Culture

A Pelican’s Life

Posted on by Mark Aldrich

For reasons that bore me, I am one of those (un)lucky, (un)happy few whose brain does not retain jokes. Neither knock-knock groaners nor shaggy-dog tales stick in this cranium; there are not many punchlines that are still connected to the matching set-up in my thinker.

In itself, this is sort of a joke, as I have written and performed radio comedy on and off for as long as I have been an adult. A quarter of a freaking century.

Each Wednesday night at 7:30 p.m. (alert: this is tonight), the Magnificent Glass Pelican half-hour is broadcast on 88.7 FM WFNP (“The Edge”) in the Rosendale-New Paltz, New York, area. The Pelican is a live half-hour radio comedy show that my friends and I have written, produced, and acted in since 1990. Lately, it has been an improvised half-hour, produced by us and scripted live on-air. We have an unwritten rule that no rules should be written.
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Paul McCartney’s Very Good Month

Posted on by Mark Aldrich

Paul McCartney was having a pretty successful season the autumn of 1968. Now, most of the autumns that Paul McCartney has spent on this Earth in his adult years have probably felt quite successful to him, but autumn 1968 may have been special even by his standards.

In August of that year, The Beatles had two songs prepared for release as a single: “Revolution” and “Hey Jude.” The band was about to release its double album, “The Beatles” (more commonly known as the White Album), but these two songs were not going to be included. A rendition of “Revolution” appears on the album, but the group had another, a faster version, that it wanted released. “Hey Jude” and the hit single version of “Revolution” did not fit that already over-stuffed album, so the two songs were slated to be their new record label’s (Apple Records) first single.
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‘September 1, 1939’

Posted on by Mark Aldrich

Shortly before his death, the poet W.H. Auden told talk-show host (and former politician) Richard Crossman, “Nothing I wrote prevented one Jew from being gassed or stalled the war for five seconds.”

At first glance, this places the bar very high for the role of a writer in the affairs of the world, but it is simply a stark assessment of the reality that a writer has no say in the practical matters of life and death. He is not saying that words do not matter but is instead drawing the boundary between where they do matter and where they can not. Writers are makers and not doers, not “men of action,” Auden also liked to say.

One of his most famous poems is September 1, 1939, written to mourn the outbreak of World War II. The title is of course the date Germany invaded Poland. It was written quickly, allegedly that day, was not heavily edited, and published in The New Republic soon after. Auden came to reject the poem and he refused three times to include it in the three editions of his Collected Poems that he oversaw.

He told Crossman that the poem possessed rhetoric that was “too high-flown.”
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