Contrasting Sounds by Wasilly Kandinsky.
It’s been an eventful week in New Orleans. The city celebrated its 300th anniversary and inaugurated our first woman mayor. I expressed my reservations about Mayor LaToya Cantrell on ye olde tweeter tube:
The slogans included “We are woke” and “We will be intentional.” I’m uncertain if that’s intentional grounding or an intentional walk. I dislike the latter baseball tactic as much as exclamation points. I still wish the new mayor well. Her propensity to mangle the language is good for the satire business, and there’s no business like giving a politician the business. I believe in taking care of business, every day, every way.
This week’s theme song, In The Still Of The Night, was written by Cole Porter in 1937 for the MGM movie musical, Rosalie. It was first sung by Nelson Eddy who was in a shit ton of hokey costume movie operettas with Jeanette MacDonald. I am not a fan of the duo but I am a die-hard Cole Porter fan as evinced by the frequent appearance of his work as Odds & Sods theme songs. I considered counting them but I’m feeling as lazy as the president* today. Where did all my executive time go?
We have two versions of the Porter classic for your entertainment. First, the elegant jazz-pop baritone Billy Eckstine aka the Voice of God.
Second, the Neville Brothers featuring some gorgeous sax playing by Charles Neville. He was an acquaintance of mine. Charles died recently at the age of 79. He was a lovely man with a kind word for everyone he met.
It’s time for a journey to Disambiguation City. Fred Parris wrote *his* In The Still Of The Night for his doo-wop group The Five Satins in 1956.
Yeah, I know, Boyz II Men also had a hit with the Parrisian song but I’m not going there. Instead, let’s jump to the break. Now where the hell did I put my parachute?