It’s out. This one really got to me, and it made me not miss the song’s middle section, at least for now. Some laughter, many tears.
Friday, November 3, 2023
Subscribe to:
Post Comments (Atom)
skip to main |
skip to sidebar
Michael Leddy“Orange Crate Art” is a song by Van Dyke Parks and the title of a 1995 album by Van Dyke Parks and Brian Wilson. “Orange Crate Art” is for me one of the great American songs: “Orange crate art was a place to start.”
Don’t look for premiums or
coupons, as the cost of
the thoughts blended in
ORANGE CRATE ART pro-
hibits the use of them.
Comments are welcome, appended to posts or by e-mail. I moderate comments to keep out spam, so please be patient.
View Profile
Nancy, October 19, 1950.
“Who are we as a country?”
Michael Leddy
Don’t look for premiums or
coupons, as the cost of
the thoughts blended in
ORANGE CRATE ART pro-
hibits the use of them.
Comments are welcome, appended to posts or by e-mail. I moderate comments to keep out spam, so please be patient.
Search this blog
Creative Commons
StatCounter
Subscribe
Click to subscribe in a reader.
Words to live by
Life is to be lived, not controlled; and humanity is won by continuing to play in the face of certain defeat.
Ralph Ellison, Invisible Man
*
Νέος ἐφ’ ἡμέρῃ ἥλιος. [The sun is new every day.]
Heraclitus
*
Every day is a new deal.
Harvey Pekar, “Alice Quinn”
*
Nos plus grandes craintes, comme nos plus grandes espérances, ne sont pas au-dessus de nos forces, et nous pouvons finir par dominer les unes et réaliser les autres. [Our worst fears, like our greatest hopes, are not outside our powers, and we can come in the end to triumph over the former and to achieve the latter.]
Marcel Proust, Finding Time Again
*
Surely, in the light of history, it is more intelligent to hope rather than to fear, to try rather than not to try.
Eleanor Roosevelt, You Learn by Living
*
I don’t really deeply feel that anyone needs an airtight reason for quoting from the works of writers he loves, but it’s always nice, I’ll grant you, if he has one.
J.D. Salinger, Seymour: An Introduction
*
I’m not afraid to get it right
I turn around and I give it
one more try
Sufjan Stevens, “Jacksonville”
*
L’attention est la forme la plus rare et la plus pure de la générosité. [Attention is the rarest and purest form of generosity.]
Simone Weil, in a letter
Ralph Ellison, Invisible Man
*
Νέος ἐφ’ ἡμέρῃ ἥλιος. [The sun is new every day.]
Heraclitus
*
Every day is a new deal.
Harvey Pekar, “Alice Quinn”
*
Nos plus grandes craintes, comme nos plus grandes espérances, ne sont pas au-dessus de nos forces, et nous pouvons finir par dominer les unes et réaliser les autres. [Our worst fears, like our greatest hopes, are not outside our powers, and we can come in the end to triumph over the former and to achieve the latter.]
Marcel Proust, Finding Time Again
*
Surely, in the light of history, it is more intelligent to hope rather than to fear, to try rather than not to try.
Eleanor Roosevelt, You Learn by Living
*
I don’t really deeply feel that anyone needs an airtight reason for quoting from the works of writers he loves, but it’s always nice, I’ll grant you, if he has one.
J.D. Salinger, Seymour: An Introduction
*
I’m not afraid to get it right
I turn around and I give it
one more try
Sufjan Stevens, “Jacksonville”
*
L’attention est la forme la plus rare et la plus pure de la générosité. [Attention is the rarest and purest form of generosity.]
Simone Weil, in a letter
#1 hit
In memory of
Blog Archive
-
▼
2023
(929)
-
▼
November
(82)
- How to improve writing (no. 116)
- Costa, Guerriero, and Sued
- Cogito
- Recently updated
- Evaluations
- At another rest stop
- Recently updated
- Recently updated
- Pence, comma
- The doctor is in
- A pocket notebook sighting
- [Deflating balloon sounds]
- Typography of the young
- Misreading
- Recently updated
- A. Leddy
- Twelve movies
- Attention education
- Drake Lives
- On Chauncey Street
- Today’s Saturday Stumper
- Towne Branch subdivision
- A joke in the traditional manner
- Thanksgiving 1923
- Five and ten and fifteen
- Your work age
- The Apostrophe Protection Society
- Fn
- Sluggo-head
- Healing up
- On the waterfront, continued
- Vagaries of shopping (Premium edition)
- Three mascots
- Being a liberal
- Carters
- White Rose Tea
- On the waterfront
- Today’s Saturday Stumper
- How to improve writing (no. 115)
- DO NOT DISTURB
- E.M. Forster on books on Frasier
- Domestic comedy
- Welcome to Illinois
- Pareidolia
- Madeline Kripke’s dictionaries
- Recently updated
- A “Now and Then” surprise
- “My terrible predicament”
- Screensavers, lost
- “I adore ice-cream”
- “C'est un très beau Monsieur"
- Whom is not calling
- A missing word
- Tires and skins
- Dustin pronouns
- Today’s Saturday Stumper
- Veterans Day
- Desk reboot
- Scotch, bourbon, and radio English
- NYRB sale
- Cora, Nick, Ticonderoga
- Twelve movies
- Nerves, arms, hands
- In Fraiserland
- Louis Armstrong’s legacy
- Some Mondays
- “Sleeping was her latest discovery”
- Trump as student
- “Smudged-looking poems”
- “Mondays are dark”
- AI and VDP
- A waterfront barber
- Today’s Saturday Stumper
- “Now and Then,” the music video
- Epistolary Fritzi
- Crusts and chest hair
- Beatles now!
- Words of the year
- “What is internet, anyway?”
- A last Beatles song
- Gloria Grahame at TCM
- Halloween tally
-
▼
November
(82)
favorite posts
- Against “deep reading”
- Alkalize with Alka-Seltzer
- At the World Trade Center and St. Paul’s Chapel
- Being wrong about beauty
- Bobbing for apples
- “Bon Appétit!”
- “The Case of the Purloined Prairie”
- ChatGPT’s twenty-line poems
- “The ’Clipse”
- Couric and Palin and Orwell
- Digital naïfs
- Donald Trump’s spelling
- Ebinger’s
- Ellington for beginners
- “Extra credit?”
- Five desks
- Five pens
- Fluke life
- The gold standard, haircuts, and everyone else
- Happy birthday, Mr. Piletti
- Hoagies, pizza, and English studies
- Homeric blindness in “colledge”
- How to Write a Sentence
- Imaginary liner notes
- Invisible man: Louis Armstrong and the New York Times
- Invitation to a dance
- Is there a pencil in The House?
- John Lee Hooker and Canned Heat
- A Kerouac notebook page
- The kitchen shink [sic]
- Klenosky!
- “Make My Jotter Quit!”
- Lady Elaine’s can
- Mysteries of the tollbooth
- National’s et cetera
- Nick DeMaio and the Eldorado
- Obama revisions
- Obama thoughts
- On “On the New Literacy”
- On “Politics and the English Language”
- “On the Road”
- The Oteris and Marty
- The other little book
- Out of the past
- Peppa Pig and the Brontës
- Phones Are For People
- Politics and theory
- “The Poet”
- Proust: involuntary memory, foolish things
- P.S. 131
- Pullum on Strunk and White
- Re: the Beloit Mindset List
- Some have gone and some remain
- “The Spokesmen”
- Sports Illustrated and Proust
- The Springfield Daily Gazette
- That (in)famous line
- Things I learned on my summer vacation
- Van Dyke Parks in Chicago
- W(h)ither grammar
- What I hear in “Walk Away Renee”
Nancy, October 19, 1950.
comments: 5
and to me also. lots of tears and laughs with the silliness of how the beatles could act.
and even caught part of Eleanor Rigby/Norwegian Wood.
that is definitely a john song with quite a bit of george thrown in.
in thinking about this song, it also reminds me of a part of my life that i miss at times. i was one of those music absorbed teenagers who followed the beatles -- buying those teen music mags and cutting out photos of the beatles from the magazines. I still even have the beatles poster collage i created. as well as the john and paul book of lyrics that i read in english class as poetry, the official yellow submarine magazine, and the beatles forever illustrated music + lyrics (1970).
kirsten
In junior high I knew the times of all the tracks on the White Album. Yes, a lot of time studying records.
Yes, the short, chopping strings are a lot like “Eleanor Rigby.” The swooping. cellos at the very end made me think of “I Am the Walrus” and “Within You Without You.”
i don't know if you follow rick beato but he analyzed the song today: https://www.youtube.com/watch?v=7PAkVIFUZPQ
kirsten
Thanks, Kirsten. I don’t know of him, but I have the same reservation about the production — I’d like something sparer. And the unison voices singing “Now and then I miss you” sound very un-Beatle to me.
But I’ve been thinking about the section they took out and realized today that the song has become one about the Beatles themselves. The video makes that clear, and “Now and then I miss you” takes on another meaning when you see Paul and Ringo singing it together. And even Paul’s count-in: “One, two,” with “three” and “four” just whispered. There are just two of them. And George. And then the piano, suggesting John, comes in. I don’t think I’m reading too much into it. But if I am, I’m a retired prof; that’s my job. : )
The more I listen, the more I like it, even if it’s wildly different from the demo. What do you think, Kirsten? Are you liking it more? Less?
Post a Comment