{"id":115466,"date":"2017-09-13T15:30:14","date_gmt":"2017-09-13T19:30:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=115466"},"modified":"2017-09-14T12:08:50","modified_gmt":"2017-09-14T16:08:50","slug":"michael-friedman-unwritten-columns","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/09\/13\/michael-friedman-unwritten-columns\/","title":{"rendered":"A List of the Columns Michael Friedman Never Wrote"},"content":{"rendered":"
\"Michael<\/a>

Courtesy of New York City Center.<\/p><\/div>\n

 <\/p>\n

In their post this Monday\u00a0about the death of the composer and librettist\u00a0Michael\u00a0Friedman<\/a>, Lorin and Sadie Stein mentioned their surprise that\u00a0Michael\u00a0had published just a single piece on the Daily<\/em>. \u201cOver the years we\u2019d talked about his doing so many different things, on so many different subjects,\u201d they recalled, \u201cfrom a column on new music at Le Poisson Rouge to an online version of an informal seminar he held known as\u00a0Michael\u00a0Friedman\u2019s Drunk Music Appreciation Class.\u201d The reminiscence brought to mind another near miss, from just last summer.<\/p>\n

Though I\u2019d known\u00a0Michael\u00a0for several years, our editorial dealings were infrequent, and always ad hoc. An early note I wrote myself reads, in its entirety, \u201cAsk\u00a0Michael\u00a0Friedman\u00a0for his porn-lawyer contact.\u201d (Dated six years ago yesterday, it seems only partially explicable by the fact that\u00a0Michael\u00a0was then writing songs for Pretty Filthy<\/em>, a musical about the porn industry.) It never seemed quite fair to ask him to confine himself to something so limiting as silent pixels in two dimensions, especially when he was having such obvious fun\u2014and such evident success\u2014with a piano and a stage.\u00a0Still, in June of last year, not knowing much about his previous dealings with the magazine, I asked him, \u201cWhat would it take to get you to write\/sing\/dance for The Paris Review<\/em>?\u201d<\/p>\n

A few days later he sent me a list of column ideas, which I reprint here verbatim:<\/p>\n

<\/p>\n

    \n
  1. Poets who are lyricists for music theater: Ogden Nash, Langston Hughes, TS Eliot, Shakespeare, Brecht, Richard Wilbur, Derek Walcott, Dubose Heyward. i.e. What is the difference (and also why lyrics aren\u2019t poetry\u2014Dylan)<\/li>\n
  2. Meet Me in St. Louis: Movie, song, World\u2019s Fair, my family\u2019s shoe business that had child laborers in St. Louis (blind!) and tobacco and Kerry Mills who wrote the song. And Judy Garland in the movie sings \u201cunder the bamboo tree\u201d which is by an amazing black composer who also wrote the Negro National Anthem and founded ASCAP and the NAACP. And Kerry Mills also wrote \u201cRed Wing,\u201d about an Indian Brave and it is directly taken from Schumann\u2019s Happy Farmer that every kid learns in piano, and in turn Woodie Guthrie stole that tune to be \u201cThe Union Maid,\u201d the ultimate Labor protest song! Happy Farmer, Dead Indian Brave, Union Maid.<\/li>\n
  3. Maybe what the above really is is the post-lives of songs. Le Temps des Cerises, Jump Jim Crow, San Antonio Rose, The Internationale, Careless Love.<\/li>\n
  4. George Washington Johnson: who did the first hit records and whistles and they are coon songs and he is amazing and nobody knows!<\/li>\n
  5. Agatha Christie: I seriously think Murder of Roger Ackroyd is the great modernist novel.<\/li>\n
  6. Charles Ludlam and the erasure of Gay culture.<\/li>\n<\/ol>\n

    Michael\u00a0said he\u2019d get started as soon as he finished the project that was occupying his summer, a musical chronicle of the 2016 election. Which was all to the good, but by the time he was ready to write for the Daily<\/em>, I was off to another job.<\/p>\n

    I won\u2019t pretend that these blog posts\u00a0in nuce\u00a0are the first things I\u2019ll remember whenever I think of what we lost when we lost\u00a0Michael. But the list captures, in its modest way, the apparently infinite horizon of his curiosity, as well as his talent for galloping insights and associations. Best of all, it reminds me what it was like to stand inside the whirlwind of his enthusiasm. Call it an amulet, a gift of a rare and exhilarating mind.<\/p>\n

     <\/p>\n

    Robert P. Baird is the features director at <\/em>Esquire, and a former editor-at-large for <\/em>The Paris Review.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

      In their post this Monday\u00a0about the death of the composer and librettist\u00a0Michael\u00a0Friedman, Lorin and Sadie Stein mentioned their surprise that\u00a0Michael\u00a0had published just a single piece on the Daily. \u201cOver the years we\u2019d talked about his doing so many different things, on so many different subjects,\u201d they recalled, \u201cfrom a column on new music at […]<\/p>\n","protected":false},"author":960,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[27],"tags":[],"class_list":["post-115466","post","type-post","status-publish","format-standard","hentry","category-in-memoriam"],"acf":[],"yoast_head":"\nMichael Friedman\u2019s Unwritten Columns<\/title>\n<meta name=\"description\" content=\"A former editor-at-large for \u2018The Paris Review\u2019 shares the composer Michael Friedman\u2019s ideas for unwritten columns.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/09\/13\/michael-friedman-unwritten-columns\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A List of the Columns Michael Friedman Never Wrote by Robert P. 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