melon लेबल असलेली पोस्ट दाखवित आहे. सर्व पोस्ट्‍स दर्शवा
melon लेबल असलेली पोस्ट दाखवित आहे. सर्व पोस्ट्‍स दर्शवा

१ जानेवारी, २०१६

"'I absolutely love this job,' [John Kerry] told me more than once. “It is so much fun.”

Me = David Remnick, in The New Yorker, who drops that quote right after this description of a few weeks in the life of John Kerry:
One day, his plane settled in Samarkand, where he patiently endured a forty-five-minute lecture from the dictator of Uzbekistan. The next day, he was in Ashgabat, the surreal, peopleless capital of Turkmenistan, a hermetic state where the post-Soviet dictator renamed the days of the week and devoted a national day to the muskmelon. Kerry had flown to Santiago to take part in a conference to save the world’s oceans. Then he was in Paris, in the wake of the terrorist attack at the Bataclan concert hall, to join talks designed to rescue the earth from overheating to the point of global catastrophe.
Can you detect Remnick's opinion of Kerry in those 4 sentences? I think he doesn't want to speak ill of him — not outright — but he sees him as a sad failure. Here's one more paragraph from the article. Test my theory:
But while Kerry made his name in a radical voice, he was always a man of the establishment. More than any diplomat or politician this side of Bill Clinton, he has an abiding faith in the value of personal relationships and of his capacity to persuade. All he has to do is get the parties in a room and he can’t lose. Obama, by contrast, has no more cultivated relationships with foreign leaders than he has with Republican leaders. Where Obama is skeptical, Kerry is almost sentimental in his optimism. He has even made his peace with Henry Kissinger: “I seek his advice—he’s a brilliant guy.” He recounted a lunch that they had recently, at which Kissinger told him, “The difference between you and me is that I think that personal relations don’t matter much. I think interests matter.” Kerry replied, “I think interests matter, of course, but I think personal relations can help matters—they can be influential.”
And, a bit later:
There is no concealing his eagerness to make a deal; to a critic, his style is reminiscent of the customer who sternly tells the salesman, “I’m not leaving here until you sell me a car.” No one seems to inspire Kerry’s outrage, including the worst of his negotiating partners. “I think they want to be valued for who they are and understood for where they come from and what their life is about,” he told me. “I think if people have a sense that you know what they’re about, they can build some trust with you....”
But don't you have a sense that they know what you're about? What if they see you as an over-optimistic sentimentalist who really wants to make a deal and to feel that he has a relationship with you?

१ फेब्रुवारी, २०१३

"Instantly Improve Your Day With This Magical Baby Tapir."

I instantly knew this Buzzfeed piece could only have been written by Summer Anne Burton.
Just remember that tapirs are real, actual creatures that live on the same earth as me and you.

They look like... miracularious little sepia watermelons.

२० मे, २०१२

What does the crowd say? Watermelon, cantaloupe, watermelon, cantaloupe...?

Or is it walla walla walla?
I saw a movie once, probably twenty years ago, in which one character is a Hollywood old-timer who's known in the biz as the World's Greatest Extra. Another character says, awestruck, "He invented the 'Courtroom Walla'!" It's explained that in courtroom dramas, when the verdict is announced, everyone in the courtroom softly says, "walla walla walla," creating a nice, low-level hum of excitement without anything really discernible in it.
Or are they just saying murmur....



Is the word "murmur" onomonopia? OED says:
Etymology: Partly < Middle French, French murmure indistinct expression of feeling by a number of people (c1170 in Old French), subdued expression of discontent (c1200), muted noise (c1230), sound of a light breeze (1555), respiratory murmur (1819 in passage translated in quot. 1821 at sense 5) < murmurer murmur v.; and partly < its ultimate etymon classical Latin murmur a low, continuous sound, a subdued or indistinct utterance, such an utterance indicative of anger or resentment, a reduplicated imitative formation....
The answer seems to be partly.

२९ सप्टेंबर, २०११

Death by cantaloupe.

Do you realize that before cutting into a cantaloupe, you're supposed to scrub it with a brush and dry it with a clean cloth or paper towel? Do you even rinse that thing? Or do you think because you're not going to eat the rind, you don't need to worry about the listeria lurking in its rough reticulation?

११ जानेवारी, २०११

Stray anti-Althousiana.



ADDED: Bashed that humungous melon-head into a wall? I feel sorry for the wall!

ADDED:  Ironically, complimenting themselves on their civility, they are uncivil to me!

२० जानेवारी, २००८

Intermission.

Intermission at the Metropolitan Opera:

IMG_0221.JPG

The ladies check their cell phones. From "Die Walküre" on Monday to "Jersey Boys" and "Wicked" on Friday and Saturday, I've spent the past week sitting in expensive chairs.

But Althouse, did you enjoy yourself? Review the shows!

Do I review shows? I think you'll find that I do not.

Not a shred of information? Of judgment?

I'm too afraid of being boring. I'm afraid to take those expensive seats because I'm afraid of being bored and I'm afraid to write about them because I don't want to be boring. I will say something about each show, but bear in mind that these are not reviews. These are just a few things I dare to say.

1. "Die Walküre." I never took Fricka seriously before. She seemed like the annoying wife who had to show up and sing once to make God do something he didn't want to do and set the tragedy in motion. But Stephanie Blythe made me really believe her point of view, a rock-solid ban on adultery. And isn't it fascinating to be so outraged by adultery, when there is also that brother-sister incest, which is what shocks the mortals in the audience? There are so many more adulterers in the audience than violators of the incest taboo.

2. "Jersey Boys." If you've been reading this blog from the beginning, maybe you know that back in 2004, I mourned that no one cared about The Four Seasons anymore. Less than 2 years later, a big Broadway show about them opened. But even though The Four Seasons were the first group I loved — and I loved them from the first few seconds of "Sherry" heard on the radio — I wasn't that eager to hear a singer impersonate Frankie Valli. I can't express how sublime that voice seemed to me when I was 11. Does Michael Longoria sound like him? Superficially, yes. But would I go to see a Four Seasons cover band? [ADDED: I mean tribute band.] Of course not. I love all the songs, but I'd rather play the originals. As for the story behind the songs, it's somewhat interesting and quickly told. But I'd rather play the originals and enter the deep emotional space of the past. Must I sit — contorting to see around the melon-headed man in front of me — to stare at the stage and and listen to a little man who is not Frankie Valli, who has a voice but no sex appeal?

3. "Wicked." Great set and costumes and neat, complicated story, but must every song in the show sound like those horrible, overblown pop songs they write for the finale of "American Idol"? Glinda and Elphaba got me thinking about Diana DeGarmo and Fantasia.
I'm through accepting limits
'Cuz someone says they're so
Some things I cannot change
But 'till I try, I'll never know
It's an "American Idol" song. And it goes on and on like that. Pursue your dreams! Be true to yourself! Don't let anyone stop you now! That's fine for you, but what about me?

४ मे, २००६

"Cher (vitamin pill), Carrie Fisher (Brussels sprout)..."

"...Dick Vitale (melon), Ellen Barkin (shrimp), Homer Simpson (doughnut)" = celebrities and the things Heimliched out of them.

"Tom Brokaw (John Chancellor, Gouda cheese), Verne Lundquist (Pat Haden, broccoli), Pierce Brosnan (Halle Berry, fruit), Justin Timberlake (a friend, nuts), Billy Bob Thornton (his potbellied pig Albert, chicken Marsala)" = celebrities and who and what they Heimliched.

UPDATE: A beautifully written family Heimlich story.

१८ ऑक्टोबर, २००५

“I love that Aaron Brown, the way he sucks the flavor out of every word..."

"... and I love the way he mulls. No one mulls the news like Aaron Brown." That's just a quote from Steve Colbert.

The second episode of his new show is on in about an hour. Aren't you excited?

From the somewhat old linked article:
Colbert’s ... fake-news program, “The Colbert Report,” which, starting in October, will air just after the fake news on “The Daily Show.” “It’ll be like O’Reilly segueing into Hannity, Hannity into Greta, Larry King into Aaron Brown,” he said. “I love that Aaron Brown, the way he sucks the flavor out of every word, and I love the way he mulls. No one mulls the news like Aaron Brown.” If “The Daily Show” is faux evening news, “The Colbert Report” will be faux Bill O’Reilly. “The focus will be me, lots of me,” Colbert said. “Occasionally, we’ll turn the camera elsewhere, but only for pacing.” And what sort of presence will “Stephen Colbert” have? “My ambition is to have Stone Phillips’s neck and Geraldo Rivera’s sense of mission.”...

Colbert is forty-one, a native of South Carolina, one of eleven children, the father of three, a suburban guy, and deaf in one ear. “I had this weird tumor as a kid, and they scooped it out with a melon baller.”
Deaf in one ear. I can only think of one other genius who is/was deaf in one ear.

I love the opening credits for "The Colbert Report." The use of the eagle is so disturbing!

Digression: The other day, I was driving around in the countryside and I saw these beautiful birds of prey swooping about. Eagles, I think. I saw one up ahead going at some roadkill, and I was excited at the opportunity to get close to the magnificent bird. As I pulled up next to the roadkill, the bird flew away, and I smelled and saw that the roadkill was a skunk. Imagine thinking a skunk was a tasty treat. I don't understand birds.

१९ सप्टेंबर, २००४

The end of a long relationship with the NYRB.

Here's the first paragraph of the great piece that appeared in The New York Review of Books when Virgina Hamilton Adair's book "Ants on the Melon" came out in 1996. (As I noted yesterday, Adair died this week.) Unless you're a NYRB subscriber, you have to pay $4.00 to get to the whole article.

Ironically, I just let my long-running subscription to the NYRB lapse. They recently sent me a letter, with a post-paid envelope and a request to re-subscribe or at least write back and explain why I'd given up on them. Really, NYRB was by far the subscription I'd kept up for the longest time--more than 20 years. I loved the surprising assemblage of brilliant essays on all sorts of subjects and the incisive pen drawings of David Levine.

The Levine drawings are still there, but they've been used over and over again to demonize President Bush and the people around him; and, while there are still varied essays, ever since 9/11, they have forefronted the pieces that perseverate against Bush and his policies. I'd meant to flip past these things and read the other essays, but I found I'd been leaving many issues unopened, so I let the subscription die. Too bad! For many years, this was my favorite periodical. I didn't write them back and give them this explanation, but here's your answer NYRB.

१८ सप्टेंबर, २००४

A dare not taken: the name Adair.

I was tempted to say this when Red Adair died recently, but now that I've written about Virginia Hamilton Adair (see previous post), I'll comment on the name Adair.

My middle name is Adair. I've never used the name or the initial other than to fill out forms or to sign checks written by my mother. Only late in life did I start to think I should have used it, when I first noticed that it has the effect of transforming my first name into Anna, which then isolates the second syllable, a homophone for the excellent word "Dare." That it took me decades to notice that proves that, unlike Virginia Hamilton Adair, I am no poet. Now, when I think about the missed opportunity of using my middle name, I torment myself with thoughts like: "You were not daring, you would not take Adair."

Why did I resist Adair? Because as a young girl I sensed that it meant a lot to my parents, and being contrarian, I didn't want that imposed on me. But I didn't think they were trying to define me as daring, or to offer me the chance to give my ultra-plain first name a slight infusion of fanciness. Strangely, I envied three-syllable girl's names, like Alison, and was annoyed at my parents for leaving me with the stark name Ann, and never noticed that AnnAdair was that three-syllable name. The reason I never perceived the feminity of the Anna-creating name Adair, was that Adair was my father's middle name, and that made the name permanently masculine. The homophone "a dare," which I declined to perceive, also felt masculine in those pre-Women's Movement days. I was jealous of my sister for having my mother's middle name, which was a lovely feminine name: Elaine. Don't you think giving me, the second child, the father's middle name, after the first child had been given the mother's middle name, conveys the message: we wanted you to be a boy? Later, they had that boy and they made his middle name my father's first name, which left me stranded as the inappropriately named child in the bunch. If they had known my brother would be coming along soon enough, they might have been able to give me a prettier middle name.

They used to pressure me to appreciate Adair, but always in the context of rejecting Althouse. I was told "Ann Adair" was a good stage name. Just lop off the Althouse and you can be an actress. When I was very young that made me feel that I was supposed to be an actress, and then when I was older that annoyed me. Maybe that was an elaborate parental scheme to keep me from being an actress. In fact, my father had wanted to be a lawyer. World War II and the subsequent drive to start a family redirected him to take good employment which was available to him based on his undergraduate education as a chemical engineer. So maybe in the end, having his name did lead me into law. If so, it was a clever plot indeed, because if he had ever suggested that I should one day go to law school, I probably never would have done it.

Another reason I never used Adair is that I considered the triple initial A ridiculous once I reached a certain age. As a young child, I thought it was great having all As, as if it were a report card. Later, I found out "AAA" was an awfully boring insurance program. The common practice of dressing up one's name with a middle initial was always out, because A before Althouse sounds to my ear like stuttering. And the use of the middle name in place of the first name--A. Adair Althouse--did not seem suitable, because it was so unfeminine and it also had that stuttering A-A effect.

So the opportunity is long lost. I can never claim my own middle name. I look at it with some longing on the cover of "Ants on the Melon." Ah, well! If I had the chance to make the decision again, I'd use the full name my parents gave me: Ann Adair Althouse.

UPDATE: For blog purposes, I've added Adair. One last opportunity, taken.

FURTHER UPDATE: No, I'm not doing that! It just doesn't look right to me.