Sunday, December 22, 2013

O Brother, Where Art Thou?



Sorry for the picture quality. I've spent much of the day trying to upload a better-
quality subtitled copy, without success. Feel free to borrow our DVD.

Here's the handout we used when we saw the film:



Homer's The Odyssey forms the basis of this comedy, set in the American state of Mississippi during the depression years. Joel Coen and Ethan Coen wrote, produced, and directed the film.

White-collar criminal and smooth talker Everett Ulysses McGill (played by George Clooney), dim-witted Delmar (Tim Blake Nelson), and volatile Pete (John Turturro) are on a chain gang, breaking rocks as part of their prison sentences at Parchman Farm, Mississippi's notorious state penitentiary. Everett persuades the other two to break out of prison with him by telling them that there are $1.2 million hidden at his home, the proceeds from an armored truck robbery. Time is of the essence, however; the hiding place will soon be flooded by a new Tennessee Valley Authority hydroelectric dam.

As the three fugitives try to avoid the police and their dogs, a blind seer (Lee Weaver as Homer's Tiresias) gives them a ride on his handcar, and tells them that they'll indeed find a great fortune, but not the fortune that they are looking for. On their way to Everett's hidden treasure, they witness a full-immersion baptism (two of them take the opportunity to be baptized); encounter the legendary bank robber Baby Face Nelson (Michael Badalucco) as he tries for a record number of bank robberies in a day; and give a ride to Tommy, a blues singer who has just sold his soul to the devil. With Tommy, they “sing into a can” and accidentally make a hit record as the Soggy Bottom Boys. Later, they encounter three Sirens by the riverside, who seem to have bewitched Pete; they come across a greedy Bible salesman, Dan Teague (John Goodman); run into Everett's estranged wife Penny (Holly Hunter), who has told his daughters that her husband was run over by a train; rescue Tommy from a ritual lynching; and get enmeshed in an election campaign between the incumbent governor and flour magnate Pappy O'Daniel (Charles Durning) and supposed reformist candidate Homer Stokes (Wayne Duvall). All along, they are constantly chased by a ruthless sheriff and his bloodhound.

The film tries to recreate the feel of its period, but it doesn't pretend to present history accurately. The only actual historical figure portrayed in the film is Baby Face Nelson--however, his episodes in this film are pure fiction, and in any case he died a couple of years before the events in this film supposedly took place.
  • "Po’ Lazarus" [opening song]
  • If we take off through that bayou...
  • I’m votin’ for yours truly.
  • gainful employment
  • a road fraught with peril
  • I'm supposed to shoot folks servin’ papers.
  • I nicked the census man.
  • They foreclosed on cousin Bishop.
  • I'm afraid she’s startin’ to turn.
  • That winds up the Pass The Biscuits Pappy O'Daniel Flour Hour.
  • we’re in a tight spot.
  • Pete’s cousin turned us in.
  • I’m gonna kill you, Judas Iscariot Hogwallop!
  • Go back home and mind your pa!
  • I reckon it’ll fetch us enough for a good auto voiture
  • Who was fixin’ to betray us.
  • Delmar’s been saved.--I [have] been redeemed. It’s the straight and narrow from here on out.
  • ... including that Piggly Wiggly I knocked over in Yazoo.
  • I’m not here to make a record, you dumb cracker.
  • Ain’t you gonna press the flesh, Pappy?
  • Don’t tell me how to court the electorate.
  • Greet all the swells.
  • ...your share of that dough...
  • some of your folding money has come unstowed.
  • Grab the tiller, will you, buddy?--Hand me that chopper.
  • Jesus saves, but George Nelson withdraws!
  • I just don’t think it's right keeping him under wraps
  • It's a judgment on Pete’s character.
  • Well, the two of us was fixin’ to fornicate.
  • the word of God
  • that sumbitch Stokes would win in a walk!
  • How we gonna run reform? We're the incumbent!
  • Weepin’ Jesus on the cross. That’s it! Start drafting my concession speech right now.
  • not given to pointless sentimentality.
  • The great state of Mississippi cannot afford four more years of Pappy O’Daniel! Four more years of cronyism! Nepotism! Rascalism! Of service to the interests!
  • Enjoy your picture show.
  • [Give the] Devil his due.
  • Was it the one branch [of Woolworth’s Store] or all of them?
  • I spilled my guts about the treasure.
  • I was sent up for practicing law without a license.
  • And our women, let’s not forget those ladies, y’all, looking to us for protection from darkies, from Jews, from papists, and from all those smart-*** folks say we come descended from monkeys. [Reference to the “mission” of the Ku Klux Klan]
  • The devil's come to collect his due.
  • if you just stick with me, I got a plan.
  • But, Pappy, they's [they’re] integrated.
  • interfered with a lynch mob in the performance of its duties.
  • And I have it from the highest authority that that Negro sold his soul to the devil!
  • There ain't no accounting for taste.
  • he was harbouring a hateful grudge
  • wants to cast the first stone.
  • by the power vested in me, these boys is [are] hereby pardoned!
  • going on relief.
  • Looks like the chair for George Nelson!
  • You have eluded fate and you have eluded me for the last time.
  • I know I've been guilty of pride and sharp dealing.
  • We're gonna see a brave new world where they hook us all up to a grid.

Friday, December 20, 2013

Spirituals that became civil rights songs

Yesterday in class, we heard several songs rooted in African-American Christian tradition that became anthems of the U.S. civil rights movement. Here are the songs that we heard:


Listen or download Woke Up This Mornin' for free on Pleer


Listen or download Spiritual Trilogy-Oh Freedom for free on Pleer


Listen or download Joan Baez We Shall Overcome for free on Pleer


Here are the words:

Woke Up This Morning, Rev. Osby, additional lyrics by Robert Zellner
(as performed by Ruthie Foster)

Woke up this morning with my mind stayed on freedom (3x)
Hallelu, hallelu, hallelujah!

Walking and talking with my mind stayed on freedom (3x)
Hallelu, hallelu, hallelujah!

Singing and praying with my mind stayed on freedom (3x)
Hallelu, hallelu, hallelujah!

Teaching and preaching with my mind stayed on freedom (3x)
Hallelu, hallelu, hallelujah!

Ain’t no harm to keep your mind stayed on freedom (3x)
Hallelu, hallelu, hallelujah! Hallelu, hallelu, hallelujah!


Spiritual Trilogy, traditional spirituals performed by Odetta

Oh, freedom, oh freedom, oh freedom over me,
And before I’d be a slave, I’d be buried in my grave,
Go home to my Lord and be free.

No more mourning, no more mourning, no more mourning over me,
And before I’d be a slave, I’d be buried in my grave,
Go home to my Lord and be free.

Oh, freedom, oh freedom, oh freedom over me,
And before I’d be a slave, I’d be buried in my grave,
Go home to my Lord and be free.

* * *

Come go with me to that land, come go with me to that land,
go with me to that land where I’m bound (2x)

There’s no kneeling in that land, there’s no kneeling in that land,
No kneeling in that land where I’m bound (2x)

Won’t you come and go with me to that land, come and go with me to that land,
Go with me to that land where I’m bound, (2x)

* * * 

I’m on my way and I won’t turn back, I’m on my way and I won’t turn back,
I’m on my way and I won’t turn back,
I’m on my way, thank God, I’m on my way.

Gonna ask my brother, won’t you come with me, gonna ask my brother, aren’t you going with me?
I’m gonna ask my brother, won’t you go with me?
I’m on my way, thank God, I’m on my way.

Gonna ask my captain, won’t you let me go? Ask my captain, won’t you let me go?
I’m gonna ask my captain, won’t you let me go?
I’m on my way, thank God, I’m on my way.

If he says no no no no, I’m gonna go anyhow, if he says no, I’m gonna go anyhow.
And if he says no, gonna go anyhow,
I’m on my way, thank God, I’m on my way.


We Shall Overcome, Charles Albert Tindley, adapted by Lucille Simmons, Zilphia Horton, Guy Carawan, Frank Hamilton, and Pete Seeger. (We heard a version by Joan Baez.)

We shall overcome, we shall overcome, we shall overcome someday.
Oh, deep in my heart, I do believe, we shall overcome someday.

We’ll walk hand in hand, we’ll walk hand in hand, we’ll walk hand in hand someday,
Oh, deep in my heart, I do believe, we shall overcome someday.

We shall live in peace, we shall live in peace, we shall live in peace someday,
Oh, deep in my heart, I do believe, we shall overcome someday.

Black and white together, black and white together, black and white together someday,
Oh, deep in my heart, I do believe, we shall overcome someday.

We are not afraid, we are not afraid, we are not afraid today,
Oh, deep in my heart, I do believe, we shall overcome someday.

The whole wide world around, the whole wide world around, the whole wide world around someday,
Oh, deep in my heart, I do believe, we shall overcome someday.


Joan Baez performed this song at the U.S. White House in 2010:


Thursday, December 12, 2013

Leonard Cohen's "Hallelujah" and Rea Garvey's combined version

Audio:

Rea Garvey (newest version)

Leonard Cohen (1984)
Amazon.com purchase link

Leonard Cohen (1988)
Amazon.com purchase link

Words: The texts of the two versions of Leonard Cohen's song are here...

First version (1984)
Second version (1988)

Read more about this song and its many versions here on Wikipedia.

Look below the videos for the combined words as we heard them in class.

Video 1: Here's Leonard Cohen singing his own song:



Video 2: And here he talks a bit about the song, but not about what it means!



I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this, the fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah

Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you to a kitchen chair
She broke your throne, she cut your hair
And from your lips she drew the Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah

Baby, I've been here before
I know this room, I've walked this floor
I used to live alone before I knew you
I've seen your flag on the marble arch
Love is not a victory march
It's a cold and it's a broken Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah

There was a time you let me know
What's real and going on below
But now you never show it to me, do you?
And remember when I moved in you?
The holy dark was moving too
And every breath we drew was Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah

Maybe there's a God above
And all I ever learned from love
Was how to shoot at someone who outdrew you
It's not a cry you can hear at night
It's not somebody who's seen the light
Its a cold and its a broken Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah ….

Wednesday, December 11, 2013

Genius of the Cello

Scenes from the BBC documentary
Rostropovich: Genius of the Cello


"Of course we know our father's voice."
Re-experiencing the Shostakovich cello concerto premiere.
Shostakovich and Rostropovich: "They were chalk and
cheese, but their relationship was surprisingly close."
"But because we suffer...."
"He would kiss anything he could kiss."
Xavier Phillips on Rostropovich's ideal endless bow.

The 301-401 group of the evening division will see this film over the next couple of classes. I hope you will like it--and if you are not already familiar with Rostropovich, you will look for more music by this amazing man and his "three kings," Prokofiev, Shostakovich, and Britten.

Here are the discussion questions we will be using. You can see the film itself online--see the bottom of this page. However, in class, we will use a version that has subtitles.
  1. Why are cellists more beautiful, according to Mstislav Rostropovich?
  2. What do cellists do better than violinists and pianists?
  3. What experience does Rostropovich's daughter Elena report concerning the radio?
  4. When he plays quietly, what happens to the people in the concert hall?
  5. Three famous composers wrote music for Rostropovich. Who were they? What does he anticipate will happen after he dies?
  6. On August 21, 1968, during the Soviet Union's intervention in Czechoslovakia, what was the question facing the concert organizers at the Royal Albert Hall? What did M.R.'s wife say happened at the start of the concert?
  7. According to the narrator, what is special about the cello?
  8. Why was Prague important in Rostropovich's life? (Three reasons at least!)
  9. When asked about his four-day courtship of his wife Galina, what was his response?
  10. Mischa Maisky wasn't playing Tchaikovsky's Rococo Variations, especially the change from C-minor to C-major,  to Rostropovich's satisfaction. What "cure" did he advise Maisky to use?
  11. How did he understand the use of the bow? What toy did he use to explain his ideal bow? What is the bow's weak point?
  12. What did Rostropovich do especially well, according to the conductor Seiji Ozawa?
  13. When applying to the Soviet authorities to let his wife accompany him on overseas concert tours, he gave an unusual explanation. How was it different?
  14. Why was Prokofiev criticized by Soviet critics?
  15. What was the first risk that Rostropovich took in his career?
  16. According to Xavier Phillips, what is the risk involved with meeting an idol? In his own case, what happened? How did he describe Rostropovich?
  17. Awaiting their master class, how did the students know that Rostropovich was near? What were the first two signs? What does "on tenterhooks" mean?
  18. Why did Rostropovich say that there's no shame in weeping from Rakhmaninov's music? What, apparently, was Natalya Gutman's problem?
  19. What was the meaning of the analogy of the beautiful suitcase?
  20. In what ways did Rostropovich express his love of life?
  21. Why was the discovery of Haydn's cello concerto in C so important, according to Rostropovich? What will he do when he gets to heaven?
  22. Seiji Ozawa uses the metaphor of "soldier" to describe Rostropovich's mission upon receiving a new cello score. His collaboration with which composer illustrated this mission? What very unusual sort of meeting did they have? Why did the narrator say that these two men were like "chalk and cheese"?
[break at 44:46]
  1. What was unusual about Rostropovich's fingers? What problems did Rostropovich avoid by having such sensitive fingers?
  2. What was it like to be a teenage daughter with Rostropovich for a father? What did he do with their new jeans?
  3. Why was Henri Dutilleux worried three weeks before the premiere of his new work for cello?
  4. Why did Rostropovich play every work written for him at least once? Were they all masterpieces? What did he think would happen eventually?
  5. What was Benjamin Britten's reaction to Rostropovich's playing? How did it affect him personally?
  6. How did Rostropovich introduce and explain his guest Alexander Solzhenitsyn to his daughters?
  7. According to Rostropovich, what was the best step he ever took in his life?
  8. What was Witold Lutoslawski describing in the cello concerto that he wrote for Rostropovich at the start of Rostropovich's troubles? What do the brass entries represent?
  9. Rostropovich played Bach's Sarabande as the encore at the famous concert of August 21, 1968. What was his attitude about this piece and its performance in public? What happened when Chionofuji's daughter died?
  10. How did Rostropovich get into Russia without a visa? What was Galina's response to this adventure?
  11. What image did Rostropovich use to express the idea that he would now help a young cellist, Xavier Phillips, to play with the insight and weight of an older musician?

Rostropovich: Genius of the Cello HQ from Vaughan Matthews on Vimeo.

Tuesday, December 10, 2013

Groups 201-204: "You just received a letter from your English-speaking pen friend..." WHO?

Please print out (or simply follow the format on paper or in e-mail or message)....



You know the pattern already. Now you can play the role of Olga Afanasyeva and her colleagues: write the same kind of original letter "from your English-speaking pen friend" that you would normally get as the homework assignment. You are "Tom" or "Jack" or "Julie."
  1. YOU decide "who" the letter is from.
  2. YOU decide what questions he or she is asking.
  3. YOU decide the big news for the reader to ask questions about.
The best examples will be used as future homework assigments!

Note that you don't have to answer this letter right now ... the assignment is to write the original "letter from your English-speaking pen-friend."

Please give me your "letter from your English-speaking pen friend" by Wednesday or Thursday, December 25 or 26.

Any questions? Send me a note.

Friday, December 6, 2013

Group 501: Cherry Picker, or "Boys get away with everything"

Here is the Garrison Keillor story we used yesterday in Group 501.

"Boys get away with everything."

Truck-mounted cherry picker (Wikimedia Commons)
Cherry Picker
Amazon.com purchase link


Selected phrases from Garrison Keillor's story:

Well, it's been a quiet week in Lake Wobegon, my home town...

... It looks like that fresh snow is going to stay around for a while, which is just to our liking....

... all the front yards in Lake Wobegon...

...Coming under the lovely spell of winter ... winter come s along and brings us to our senses...
You cannot impose your own ambitious schedule on winter...

...Shot about 15% the first half and not much better the second half... their record now on the season is 9 and 6...

She'd [Lennie Voss] been suspended for two games for being at a party last week at which some boys had bought in some alcohol--beer, I guess...

And she went into the principal's office--Mr. Halverson--this last week and she said, “This is not fair. You would not do this to a boy on the boys' team... Somebody said they had a six-pack; I didn't know, I wasn't going to go ask 'em....”

Mr. Halverson gave his school principal speech about how it was nothing personal... rules are enforced, no matter what....

And they really do need a leader because their coach is such a loser.

There is no such thing as second- or third-string....

She sat in the stands and watched the game on Friday against St. Margaret.

If I had been the star of the team, and I had to sit it out, I would be secretly pulling for them to lose by a large margin. That's the sort of person I am.

You couldn't tell it to look at him now....

“A bunch of broads with big hairy legs, that's who these feminists are... .”

And right around when she was thirteen-fourteen years old, and she was on the junior high team, and there was a little dispute over when the boys' team should practice and when the girls' team might be allowed to come in and use the gymnasium, and right there, in about a day and a half, Arnold Voss became a militant feminist.

“Boys get away with everything! ”

...The Abominable Snowman, the great Beast of the Blizzard in the winter of '76, who terrorized and wreaked damage and destruction across a good section of western Minnesota...

... This big Mack Truck with a cherry picker on it ...

... They had to head for home in their big Mack truck, and so they folded up the cherry picker and put everything back together and they headed north towards Lake Wobegon into the teeth of this blizzard....

... a complete white-out, you couldn't tell up from down...

... Arnold, who was driving, had to down-shift and the truck was struggling ...

... The cherry picker had come way up into the air. There was a tarp they had wrapped around the control levers at the base of it, and a corner of it had gotten loose, and evidently it was flapping, and every time it flapped, it got hold of a lever, and it raised that cherry picker.

They had been trying to haul tons of copper down the road!

“You back up as slow[ly] as you can back up. ”

Then he cut some alpaca out of the lining of his jacket. … He roughed up his hair.

He pounded on it [the door], and he clawed at it....

... And they saw the phone lines all dragged down, and then it made sense.To accomplish this kind of damage would take a creature about as big as would fit these footprints.

He was dubious himself but he said a lot of people there had seen it!

It made the Minneapolis paper.

That town went downhill from then on. ... He'd see houses boarded up, "For Sale" signs up.

a bad case of the jitters....

Arnold tortured himself with these thoughts for years.

...she gets kicked off the team for two days, and he goes scot-free.

... and that evens up everything.

...and at the same time you have license to complain about.

That's the news from Lake Wobegon, where all the women are strong, all the men are good-looking, and all the children are above average.

Thursday, December 5, 2013

Rise Against, "Swing Life Away"

Thanks to Daniil Zevakin for suggesting this song.



Audio track:

Listen or download Rise Against Swing Life Away for free on Prostopleer

Amazon.com purchase link

Written and composed by Tim McIlrath, Neil Hennessy

Am I loud and clear or am I breaking up?
Am I still your charm or am I just bad luck?
Are we getting closer or we just getting more lost?
I'll show you mine if you show me yours first
Let's compare scars I'll tell you who's is worse
Let's unwrite these pages and replace them with our own words

[Chorus]
We live on front porches and swing life away
We get by just fine here on minimum wage
If love is a labor I'll slave 'til the end
I won't cross these streets until you hold my hand

I've been here so long I think that its time to move
The winter's so cold summer's over too soon
Let's pack our bags and settle down where palm trees grow
And I've got some friends some that I hardly know
We've had some times I wouldn't trade for the world
We chase these days down with talks of the places that we will go

[Chorus]
We live on front porches and swing life away
We get by just fine here on minimum wage
If love is a labor I'll slave 'til the end
I won't cross these streets until you hold my hand
until you hold my hand

I'll show you mine if you show me yours first
Let's compare scars I'll tell you whose is worse
Let's unwrite these pages and replace them with our own words

[Chorus]
We live on front porches and swing life away
We get by just fine here on minimum wage
If love is a labor I'll slave 'til the end
I won't cross these streets until you hold my hand

swing life away
swing life away
swing life away
swing life away