It wasn’t really so much a flash mob as it was a flash presence. It had sounded a great idea when the local orchestral society had discussed doing it.
“What about Bolero?” Heidi had suggested.
“Wonderful choice,” Peter replied and they were off. They spent the next three rehearsals going over and over the same piece.
Finally the appointed day arrived, and Heidi was off early to plot out her seat at the airport. Twenty minutes later Tom Weaver showed up as well and the pair waited for the rest of the orchestra to arrive. They waited. They waited some more.
Finally, they started to play the piece the best they could in the domestic departure lounge. The show must go on they reasoned, though they were quite annoyed at the others.
Meanwhile, a enthralled crowed enjoyed the “spontaneous” rendition of Bolero which was played by nearly an entire orchestra in international arrivals.
Jim Adams’ challenge is to “select two songs and discuss some type of relevant association between them.” I have chosen to go with Gordon Lightfoot’s Protocol and Smith and Sinclair’s Again.
Lightfoot’s Protocol is from his 1976 Summertime Dream album which reached at Number 1 in Canada and Number 12 on the US Billboard chart. The sond goes through a list of several catagories of people who make fatal decisions, such as sea captains and generals who seek “mermaid’s tale” or victory all at too great a cost. By following “Protocol” lessons never seem to be learned and the cycle continues.
Who are these ones who would lead us now To the sound of a thousand guns Who’d storm the gates of hell itself To the tune of a single drum?
Where are the girls of the neighborhood bars Whose loves were lost at sea In the hills of France and on German soil From Saigon to Wounded Knee?
Who come from long lines of soldiers Whose duty was fulfilled In the words of a warrior’s will And protocol
Where are the boys in their coats of blue Who flew when their eyes were blind? Was God in town for the Roman games Was he there when the deals were signed?
Who are the kings in their coats of mail Who rode by the cross to die? Did they all go down into worthiness? Is it wrong for a king to cry?
And who are these ones who would have us now Whose presence is concealed Whose nature is revealed In a time bomb?
Last of all you old sea dogs Who travel after whale You’d storm the gates of hell itself For the taste of a mermaid’s tail Who come from long lines of skippers Whose duty was fulfilled In the words of a warrior’s will And protocol
Again is from Songs For The Betrayed World which reflects on and furthers awareness of the Holocaust. The song is haunting and asks key questions, and like Lightfoot’s song in a list. The song notes that “you said Dachau would never happen again . . . since then Mỹ Lai, since then [the killing fields] Kampuchea, since then ethic cleansing and paralysis.”
I could not find a printed copy of the full lyrics of the song, but a listen will clearly show the parallels with Protocol, and that we never learn from our darkest deeds.
Jim Adams has challenged us to write about backgound or “elevator” music. One piece that I have liked, and that I have heard as instrumental background music is “Misty.” Ella Fitzgerald’s version is wonderful and calming. I have attached it to this post. I wasn’t able to get a true “elevator” version to play alongside it, but I have linked the composer’s version below:
The song (piece) was written in 1954 by pianist Erroll Garne as an instrumental. The lyrics were added a few years later and it was performed by Johnny Mathis reaching number 12 in the US. It has also been recorded Ella Fitzgerald (as attached) and Frank Sinatra.
Thank you I thank you so much
Look at me, I’m as helpless as a kitten up a tree And I feel like I’m clingin’ to a cloud I can’ t understand I get misty, just holding your hand Walk my way And a thousand violins begin to play Or it might be the sound of your hello That music I hear
I get misty, whenever you’re near You can’t see that you’re leading me on? And it’s just what I want you to do Don’t you notice how hopelessly I’m lost That’s why I’m following you On my own
When I wander through this wonderland alone Never knowing my right foot from my left My hat from my glove I’m too misty, and too much in love Too misty And too much In love
Jim Adams’ challenge this week is to write about a song that has words that express different ways of saying goodbye. I recently rewatched Ferris Bueller’s Day Off which contained Wayne Newton’s version of Bert Kaempfert’s song Danke Schoen. The version reached number13 on Billboard‘s pop chart, and third on the easy listening chart. It’s place in the 1986 movie was a spring back in the song’s popularity as well. Auf wiedersehen and thank you.
Danke schoen, darling, danke schoen Thank you for all the joy and pain Picture shows, second balcony Was the place we’d meet Second seat, go Dutch treat, you were sweet
Danke schoen, darling, danke schoen Save those lies, darling don’t explain I recall Central Park in fall How you tore your dress What a mess, I confess, that’s not all
Danke schoen, darling, danke schoen Thank you for walks down Lover’s Lane I can see hearts carved on a tree Letters intertwined for all time Yours and mine, that was fine
Danke schoen, darling, danke schoen Thank you for seeing me again Though we go on our separate ways Still the memory stays for always
My heart says danke schoen Danke schoen, oh darling, danke schoen I said thank you for, hmm, seeing me again Though we go on our separate ways Still the memory stays for always
My heart says danke schoen Danke schoen, auf wiedersehen Danke schoen