I long had a standard choice for a musical time machine (with a train ticket): 1928 or so, so that I could hear Louis Armstrong in Chicago or Duke Ellington in New York. At some point I added 1964 (with plane fare), to hear the Charles Mingus Sextet somewhere in Europe.
Three excerpts from “The Homeless, Tempest-Tossed,” the final episode of The U.S. and the Holocaust, rom Eleanor Roosevelt and the historians Nell Irvin Painter and Timothy Snyder.
It came as a jolt, even if it shouldn’t have, to see our friend Eva Mozes Kor for a split-second in the final episode of Ken Burns’s The U.S. and the Holocaust.
One of the great moments of grandparenthood (so far): reading Goodnight Moon to a granddaughter who pulled it from the shelf at bedtime and said she didn’t understand it.
I don’t expect an answer. But I take pleasure in writing to “my” representative. She won’t read it, but someone in her office might. And might then have something to think about.
The music that runs behind the opening credits of A Face in the Crowd (credited to Tom Glazer) is more or less a version of the Mississippi Sheiks’ “Sitting on Top of the World.” An apt choice for the story the movie tells.
I wonder if anyone ever imagined that this documentary series would begin airing four days after a governor lured refugees onto buses with promises of employment and housing, and one day after a crowd raised their right arms to the defeated former president in an index-finger salute. We dismiss such cruelty and madness at our peril.
Who gives a darn about an Oxford comma, as The New York Times might ask? That would be Thérèse Coffey — Liz Truss ally, head of the UK’s Department of Health and Social Care, and punctuation peever. Coffey hates the Oxford comma, is unashamed to say so, and wants it removed from her department’s written communications.