Weekend Music Break: Gershwin for an Early-November Sunday Afternoon

Gershwin - signature/inscriptionYou can be forgiven for feeling more than a little stressed out today, especially if you’re in the US and if (as is true for this post, and its author) today is the first Sunday in November, 2016 — or for that matter, if you’re elsewhere and just watching us a bit nervously.

Under the circumstances, without further comment, herewith a bit over an hour’s worth of easy-going music to accompany your newspaper-reading, blogging, airport-lounge-waiting, or what-have-you…

[Like that little signature/inscription over there on the right? You might like to see a brief analysis of it from Suzanne Shapiro, a “court-qualified graphologist whose thirty-five years of experience have led her to some unique cases, from analyzing graffiti for a Los Angeles Charter School to Bernard Madoff’s signature and most recently, Prince William and Catherine’s for ‘The Daily Beast.'” Just click on the image to open the analysis in a new window/tab.]

Gershwin Sunday

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The Fundamental Things Apply

[Below, click Play button to begin well, playing. During this time, volume control will appear at left — a row of little vertical bars. This clip is 4:22 long.

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On March 1, 1991 — twenty years ago yesterday — I got an email from a stranger who’d downloaded and read an unpublished story of mine.

The story in question, “The Last Supper,” was a slender-little-nothin’ of a horror story about a church congregation who disposed of each pastor, when they tired of him, by consuming him at a communal covered-dish meal. My new correspondent just wanted me to know (a) she had enjoyed reading it and (b) in a word, Eeeeewww…!

Gross-out aside, the tone of the note was a little fangirlish. And in my reply, I — who’d written but not yet published a mystery about an email stalker — was simultaneously a little puffed-up and evasive.

Unfortunately, neither of us retained a copy of that first exchange. We both remember it, though — oh yes we do. And we both remember (in sometimes excruciating detail <g>) the long-term effects…

Erroll Garner’s piano provides the soundtrack to this post: “Love Walked In.” Seven years after George Gershwin composed the music, Ira Gershwin added the lyrics, the first verse of which goes:

Nothing seemed to matter any more,
Didn’t care what I was headed for.
Time was standing still,
No one counted till
There came a knocking at the door.

The rest fits, too.

Love you, Baby.

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