Culture

‘I Want to Vanish’

Posted on by Mark Aldrich

The original concept for All This Useless Beauty, the 1996 album from Elvis Costello & The Attractions, was to have that band record songs that Costello sold to other performers: to have Elvis Costello “cover” Elvis Costello songs that audiences first heard performed by other artists.

Because Paul McCartney never recorded “Shallow Grave,” and Johnny Cash never recorded “Complicated Shadows,” and Sam Moore had not recorded “Why Can’t a Man Stand Alone,” the concept never left its life as an idea and Costello became the first to record and release several of his songs. He “covers” his own songs.
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‘Aubade’ by Philip Larkin

Posted on by Mark Aldrich

Philip Larkin was honored today with a memorial stone in Poets’ Corner in Westminster Abbey. He died thirty-one years ago today. Larkin’s memorial sits between those of Anthony Trollope and Ted Hughes. Chaucer’s tomb sits nearby. Edward Lear’s memorial stone is immediately above Larkin’s.

I wrote the following essay in June:

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“I don’t know that I ever expected much of life,” Philip Larkin wrote to his lifelong friend Kingsley Amis in October 1979, “but it terrifies me to think it’s nearly over.” He had another six years of life left, but the emptiness of the end—”the total emptiness for ever,/The sure extinction that we travel to”—was much on his mind.

The poem from which those lines originate, “Aubade,” was published in 1977 in the Times Literary Supplement (TLS). Larkin had started it in 1974, worked at it that year, and then left it until 1977, when he finished it. “Death is the most important thing about life,” he wrote his companion, Monica Jones, when they were both still young.
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A Memory of Cary Grant

Posted on by Mark Aldrich

A memoir about the night I saw Cary Grant in person:

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Starting in the mid-1980s, Cary Grant toured in a one-man question-and-answer show, A Conversation with Cary Grant, in which he spent ninety minutes or so answering questions from audience members. Several other movie stars and celebrities have since taken on similar productions in which they and their fans bask in an accepted and reflected adoration— Gregory Peck, for one—but Grant was the first. The show was an extended, and deserved, curtain call from beginning to end.

One cool feature to Grant’s tour was that it brought him to theaters in which he had performed during his vaudeville years in the 1920s. Thus it was that in April 1985 I found myself sitting in the balcony of the small (1500 seat) Ulster Performing Arts Center (UPAC) in Kingston, New York, a stage on which he had performed decades earlier. I was 16 and a movie nerd and Cary Grant was my idol.
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