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Scandal in academia

From The Washington Post:

The Justice Department on Tuesday charged more than 30 wealthy people — including two television stars — with being part of a long-running scheme to bribe and cheat to get their kids into big-name colleges and universities. . . .

The criminal complaint paints an ugly picture of high-powered individuals committing crimes to get their children into selective schools. Among those charged are actresses Felicity Huffman, best known for her role on the television show Desperate Housewives, and Lori Loughlin, who appeared on Full House, according to court documents.

The final quoted sentence would benefit from a minor revision. The original:

Among those charged are actresses Felicity Huffman, best known for her role on the television show Desperate Housewives, and Lori Loughlin, who appeared on Full House, according to court documents.

Revised:

Among those charged, according to court documents, are actresses Felicity Huffman, best known for her role on the television show Desperate Housewives, and Lori Loughlin, who appeared on Full House.

See the difference? But better still, I’d say:

Among those charged, according to court documents, are the actress Felicity Huffman, best known for her role on the television show Desperate Housewives, and the actress Lori Loughlin, who appeared on Full House.

See the difference?

[Felicity Huffman but not William H. Macy? Meaning that he didn’t know about it? The affidavit says that “Huffman and her spouse made a purported charitable contribution of $15,000 . . . to participate in the college entrance exam cheating scheme.” Maybe Macy thought it really was a contribution? And good grief: Lori Loughlin now stars in Hallmark movies. Reading the affidavit, or at least as much of it as I could stand, made me feel sick to my stomach.]

Que me ves guey

Walking on Olvera Street in Los Angeles, I saw this face and caption on T-shirts at kiosk after kiosk. Guey, or güey, is a Mexican colloquialism with a range of meanings. Que me ves guey (I never saw it with diacritics or question marks) means, more or less, “What are you looking at, dude?” The face on the shirt is that of Don Ramón, a character made famous by Ramón Valdés on the Mexican television comedy El Chavo del Ocho.

The strange thing: for all my searching, I can find nothing to suggest that Que me ves guey was a catchphrase associated with Don Ramón.

[Elaine and I visited Olvera Street with our daughter Rachel in 2012. I have been meaning to make a post about Que me ves guey for some time.]

The Left Banke for Coke

“Lonely hours alone go much faster when you have them with Coke”: The Left Banke did a Left Banke-ish commercial for Coca-Cola.

What I hear in “Walk Away Renée”

[Backstory: The Left Banke’s “Walk Away Renée” was released as a single in July 1966. In February 1967 the song appeared on the group’s first LP, Walk Away Renée / Pretty Ballerina. “Walk Away Renée” is credited to Michael Brown (the group’s keyboardist and principal songwriter), Bob Calilli, and Tony Sansone. According to members of the group, Brown wrote the music, and Sansone gave some help with the lyrics, which were mostly by Brown. Why Calilli is credited is unclear. (See this commentary.) Like “Pretty Ballerina,” (by Brown alone) and “She May Call You Up Tonight” (by Brown and Left Banke lead singer Steve Martin Caro), “Walk Away Renée” was inspired by Brown’s crush on Renée Fladen (now Fladen-Kamm), one-time girlfriend of Left Banke singer and bassist Tom Finn.]

I started listening to The Left Banke after hearing the Four Tops’ recording of “Walk Away Renée” in Three Billboards outside Ebbing, Missouri. I told that story in a 2018 post, and I am still happily listening to The Left Banke. Here’s what I hear in the lyrics of “Walk Away Renée”:

And when I see the sign that points one way
The lot we used to pass by every day
Just walk away Renée
You won't see me follow you back home
The empty sidewalks on my block are not the same
You're not to blame

I can think of just two poems that begin with and: William Blake’s “And did those feet in ancient time” and Ezra Pound’s first canto, which begins “And then went down to the ship.” Pound is translating Andreas Divus’s 1538 Latin translation of Odyssey 11 into an approximation of Anglo-Saxon alliterative verse: thus The Cantos begins in medias res, as Homer began his poems. “Walk Away Renée” too begins in the middle of the thing, somewhere within a sorrow that repeats and repeats. There, once again, is a street sign: an unusual beginning for a pop song. A Left Banke song from 1967, “And Suddenly” (Michael Brown-Bert Sommer), also begins with and.

The sign and lot are markers of city life, things seen on the walk to school or the walk back home. The word “block” confirms the city setting. The landscape is bare and barely there, as it was even when Renée was part of the singer’s life. Of course the street is one-way, moving in the direction of further loneliness. A city lot is, by definition, vacant. The sidewalks are empty. Think of a Beckett play staged in an outer borough. Michael Brown grew up in Brooklyn.

The singer’s lack of response to these markers of emptiness is curious: seeing these things (yet again) prompts no outcry (why did you leave me), no reverie (these foolish things remind me of you). All the singer can do (yet again) is encourage Renee, who is blameless, to walk away. Like Catullus abandoned by his lover, the singer can take it, or so he says.

*

From deep inside the tears that I'm forced to cry
From deep inside the pain that I chose to hide
Just walk away Renée
You won't see me follow you back home
Now as the rain beats down upon my weary eyes
For me it cries

We move from outside circumstances to introspection. The hidden pain carries an echo of the Beatles’ “You’ve Got to Hide Your Love Away,” whose singer turns his face to the wall. As in the first verse, there’s a strange inaction: no verbs follow tears and pain, though the tears and pain must somehow, at some point, find their way out, whenever the singer was, or is, forced to cry. But it’s really the sky that cries in present time — sympathetic nature at work, supplementing or standing in for the singer’s tears. Compare Elmore James’s “The Sky Is Crying.”

*

And now there’s a lovely interlude for alto flute. “You’ve Got to Hide Your Love Away” closes with flute and bass flute. But Michael Brown said that the Mamas and the Papas’ “California Dreamin’” inspired the use of alto flute here.

*

Your name and mine inside a heart upon a wall
Still finds a way to haunt me, though they're so small
Just walk away Renée
You won't see me follow you back home
The empty sidewalks on my block are not the same
You're not to blame

The song saves its best, most poignant verse for last. In this bare cityscape, there are no trees in which to carve initials. A wall must do. Does the singer’s lost relationship achieve some permanence in this inscription? Or are the names written in chalk, to be washed away by the rain? The names of two little people don’t amount to a hill of beans in this crazy world, do they?

There’s an odd and almost certainly accidental shift in verb forms here, from singular to plural. The names are small, but your-name-and-mine-inside-a-heart still finds a way to haunt the singer. That fleeting singular verb marks the lone moment of togetherness in the lyric.

*

I love this song. In addition to The Left Banke and Four Tops performances, I recommend performances by Rickie Lee Jones, Cyndi Lauper and Peter Kingsbery (even with flubbed lyrics), and Linda Ronstadt and Ann Savoy.

[Talking Heads’ “And She Was” almost begins with and. The first word though is “Hey!” For Catullus, see Louis Zukofsky’s translation of VIII: “So long, girl. Catullus / can take it.”]

Cutout Sluggo

[Zippy, March 11, 2019.]

The devil has arrived to punish Zippy. But as Zippy explains, “Only people who believe in th’ devil can be hurt by th’ devil.” And besides, there’s cutout Sluggo. Much more effective than, say, cutout Mike Lindell.

Venn reading
All OCA Nancy posts : Nancy and Zippy posts : Zippy posts (Pinboard)

Today’s Mutts

Today’s Mutts is a beautiful homage to Krazy Kat. I’ve been reading Mutts for just a few years, but I can’t recall ever seeing Krazy or Ignatz in the strip before today.

Ashbery Trek

“Are you wearing some unusual kind of perfume, or something radioactive, my dear?”

Sounds like something from a John Ashbery poem. It’s Dr. McCoy (DeForest Kelley) speaking, in the Star Trek episode “Mudd’s Women” (October 13, 1966), which aired last night on MeTV. I know next to nothing about Star Trek, but I know a good found line when I hear it.

The answer to the question, spoken by Ruth (Maggie Thrett), a mail-order bride of sorts: “ No, I'm just me.” This episode has guest star Roger C. Carmel as Harry Mudd, who might be called an entrepreneur, or space pirate. The puffy shirt and earring give it away.

Today’s Saturday Stumper

Today’s Newsday Saturday Stumper, by Frank Longo, begins with a gimme, sort of: 1-Across, seven letters, “Short-notice helipad user.” But wait: how is that answer spelled? Either way, its last letter gave me 7-Down, nine letters, “Nation nearly entirely on renewable electricity.” And a letter in that answer let me guess with confidence at 32-Across, fifteen letters, “Professorial privilege.” Yeah, I’m all about the privilege. But everything else took a lot longer.

Some challenging and rewarding clues: 10-Down, four letters, “Okay request.” 11-Down, four letters, “What bagels are made without.” 25-Down, five letters, “Many minute hands.” And one that made me laugh: 60-Across, seven letters, “West Wing resignee of 2017.” There were so many!

No spoilers: the answers are in the comments.

Four years

[Brendan Loper, “Cartoon of the Day.” The New Yorker, March 8, 2019.]

Minutes seem like hours. Hours seem like days. Really the blues.