A Futile and Stupid Gesture: How Doug Kenney and National by Josh Karp

By Josh Karp

The last word biography of nationwide Lampoon and its cofounder Doug Kenney, this e-book bargains the 1st whole heritage of the immensely well known journal and its incredible and whimsical characters. With marvelous tales of the comedy scene in ny urban within the Nineteen Seventies and nationwide Lampoon’s position on the heart of it, this chronicle stocks how the journal spawned a well-liked radio exhibit and long-running theatrical productions that helped release the careers of John Belushi, invoice Murray, Chevy Chase, and Gilda Radner and went directly to motivate Saturday evening stay. greater than a hundred thirty interviews have been performed with humans attached to Kenney and the journal, together with Chevy Chase, John Hughes, P. J. O’Rourke, Tony Hendra, Sean Kelly, Chris Miller, and Bruce McCall. those interviews and behind-the-scenes tales concerning the making of either Animal residence and Caddyshack aid to catch the nostalgia, humor, and pop culture that nationwide Lampoon conjures up.

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Die junge Nonne' is only one of several masterpieces of these last years between the two great cycles. Another is 'Nacht und Traume' whose poem is by one of the members of Schubert's Viennese circle, Matthaus von Collin ( 177 9- 182 4); a beautiful adagio greeting to night, repose, and respite from the turgid day, and one of the best-loved of all 46 THE CON C E R T SON G COM PAN ION Lieder. Two more which must be mentioned are 'Die Allmacht' (1825) and '1m Friihling' (1826). 'Die Allmacht' is a setting of a poem by one of Schubert's grander friends, Bishop Johann Ladislav Pyrker von Felso-Eor, who, at the period of the song's composition, was Patriarch of Venice and was soon to become Archbishop of Erlau.

Mendelssohn's attempt, it must be admitted, is colourless by comparison, despite its agitated movement. 'Der Mond', poem by Geibel, is a rich and attractive song, while 'Altdeutsches Friihlingslied', whose poem is by Spee, is the last song Mendelssohn wrote. A somewhat perfunctory piece, alas. Another posthumous group, op. 99, introduces one new poet, Count von Schlippenbach, and also contains settings of the familiar Mendelssohn poets, Goethe, Uhland, Geibel, Eichendorff, and the folk collection, Des Knaben Wunderhorn.

Discussion here of the individual beauties of each song in the cycle, but one can hardly fail to note, or to feel, for instance the wonderful consoling effect of the change into the major key for the last stanza of 'Gute N acht' at the words, 'Will dich in Traum nicht storen' ('I will not disturb your dreams'), or the great broad phrases, so splendidly singable, in the middle section of 'Erstarrung', or the sense of * Issue of 29 March 1828 48 THE CON C E R T SON G COM PAN ION yearning so accurately placed and identified as at the end of 'Irrlicht', at the words 'Jedes Leiden auch sein Grab' ('And every sorrow its grave').

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