I’m black and blue from pinching myself to prove that the Insult Comedian’s electoral college victory really happened. It’s a real life nightmare but at least we had our first cold front of the season. My colleagues in Chicago and Madison would call it mildly chilly but it’s cold by New Orleans standards. Cold enough to plug-in the space heaters and turn on the central. I’m not crazy about the smell of burning dust on the vents but it ends fairly quickly. The cats, of course, love bathing in the rays of the space heaters.

We’ve all been so focused on the electoral disaster that not enough attention has been paid to the South Dakota pipeline controversy. I plead guilty myself but I stand with the Standing Rock Sioux. If you’re like me and feel the need to be educated on the dispute, here’s a link to a FAQ about the situation.

It’s a much better way to spend your time than thinking about the December 10th Gret Stet Senate run-off. Here’s my position on the Neely-Foghorn Leghorn race in two tweets:

Funny to hear out of state Dems calling Foster Campbell a great liberal with a great chance to win runoff. Neither is accurate.

— Shecky (@Adrastosno) November 21, 2016

Foster is a Blue Dog who's to the right of former Senator Mary Landrieu. He's a long shot in the runoff.

— Shecky (@Adrastosno) November 21, 2016

I forgot about two earlier ones, so make that four tweets:

I wish people who have lived in Louisiana for 5 minutes would stop telling me what a great candidate Foster Campbell is. I remember 2007.

— Shecky (@Adrastosno) November 19, 2016

I'm voting for Foster but doubt his chances in a December runoff. An incumbent Democratic Senator lost big in 12/2014.

— Shecky (@Adrastosno) November 19, 2016

Let’s move on to this week theme song. Make that theme songs as they’re two different tunes with the same title. The first Broken Arrow comes from Robbie Robertson’s eponymous first solo album. The second is a Neil Young/Buffalo Springfield numbah that shows how influential Sgt. Pepper was even with roots rockers.

We’ll put the broken arrow back in the quiver when we get the chance but it’s time for our first segment. Hint: it has something to do with a songwriter of Native-American heritage.

Robbie Robertson’s Testimony: The former Band guitarist has long been one of rock music’s best storytellers. He recently published his memoirs, Testimony. He sat down with Esquire’s Jeff Slate to discuss the book, Bob Dylan, the 40th Anniversary of The Last Waltz and his often rocky relationship with his former band mates of whom only keyboard wizard Garth Hudson still survives.

As a writer, I found this passage of particular interest:

Did you find similarities in the way you write music and the way you wrote the book?

Yeah, I think for me the voice is quite similar. The process is extremely different and writing this book was maybe the hardest thing I’ve ever done. This isn’t just slamming down a bunch of words. This is writing a book! The detail! Writing songs is where we’re giving you an impression of a story. When you’re writing a book, you’re writing the story. There’s no skipping over stuff like you can in a song. It’s an art to be able to boil things down, and convey things with a sound and a mood. I love both things, but now, after writing this, I have the fever and I’m gonna write the next volume to it. In fact, it might be a trilogy!

I’m looking forward to reading the book. I wonder how deep Robbie goes into his issues with Levon Helm. I hope he clears the air, but since the major problem was money I have my doubts. I regret they never worked things out but as John Lennon said: “life is what happens when you’re busy making other plans.”

Before moving on, here’s one of Robbie’s lesser known masterpieces.

In the interview, Robbie mentioned working on music for the new Scorsese film, let’s move on to a story from tomorrow’s NYT Magazine.

The Passion of Martin Scorsese: It turns out that Marty’s passion project has been to bring The Silence, a novel about Catholic missionaries in Japan by Shusako Endo, to the big screen. It may sound like an odd project to those of you who think of Scorsese as a guy who makes gangster films but religion has always played a role in his films. It sounds like an interesting project. Paul Elie has the details.

I’m keeping it brief this holiday weekend so let’s dive into our next piece, which is about Scorsese’s fellow Italian-American filmmaker, Francis Ford Coppola. I’ll let the NYT’s link icon thing herald the next segment:

I’ve seen The Godfather more times than I care to admit. Actually, I lost count long ago. The first two installments are close to perfect, and 3 would have been much better if Winona Ryder had played Michael Corleone’s doomed daughter. Winona’s fall from grace happened right before shooting and Sofia Coppola stepped in. It’s a pity, there’s much to like about the movie but, let’s just say, Sofia is a better director than actress.

Coppola sat down with Timesman Jacob Bernstein to talk about his Godfather book. Here’s a slice of the pie:

When was the last time you watched “The Godfather”?

Oh, I don’t know, years ago. For me, the memory of “The Godfather” brings great unhappiness. That movie took 60 days, and it was miserable, not to mention the months after of jockeying over the cut. So my reaction is usually of panic and nausea, but that has nothing to do with how it is for the audience.

Something I liked about reading your book was finding out how methodical you were. There’s a presumption that all great art is the result of a boundless imagination. This book shows that it’s a slog.

It was insecurity. I was so young. I was hired because I was young. A lot of important directors turned it down. Elia Kazan turned it down. Costa-Gavras turned it down, a whole bunch of important directors. So the philosophy was, let’s get someone young, who could presumably be pushed around. Also, I was Italian-American, and that was good, because it meant if the studio got flak they could simply say, “But it was an Italian-American director.”

It’s a pity that Coppola has been the Orson Welles of his generation instead of thriving like Scorsese. If you asked me back in the day who would have been more successful, my money would have been on Coppola. Sorry, Marty. It’s another thing I’ve been wrong about. Francis is a helluva winemaker though.

I’ve already done a list of my favorite Scorsese movies, so we’ll try something different. My ten favorite supporting characters in The Godfather trilogy in no particular order. I’ve excluded the males in the Corleone family from consideration. Sorry, Fredo.

1. Talia Shire as Connie Corleone Rizzi.
2. Abe Vigoda as Tessio.
3. Richard Castellano as Clemenza
4. Michael Gazzo as Frankie Pentangeli in 2.
5. Lee Strasberg Hyman Roth in 2.
6. Eli Wallach as Don Altobello in 3.
7. GD Spradlin as Senator Geary in 2
8. Richard Conte as Don Barzini.
9. Sterling Hayden as Capt. McCluskey.
10. Gastone Moschin as Fanucci in 2.

One flaw of the Godfather movies is the paucity of interesting female characters. David Chase did better in that regard in The Sopranos. Come on down, Janis Soprano and Dr. Melfi.

It’s time to make an offer you can’t refuse, and move on to our final segment.

Saturday Classic: I usually post albums in this space but I had never seen this half-hour Kinks set before. It’s Kinktastic, especially the Kick horns who have nothing to do with Athenae’s kiddo as far as I know.

That’s it for this week. I’ll give the greatest Gret Stet populists of them all the last word: