JOE DOLCE NEWSLETTER
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Friday May 15th, 2009
L’ Agrodolce Vita
"I like to think of my behavior in the sixties as a learning experience.
Then again, I like to think of anything stupid I've done
as a learning experience. It makes me feel less stupid."
P. J. O'Rourke
Hi folks,
The great news this week is the new British poet laureate, Carol Ann Duffy. What an exciting writer! And, much like Barrack Obama’s presidency in the US, it is a watershed event for the laureate post as well. As Germaine Greer said in her open letter to Duffy- ‘... not only the first woman to hold this thankless job, but the first Scot, the first bisexual, the first lesbian, the first single mum, the first Catholic and, for all I know, the first Capricorn. If you'd been black and disabled, you'd have ticked all the boxes.’
http://www.guardian.co.uk/books/2009/may/11/germaine-greer-carol-anne-duffy
One of Duffy’s most colourful ideas is The World's Wife: Poems, where we hear the voices of Mrs. Midas, Queen Kong, Frau Freud, Mrs Lazarus, Mrs Aesop, Mrs Darwin, Mrs Tiresias, Queen Herod, Pilate's Wife, Mrs. Sisyphus, Mrs. Faust, Mrs. Quasimodo, Pygmalion's Bride, Mrs. Rip Van Winkle, Mrs. Icarus - to say nothing of 'the Devil's Wife' herself - poems written from the perspectives of the wives, sisters, or girlfriends of famous — and infamous — male personages.
Some of you might recall my Songwriting Workshop Number 15 in February last year where I used my own song ‘Orpheo, Don’t Look Back’ to demonstrate how the Orpheus-Eurydice myth might sound from Eurydice's point of view, if she had had a voice:
'Orpheo, Don't Look Back’
http://members.iinet.net.au/~dwomen/files/nlFeb808.html#anchor3241376
Here's a link to Carol Ann Duffy’s poem, Mrs Midas:
http://www.trinity.cumbria.sch.uk/englishdep/midas.html
And an interview with her:
http://www.guardian.co.uk/books/video/2009/may/01/carol-ann-duffy-poet-laureate
STOP THE SRI LANKAN BLOODBATH
A modern day bloodbath is unfolding on the small island of Sri Lanka, where a thousand civilians were reported killed over the weekend and tens of thousands of innocent people are literally at risk of being killed this week, as government and rebel forces battle it out over the last small patch of rebel held territory.
Now that the US has begun to increase its pressure, the solution to stopping this humanitarian disaster lies with Sri Lanka’s key donor and closest partner in the region -- Japan. It has powerful political and economic influence over the Sri Lankan government and a swing vote at the UN Security Council, which up until now has turned a blind eye to this mounting catastrophe.
Send a message to the Japanese Foreign Minister, who is deciding his government's next steps. Japan cares about its international reputation and a flood of messages from abroad would encourage them to act. If Japan moves then the Sri Lankan government will be forced to immediately respond to protect civilians:
http://www.avaaz.org/en/stop_the_bloodbath
Abruzzo Earthquake Appeal
Local artists are banding together here in Victoria to raise funds for the 48,000 people made homeless by last months earthquake in the city of L’Aquila, Italy.
I will be joined by Bohemian Nights, La Voce Della Luna, Kavisha Mazzella, Kiki Wilmot, Ernie Gruner and Phil Carroll, Gianni Marinucci, comedy with The Signoras, The Connies and Coro Casa D'Abruzzo with Roberto De Sanctis. The MC will be Laura Lattuada.
The benefit will take place on:
Sunday May 24
Coburg Town Hall, VIC
Doors Open at 5pm
“Australians and people in Moreland have been touched by images of this earthquake. Many of us have family connections to that part of Italy. We are pleased to have the assistance of so many generous artists to raise money for the people affected,” said Joe Caputo, Commissioner of the Victorian Multicultural Commission.
The event is being promoted by members of the community in social clubs, live music venues and online using new media tools such as Twitter and Facebook.
Tickets will cost $20, or $10 for pensioners at the door. All money will go to the Abruzzo Earthquake Appeal.
Along with the performers listed above this event is being made possible by the generous assistance of Moreland City Council, Kavisha Mazzella, Across the Borders and the office of Carlo Carli MP.
More information:
Joe Caputo on 0419 173 122
For interviews with artists contact:
Kavisha Mazzella - kavisha@kavisha.com
FAVOURITE LETTERS OF THE WEEK
Dear Joe,
In 1890, William James also said, " Sensation is the raw stuff from which perception is made!" Alex Smith
Hi Joe,
Interestingly enough, Stephanie Meyers explores some of the questions you raise about vampires, sex, pregnancy and breastfeeding in her final book in the Twighlight series 'Breaking Dawn'. As always love the newsletter. Cheers, Eva Dixon
Joe,
RE: Vampires in Popular Culture
When times are tough feed em space ships, crop circles and monster stories. Regards, Broderick Smith
http://www.brodericksmith.com
(Note: Crop Circles in My Marijuana - http://www.youtube.com/watch?v=pKLafoa0HTg
Hey Joe,
RE: Dylan & Coleridge
Sorry but have to differ on your perceptions of The Zimmerman, as Louis Armstrong said about jazz: If you can't hear it, I can't show you.
Citing Coleridge as an example of an artist who continued to grow and transcend his previous work is probably not a good example: all his major poems were pretty well written before he hit thirty. This comes from a Coleridge devotee (I probably read Frost At Midnight about once a month)...it's sad reading about his later years as an erratic, sometimes brilliant giver of public lectures. Anyway he's a great poet who left us with at least half a dozen masterworks.
Back to Bob: sure it ain't Highway 61 Revisited, it's an older, wizened voice with much crackling humour. You shoulda left the next bit in from your quote of Dylan on the Stones:
Q: ‘Do you really think the Stones are finished?
Dylan: ‘Of course not, They’re far from finished. The Rolling Stones are truly the greatest rock and roll band in the world and always will be. The last too. Everything that came after them, metal, rap, punk, new wave, pop-rock, you name it . . . you can trace it all back to the Rolling Stones. They were the first and the last and no one’s ever done it better.’ Max Ryan
(Note: Max, I agree with you on the point about Coleridge peaking out at 30. I wasn’t too familiar with his later life and did some homework. But apparently, he was known and respected in later years for his lectures on poetry and was an early advocate of Shakespeare’s ‘Hamlet’ whom no one took very seriously until he woke everyone up. I recommend the film, ‘ Pandaemonium,’ about Coleridge and the Wordsworths, and the creation of Kubla Khan. (‘Pandaemonium’ was the capital of Hell in ‘Paradise Lost’ by John Milton.)
Max, regarding Dylan - give me an example of some current Dylan writing - on this new album - worth celebrating, and be specific about the merits, as you see it. If I want an older, wiser voice, with crackling humour, I’ll take George Burns. Had Dylan had been writing, back in the 60s, the quality of stuff he’s writing now, we wouldn’t even be talking about him now. And I left the remainder of that quote of his out on purpose. For several reasons. It sounds insincere. He’s just contradicted what he said previously – he got caught out by the interviewer and was trying to cover his ass. Also, what he says is complete nonsense. The Rolling Stones aren’t the greatest rock band in the world. The first and the last. The Alpha and the Omega. What twaddle! Tell it to Buddy Holly and the Crickets. Tell it to Bill Haley and the Comets. Tell it to Muddy Waters. Tell it to Chuck Berry. This ‘ best’, ‘better,’ ‘greater,’ ‘greatest’ bullshit belongs on American Idol - not coming from the mouth of a senior songsmith. You can’t compare apples and oranges, or unique musical inspirations. Personally, I would always take the Beatles, the Byrds and Jimi Hendrix – even The Band - over the Stones if it came to my own personal taste but I would never say one was greater than the other. So whose the greatest guitarist: Jimi Hendrix or Robert Johnson? Think about that conundrum for a second . . . . . . see what I mean? Apples and Oranges. Uniqueness is beyond compare. Dylan should know this at his age. Sometimes he just says the first thing that comes into his head – like his present lyric writing. But thanks to Russell Hannah for this nice old quote from a 1984 interview with Rolling Stone:
Q:" Could folk ever become big again?"
Dylan: "Well, yeah, it could become big again. But people gotta go back and find the songs. They don't do it no more. I was tellin' somebody that thing about when you go to see a folk singer now, you hear somebody singin' his own songs. And the person says, "Yeah, well, you started that." And in a sense, it's true. But I never would have written a song if I didn't play all them old folk songs first. I never would have thought to write a song, you know? There's no dedication to folk music now, no appreciation of the art form."
Joe,
hi again..
ahh food for thought. or in this case, blood for thought...
your letters are always so interesting, and going by the responses, they attract a lively group of readers and writers.
to this day, i have no idea how i ended up getting your letter, but i never stop being glad that it happened!
re loup garon--i think maybe what the haitian guy was saying was "loup garou" (which is a cool sounding thing because it rhymes and has rhythm too.) french for "werewolf". it's a very popular mythical figure in francophonie--france, africa, haiti, louisiana, and of course canada. here in canada there is a very well-known quebec hip-hoppy artist called loup garou.
though i kinda like "loup garon", because it kind of sound like elvis' dead twin brother is a werewolf, which would make a cool story!
- which is kind of a segue into the idea that i see a connection between the last letter and this one. somehow, it has always felt to me like there is something vampire-like about old rock stars. it's different from old stars in any other art form. in their early days, they are the very embodiment of youth and rebellion, of danger and beauty and immortality. when they are old, they often still have the physiques and hair-dos and outfits of their earlier selves, but their lined faces are sometimes a source of discomfort for people who remember them in the bloom of youth. there really is something of the vampire in jagger and richards, or any of them, isn't there?
i've heard people wonder out loud about why so many of the old, rich rock starts keep on performing. they ask, "why do they do it? they're already as famous as humans can be, and they sure don't need the money...!"
but i don't think it's about the fame or the money. speaking as an old rock musician who is still performing, i say it's because the actual act of playing music, especially with a group of people, and especially in the intensity of a professional performance situation, is an addiction. the physical vibrations which come from the instruments and the voices and the PA and the audience do something to you. it is the best analgaesic i know. way more powerful than any pill or shot. i'm sure you've noticed that even when you are feeling not quite well, or even if you are injured or suffering psychologically, the pain actually stops whilst you are performing. it hurts again as soon as you stop, but as long as you are doing it, it doesn't.
if i don't perform live for any extended period of time, i can really feel the toll it takes on my health.
- pretty much all of the other live performing arts have a lot more time limits on how long an artists can do them professionally. dancers' bodies give out. actors are dependent on being cast in vehicles in order to ply their trade, and it's quite common that they don't get cast as often as they age. if a classical muso's fingers or ears or anything starts to deteriorate even slightly they are in trouble because the performance requirements are so unforgiving in that discipline.
but popular musicians can just keep rockin until they drop.
i really notice that most of the rockers i know, unless they have subjected themselves to such a high level of excess and abuse that they can't recover, tend to both look and act a lot younger than their non-muso counterparts. i'm convinced it's the vibrations. and, to me, there is something somehow vampire-ish about it.
- on another topic, it strikes me that someday, it might be great fun to have a Joe Dolce Newsletter-Fest at some chosen location in the world. sort of like a chautauqua--with topic forums and great speakers and music and other types of arts--and a chance for all the interesting readers of your newsletter to meet each other. and a restaurant serving your various recipes! wouldn't it be a gas? it could be called la dolce vita! must run--overwhelming desire to go drink a bloody caesar (canada's national cocktail). don't know why... bloody good vibes, Joan Besen
(Note: Joan, you’re probably right about garou, as the meaning of garon, in Irish-Gaelic is "gelding". Castrated wolf? I don’t think so. Here are some Loup-Garou legends of Old Vincennes:
http://rking.vinu.edu/loup.htm
I like the idea of a Newsletter Fest. L’ Agrodolce Vita would be more appropriate. Bittersweet. Let’s do it in Canada. Bloody Caesar. I remember having this drink years ago, but we don’t have clamato juice in Australia – an odd mixture of clam juice and tomato juice - so you’ll have to steam some clams yourself if you want to make this, friends.)
Bloody Caesar
1 oz. vodka
5 oz clamato juice
3 drops of Tabasco
2 drops of Worcestershire
salt and pepper
garnish with a lemon wedge (celery is optional)
Rim top of glass with celery salt; build ingredients over spiced ice cubes.
Joe;
RE: The Mexican Words of the Day
My favorite insight on committees? “A camel is a horse designed by a committee.”
And my least favorite insight on D.D., G.K. and you for repeating them? The Mexican Words of the Day.
When you pass on that sort of thing from others somewhat less enlightened, your newsletter becomes a camel of sorts.
You know from my past responses that I enjoy your weekly writings and usually find them pretty funny and insightful. This one aspect of your latest just doesn’t sound like you. Am I missing something? (The all too easy riposte here is ... a sense of humor.)
Someone once wisely advised me that, if you find yourself wondering whether a joke is harmless or hurtful, ask yourself if you would tell it to a friend who shares the same ethnicity or characteristics of the joke’s subject.
It cuts out a lot of material, but, like mushrooms, not all are pleasing to the palate. Some are just poison.
Looking forward to more from the Joe I know and love. Best, JJ
Note: Dear JJ, sorry to give you sciatica in your funny bone. It’s not that DD and GK are less enlightened, it’s just that they’re trying to operate a AA flashlight with AAA batteries. However, having been in the firing line of ‘ethnic dialectal humour’ for thirty years, I think I have garnered some insights. Wax on, wax off, grasshopper:
1. The key to making fun of ethnic roots - is a love for the culture. You can see if someone is affectionate and truly respectful, and learning from the culture, or racist and xenophobic. The difference between the two is what makes something funny rather than offensive. I love Mexican culture and I always have, esse. I can only speak for myself and why I chose to pass these jokes around, holmes.
2. The folks most worried about the political correctness of the broken-english of 'shaddap you face', back in the 80s, at first, weren't the Italians, but the whitebread australians who were afraid of what their 'Italian' friends would think. I was dragging the ‘caricature’ out of the closet and it made people nervous. Italians – my own family included - understood it immediately. Also, working with an aboriginal elder for three years – someone who could send up the ‘lazy abbo’ stereotype better than anyone I ever met - awakened me even further to the ability and facility of marginalized cultures to make fun of themselves, even beyond the level that we ‘whities’ consider acceptable.
3. I make my own Chile en Nogada and Turkey Mole from scratch (a three day process for the later) - and since 1993 - that's 16 years, holmes- my partner Lin and I have celebrated the lives of Mexican artists Diego Rivera and Frida Kahlo in our show 'Difficult Women'. Does this sound like someone who disrespects the culture and the peoples of Mexico, carnale?
Here are a couple of interesting quotes from Mexicans and a brilliant stand-up comic you should check out.
"The concept of being "politically correct" does not exist in Mexico. Few topics are off-limits for Mexican humour.." Minutes from Mexico, Xalapa, Mexico
"We don’t care about what’s political and correct. Worry about yourself and the issues you carry in your own mind. Stop judging a culture you don’t understand." Yo Mero
Pablo Francisco - Mexican Stand-up Comic - Brokeback Mountain
"My Other Car is Probably Yours"
http://www.youtube.com/watch?v=o_F2xwlrT_8
Aporkalypse Humour Helps Mexico Endure Swine Flu
Mexico City
A SONG called the Influenza Cumbia is climbing the Mexican charts. Cringeworthy swine flu jokes are spreading faster than the illness ever could.
As Mexicans lock themselves inside in fear of the virus, they can't help but have a little fun with it as well.
The surgical masks that Mexicans have donned by the millions have become canvases for creativity, with some adorning their protective coverings with painted-on monkey mouths, outsized moustaches or "kissy lips".
Newspapers offer smiley cutouts for people to paste to their masks, and some drivers have fashioned masks for their cars.
Dog lovers walk the streets of Mexico City with matching masks for their pooches, though doctors have yet to confirm that chihuahua-to-chihuahua transmission is a major public health threat.
Mexico's ebullient, spontaneous culture is still trying to adjust to the new anti-flu campaign, in which kissing, hugging, handshakes, eating on the street and standing in crowded places - all part of daily life in this city of 20 million - are now discouraged.
There may not be much traffic on Mexico City's streets, but gallows humour about what some call The Aporkalypse has been circulating around the metropolis.
http://www.news.com.au/perthnow/story/0,21598,25425870-5005370,00.html
RARE LIVE TELEVISION PERFORMANCE OF ‘SHADDAP YOU FACE’ IN GERMANY ON MUSICLADEN 1981
I followed Sting & Police and closed Germany’s biggest tv show! I was the only act to sing my vocal live – everyone else lip synched. Notice the energy! Also you will see Sister Sledge in the audience singing along and having a blast. Note what is left of my mandolin after three weeks of throwing it up in the air, jumping on it, smashing it on the stage – just some strings and the neck are all that remain!
http://www.youtube.com/watch?v=bisPGlQUa-Y
Favourite Gratuitous Media Mentions of the Week
“ I reckon Lennon faked his death, and lived on as his new persona: Joe Dolce.” Ian Tindale
“It's my humble but informed opinion that in any song Johnny Cash covered during his last years, he far and away surpassed the original. I would probably have thought it was a work of magnificent beauty if he'd done a cover of Joe Dolce's 'Shaddap Your Face' frankly.” Vaughan
“... for me, it was the Montvale Roller Rink. the song was ‘Shaddap You Face’ by Joe Dolce (Hey, what’s a matta you?). There were those races where one person stands and pushes the partner who is crouched down, hugging knees. My BF christine and i tried but never won. Also we wore those braided barettes with the ribbons and beads — made them ourselves.” COL
What I’m Reading This Week
Selected Poems by Carol Ann Duffy.
Selected Poems by Alice Oswald.
What I’m Watching This Week
The Desert Fox – starring James Mason - the story of the brilliant tank commander - German Field Marshall Erwin Rommel who was considered to be a chivalrous and humane military officer. Even Churchill praised his courage and integrity. His famous Afrikakorps was not accused of any war crimes. Indeed, soldiers captured during his Africa campaign were reported to have been largely treated humanely. Furthermore, orders to kill captured Jewish soldiers and civilians out of hand in all theatres of his command were defiantly ignored. He was suspected of involvement in the failed July 20 Plot of 1944, Operation Valkyrie, to kill Adolf Hitler. Because of his great prestige, he was allowed to commit suicide.
(Note: The following two films are practically impossible to locate and are unavailable for purchase or rental from any major company. Believe me, I have tried! I am very excited to recommend them to you as it has taken me ten years to track them down. They are films I saw once and never forgot. I FINALLY found them on a site in the US with the following URL if anyone else is interested. Just put a message on the message board that you are looking for the films and wait for a reply. The website is: http://www.ioffer.com
The UFO Incident (1975) – with James Earl Jones. Made for television true story. Through memory flashbacks accessed by hypnotic regression, depicts the UFO abduction of Betty and Barney Hill.
The 25th Hour (1967)- with Anthony Quinn (French title: La Vingt-Cinquième Heure). This is not the recent film of the same title with Edward Norton but a lost masterpiece from the 60s produced by Carlo Ponti. The story is by the little known writer, Virgil Georghiu. Gheorghiu, a young Romanian diplomat during WWII was left stranded in the West, as the Communists took over Romania. In France he was ordained an Orthodox priest at the Church serving the Romanian community in Paris, and also a successful writer, with amongst other novels, The 25th Hour, which was made into a movie. The Romanian Secret Services, used the French communist agents to discredit Gheorghiou through a left-wing media campaign of smear. This was a well-rehearsed and effective weapon against Romanian anti-communist exiles. Gherghiu's books were censored in Romania and could not be published before 1990. Too little, too late, as the writer died in 1992. This could have something to do with why this film has all but disappeared.
The protaganist, an innocent Romanian, Johann Moritz (Quinn) is wrenched away from his wife (Verna Lisi) and children and mistakenly sent to a Jewish slave labour camp. After a year, he escapes and is taken prisoner by the Nazis. In the camp, he is "discovered" by an SS race authority who determines that Johann isn't a Jew at all all, but to the contrary, he's a perfect, archtypical Aryan prototype! He is feted, dressed in Nazi uniform and made the official propaganda poster boy. Which doesn't mean a whole lot to Quinn's simple-minded character, who doesn’t have a clue what has been happening to him the entire time. Finally, the Allied armies arrive, and recognize his face from German magazine covers. He then goes on trial as a Nazi war criminal. The film is funny and tragic – very Beckett. You will never forget it and also will not be able to understand why this film has been allowed to slip through the cracks.
~ FAMOUS DOLCES OF THE WORLD ~
DOLCE PANTS
Our famous Dolce Pants are continually one of our best sellers
because they are just so comfy!
Perfect for going to the gym, walking the dog
or just lounging after a hard day.
Dolce pants are soft-to-the-touch,
have a wide leg with a hip fit (including a herringbone tie at the waist)
and are slightly stretchy.
http://www.whitestuff.com/DOLCE-PANT-P21597/
RECIPE
Berbere Spice Rub
This is a tremendously tasty way of preparing chicken, fish, chops and vegetables. Someone once said that if Colonel Saunders had been African, this is what he would have come up with. Make the mix in advance and keep it in an airproof jar and you will find dozens of ways to use it. Here is the way I make it and some recipes and ideas follow.
Ingredients:
1 tsp ground cardamon
1 tsp coriander seeds
1 tsp cumin seeds
1 tsp fenugreek seeds
1 tsp ajowan seeds (optional)
10 small dried chillies
1 tsp allspice
1/2 tsp ground nutmeg
1 tsp ginger
2 tsp black peppercorns
8 cloves
2 tbsp sea salt
Toast the whole spices in a heavy-based frying pan over a medium heat until they just begin to change colour and give off a rich aroma. Grind to a fine powder in a mortar and pestle. Roughly cut up the dried chillies, discard some of the seeds, pound them in the mortar and pestle, then mix together with the remaining ingredients.
Ways to Use It
1. Rub some lamb chops with the mix and grill. Serve with lemon and yogurt.
2. Ethiopian Sautéed Fish
Ingredients:
500g blue eye cod fillets, boned & cut into chunks
Juice of 4 limes
1½ teaspoons berbere spice mix
3cm piece ginger, peeled & grated
3 garlic cloves, crushed
4 tablespoons niter kebbeh (spiced butter)
1 tablespoon sesame oil
¼ cup passata (tomato sauce)
¼ cup fish stock
1 tablespoon chopped coriander, leaves & stalks
Method:
1. Marinate fish in berbere spice and lime juice for 1 hour.
2. Heat niter kebbeh and sesame oil in frying pan.
3. Add grated garlic and ginger. Fry until soft.
4. Add fish chunks with marinade liquid, passata and fish stock. Cook for 2 minutes.
5. Turn fish and cook for another 2 minutes.
6. Remove from heat, plate and garnish with coriander. Serve with injera (flat bread) and eat with your hands!
Note: If not using niter kebbeh try 2 tablespoons of sesame oil, 2 tablespoon of olive oil and 1 teaspoon smoky paprika instead.
3. Ethiopian Lentils
Ingredients:
1 pound lentils
6 cups water or vegetable broth
6 cups mild green chiles roasted, peeled, seeded and chopped,
(or 1 bell pepper chopped + 14-oz can chopped green chiles)
2 red onions, chopped
2 cloves garlic minced, or more
2 tablespoons Berbere Spice Mix
Freshly ground black pepper
1. Bring lentils and broth to boil and simmer 10 minutes.
2. Add chiles, onion, garlic, and Berebere spices. Cook covered for another 30 minutes, until most of liquid is absorbed.
3. Serve with ground black pepper to taste.
Good with a dollop of yogurt, brown rice and sliced tomatoes.
4. Ethiopian Roast Chicken
One of the most stunning chicken recipes I know. Never fails to blow the mind! (see recipe index)
http://members.iinet.net.au/~dwomen/files/nlAug1007.html#anchor899728
We Remember Your Childhood Well
Nobody hurt you Nobody turned off the light and argued
with somebody else all night. The bad man on the moors
was only a movie you saw. Nobody locked the door.
Your questions were answered fully. No. That didn't occur.
You couldn't sing anyway, cared less. The moment's a blur a Film Fun
laughing itself to death in the coal fire. Anyone's guess.
Nobody forced you. You wanted to go that day. Begged. You chose
the dress. Here are the pictures, look at you. Look at us all,
smiling and waving, younger. The whole thing is inside your head.
What you recall are impressions; we have the facts. We called the tune.
The secret police of your childhood were older and wiser than you, bigger
than you. Call back the sound of their voices. Boom. Boom. Boom.
Nobody sent you away. That was an extra holiday, with people
you seemed to like. They were firm, there was nothing to fear.
There was none but yourself to blame if it ended in tears.
What does it matter now? No, no, nobody left the skidmarks of sin
on your soul and laid you wide open for Hell. You were loved.
Always. We did what was best. We remember your childhood well.
~ Carol Ann Duffy ~
Newsletter Archive and Recipe Index
http://members.iinet.net.au/~dwomen/files/newsletterarchive.html
THE FINAL HURRAH
Chicago Symphony Orchestra
Selection Committee
220 S. Michigan Avenue
Chicago, Illinois
Gentlemen:
I wish to apply immediately for the job of Second Trombone and I already have the two trombones.
Although I have not played much in an orchestra, I have played along with lots of classic (no vocal) records. I found that if I slowed them down a little
that the songs automatically went into the flat keys which are much easier, but I think I could do the sharp keys in a short time.
I was a student for several years of Mr. Remington (Allan, not Buck) and then went with the circus band where my tone really got great.
You don't have to worry about my being able to blast through on the Vogner stuff, that's for sure.
After I watched "10," I got out my horn and worked up a really great solo on "Bolero". (Do you know that there is a dance by this name too?)
Does your arrangement sound the same all the way through, too? I still have trouble knowing when to come in with the record, though.
Anyway, I know that if I get the job that the people in Chicago will like my version, which is do-wop.
Would I have to sit real close to the violins? They never seem to play very loud, and my tone sort of cuts off if I have to play too soft.
It would be best if I could sit in front of the drums, like in the circus band.
Also, I'd kind of like to sit on the outside so that people could see me. I am practising every day for the audition and am working on a new thing called
legato, but it's still a little smeary. I think you'll like it though.
But, if your music is anything like this Rubank stuff, it will be a challenge to my teck... techininuque... tequch...ability.
There is a position on trombones called 5th, but hardly any notes are there. Does your music have many of these notes, and if so, what are they?
I'd like to know all of this before I pay bus fare down to Chicago. How much does the job pay?
I'm really looking forward to coming down, but tell me why would I have to play behind a screen in the winter?
Sincerely,
Slide Rafferty
P.S. I have lots of music stands and probably have one like you guys use, so that would be a cost saving.
########
(thanks to waylandn)
