Monthly Archives: November 2012

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Sleep wouldn’t come. Indeed, it hadn’t for many days. gave up and watched highlights of the match. Perhaps it was fortuitous, for this morning was his turn, to write the poem that would be recited to the team after practice. And so captain Steve Waugh, man of some steel but also of an invisible soul, sat and wrote:

Yes, yes, the very phrase Australian cricket poet smells of an oxymoron. It is though an unexpected measure of a complicated man. But wait, we are getting ahead of ourselves.

Victory always exaggerates a captains virtues. It is the way of sport. Waugh, we were told, was as humourless as a defrocked priest, unburdened by any gift of inspiration. Yet perhaps we missed something about him.

He certainly thinks so, even writing pointedly in his column prior to the final, “Tubby (Mark Taylor) was a great captain but he seems to have become better since he retired.” Perhaps too in the mesh of eastern flair and western discipline that is the Australian trademark, in their righteous belief in their ability, we see clearer the flaws of Indian cricket.

Indian captains have never been men of daring. Teams surge forward not just on talent and tactical nous but on ideas, however absurd they may appear on initial nfl jerseys And two that he experimented with these last few months not that they were reasons alone for Australias victory give strength to his reputation as a thinking man.

If you looked perchance at the back of Waughs cap at the World Cup, you would have seen a number embossed on it. It read: 90. For long Waugh believed Test cricket (and the baggy green cap) was the Holy Grail, but he knew there were players whose ambitions would end with one day cricket. He felt it deserved a tradition too, some sense of history, where after matches players would not casually give away their caps.

So at the back of every mans cap is a number that denotes where he stands in a lineage of Australian players. For instance, the 90 on Waughs cap indicates he was the 90th player to play one day cricket for Australia. Suddenly men like Tom Moody or Michael Bevan or Damien Martyn or Shane Lee, unlikely to play much Test cricket, find a fresh worthiness. No man gives his cap away anymore.

The second experiment, had it been mentioned in the Indian dressing room, would have brought a collective sneer.

In the West Indies. Waugh approached Dave Misson, a former English teacher turned fitness trainer, and asked that after practice he provide a thought for the day. That the mind should find a similar stimulation to what they gave their bodies. And so when nets ended, and the players gathered. Misson read to them from men like Henry Longfellow:

Not in the clamour of the crowded streetNot in the shouts and the plaudits of the throng But in ourselves are triumph and defeat

Ambitious always. Waugh then pushed for the players involvement, that they write something, a poem, an inspirational couplet, whatever. Justin Langer, who wrote his own tour diaries, was among the first, writing before the fourth Test in Antigua:

The pain of discipline and going the extra yardIs easier to bear than the pain of defeat

By the World Cup. it become a pattern. even the young players, unlikely men built more of perspiration, scribbling untidily on scraps of paper. Then before matches, against New Zealand and India, unembarrassed by the throng of hard nosed, beer swilling, invective spewing Aussies around him, a player read out what he hoped would inspire. As Waugh later told The Australian, “Through this (the poems) sometimes the person will bring out something they have not said before, something you would not have thought this person would say, and it lifts the players.

On song: The aussies went the extra yard and it paid off

“Poetry is not going to solve India’s cricketing problems, but it points to a willingness to be inventive, to find unusual methods of bonding, qualities absent in the Indian camp. Still, there was so much more for India to learn from Waugh.

Stephen Sondheim “A Little Night Music” is one of the composer most beloved musicals, and it contains what is perhaps the most famous song he has ever written “Send in the Clowns.”

A melancholy aria about longing and middle age regret, “Send in the Clowns” is considered one of the great showpieces for stage actresses of a certain age. The number is often performed in a sing speak style that makes it ideal for performers who may not have the best singing voices but who know how to act their way through a song.

Bernadette Peters, who recently took over the role of Desiree from Catherine Zeta Jones in the Broadway revival of “A Little Night Music,” is the latest actress to put her signature stamp on “Send in the Clowns.” Isherwood of the New York Times recently praised Peters rendition, writing: “I’m not sure I’ve ever experienced with such palpable force or such prominent goose bumps the sense of being present at an indelible moment in the history of musical theater.”

When Zeta Jones performed the song at the Tony Awards in June, many viewers voiced their disapproval of her histrionic style via Twitter, Facebook and other social networking sites. “Why is Catherine Zeta Jones singing Send In The Clowns like a mental patient who just got her meds?” wrote one tweeter.

Other actresses who have performed the song in concert settings and in full productions include Glenn Close, Judi Dench, Barbra Streisand, Glynis Johns (the original Desiree on Broadway), Elizabeth Taylor and more.

some of these versions have found their way to YouTube. Click through to view (the Close version is above) and let us know in the comments section who your favorite is.