Archive for April 30th, 2019

Hoplobibilophilia.

Tuesday, April 30th, 2019

My birthday was a week ago last Saturday (April 20th).

You know what this means, right?

Right. I’ve been buying books.

I ordered some things off of my Amazon wish list, since there were several items available used in the right combination of price and condition. Right now, I’m reading Tuchman’s Practicing History: Selected Essays: since that’s a collection of shorter work, I’m also planning to start Five Came Back: A Story of Hollywood and the Second World War and alternate the two for variety.

(And, yes, I kind of want to see the Netflix series based on Five Came Back. Between that and “The Highwaymen”, I’m really tempted to get a Netflix trial, even though I refuse to pay for television.)

(Other things that were in the Amazon batch: The Scientific Sherlock Holmes: Cracking the Case with Science and Forensics, which won an Edgar a few years back. The Pigeon Tunnel: Stories from My Life. The Life You Save May Be Your Own: An American Pilgrimage, for your obligatory Catholic content (CathCon?). More seriously, I like a lot of O’Connor, I know Rod Dreher is a big Walker Percy fan and I’d like to understand why, and I’m kind of interested in Merton. (Though, going back to Mr. Dreher again, I’m not sure now that I want to read Merton.) And The Infernal Library: On Dictators, the Books They Wrote, and Other Catastrophes of Literacy.)

Mike the Musicologist came up Friday night and we spent the weekend running around. We had a very good joint birthday dinner (Lawrence‘s is a few days before mine) at Lonesome Dove.

After dinner, we went back to Lawrence‘s and watched the 1943 “Stormy Weather“. “Stormy Weather” sort of presents itself as a loose “biography” of Bill “Bojangles” Robinson (renamed “Bill Williamson” for the film). In truth, the biographical elements are an extremely thin skeleton…upon which is hung a whole bunch of fantastic musical performances by Robinson, Lena Horne, Cab Calloway, Fats Waller, the Nicholas Brothers, and others.

(I love this entry from Wikipedia about the Nicholas Brothers: “Gregory Hines declared that if their biography were ever filmed, their dance numbers would have to be computer generated because no one now could emulate them.“)

Unfortunately, our plans for Sunday fell through (they caught the kangaroo) but we were able to spend the afternoon talking about kitchen remodeling with some friends of ours. Yes, this is the exciting life of a 54-year-old.

I took Monday off (another perk of being a full-time Cisco employee: you get a free day off on or around your birthday) and went running errands with Mom. This involved stopping at both the Round Rock and central Half-Price Books locations. And HPB sent me a 15% off your total purchase coupon for my birthday. And it just so happened that they had a whole bunch of interesting gun books…

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Obit watch: April 30, 2019.

Tuesday, April 30th, 2019

These are mostly for the historical record at this point, since I took a few days off. (More on that later.)

John Singleton. THR.

Richard Lugar, former Indiana Senator.

Manuel Luján Jr., former Congressman from New Mexico and Secretary of the Interior under George H.W. Bush.

Jo Sullivan Loesser, actress:

After paying her dues as an understudy and a member of the chorus, she created the role of Polly Peachum in a concert version of Marc Blitzstein’s acclaimed translation of Kurt Weill and Bertolt Brecht’s “The Threepenny Opera” in 1952. She reprised the role when a full-fledged theatrical version opened in 1954 at the Theater de Lys in Greenwich Village.

She also co-starred in “The Most Happy Fella”, which is significant because she ended up marrying Frank Loesser and left acting. After Mr. Loesser’s death in 1969, she became the keeper of his legacy.

She raised their two daughters and, after Loesser died of lung cancer at 59 in 1969, she managed his music publishing company, Frank Music, until it was bought by CBS in 1976. (It was subsequently sold to Paul McCartney, but she retained creative control over her husband’s theater music and productions for Frank Loesser Enterprises.)
In 1977, feeling free of business obligations and with her daughters grown, Mrs. Loesser attended a party where Morton Gottlieb, a theatrical producer, urged her to return to singing — specifically, to perform her husband’s repertoire at the Ballroom, a restaurant and cabaret in SoHo.
She did, billed as Jo Sullivan, and her comeback was triumphant.