Tangent to the day’s research: Jack Berger and His Hotel Astor Dance Orchestra’s 1932 performance of “Something in the Night,” with a vocal refrain by Jack Pearl, who was born Joshua Perelmuth, and who later changed his name to Jan Peerce.
BONUS RELATED TANGENT TO TODAY’S RESEARCH:
In memoriam Jon Vickers, who forged inimitable dramatic steel from the physical and moral contests of opera.
It is time for the quarterly ritual of keeping this space on life support by at least linking to everything I’ve been doing elsewhere. That’s three months of old-new articles to peruse (including a new batch of columns)—along with (as per usual) a compensatory drink:
plus a healthy dash of orange bitters
Shake it up with small ice, strain into a rocks glass with big ice.
Sip while reading good stuff elsewhere:
Robin James on the privilege of post-genre and Attali and neo-liberalism.
Ethan Iverson on James P. and also killer robots. (The conscious-to-subconscious progress of Doctor Who fandom described is my experience, too, although the differences between my personality and Ethan’s can be pretty efficiently summed up by mentioning that my DW touchstone was not Genesis of the Daleks, but rather The Deadly Assassin.)
Peter Pesic and Axel Volmar on the musical rhetoric of string theory.
Charles Ames on the history of automated composition (including a lead sheet for “Push-Button Bertha”).
Felix Arndt, “An Operatic Nightmare (Desecration no. 2)” (1916).
Reviewing Blair McMillen.
Boston Globe, July 1, 2015.