Frost/Nixon: The rehabilitation of Tricky Dick and what it says about the soul of modern America
My colleague Michael Sheehan recent offered a tip of the cap to a local staging of Frost/Nixon, which starred our old friend Stuart O’Steen. If anything, Mike was understated in his praise of the show and O’Steen’s performance. Anytime the big-city Denver Post says nice things about a community theater production up in the hinterlands of Longmont you know something special is afoot.
After the show, as we waited for a chance to congratulate the cast, my companions and I found ourselves discussing a topic that has come to intrigue me a great deal: the curious rehabilitation of Richard Nixon. Read more
The other night I’m settling back to watch the game and out comes Kelly Rowland to sing the national anthem. And to nobody’s surprise, we’re treated to … the obligatory butchering of “The Star-Spangled Banner.” Such is the mode of pop music these days – it isn’t acceptable, where a G appears in the sheet music, to sing a G. No, no. Instead, the diva (and everybody is a diva these days) runs a G scale or two, performs a series of vox acrobatica in the general vicinity of G, then moves onto the next note, which also apparently needs a good bit of “interpreting.” Not “arranging” – some actual arranging wouldn’t be a bad idea at all. But arranging and freelance improvisational histrionics are not the same thing.
Pulitzer- and Emmy-winner 
lullaby pit 