on the doorstep
I couldn't take one more step
I can't remember if I cried
When I read about his widowed bride
But something touched me deep inside
The day the music died

[Chorus]
So, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
And them good ol' boys were drinkin' whiskey and rye
Singin', "This'll be the day that I die
This'll be the day that I die"

[Verse 2]
Did you write the book of love?
And do you have faith in God above
If the Bible tells you so?
Now, do you believe in rock 'n' roll?
Can music save your mortal soul?
And can you teach me how to dance real slow?
Well, I know that you're in love with him
'Cause I saw you dancin' in the gym
You both kicked off your shoes
Man, I dig those rhythm and blues
I was a lonely teenage broncin' buck
With a pink carnation and a pickup truck
But I knew I was out of luck
The day the music died

[Chorus]
I started singin', bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol' boys were drinkin' whiskey and rye
And singin', "This'll be the day that I die
This'll be the day that I die"

[Verse 3]
Now, for ten years we've been on our own
And moss grows fat on a rollin' stone
But that's not how it used to be
When the jester sang for the king and queen
In a coat he borrowed from James Dean
And a voice that came from you and me
Oh, and while the king was looking down
The jester stole his thorny crown
The courtroom was adjourned
No verdict was returned
And while Lennon read a book on Marx
The quartet practiced in the park
And we sang dirges in the dark
The day the music died

[Chorus]
We were singin', bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol' boys were drinkin' whiskey and rye
And singin', "This'll be the day that I die
This'll be the day that I die"

[Verse 4]
Helter skelter in a summer swelter
The birds flew off with a fallout shelter
Eight miles high and fallin' fast
It landed foul on the grass
The players tried for a forward pass
With the jester on the sidelines in a cast
Now, the halftime air was sweet perfume
While sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance
'Cause the players tried to take the field
The marching band refused to yield
Do you recall what was revealed
The day the music died?

[Chorus]
We started singin', bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol' boys were drinkin' whiskey and rye
And singin', "This'll be the day that I die
This'll be the day that I die"

[Verse 5]
Oh, and there we were all in one place
A generation lost in space
With no time left to start again
So, come on, Jack be nimble, Jack be quick
Jack Flash sat on a candlestick
'Cause fire is the Devil's only friend
Oh, and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in Hell
Could break that Satan spell
And as the flames climbed high into the night
To light the sacrificial rite
I saw Satan laughing with delight
The day the music died

[Chorus]
He was singin', bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol' boys were drinkin' whiskey and rye
And singin', "This'll be the day that I die
This'll be the day that I die..."

[Bridge]
I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away
I went down to the sacred store
Where I'd heard the music years before
But the man there said the music wouldn't play
And in the streets, the children screamed
The lovers cried and the poets dreamed
But not a word was spoken
The church bells all were broken
And the three men I admire most
The Father, Son, and the Holy Ghost
They caught the last train for the coast
The day the music died

[Deleted Verse]
And there I stood alone and afraid
I dropped to my knees and there I prayed
And I promised Him everything I could give
If only He would make the music live
And He promised it would live once more
But this time one would equal four
And in five years four had come to mourn
And the music was reborn

[Chorus]
And they were singin', bye-bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ol' boys were drinkin' whiskey and rye
Singin', "This'll be the day that I die
This'll be the day that I die"

[Outro]
They were singin', bye-bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ol' boys were drinkin' whiskey and rye
Singin', "This'll be the day that I die"



Wednesday, May 15, 2024

R.E. Slater - Questions I Ask Myself When Nobody is Listening (a poem)

Religion by Charles Sprague Pearce

What is Apophatic Verse?

It seems the Internet did not wish to answer my question as to what apophatic verse might be. What I got were thoughts on negative theology rather than poetic verse which, I suppose, was on target if "verse" were taken to be referring to Bible verses.

Yet, this was not what I wanted when searching the Internet. And yet, in a skewed, sideways sort of mention, I suppose my query might have unconsciously asked how "Spirit" and "spirit" might coexist between my God and my heart.

As example of this latter mention, when positively declaring "God is infinite" one might redress the topic apophatically - that is, in negative rephrasing - by saying, "God is not finite." Even so, this was neither my question of the Internet nor how I normally wish to come to God's Person or Personage in negative address.

And yet, curiously, in it's reply the Internet went a bit further when expanding on the tangential subject of apophatic prayer - of which question I definitely was neither asking, nor seeking, nor even considering such a reply.... even so, I continued my sideways glance, focusing on the wayward paragraph then reading it finding my heart warmed in a way only the Spirit might do on so late an eve as I quietly read for a third time the Internet's serendipitous contemplation:

What is Apophatic Prayer?

Answered negatively, "Kataphatic" prayer has content using words, images, symbols, and ideas; whereas "Apophatic" prayer has no content. It simply means emptying the mind and heart of restless words and thoughts to find oneself simply resting in the presence of the God in prayerful reflection. Restated,... a centering prayer may be apophatic in result.

R.E. Slater
May 15, 2024

*What is apophatic mysticism? Apophatic mystics claim that nothing positive can be said about objects or states of affairs that they experience. These are absolutely indescribable, or “ineffable.” Thus, apophatic theology typically will be negative theology — meaning, we may only say what God is not. - SEOP: Mysticism


* * * * * *


Francesco Botticini, The Assumption of the Virgin (c. 1475; detail)

Questions I Ask Myself
When Nobody is Listening

by R.E. Slater


Sitting in absence wishing it were not so,
    is unlike sitting in want finding I have no needs.

On a day when my heart is broken,
    only then can it be made whole.

So too is curiosity a curious thing -
    but so is satisfaction when unmet.

There is fullness in every new day,
    yet by nightfall I find myself empty.

When mind and heart restlessly struggle,
    in God's presence I find stillness.

Can the way of the bee and the ant teach anything?
    Or is it foolishness which cannot be taught?

If it is true that a good ploughhorse requires a field,
    then a good student should require a good teacher.

When parents fail whom do they turn to?
    Or, when turning, find none to help.

I cannot say whether Time is a mystery or an illusion,
    though I believe both are true of relationships.

There is also mystery in each new day,
    but by day's end all seems known.

"Can a true thing be less true?" I ask myself.
    And if so, were it never true at all?

Too, can a false thing teach truth?
    ... Perhaps so, when discovering my own error.

Daily chores seem a burdensome imaginary,
    until unmet, then finding they were never imaginary.

Of thoughtful questions there seems no end,
    but upon reflection they seem never asked.

Might salvation be found before one is fallen?
    Or must one fall to be found?
         ... Life lessons are oftimes hard.

Similarly, if one is found had a fall occurred?
    Or was it I who needed most to be lost?

Testimony always seems right when utter,
    but in hindsight, it holds many a cruelty.

A faithful witness, like one's love,
     is most needed when spoken timefully.

To waste a day is to lose more than a day,
    but in truth, many days are just as well lost.

If one's heart goes unheeded,
    does it sour in remiss?

And if one's heart is heeded,
    does the errant day run brighter?

Most days seem futile though, in hindsight,
    they were as necessary as the air we breathe.

A good prose poem blends seamless to the hour,
    even as the wayward hour expires when unnoticed.

Age looks back on youth seeing wonder, miracle,...
    yet youth, looking to age, has yet to comprehend.


R.E. Slater
March 26, 2023

Note: An experiment in apophatic poetry

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