{"id":9841,"date":"2018-07-28T21:45:31","date_gmt":"2018-07-29T04:45:31","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9841"},"modified":"2018-07-29T17:21:01","modified_gmt":"2018-07-30T00:21:01","slug":"ann-cefola-free-ferry-the-getz-gilberto-connection","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/07\/ann-cefola-free-ferry-the-getz-gilberto-connection\/","title":{"rendered":"Ann Cefola: Free Ferry & The Getz-Gilberto Connection"},"content":{"rendered":"

About a year ago, I received a request from The Upper Hand Press for permission to use parts of what I wrote in the liner notes for the reissue of Getz\/Gilberto Featuring Antonio Carlos Jobim<\/em><\/a>. The 1963 album included Joao Gilberto\u00e2\u20ac\u2122s wife Astrud singing Jobim\u00e2\u20ac\u2122s \u00e2\u20ac\u0153The Girl From Ipanema.\u00e2\u20ac\u009d In the post-Elvis Presley era also dominated by the Beatles and chart-toppers like \u00e2\u20ac\u0153Tha Crossroads\u00e2\u20ac\u009d by Bone Thugs-n-Harmony, the track by Getz and the Gilbertos achieved something nearly unimaginable for a sensitive jazz performance in that era; it became a hit.<\/p>\n

\"\"<\/p>\n

I granted permission to use quotes. Free Ferry<\/em><\/a>, a book of poetry by Ann Cefola, was published in the spring of 2017. Ms. Cefola is a poet who in this collection uses mastery of classical themes melded into observations of modern life complicated by nuclear-age developments. In the book-length poem (54 pages) Free Ferry<\/em>, she manages to entwine evocations of the myth of Orpheus and Eurydice with 20th and 21st century realities of weapons-grade plutonium, Cold War anxieties, episodes from everyday life and, sometimes, humor. A sample:<\/p>\n

”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0 ”\u00a0[Cleaner]<\/p>\n

Eurydice sucked deep in detergent aisle;
\nNames, celebrating pines and joy, end in ex<\/em> or ol<\/em>.
\nSo many sprays\u00e2\u20ac\u201dyellow, orange and sky blue.
\nSearching the shelf, every wife lost until one
\non TV screams into a plate
\nI can see myself!<\/em><\/p>\n

 <\/p>\n

To learn more about Ms. Cefola and her work, go here<\/a>.<\/p>\n

A quote:<\/p>\n

I sang The Girl from Ipanema for Stan
\nand he said, \u00e2\u20ac\u02dcYeah, that\u00e2\u20ac\u2122s fine with me.\u00e2\u20ac\u2122
\nAfter the final take, Stan looked at me
\nand said very emphatically,
\n\u00e2\u20ac\u02dcThat song is gonna make you famous.\u00e2\u20ac\u2122\u00e2\u20ac\u201dAstrud Gilberto<\/p><\/blockquote>\n

\n

It made her famous.<\/span><\/p>\n<\/div>\n

The Rifftides<\/em> staff intended to embed “The Girl From Ipanema” here, but YouTube<\/em> said we couldn’t.<\/p>\n

\"\"<\/p>\n

Sorry. I guess you’ll just have to dig out your CD or LP copy.<\/p>\n

Later: Or, better yet, you can go here<\/a> (thanks to reader Dave Lull)<\/p>\n","protected":false},"excerpt":{"rendered":"

About a year ago, I received a request from The Upper Hand Press for permission to use parts of what I wrote in the liner notes for the reissue of Getz\/Gilberto Featuring Antonio Carlos Jobim. The 1963 album included Joao Gilberto\u00e2\u20ac\u2122s wife Astrud singing Jobim\u00e2\u20ac\u2122s \u00e2\u20ac\u0153The Girl From Ipanema.\u00e2\u20ac\u009d In the post-Elvis Presley era also […]<\/p>\n","protected":false},"author":2,"featured_media":9842,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-9841","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9841","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=9841"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9841\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/9842"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9841"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9841"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}