Notes From a Quiet Hill (Worst Campaign Commercials, Best movie scenes, Cavernous Man-Made Potholes edition)

We’re hoping to have enough time between automated Medicare phone calls to put these thoughts together. We did get a real person once a few days ago. He wound up apologizing.

Moving on to the pithy observations:

I can understand naturally-occurring potholes.  But I’m having trouble dealing with some man-made potholes in Jefferson City. A couple of years ago I had an expensive encounter with a pothole on I-70. We don’t have anything such as that in town but we do have some that give pretty big jolts.

The resurfacing of some of our streets has left some manhole covers below the street surface. Readers in Jefferson City might be intimately familiar with a real suspension banger for cars turning right from Jefferson Street onto East Capitol Avenue. For example.

It has taken me too long to decide on an alternate way to church.  That’s not the only man-made pothole in our street system but it’s the worst I’ve encountered so far.

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Nancy and I are college graduates.  I even went to graduate school until I discovered her, at which point I got a real job so we could get married (This is only partly true but I’m not sure which part).  We, as educated people, have trouble accepting how awful the commercials are for the income tax elimination proposal on the August ballot.  In the case I’m about to cite, they are so intellectually silly that the point they want to make is lost, assuming they make a point.

Here’s the script for one that is a total turn-off in our household;

Some uninvited guests have been eating at your table for years. Property taxes and income taxes, helping themselves to money that belongs to your family. Amendment 5 shows them the door: it cuts property taxes, phases out the income tax, and shifts the burden to the big corporations that have been getting a free meal. This is your table. It’s time you had room at it. Vote YES on Amendment 5. August 4.

The shifting of the tax burden to big corporations is exactly the opposite of what we have understood the proposal to be about and the ad’s targeting of them is pretty bewildering.  As we understand the rational explanations of Amendment 5, the shift of the tax burden would be from the wealthy and the big corporations to the little guy.

Further, aren’t “big corporations” supposed to flock to Missouri because we’re cutting the taxes?  Not according to this awful commercial that says we need to “show them the door,” presumably the door out, not in.

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The famous archaeologist Dr. Alan Grant died a few days ago.  We will always remember him for one of the most magical sequences in movie history—the day Dr. Grant saw his first living dinosaur—and when we saw it with him—and then the first dinosaur herd.

We know Dr. Grant, of course, by his real name—Sam Neill

Remember, he and the rest of the cast were not seeing what we saw on the screen, which made the acting that carried the impact of the scene so extraordinary. We were as emotionally awed as Alan Grant and Ellie Sattler (Laura Dern) were.

https://www.bing.com/videos/search?q=sam%20neill%20sees%20a%20dinosaur&view=detail&mid=883E4913FA95A4A0FD448

Everything about the Jurassic Park movie franchise seemed formulaic after this.  But these first few moments are pure magic—and we saw them with the eyes of Alan and Ellie.

Off the top of our head we can think of few other movie scenes with the visual scope and emotional impact of those few minutes.

Perhaps our first view of the slowly revolving space station in 2001 (with perfectly chosen music making it even better). Maybe the great pull-back scene in Gone With the Wind that showed all of the casualties of the Battle of Atlanta.  Maybe the intensity of Pickett’s Charge in Ted Turner’s “Gettysburg” series.

You might have comparable scenes in your memory. Share them, if you like, in the box below.

(picture credits: Instagram)

The Sounds of Their Voices

I’ve been working on some of the history of my church and once again I have become curious about how the denomination’s founders sounded when they spoke, exhorted, preached, etc.

Two of the group that established the denomination were former Scottish Presbyterian ministers who broke with the church over limits in participation at the Lord’s Table.  But both men had been born and raised in Ireland. One live 57 years after coming to this country. Did he still sound Scots-Irish at the end?

When Andrew Jackson shouted his favorite oath, “By the Eternal!” did he have a southern accent? It probably wouldn’t have been as deep as the accents we associate with Georgia, Mississippi and Alabama, but would there have been something?

Did Benjamin Franklin speak as Howard DeSilva portrays him in the musical 1776 or as Robert Preston portrayed him in the musical some years earlier, Ben Franklin in Paris?

Two people in particular intrigue me, one because I’m a native of Illinois and wonder about Abraham Lincoln’s voice at Gettysburg,  and the other because he is such a towering historical figure and a national founder, Thomas Jefferson.

Lena Torres has written about Jefferson on soundcy.com:

Descriptions suggest he spoke with a soft, measured tone, reflecting his reserved and thoughtful nature, while his Virginia upbringing likely influenced his accent, which would have been characteristic of the Tidewater region. Additionally, his extensive education and role as a diplomat may have imbued his speech with a formal, articulate quality. While we can only speculate, piecing together these details offers a glimpse into how one of America’s Founding Fathers might have sounded.

Thomas Jefferson’s voice, though lost to time, likely carried the distinct cadence of Tidewater Virginia, a region steeped in colonial history. This accent, shaped by the linguistic currents of 18th-century Britain, would have been a hallmark of his speech. Imagine a voice that blended the formality of British English with the emerging nuances of American pronunciation—a linguistic bridge between the Old World and the New…

A practical way to approximate Jefferson’s accent is to listen to recordings of modern British Received Pronunciation (RP) and then soften it with the gentle rhythms of the American South. Think of it as a hybrid—not quite British, yet not fully American as we know it today. For instance, the word “water” might have sounded more like “wah-tuh,” with a subtle elongation of the vowel, a relic of his British-influenced upbringing.

She writes a lot more at Unveiling Thomas Jefferson’s Voice: Reconstructing The Third President’s Speech | SoundCy

And Lincoln?  Was he like some actors who have portrayed him—Gregory Peck, or Raymond Massey, as deep voices and deliberate delivery, or the softer and higher-pitched voice of actor Royal Dano at Disneyland ((2098) GREAT MOMENTS WITH MR. LINCOLN Restored Disneyland Vinyl LP – YouTube 28:19 in for the audio animatronic figure’s speech)

A 2011 article for Smithsonian Magazine quotes Lincoln researcher Harold Holzer liked the way actor Sam Waterston (of Law & Order fame) voiced him in Ken Burns’ documentary about the Civil War and in other performances (Sam Waterston Reading The Gettysburg Address #gettysburg #gettysburgaddress).

But the closest might have been Daniel Day Lewis’ interpretation in the movie Lincoln. (Lincoln “Now” scene)

(He explained in an interview how he developed it (BBC News – Daniel Day-Lewis on finding Lincoln’s voice).

Holzer says in the article, “Lincoln’s voice, as far as period descriptions go, was a little shriller, a little higher…People said that his voice carried into crowds beautifully. Just because the tone was high doesn’t mean it wasn’t far-reaching.”

Getting back to Jefferson, Torres has some thoughts about then and now:

In a world where loudness often equates to importance, Jefferson’s soft-spoken, low-pitched, and deliberate style reminds us of the power of restraint. Whether in leadership, education, or personal interactions, adopting a measured tone can elevate your message, making it more memorable and impactful. Experiment with this approach in your next presentation or conversation, and observe how a quieter, more intentional voice can command respect and foster deeper engagement.

I hope we rediscover that in our political discourses.

 

 

Heroes and Hats

I don’t remember when I decided I liked Willie Nelson.  Maybe it’s because I spent my Saturday afternoons at the Grand Theatre in Sullivan, Illinois watching western double features, sometimes with a serial and a cartoon or two, sitting next to my friend Chuck Woolen in a pair of seats that he had marked by cutting a small notch in the shared arm rest.

The last time I was in the old theatre, now called the Little Theatre on the Square where they do stage shows and musicals, that notch was still there.

I was a member of the Roy Rogers Riders Club and was distressed that a family trip caused me to miss that Saturday’s “meeting” and a chance to pick up the latest Roy Rogers souvenir—a drinking glass one day, as I recall.

It’s awfully hard to resist a good western movie—High Noon, Shane, the Searchers, The Gunfighter, 3:10 to Yuma, Broken Trail, Open Range, Tombstone/Wyatt Earp, Silverado and the ultimate television series—Lonesome Dove (the book grabbed me like no other with first line: “Augustus McCrae walked out onto the porch to discover his two pigs fighting over a dead rattlesnake.”)

I can’t think of another actor who was made to wear a battered cowboy hat better than Robert Duvall was—

Poe and Faulkner, Salinger and Fitzgerald, Vonnegut and Hawthorne and Melville and Hemingway, the Russian greats that I gave up on by the third page because I couldn’t pronounce their character’s names, and all those other high-faulutin’ writers my English professors thought I should adore never started a book that caught me like Lonesome Dove.  I’ve read stuff from most of those guys but none of them wrote about anybody like Gus McCrae.

The other day, I started thinking about two of Willie’s songs that I always have liked as a sad dialogue by a old cowboy wistfully evaluating his life—and also a gypsy touring artist wondering if he shouldn’t have listened to his mother.

Wonder what it would sound like if somebody did a mix of Willie singing the first part and Waylon singing the boldface lines—–

Mamas, don’t let your babies grow up to be cowboys
Don’t let ’em pick guitars and drive them old trucks
Make ’em be doctors and lawyers and such
Mamas, don’t let your babies grow up to be cowboys
‘Cause they’ll never stay home and they’re always alone
Even with someone they love

I grew up a-dreamin’ of bein’ a cowboy
And lovin’ the cowboy ways
Pursuin’ the life of my high-ridin’ heroes
I burned up my childhood days
I learned all the rules of a modern-day drifter
Don’t you hold on to nothin’ too long
Take what you need from the ladies, then leave them
With the words of a sad country song

Cowboys ain’t easy to love and they’re harder to hold
They’d rather give you a song than diamonds or gold
Lonestar belt buckles and old faded Levis
And each night begins a new day
If you don’t understand him, and he don’t die young
He’ll probably just ride away

Cowboys are special with their own brand of misery
From bein’ alone too long
You can die from the cold in the arms of a night man
Knowin’ well that your best days are gone.

Pickin’ up hookers instead of my pen
I let the words of my youth fade away
Old worn-out saddles, and old worn-out memories
With no one and no place to stay

Cowboys like smoky old pool rooms and clear mountain mornings
Little warm puppies and children and girls of the night
Them that don’t know him won’t like him and them that do
Sometimes won’t know how to take him
He ain’t wrong, he’s just different but his pride won’t let him
Do things to make you think he’s right.

My heroes have always been cowboys
And they still are, it seems
Sadly, in search of, and one step in back of
Themselves and their slow-movin’ dreams

Sadly, in search of, and one step in back of  themselves and their slow-movin’ dreams

Willie and Waylon sang them but Ed Bruce and his wife, Patsy, wrote “Mama…” He first recorded it in 1975 and his version hit number 15 on Billboard’s Hot Country Singles charts that year and into ’76. It’s one of the top 100 country songs of all time. Rolling Stone in 2024 ranked it 69th on its 200 greatest country songs.

Waylon recorded “Heroes” in 1976 and Willie made it even more popular in 1980 as part of the soundtrack to the Robert Redford/Jane Fonda movie, The Electric Horseman.  Sharon Vaughn wrote it and Willie took it to number one on the country hit list. The Western Writers of America say it’s one of their 100 favorite western songs.

Regardless, my heroes always have been cowboys although I grew up to be one of those who became an “and such.”

Photo credits: Slaker Hats, Open Range)