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News & Musings for Lou Cove and Man of the Year

Song For my Mother: A Eulogy

I want to start with expressing my gratitude to all of you for joining hands with us today. For your calls and emails and texts. We need you now, and we will need you in the coming days and months. Your fond memories... your ears... and your shoulders.

I am in the habit of speaking at events and I had intended to speak at this one. But something happened on the way to the memorial service...

I don’t want to be on a stage. I don’t want to lead anything.

As the firstborn in a fractured family, I was often asked by my parents to BE a parent.

To my siblings. And to myself.

On this day, I just want to be a son.

A son and a father who is crying. A son and a father who knows how to hold down the fort but who doesn’t really know how to let it fall apart for a time.

It has fallen apart for THIS time.

So I have asked my brother-from-another-mother to read my words. I can’t speak them right now. But I want you to hear them. I want my mother to hear them. And I want to be able to weep at the same time.

This is the only way to do both.

***

My mother and I met on August 2nd, 1966. She was present at my birth, naturally. But she was not conscious. An emergency C-section denied her that moment.  And when she awoke from the sedation, I was not there. She did not know if I had survived the umbilical cord wrapped and tightening around my neck as I made my way down the birth canal.

She did not see me take my first breath.

But I saw her take her last.

My mother’s last breaths were labored. Hard to watch. She fought so hard. And this was her nature.

You may not know this -- how much of a fighter she was.

If there was one word that you all used over the past few days in remembering her, it was “Quiet.”

Not “quiet” as in mute or speechless, but “quiet” as in “quiet love”.

One old friend of mine who has not seen my mother for at least 30 years said on Facebook: “I remember your mom as gentle, and with a calm stillness.”

Someone I never met wrote: “She had a quiet grace and beautiful presence.”

This impression lasted. And it is so true. She was quiet.

But she was also a badass.

When I introduced her in my memoir, I didn’t use “quiet” at all. I described her this way:


Mama is brilliant: a computer programmer taking a break to stay home with my baby brother but never not working. She’s comfortable around a jigsaw, handy with a slide rule. In other words, she’s not your average Chestnut Street lady.


That was my earliest impression of my mother, and my last.

My mother was quiet in the sense that she spoke more with her HANDS and DEEDS than with her words. She cooked and baked and  braised and steamed and sautéed her love for us.

She picked kiwifruit for us from the kiwi vines she grew... on the arbor she designed... and delivered them in the baskets she weaved.

This is the first memory of my mother which I share in my book:

“It was Amanda’s birthday, and we were camping, partway into a three- month cross- country drive from Marblehead to Mexico... She turned four in the Everglades. I was six and a half. Papa took us for a walk to look for alligators and when we came back, there was Mama, emerging from the big canvas tent with a double-decker strawberry shortcake. Whipped cream and berries on top. Even candles. No sign of an oven. No campsite refrigerator.

But that was Mama, always creating something from nothing.

“That was amazing,” Amanda says through the fingers in her

mouth.

“That was,” I say.

***

That was.

When my mother did speak with her voice, it was usually in song.

Her love of singing led her to the Brookline Chorus, to Makhela, and...

Some of you were at the rehearsal dinner the evening before Dana and I were married and may remember this: My mother was asked if she wanted to speak and she said “I’m not good with words, but I can sing.”

What she didn’t know was that the dinner was held in a private room adjacent to a large dining hall and there were no doors to close -- no way to drown out the din of Lola’s raucous cajun restaurant.

That didn’t stop her from launching into an a cappella rendition of “First Born” by Kate and Anna McGarrigle.

I will never forget the sound of her voice, resilient despite it all. We couldn’t hear her words, but we could feel the message.

***

My mother endured many hardships while parenting me:

When I was 7 she gave me the Heimlich maneuver because I tried to swallow an entire canned peach half.

She sat through The Blue Lagoon with me at the Danvers Cineplex because I was in love with Brooke Shields.

She weathered the smoking, drinking, drugging and debauchery of my teenage years. (Sort of. She kicked me out, eventually. But I would have kicked me out sooner.)

She also gave me so much:

She helped me with a downpayment for my first house.

She moved to Northampton to be a consistent part of helping us raise her grandchildren, and she was an active and engaged Bubbe.

She welcomed and loved Dana like a daughter.

And she gave us 31 years of borrowed time:

Mom was hospitalized in Boston in 1993. She was 51 and was experiencing sudden and unexplained liver failure. I remember vividly the transplant surgeon who came to evaluate her that night. He was kind and gentle. He said:

“Phyllis, I’m doctor Jenkins. I understand you are a mathematician.”

“Oh yes,” she replied.

“Can you count backward  from 100 by 7s for me?” He asked.

“Of course,” she began. “100... Ninety.... Ninety...???”

He took me out of the room and told me “your mother has a 20% chance of surviving this weekend. The only thing we have going for us is that she has a very rare blood type and if an organ were to become available, she is probably the only person on the Eastern seaboard who could use it."

That was Friday evening, Fourth of July weekend. Holiday weekends tend to have a high mortality rate, and mom overcame some very low odds.

Recovering from a liver transplant in 1993 was no joke. She spent the next three months in the hospital, fighting her way back. Her resilience allowed her to get back on her feet, remarry, see her three children married, redefine her career in a way that allowed her to travel the world, see four grandchildren come into that world, see three of them graduate high school, one graduate college, and the youngest be enrolled in preschool.

And while the theme here is one of feminine independence, I would be remiss if I did not acknowledge the three decades she spent with you, Rich. You provided her with companionship, intellectual parity (no small feat), and a love of art, music, and travel. I owe you a debt of gratitude for the love and commitment you showed her.

***

My mother was effectively frugal, and that frugality enabled her to help all four grandchildren with their college educations.

In keeping with her "quiet nature" we didn't even know she was capable of doing such a thing until she told us in 2020 when Sam, her oldest grandchild, was enrolled at UMass.

She was so proud of you, Sam, Sylvie and Zachary. She wanted you to have the thing she valued second only to family: a college education. That you all took her up on the offer was the greatest gift you could give in return.

Kingston: she was absolutely smitten with you. In recent days, I only heard her utter one regret, and that was you would not have the chance to get to know her better, and she you.

When my mom attended Sam’s graduation in May we knew things were bad.

I often called our other brother-from-another-mother, Dave Feinbloom, who the family refers to as Doctor Dave, and I asked him for advice as the emergency room visits and hospital stays increased.

Dave said: “if you had told me 20 years ago that we would be discussing an 82 year old patient who was 31 years past  a liver transplant,  who underwent spinal surgery as the pandemic was unfolding, and who is on nightly peritoneal dialysis....? I’d say you were crazy.”

Mom loved you.... AND loved having a Beth Israel hospitalist in her rolodex. Thank you, Dave.

But you forgot to mention the two new knees and two new hips.

Remember? That's why we called her Bionic Bubbe.

For a time, she used to sit at the front desk here in this very building greeting visitors as a docent. They saw a little old lady. She quit because it made her feel like a little old lady!

Maybe you saw a little old lady, too.

But now you know: that lady was a badass.

She probably wouldn't like me repeating badass in a eulogy. My mother-in-law, Carol, visited her in hospice and came away, saying that my mother reminded her of a proper, dignified lady in a BBC show.

I shared that with mom, Carol, and she liked it very much. She said that her mother had taught her well.

What I don’t know is who taught my mom to fight so hard. What I witnessed her endure over the past year was especially harrowing. I can’t imagine doing it.

We could all see where it was headed, and yet as recently as September, she was entertaining the idea of moving out of the assisted living facility and building a “granny pod” in our backyard.

One of the last emails we received from her was on September 21. It was a design for an Accessory Dwelling Unit from a company in Colorado. She wrote:

I am really interested in this design.  The company seems to have a complete process from planning to constructions, even though they are in Colorado.  I would like to set up a virtual consult with them.  Are any of you interested in joining in?  If so I will try to plan it at a time all can be there.

Mom

For those of you who saw her in recent months, you're probably thinking she was crazy.

WE THOUGHT SHE WAS CRAZY.

But what she was was a fighter.

She was a woman who took her life in her own hands. A woman who could send an email like that on September 21 and then, on October 10, decide it was time to end her life.

She never questioned her decision once she made it.

A fighter, yes. A problem-solver, always. But ultimately , and always, she was a pragmatist.

For those who don’t know about peritoneal dialysis, may you never know. But it is worth sharing that in order to do this procedure you need a port surgically implanted in your abdomen, very close, it turns out, to your navel.

It is not an exaggeration to say that this was an umbilical cord for my mother in the last year of her life. To separate that cord from the machine that sat by her bed for any real length of time was to die. It might take days. It might take a few weeks. But it would unquestionably, irrevocably happen.

So, in true Phyllis fashion, she scheduled the end as best she could:

She would leave the hospital on Monday to begin hospice but stay on dialysis until my brother David and my nephew Kingston could come to say goodbye. They would stay Thursday through Saturday and she would do her last dialysis on Friday night, knowing that her cognition would likely begin to decline Saturday evening.

She wanted a steak and baked potato dinner for Thursday night and a vegetable lasagna from Mulino’s on Friday. When I tried to get the lasagna from Pasta Y Basta in Amherst instead because it was closer than driving to Northampton on a busy Friday night, she balked.

And she ate it all with gusto.

As if she were knitting a sweater or building a bookshelf, she mapped out a process that allowed her the opportunity to see or speak with just about everyone in her life who mattered to her.

She got to say goodbye.

I heard her say it again and again. The phone would ring, and she would say “Oh, Hi Linda. Well, no I have some bad news. I’ve decided to end my life.”

It was so hard to hear, but also so honest and real.

For a person who was “not good with words” my mother found them in the end. But unlike ginger or garlic, she did not mince them.

As my friend Lisa, also a doctor, said to me before the decision to go into hospice: “These days most Americans die surrounded by machines and strangers.”

My mother died surrounded by loved ones.

That doesn’t happen to people who have not loved hard and well. It may have been quiet love, but it was fierce.

And no one was with her for more of her final hours, for more candid conversations, for more middle of the night emergencies, than my sister Amanda.

AMANDA: you are our mother’s daughter in the way that was most important to her. You are a rock. A strong, self-possessed and independent woman. She leaned on you so much in the end, but she wouldn’t have if she didn’t believe in your loving strength.

I only saw my mother cry a few times in the final days. She cried hardest when she realized she could no longer care for herself. It was the greatest pain for her -- the idea that she had finally lost her hard-fought independence.

She asked if there was a way to make things go more quickly, then thought better of it and said “I guess I don’t want to play God.”

But you know what? I think she did.

A woman who overcame so much adversity.

A woman who built a family against innumerable odds.

A woman who would do it, whatever it was, if she decided it needed doing.

A woman who grew up kosher but lived a secular life.

A woman who didn’t believe in God.

Why NOT her?

That was my mom.

Hers was a quiet love but her absence does not feel quiet. There’s a cacophony where there once was a mother, sister, Bubbe, friend.

In the last hour of her life, Amanda, Dana and I played her some Chet Baker. She loved Chet.

It was a mix of songs: some trumpet playing, some crooning.

She died listening to Chet play.

A few minutes after, as we lay over her body and wept, Chet began to sing.

I’ll leave you with the song that played as we wept, and laughed, and wept, and laughed, and wept...



















Hip-Hop Flashback: Massachusetts Hip-Hop Archive

In the summer of 1984 I spent a day wandering the streets of Boston with my best friend, Pace. I was snapping pictures, taking in the vibe of a city full of contradictions - Shriners took over Downtown Crossing in their funny cars and funny hats. A homeless guy slept on a bench at the Public Library. A baby wandered into a magician’s street show. And the FloorLords popped, locked, and flipped the fuck out for a rapt audience at Faneuil Hall.

In 2023, those photos were added to the Massachusetts Hip-Hop Archive, included in the Folk Americana Roots Hall of Fame, and displayed as part of the Hip-Hop: Seen/Unseen public art exhibition, a carefully curated collection of early concert flyers and rare photographic archives from 1979 to the present, this mini-exhibition, nestled within the Dewey Square Plaza on Rose Kennedy Greenway.

It was just a summer day, bored in Boston, with a bestie. And yet something was in the air that day that still feels relevant all these years later. You never know what this moment will mean. Feel it if you can.

Return to Yesterday

One Sunday this past October, after months of being closed for renovations and installations, the Yiddish Book Center reopened to celebrate its new permanent exhibition, Yiddish: A Global Culture.

Although I live just a few miles from the Book Center, this was still something of a homecoming for me. The first time I walked into the Yiddish Book Center it was 1998, and I was visiting because I thought this curiously located repository would be of interest to my in-laws who were in town for the weekend. 

But it was I who was changed by the discovery there of a modern Jewish renaissance—one that had flourished right up until I was born, but which no one had ever told me about. The visit exploded my thinking about Jewish creativity and set me on a course that continues to this day. 

I wrote about the return as part of a larger piece about Yiddish exhibitions for the CANVAS journal Compendium.

Jewish Arts and Culture for Hope and Solace

Dear Reader,

Like you, I am horrified by the events unfolding in Israel and Gaza. First and foremost, we encourage everyone to send support to those in need. Jewish Funders Network has created this list of trusted NGOs that greatly simplifies this process. Charity Navigator also has a list of ways to help war victims

What have we seen? How is any of this remotely possible? 

The expression “man’s inhumanity to man” has resurfaced in my mind over and over again these past few days. And though the expression feels biblical, it is actually a line from the 1784 poem “Man Was Made To Mourn” by Robert Burns.

250 years on, a single line from a single poem about the plight of the poor is now a caution to us all to remember our humanity, and to speak out against injustice. It serves as a lasting reminder that while the innocents die and the warriors rage, the artists give voice to our values, and our suffering. 

They also stir our hope. 

Another biblically evocative poem, “Prayers for the Protection and Opening of the Heart” by Ya’akov Hakohen, translated by Peter Cole, attempts the latter:

May the Name send its hidden radiance
       to open the gates of deliverance
to His servants—and shine in their hearts,
which now are shut in silent darkness.

May the great King be moved
       to act in perfection and righteousness—
to open the gates of wisdom for us
and waken the love of old, the love of ancient days.

For those who feel only helplessness and grief, our creative community is doing what it can to provide solace and kinship. You’ll find some examples below, and we’ll share more as they will, surely, become available.

We stand with the people of Israel. We stand for peace. We have no illusions about our power to stop this unthinkable violence, but we believe in the transformative power of the arts to unite us when hope seems lost, and we pray that those in power heed the call: not just for protection, but for the opening of the heart as well. 

Zayt mir ale shtark und gezunt – stay strong and healthy.
Z”l – may their memories be for a blessing.

Lou Cove
Founder and President

More here:

https://bycanvas.org/2023/10/12/jewish-arts-and-culture-for-hope-and-solace/

Amid a Lack of Support, This Funding Collaborative Backs Jewish Arts and Culture

Some great coverage from Inside Philanthropy on CANVAS, a collaborative funding initiative dedicated to a 21st century Jewish arts + culture renaissance which we (miraculously!) launched in 2020.

It’s been almost seven years since the National Foundation for Jewish Culture ceased operations. The closure of NFJC, which had been supporting Jewish artists, writers, filmmakers, musicians and scholars since 1961, signified what many in the creative community were already painfully aware of: Philanthropists were not supporting Jewish arts and culture as they had in the past. 

These developments alarmed Lou Cove, a senior advisor to the Harold Grinspoon Foundation and founder of CANVAS, a Jewish Funders Network (JFN) collaborative that aims to create a 21st-century Jewish arts and culture renaissance. CANVAS launched in September 2019 and began making its first grants in March 2020, just as COVID-19 arrived in the United States.

Continues at Inside Philanthropy

Continues at Inside Philanthropy

An Open Letter To My Children Regarding The Commencement Of Asynchronous Parenting

As we have learned from your teachers, we no longer need to have an in-person connection to confidently advance your development. The essential lessons of life, and the accountability we seek, are now available to us all through a suite of freely available apps. Regardless of our location (we’ll be on Martha’s Vineyard next week, by the way), you can be certain you are being cared for.

Read More

A Message to America: Let’s Make Colbert Sexiest Man Alive

By Lou Cove

Steven Colbert recently claimed that he was People Magazine’s Sexiest Man Alive, a poke at POTUS for claiming election victory when the truth said otherwise.

Among other outcomes, Colbert’s bit drew everyone’s weary attention back to the annual celebration of masculine unattainableness that is the Sexiest Man Alive (SMA) award.

Recent prime rib select cuts include Chris Hemsworth, David Beckham. Dwayne “The Rock” Johnson. Idris Elba, and John Legend. (I left out Blake Shelton, Mister 2017, because height -- 6’5”! --and jawline notwithstanding, he’s sort of a regular guy, isn’t he?)

 But these other gentlemen are walking deities: unattainable celestial beings who now set the standard for We the Poor Schlubs. 

Mel Gibson was the first Sexiest Man Alive. That was in 1985, long before he revealed his inner ugliness. 

 Mel was followed by a parade of chisel and chin: Tom Cruise, Brad Pitt (twice), George Clooney (twice), Johnny Depp (twice). Were there really no other men sexy enough to make the grade? Of the 34 awards to-date, I count 29 winners. And until 2018, only one was an American of color - Denzel (SMA 1996).

But there was a time when male sexiness wasn’t all about physical perfection, which is just one of the many reasons Colbert’s false claim was cathartic...

It brings me back to glory days of the 1970s when that cover wouldn’t have been impossible. It was a time when men could be just a little more normal, and still be considered attractive for their whole being. I’m thinking specifically of July, 1974, when I was an impressionable 8-year old. Telly Savalas was rocking the cover during his Kojak heyday.

And baby, he was beautiful.

Let us meditate on the absence of muscle-tone... the gloriously un-groomed body hair... the flaccid nipples.

Telly’s a handsome guy, don’t get me wrong. And he nearly singlehandedly made bald badass (apologies to Yul Brenner). This guy was so confident in his own skin he puffed Tootsie Pops instead of Pall Malls and made Kojak crush as The Lollipop Cop ratings juggernaut. 

The interview behind this legendary cover opens this way:

With his icebreaker nose, insatiable eye, buccaneer grin and a gleaming skull that invites the stroke of a pool cue, actor Telly—for Aristotle—Savalas sees no point in denying the obvious. When asked why his CBS series Kojak has now clambered over All in the Family to become the top-rated show on television, Telly is matter-of-fact and fast with an answer: “It’s me. I’m the kind of gorilla people can identify with.”

Telly was 52 when he bared it all for People. The image is of a man utterly at ease in his own aging skin. The bling commingling with chest fur reminds me of my Grandpa Sam on casual Sundays when the weather was too warm for his velour sweatsuits. Just a guy, absent the self-consciousness of six-pack dreams.

Of course, women have been familiar with the phenomenon of impossibly-idealized-form-in-your-face for far longer than men have. But mainstream media started catching up with us in 1985 and it’s been a pumped-up arms race ever since.

My 19-year old son, named after my velour-clad grandfather, has used much of his pandemic imprisonment to work out and buff up. He’s strapping, and he feels better, emotionally as well as physically, when his blood flows and his sweat runs.

But he complains that the washboard stomach isn’t coming fast enough.

I want to have a Telly T-shirt made for him, just to remind him of what’s possible. But then I realize: that was possible in 1974.  Grandpa Sam might keep the sweats zipped up today, even if the temperature soars. 

But here’s a case for Colbert: On November 6, he gave one of the most powerful monologues of his career. It wasn’t funny, it was tearful and it was determined. He demonstrated some of the most important ways in which being a man can be sexy: he spoke truth to power, stood up to injustice, and wasn’t afraid to betray painful emotions.

That’s so much more important than Bobby Maximus’ ab-smashing workout or Lenny Kravitz’s guide to immortality. (JESUS, Lenny. You make the rest of us middle-aged Jewish guys look horrible. We’ve had enough atrocities to contend with without you defying the laws of physics. Ugh. See what I did there? Already falling prey to the injustice I’m railing against.).

So let’s give American Democracy and true masculinity a second chance. Let’s all vote Steven Colbert Sexiest Man Alive this year, just to make the point: it ain’t the abs, it’s the emotion. It ain’t the guns, it’s the guts. And it ain’t the chisel, it’s making a choice to do the right thing, even when that thing isn’t in favor.

And let’s make sure that, when he wins, he loses the shirt for the cover.

#ColbertSMA2020

 Lou Cove is the author of MAN OF THE YEAR, a memoir about his stint as ‘campaign manager’ for Playgirl Magazine's Mr. November 1978 in his bid to become Man of the Year 1979. Lou was 12 at the time.