Medieval Abstraction

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Raznov fortress.

Raznov fortress.

By JULIE SEYLER

I had an art teacher who said “The more you see, the more you see.”

It is true. I have never ceased hearing her speak that axiom, especially when I travel. There are the guide book sights to see and check off the list (the Painted Monasteries, Notre Dame, Big Ben, etc.) and then there are the crevices that make paintings.

Window. Sighisoara.

Looking up a window. Sighisoara.

We were in Romania for 14 days and although we spent all of our time visitng medieval monasteries and exploring medieval fortresses  while residing in medieval towns, I never got tired of seeing it. So while I made sure to hit the destination spots, it was what I did not expect that delivered so many revelations.

This is the staircase in the 13th century Clock Tower in Sighisoara. descending staircaseThe cityscape was an interlocking maze of houses, narrow and dense in their intensity of direction. P1280472And then there was the myopic view:

Close up of a wall on a home in Sibiu dating back to the 15th century

Close up of a wall on a home from the 15th century

What is the best part is that each photo brings me back to that day in that place at the time I snapped the photo. Ergo I get taken back to Romania.

The Interstice

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dec 4

It’s December 4. Get ready. (Can you hear the collective sigh about the speed of time?)

The days will now fly, in full swing, to the rhythm of the holiday season.

There will be parties to attend. And cookies to be baked. Trees will be lit up; candles will be lit. Some of us will sauté latkes; others will hang stockings on the mantle.

We linger in the past with our rituals. And we usher in the future with toasts. But there is an interstice before the craziness envelopes. A small window of time, when you can sit for a bit with a cup of coffee on a cold winter day and prepare for the countdown. Breathe with us!

Transylvania, Part 2: Checking Out Dracula’s Castle

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Count Dracula's Castle. Bran, Romania

Count Dracula’s Castle. Bran, Romania

BY JULIE SEYLER

No one plans a trip to Romania without making a visit to Count Dracula’s castle in Bran. Bram Stoker’s 1897 novel which inspired Bela Lugosi’s 1931 portrayal of the blood sucking Count and Klaus Kinski’s taloned apparition of Nosferatu the Vampyre in Werner Herzog’s 1979 version guarantees that Bran Castle will always draw the tourist trade. But sight-seer beware!

Looking up at Bran Castle

Looking up at Bran Castle

Dracula’s home, a conglomeration of medieval fortress and rambling 17th century castle stocked with the emblems of the landed gentry which became the abode of Romanian royalty in the early 20th century, is a bit of a disappointment despite the dramatic views of Transylvania available from every window.

View of Transylvania landscape from inside Bran Castle.

View of Transylvania landscape from inside Bran Castle.

The key is to approach the Castle for its sense of historical significance, knowing that its foundations date back to 1382 when it was built on a citadel as a defense against the Ottomans. Then, as you wander through the maze of rooms taking in the bear rugs, the exquisite details of the hand carved armoires and the displays of armor worn to ward off weapons, you see it holistically as footnote in the history of Romania, not simply as a movie set.

Bear rug. Bran Castle

Bear rug. Bran Castle

Carved wooden cabinet.

Carved wooden cabinet.

some weaponsThe room-by-room traipse is carefully orchestrated so that you and your fellow tourists can take in the 700 year history of the castle in an orderly manner as you are guided up to the Dracula section. Here you learn the story of the man behind the legend in words and pictures. Bram Stoker, a writer from Ireland, weaved remnants of Eastern European folklore, romance and fangs into an original horror tale based on Vlad Tepes, a 15th century nobleman renowned for the number of people he murdered. He used Bran Castle as a fortress haven.

The association between Count Dracula, the vampire imagined by Bram Stoker and the original chracter-Vlad Tepes- Dracula -Prince of Wallachia (1448, 1456-62; 1476), who spent his childhood in Transylvania, is due to the prince’s bloody avenger nature. The Wallachian volvode got this popular surname “Tepes”, (the impaler) because of his cruel habit to apply the capital sentence by impaling , and he inherited his second surname , ‘Dracula’ (meaning the Devil’s son in Slavonic language) , from his father Vlad Dracul

After all this, you emerge into the gift shop selling magnets of Vlad and the outdoor tourist stalls selling the standby tchochkalas of Romania. The perfect finale to a sight-seeing excursion.

Tourist stall. Bran.

Tourist stall. Bran.

My One and Only Favorite Song

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my one an donly loveBy FRANK TERRANELLA

When people ask me what my favorite standard song is, I often reply that I have at least a dozen favorites. For example, I love Make Someone Happy (music by Jule Styne,  lyrics by Betty Comden & Adolph Green), Someone to Watch Over Me (music by George Gershwin, lyrics by Ira Gershwin) and What Are You Doing The Rest of Your Life (music by Michel LeGrand, lyrics by Alan and Marilyn Bergman).  I used the last of these to propose to my wife.

But if someone really presses me and won’t take more than one song as an answer, I confess that my all-time favorite is My One and Only Love by English song writers Guy Wood and Robert Mellin.  I think it’s a masterpiece, and judging by the number of recordings of it, many people agree with me.  It has a fascinating tune as it climbs the scale with its first six notes.  But it is the lyric that clinches the deal for me. It starts:

The very thought of you makes my heart sing

Like an April breeze on the wings of spring

And you appear in all your splendor

My one and only love

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The shadows fall and spread their mystic charms

In the hush of night, while you’re in my arms

I feel your lips so warm and tender

My one and only love

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The poetry is just breathtaking to me. And the words fit the music perfectly. Interestingly enough, these were not the original words to the song.  When Guy Wood wrote the music back in 1947, the lyrics were by Jack Lawrence and the song was called “Music from Beyond the Moon.” It was recorded by Vic Damone in 1948, but was a flop.  The lyrics then went like this:

The night was velvet and the stars were gold

And my heart was young, but the moon was old

I was listening for the music

Music from beyond the moon

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You came along and filled my empty arms

And my eager lips thrilled to all your charms

When we touched I heard the music

Music from beyond the moon.

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Is there any doubt why this original version didn’t make it?  Not only is the lyric nonsensical (beyond the moon, really??), it doesn’t  scan correctly.  Guy Wood wrote six notes as the end of each verse (mirroring the six notes of the beginning of each verse).  The words “Music from Beyond the Moon” require seven notes.

Poor Vic Damone must have felt like the unluckiest guy around when Frank Sinatra recorded the revised version with the Robert Mellin lyric in 1953 and had an immediate hit. Of course, the definitive version of My One and Only Love is the one by Johnny Hartman that he recorded with John Coltrane in 1963.

The bridge of the song is nothing special musically, but again Robert Mellin’s lyrics shine:

The touch of your hand is like heaven

A heaven that I’ve never known

The blush on your cheek whenever I speak

Tells me that you are my own

And finally, the last verse of the Mellin lyric draws inspiration from the second verse of the original Lawrence lyric, but Lawrence had a base hit. Mellin hits it out of the park:

You fill my eager heart with such desire

Every kiss you give sets my soul on fire

I give myself in sweet surrender

My one and only love

Now that’s a song!  It moves me whenever I hear it. It’s not the music of my generation, but then neither is Bach or Beethoven. It’s classic Tin Pan Alley — one page in the rich American Songbook that Jonathan Schwartz has spent a lifetime promoting.  And you don’t have to be over 50 to love it.

A Thanksgiving Timeline

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bob and the turkey

BY BOB SMITH

Thanksgiving, always a happy time, has evolved in our family. When I was 10, Mom and Dad and my four sisters and two brothers, ranging in age from 1 to about 13, were all crowded into a small split level house with three bedrooms and one and a half baths. It was tight, but we made it work.

There was a standard menu for Thanksgiving Day — candied yams, onions in cream sauce, mashed potatoes so buttery they were yellow, green beans, and of course a massive, crispy-on-the outside turkey, plump with fragrant bread and raisin stuffing. The cranberry sauce was a gelatinous cylinder with ridges corresponding to the can from which it came.

Sometimes Uncle Howie from up the block would stop by before dinner, while his wife Dolores was busy in the kitchen at home. Howie owned a transmission repair shop and his fingers were permanently stained with grease. Dad would pour him a big double Scotch, and Howie would sit and sip it at the head of our dining room table.

“She threw me out again, Jimmy,” Howie laughed as he lit another one of the long menthol cigarettes he loved. “Can you believe it — I’m useless in the kitchen!”

That was the Thanksgiving drill pretty much through my graduation from high school: all of us at home, eating the same great Mom-made meal year after year. There was something comforting in the routine; the certainty of it all. It seemed like it would never change.

When I was in college, I had a steady girlfriend and so did my brother, so one or both of us had to stop by their parents’ house either before or after dinner. Sometimes I’d miss Howie’s visit, or skip dinner entirely. After dinner, if we could get away with it, Jim and I still poked our fingers into the carcass in the kitchen to find blobs of undiscovered stuffing, but the holiday routine was a little less predictable.

After college, when a few of us had gotten married and started having kids, Thanksgiving entered its next phase. Mom still made most of the food, but it was getting crowded in that little house, and her stove couldn’t handle all the side dishes. So we all started bringing sides, and desserts, and wine to help her out.

And, most importantly to Mom and Dad, we brought grandkids. To Mom’s and Dad’s delight, the cousins rolled around the living room, tickling and laughing (and crying and fighting too), while my brothers and sisters and I hung around all day eating and drinking together. This became our new immutable Thanksgiving routine.

But over time people started moving away, and some of the cousins got girlfriends or boyfriends whose parents had to be visited, and the roster of guests got spotty again. A number of us started having the holiday dinner at our own houses, to start our own family Thanksgiving tradition. So some years we were all together; others not. Howie no longer came by because he’d dropped dead of a stroke one Thanksgiving morning, right in his wife’s kitchen.

Then a few years later Dad got sick and died, and the holiday changed again. The first Thanksgiving after he’d passed, we all came together at the house, and it felt like a memorial dinner — more somber than festive. We kept that tradition up for a few years, and things got happy again. All of us brought the side dishes and wine and all the kids we could muster, helping  Mom put together a dinner that looked a lot like the dinners we’d had before.

But a chunk of life had drained out of Mom, who was visibly older and less capable than when Dad was alive. And her dementia was setting in too, so cooking Thanksgiving dinner soon became impossible for her.

So we entered the itinerant phase of our family Thanksgiving dinner: one year we would host at our house for Mom and anyone else who cared to come; another year it was at the home of one of my other siblings. Most years we weren’t all together; we were just too scattered. The unchanging routine in Cresskill had given way to new unchanging routines we’d all established in our own homes.

Now a number of my brothers and sisters and I are becoming grandparents. Pretty soon we’ll be the doting older folks clapping in the background as the kids play, letting the younger generation do the heavy lifting of cooking and cleaning up the feast.

The unchanging routine is changing again.

Your Turn. Thank You!

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use this stop sign

BY LOIS DESOCIO

Not one to ruffle feathers when faced with an impasse, I often defer. Whether it be a dispute that needs settling, a step-aside when navigating a pedestrian-heavy sidewalk, or where to go for dinner — I yield to the other guy.

So when I first approached an all-way stop sign that was installed at a tricky three-way suburban intersection that I use almost daily, I imagined that I could be stuck there indefinitely as I allowed car after car after car to take the expected “me-first!” approach. There’s nothing telling the driver what to do after the stop. There are no instructions; no green light. Nothing but a sanguine reliance on the credo that we all learned in kindergarten: take turns.

It could easily serve as a place to take it to the street — put your bully on. There could be a competing hot-rod revving of engines. Or an in-your-grill inching across the white line into the middle of the intersection to muscle into first place. Instead I’m often a partner in a rhythmic dance of nods to go, and smiles to thank. It has become a crossroad of civility in this seemingly less than civil, fast-forward, “get-out-of-my-way!”detached world, where many people don’t like to look up anymore, much less stop what they’re doing.

I’ve yet to see a mess-up. No middle fingers, honking horns, or near-misses. There have been times when two of us have approached at the same time. (The law states that the car that gets to the stop sign first, regardless of what direction it is going, has the right of way.) When I see it coming, I approach slowly, and prepare to be usurped, or to imply with a smile and a nod — “you first.” More often than not, though, I get an implied (or a wave out the window) “no, please — you first.” A sense of camaraderie swells within; a communal let’s-not-take-this-moment-to-the-gutter! We all can get along.

So I have found my own little corner of courtesy in a most unlikely place — a three-way intersection, where we are all veiled in steel and glass and can easily put our feet down, and be pushy — anonymously. Instead, it’s become a place to slow down, take pause, smile, nod, and be magnanimous; cordial. A chance to defer to the other guy. Perhaps, when we are not told what to do, we want to do the right thing.

Transylvania, Part 1: Brasov

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Brasov.

Brasov.

BY JULIE SEYLER

To continue where we left off, Steve and I were boarding the night train to Bucharest. This served a dual purpose. We didn’t waste a day traveling, and we had a cheap place to sleep for the night, albeit I was a bit more rested than Steve when we pulled in to the Gara de Nord the following morning at 6:00. We had an hour to kill before we were again en route, this time to Brasov, our home base for four days. From there we could make day trips to the places of note in Transylvania: Count Dracula’s Castle in Bran, Peles Castle in Sinaia and the medieval fortress towns of Sighisoara and Sibiu.

Entrance to Casa Rozelor

Entrance to Casa Rozelor

We arrived on a cold, wet day, and checked into the Casa Rozelor, an apartment hotel located around the corner from the town square on a pedestrian street. The exterior bears the markings of its roots in the 15th century and the interior bears the markings of an upscale design firm. It was comfortable and convenient. A plate of ham, cheese and salami would appear every night in the refrigerator so that we could make sandwiches for breakfast. That, and a bottle of beer was a perfect way to start the day.

We made breakfast.

We made breakfast.

One really only needs a day to see the highlights of Brasov, but having additional time to wander allows its beauty and serenity to be imprinted on the psyche. The to-do list includes the 14th century gothic church, known as the Black Church because of the scars it retains from a fire in 1689.
black church 1There is also the cable car up Mount Tamba to view the town and countryside. I missed it and have to rely on Steve’s photos to get an understanding of how truly pretty the view was. There are a few museums and medieval towers, but what made Brasov memorable was my aimless rambling. The sight lines were seductive. The city is in a state of continuous renovation. Some buildings looked as if they wore their age, others were carefully restored to what they may have looked liked when first erected. They were painted green, yellow and pink with 12 foot high windows framed with intensive scroll work and grand portal entrances protected by carefully wrought wrought iron.storefront Brasov

If I looked up the rooftops created a maze of lines, space, and form.

Brasov 2 roofs

If I looked across the street I might see a home restored to its baroque grandeur.

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And if I kept my eyes focused on the scene around me, a panorama of the “old” world would appear.

The Town Square

The Town Square dating from 1420.

Coming home from an excursion, I’d plop myself down in the cafe outside the Casa Rozelor.casa roselorAnd as I’d sip my beer I’d watch the reflections change in the windows. And for this I wish I had an Ursus beer right now and could transport myself back to Brasov.

Looking at a window.

Looking at a window.