As gardeners, we can imagine how John must have felt. Clearly, the Czar had shown a complete disregard for the sanctity of John's garden.
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It must have been a scene akin to the movie Animal House. The servants told how the 6'8 Czar had played a game with his friends where they put him in one of John's wheelbarrows and then raced him through the garden beds, crashing into walls, trees, and hedges.
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His floors were ruined, windows were smashed even the garden was destroyed. Priceless paintings had served as dartboards. And when John returned home, he walked into a nightmare. But it wasn't long before John's servants began sending urgent messages begging him to return.
John and his wife graciously moved out to give the Czar his privacy. In a gesture of hospitality, William volunteered John Evelyn's home to host the Czar and his people during their visit. That year, the Russian Czar, Peter the Great, brought an entourage of 200 people to England to visit William III. Of all he had accomplished, John's garden was his pride and joy. Everyone who knew it said it was magnificent - both inside and out. In 1698, John Evelyn had owned his estate for 40 years. left my house after three months making it his Court." Keep in mind John's appreciation for the amount of work a garden requires as I tell you this little story about him. Bunny keeps you guessing.Subscribe Apple | Google | Spotify | Stitcher | iHeart Support The Daily Gardener Buy Me A Coffee Connect for FREE! The Friday Newsletter | Daily Gardener Community Historical Events 1698 On this day, the English writer, landowner, gardener, courtier, and diarist, John Evelyn, went to Deptford to "see how miserably the Czar. The thrill of the song is wrapped up in how it skirts any pressure to lay out its intentions, how it moves at its own whims. She may be channeling the want to be immaterial, the ability to evaporate like a wisp of smoke, but when she sings “I’m so nonphysical,” it comes with embodied longing, as if she’s aching for touch. She enters a new dimension in the chorus, switching from narrator to first-person, trading a Drake-like rhythmic delivery for her usual lithe, crystalline singing. Meanwhile, as if recreating the slipperiness of Bunny, Polachek darts through various images (blazing fireworks, a wet palette, a cut check), never resting long enough for you to grasp what’s next.
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It’s a characteristic display of PC Music alum Harle’s impulse to simultaneously send-up and pay homage to popular forms, with results too deliciously crisp to read as a joke. –Puja PatelĬasting off the gossamer avant-pop of 2019’s Pang, Polachek and producer Danny L Harle opt for a sound that is both commercial and weird: a deep, juicy bassline befitting of the Top 40, a “ yoo hoo” whistle, a sample taken from Harle’s giggling baby, even marimba plinks that conjure an island vacation with Kygo. It’s a one-act play of existential malaise and a sardonic anthem for those who can't help but seek out the spotlight. There’s some humor to it all forlorn, she recognizes that the world never stops turning, and that it’s fine to lie to ourselves if it helps pass the time. The song unfolds as a balancing act of vulnerability and expectation, of altruistic self-expression and the vanity of wanting to be seen, or even adored. “Working for the Knife" is her brooding, melancholic first major single back from this respite, and acts as an incisive warning about how much of our identity we give to our life’s greatest undertakings, and who we’re giving it up for. After a long and grueling world tour supporting her breakthrough album Be the Cowboy, the singer took time off in 2019, saying she needed a break from the “constant churn” of performance. Mitski would like to have a word on that. The saying goes that if you do what you love, you’ll never have to work a day in your life.
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