Pretty much every week I notice that Ukraine figures in international news as a David fighting against a Goliath. A Polish colleague just me asked whether the book I’m writing about the Russian war against Ukraine would have the word “David” in its title, since I also write about other things that begin with the letter “d”: decentralization and democratization. I laughed, because for quite a while I have indeed been thinking about the image of David and Goliath in the context of Ukrainian-American relations.
The metaphor of a struggle of David against Goliath tends to resurface each time we have to deal with another burst of so-called “negotiations,” when American leaders say, for example, that the Ukrainian president has few cards, and therefore must make concessions. If Russia is a Goliath, if that image is what matters, then Ukraine’s arguments and indeed the actual correlation of forces on the battlefield do not matter. On the force of a stereotype, or an archetype, the White House insists (now, as several times before) that Ukraine must enter an agreement which would worsen not only the current battlefield situation but grant Russia things that it could not in fact get without American help.
The classic example of this, which has emerged several times and just emerged again this month, is that Ukraine must cede to Moscow the full Donetsk region, which Russia is not capable of taking. It is the best-defended section of the front line, which of course is why Russia wants American help to get it without a fight. It is certainly possible to imagine Ukrainians accepting a full ceasefire; but this text did not even provide for one, focusing instead only on such concessions to Russia.
We are told that international relations is a realm of interests and logic. But other things are clearly at play, and journalists right now are exposing some of them. But I want to dwell on an underlying issue, the moral issue, or perhaps the psychological issue. Why Moscow and the Russian war of aggression seem to arouse sympathy in the White House? For those of us who root for David, this can be hard to understand. Indeed, for most people, it seems to me, David is an unequivocally positive figure. He embodies the capacity of a small individual to resist a vast and dangerous world. It’s not only about one man; it’s about the idea that good can overcome evil, that something apparently weaker can prevail thanks to confidence, persistence, and intelligence. And indeed, sometimes that does happen. It is not just a wish, it can be a reality. David slew Goliath.
But the question of David and Goliath is not just one of the past few days or months. A year ago, during the 2024 US presidential election campaign, I was writing for American publications. I had the feeling that editors were asking me over and over again for the same article —that I had to make the case again and again that Ukraine, as a David fighting a Goliath, deal with Trump, a man who constantly shows admiration for “Great Russia,” who values the strong, the apparently obvious winner?
All of my answers, back then, were variations on David’s smartness, ingenuity, and determination. At that time, Kyiv still clung to the argument that if Western support were more decisive—if there were specific actions from the West rather than just praise for Ukraine’s resilience—much would change. This was the context in which Ukraine was presenting Victory Plan to both Democrats and Republicans in the autumn of 2024.
During that campaign, and in the weeks after Trump’s victory, Ukrainian diplomats generally insisted that Trump did not personally dislike President Zelens’kyi. After all, he seemed to perceive Zelens’kyi as a fighter, not a weakling. Ukrainians tended to think roughly the same thing, to see themselves not as a nation of victims but as underdog fighters. Instead of constantly trying to interpret Trump’s moods or adjust to them, Ukraine spent the year working to reduce its dependence on the United States, building its own military-industrial complex [ . . . ]
* In medieval times, it was called “diabolus in musica” (the devil in music) because of its dissonant sound, and some believed it had evil associations.
Rest in Peace, Kirsty McColl and Shane MacGowan. Thank you for “Fairytale”
By Dai Bando published 12/20/2021 (updated 11/30/2023)
There are five new additions to my annual “Greatest Christmas Songs” list, now thirty songs in total! This is disconcerting, since my original raison d’être was that there are only about ten good Christmas songs. Then ten became fifteen, then twenty-five, and now thirty.
So, I appear to be wr…wr… challenged, in my original belief.
Mariah Carey’s “All I Want for Christmas Is You” is not on the list, despite the fact that the song has had 309 million streams across all platforms in the US. In truth, there’s probably a dearth of “uber-hits” here, with the exception of the classics from Bing Crosby and Nat King Cole. But there are beautiful hymns, traditional carols and several slightly obscure Christmas pop chestnuts. Sorry, Mariah – you don’t make the cut this year.
We lost some wonderful performers from the list post-Covid, notably Paddy Moloney of the Chieftains, Nanci Griffith, Sinead O’Connor and only yesterday, the legendary Shane MacGowan. Rest in Peace and thank you for your music.
30. “Simple Gifts” performed by YoYo Ma and Alison Krauss
“Simple Gifts” is special to me because it was performed at my daughter’s annual school holiday concert. At “Lumina,” the senior girls would sing in candlelight procession, entering a building packed with smartly dressed parents and grandparents – none wearing face-masks, because this would’ve appeared simply nutters ten years ago. Ah, those carefree days of 2011!
“Simple Gifts” was written in 1848. The lyrics are:
“’Tis the gift to be simple, ’tis the gift to be free ’Tis the gift to come down where we ought to be, And when we find ourselves in the place just right, ‘Twill be in the valley of love and delight.”
Finding ourselves “where we ought to be” – what could be a more wonderful Christmas gift than that?
On this recording, Yo Yo Ma contributes his masterful cello playing while Alison Krauss adds her typically sublime vocals. Such an extraordinary ode to simplicity!
A Christmas Quiz:
“Simple Gifts” was written in 1848 by: A. Barbeque Bob B. Shaker Elder Joseph Brackett C. Bumblebee Slim
29. Auld Lang Syne” performed by Johnny Cunningham and Susan McKeown
I find New Years as much a spiritual time as Christmas, perhaps even more so. This version of Robert Burns “Auld Land Syne” includes both Burns’ original Scottish melody, as well as the familiar Guy Lombardo update. “We’ll tak a cup of kindness yet” – how beautiful! I was fortunate to see the late Johnny Cunningham and Irish singer Susan McKeown perform together at a small garden concert some years ago – a treasured memory. Rest in Peace, Johnny. Slàinte Susan!
28. “I’m Gonna Lasso Santa Claus” performed by Brenda Lee
I first heard this novelty when it was featured in the 1988 film The Accidental Tourist, with actress Geena Davis singing these goofy lyrics while baking Christmas cookies. At the amazing age of nine (!), Brenda Lee recorded “Lasso Santa Claus” – two full years before recording her better-known hit “Rockin Around the Christmas Tree.” The only younger performer on my list here is probably “Cindy-Lou Who” who sings backup on “Dah Who Doraze”, but since the Whos’ ages are measured in ‘dog years’, she was technically seventy-five.)
I love the musicianship on “Lasso”, notably Nashville legend Don Helms playing that tasty double-neck steel guitar (Helms played in Hank Williams band and recorded with Hank, Patsy Cline and Johnny Cash.)
I also I love the woke lyric: “Then I’ll take his bags of toys and run And bring to all the kids who don’t have none”
Hellsyeah, Brenda! Power to the people. Stick it to the man!
Written by husband-wife team of Claude and Ruth Thornhill, this song is perfect for your Christmas cocktail Jazz party. Your guests will ask, “Is this a bonus track from Charlie Brown’s Christmas?” And you can pour a martini and reply, “I should say not! This is a 1958 live performance by the Ahmad Jamal Trio !” (If in Glasgow, add “… ya clueless bawbag!”)
“Snowfall” has been recorded by Tony Bennet and Wes Montgomery, as well as “Enoch Light and the Light Brigade” and NRBQ (wouldn’t those two bands have been a great twin-bill live show?)
Ahmad Jamal’s evocative instrumental version is my favorite rendition of this tune. You can almost see the snowflakes falling – am I right?
#26 Oh Come, Oh Come Emmanuel (traditional)
I’ve seen it written that this hymn has an “undeniably spooky quality to it” and I can’t disagree. The music is set in a minor key, and the lyric speaks of “mourning in lonely exile”, a mention of a ransom, and who is this mal hombre Emmanuel, anyway? Listen to the eerie church organ in this recording by The Choir of King’s College, Cambridge. I almost expect to see the camera pan to reveal Vincent Price playing!
In the Book of Isaiah, the prophesied messiah is called Emmanuel, which means means “God is with us.” I like that. It’s exactly where God oughta be.
Original titled “Veni Veni Emmanuel” this dates back to the twelfth century, and as we all know, the good Christians of 12th century really had their shit together when it came to producing beautiful hymns, majestic cathedrals and bloody crusades.
The darkness in this song, described as “mingled joy and sorrow performed in a minor key”, agrees with Christmas in the age of Covid. Yet the song reminds us, God is with us.
A beautiful Christmas song by Chrissie Hynde of The Pretenders, written for the band’s founding guitarist James Honeyman-Scott who died 1983 at 25 years old, the year the song was written. (Robbie McIntosh replaced him and plays a magnificent lead here.) Chrissie’s vocals and Robbie’s guitars create a holiday masterpiece that’s full of both melancholy and hope.
“And these frozen and silent nights Sometimes in a dream You appear Outside under the purple sky Diamonds in the snow Sparkle”
Chrissie’s heartfelt lyrics remind me of Pablo Nurado’s poem about death, grief and ultimately living, The Dead Woman:
“Forgive me If you are not living If you, beloved, my love, If you have died All the leaves will fall on my breast It will rain on my soul all night, all day My feet will want to march to where you are sleeping But I shall go on living”
24. The Wexford Carol (traditional)
This is one of the oldest carols, originating from County Wexford, Ireland. The recording is from The Chieftains “Bells of Dublin” LP, which I consider indispensable for holiday gatherings.
We recently lost Paddy Moloney and Nanci Griffith who perform on this track from The Bells of Dublin. They were each great ambassadors of their particular brands of folk music. Rest in Peace.
23.“River” – Joni Mitchell (1971)
One my very favorite performers from the ‘60s, Joni Mitchell wrote this heartbreaking song which first appeared on her classic album ‘Blue’. I love “River, “from the ‘jingle bells’ piano intro to Joni’s lyric “I wish I had a river I could skate away on.” Who hasn’t wished for this during this Covid winter?
22. Jingle Bells (with “Batman smells” verse)
“Jingle Bells” was written by James Lord Pierpont in 1857. I believe Pierpont’s song is best appreciated when performed by frozen-mitten wearing kids singing at the top of their lungs, and adding the “Batman smells” verse. What 5th grade boy hasn’t sung “jingle bells, batman smells” while huddled in the wintry schoolyard with his pal Tommy, lusting after Mrs. Fouch – the only teacher at St. Peters who wasn’t a nun. (OK, maybe that was just me and Tommy Tanner, but you get the idea.) The first version of the Batman Smells verse surfaced in the 1966 Christmas season when the Batman TV show (with Adam West – the greatest Batman) was becoming a massive hit. “Batman Smells” was further glorified by Bart Simpson in “The Simpsons Christmas Special,” in December of 1989. Lisa Simpson was undoubtedly wishing for a river she could skate away on.
21. “Greensleeves” (traditional)
I fell in love with this song at the afternoon matinee showing of “How the West Was Won” at the the Warwick Cinema, back when and a box of popcorn cost 50 cents and the longer movies such as this one had “Intermissions.” In the 1962 movie, Debbie Reynolds sings “A Home in the Meadow,” which was essentially the music of “Greensleeves” with American frontier lyrics added by Tin Pan Alley songman Sammy Cahn. What’s that got to do with Christmas? As Yukon Cornelius might say, “Nuthin!” But read on!
The original “Lady Greensleeves” was an English folk song dating back to 1580. There is a some belief that the ballad was actually composed by Henry the VIII who was an accomplished musician before he got fat and nasty. (He was said to be a wiz on the tennis court, too – imagine that!) Now, at that time in England, to label a woman “green sleeves” was meant to suggest she was prone to enjoying a roll around in the grass (getting green stains on her… well, you get the idea.) So this song was a 16th century “I’m too sexy for my shirt.”
Fast forward to 1865 when Christian hymn writer William Chatterton Dix thought it prudent to remove the randy “green sleeves” reference altogether and rename the song “What Child Is This?”- a question that can indeed follow a roll in the grass, I suppose.
I love Greensleeves best without any lyrics – either played unadorned on acoustic guitar or the orchestral version by Ralph Vaughan Williams. And thank you Debbie Reynolds, mostly for giving us Carrie Fisher. What child was that one!
I stumbled upon The Hobbledehoy while looking up Cliff Edwards on the internet to learn more about him. I’d spent several hours on YouTube listening to his recordings as I have done periodically over the last years, as I fell in love with Jiminey Cricket’s voice as a child. Then I found your website and saw your I Stand with Ukraine flag; Richard Thompson’s music; a repost of Heather Cox Richardson’s post; and knew I’d found a kindred spirit out in the ether. My heart is lifted. Thank you, thank you, thank you!
Hi Cynthia! I’m glad that you stumbled upon The Hobbledehoy, and thank you for your kind words about the website. I, too, was introduced to the talents of Cliff “Ukelele Ike” Edwards through his iconic performance voicing “Jiminy Cricket” in Disney’s 1940 film Pinocchio. I grew to love Cliff’s distinctive voice and ukulele on tunes like “Singing In the Rain”(recorded for a film by Cliff in 1929, over twenty years before Gene Kelley’s version), “I’ll See You in My Dreams,” and of course, Cliff’s “Jada” – one of the first big hits of the jazz age
Hi Mike, Forgive me if I’m barking up the wrong tree here, but I’m trying to contact Oliver Kornetzky (sic) to seek approval for the use of an article he wrote about his return to his hometown in Wisconsin. I have recently done a road trip through the red states of the US and am currently editing the resulting book, and would love to republish the work in full therein, since it is the most articulate explanation of America’s degradation at a human level as I have encountered. Please advise if this is acceptable, and if you wish to see the relevant chapter to view its inclusion. Warm regards, Monte
Hi Monte! Thank you for your letter and best of luck with your upcoming book. Unfortunately, I do not have any contact information for Oliver Kornetzke. Kornetzke’s post remains one of The Hobbledehoy’s most viewed. There is growing suspicion online that Oliver Kornetzke is actually an AI creation. If true, that’s one AI that I would welcome to my Thanksgiving dinner table.
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