“Nah … I can’t go for a run today because I had an abortion yesterday.”
Thus begins an extraordinary scene from the 2015 HBO series, “Girls.” Mimi-Rose (Gillian Jacobs) stuns her lover, Adam (Adam Driver) and the audience with her casual, throw-away line.
She continues to her shocked boyfriend,
“I can’t go for a run, and I can’t take a bath or use a tampon or have intercourse for like a week.”
She sits up, her head cocked in defiance, as Adam’s mind swirls. He sputters,
“Are you, uh … WHAT?”
Mimi-Rose ducks the moral implications, focusing on the here and now:
“Yeah … just a couple of things I can’t do, because I had an abortion yesterday.”
After a pregnant pause, Adam asks the obvious question:
“Was it mine?”
Mimi-Rose:
“Yeah … of course it was yours.”
We pause at this point to acknowledge that a majority of women seeking abortions in unplanned pregnancies were pressured into it, often by their unmarried boyfriends. This scene from “Girls” dramatizes an alternative scenario that, too, plays out in real life.
Mimi-Rose continues:
“I didn’t want to talk about it beforehand. I just wanted to do it. But I haven’t shared with boyfriends in the past. I’m trying to be more open with you.”
Adam withdraws, asking the obvious questions:
“You’re trying to be open with me? How many abortions have you had?”
Mimi-Rose has clearly implied she has had more than one. She quickly shuts the door on her desire to be ‘more open’ with Adam:
“I’m not going to share that with you, because that is private. I’m not going to ask how many girls you’ve gotten pregnant.”
Adam:
“None! It’s not private. I’ve got no girls pregnant except for you now.”
The pause that follows speaks volumes, leading up to Adam knocking items off the table behind him in disgust, while Mimi-Rose watches unsympathetically.
Adam: “Who aborted you?”
Mimi-Rose: “A doctor named Gunita. She did the procedure. She delivered my cousin’s baby.”
The script writers the HBO series Girls did a good job in this scene. Mimi-Rose uses the antiseptic language of Planned Parenthood, characterizing the killing of her daughter or son as a mere ‘procedure.’ Then to gloss over it even more, she suggests it’s the moral equivalent of a birth, since she used the same baby doctor as her cousin, who did give birth.
Adam isn’t deflected:
“Was it a boy or girl?”
He understands the humanity of his offspring, even though not yet born.
Again, Mimi-Rose intentionally deflects:
“My cousin’s baby is a girl.”
Adam: “NO … OURS!”
Mimi-Rose: “It was a ball of cells. It was smaller than a seed pearl. It didn’t have a penis or a vagina.”
Adam: “Isn’t this a decision that people typically make together?”
Mimi-Rose: “So you wanted a baby?”
Adam: “Maybe.”
Mimi-Rose: “That’s kind of absurd.”
***
We can learn much from this 97 second scene from the HBO series Girls:
- Was Mimi-Rose using artificial contraception? Probably, because half the women who seek abortions were contracepting at the time they conceived. Contraception fails. It is immoral to use that as an excuse to kill your own child in the womb.
- The size of a human being does not define his or her humanity, even if he/she is the size of a ‘seed pearl.’ In fact this ‘ball’ of cells has its own DNA distinct from the mother and father, meaning that it is a unique person. As the embryo grows, it develops a heartbeat (22 days after fertilization), its own circulatory system, and its own organs. From fertilization, it is a new organism that is alive and will continue to grow and develop as long as nutrition is provided and its life is not ended through violence or illness. In a sense, this new human is more alive than ever, as cell growth and replication takes place at a torrid pace, more so than at any other time in his/her existence.
- Whether the baby was wanted or not is irrelevant. Your dignity is intrinsic, not contingent on someone else. By engaging in sexual intercourse with Adam, Mimi-Rose AND Adam both had a moral obligation to care for the child THEY brought into the world by their choice. If they didn’t want to raise her/him themselves, thousands of couples are standing in line waiting to adopt their baby.
Killing the child because she’s small, inconvenient, male or female, black or white, straight or gay … or whatever … is immoral.
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By Tom Quiner
This lovely song was written 102 years ago by one of the great American songwriters, Irving Berlin. The 1920s was a decade of dazzling creativity, rivaled only by the creative output of the 1960s in the twentieth century. Irving Berlin was one of the century’s giants, and “What’ll I Do?” was one of his most enduring hits.
Of all of the songwriters identified in this series of the 52 Greatest Love Songs Ever, not a one exceeded Berlin’s craftsmanship. He labored over his songs, polishing them until they were perfect.
“What’ll I do?” is a melancholic song. With very few words, it tells a story of lost love. It’s a gut-punch of a song told with a bitter sweet melody, wrapped in a lyric asking an unresolvable question.
When we fall in love, that’s all we can think about. And when one person exits the relationship, the natural reaction of the abandoned party is, “What’ll I Do?”
That’s what happened to Mr. Berlin. He was hopelessly in love with a woman whose father disapproved of the relationship. The dad shipped her off to Europe in the hope that she’d forget about the Yiddish, immigrant songwriter from Russia. The songwriter pours out his soul in this beautiful lyric:
“What’ll I do?
When I am wondering who
Is kissing you,
What’ll I do?”
Guess what? The lovely socialite didn’t get over Irving. They married two years later in a union that lasted 62 years until her death in 1988.
In my mind, Irving Berlin is the second greatest American songwriter ever. (I will reveal the best later in this series.) You know a bunch of his songs, you just didn’t know it.
He penned “God Bless America,” a song sung at thousands and thousands of sporting events across the land. This Jewish songwriter wrote the twentieth century’s most popular Christmas song, “White Christmas.” And he wrote “What’ll I Do,” first sung by Grace Moore and John Steel in 1924, and recorded more recently by the likes of Willie Nelson, Linda Ronstadt, and even Bob Dylan.
What I like about both the Ronstadt (top) and Nelson interpretations of the song is the inclusion of the verse. Inexplicably, most artists plunge right into the refrain and omit the verse that sets up the refrain.
Willie Nelson sings “What’ll I Do?”
How good a songwriter was Irving Berlin? George Gershwin called him the greatest ever. Jerome Kern was more blunt:
“Irving Berlin has no place in American music. He is American music.”
Quite the compliments coming from those two great songwriters.
Next week, we’ll move forward in time a couple of decades to experience the witty lyrics of one of America’s great, but forgotten talents, and his equally great and better known music collaborator.
Pulse Life Advocates is changing the world one love song at a time. Love is the antidote for abortion. Spread the love. Invite your friends to subscribe to our blog to keep up on the love song of the week. We’re counting them down one week at a time.
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ProPublica won a Pulitzer Prize for journalism for its “urgent” series on “pregnant women who died after doctors delayed urgently needed care for fear of violating vague ‘life of mother’ exceptions in states with strict abortion laws,” explains the Pulitzer website.
ProPublica describes the series as “a landmark investigation into the unexamined, irreversible consequences of state abortion bans. [We] mined hospital and death records in states whose strict abortion bans threatened physicians with prosecution.”
Pulse examines their efforts in a question and answer format.
Overview
Question: Give us an example of pregnant women who “died after doctors delayed urgently needed care for fear of violating vague ‘life of the mother’ exceptions in states with strict abortion laws.”
Answer: One case cites the tragic death of Amber Thurman, who lived in Georgia. When she learned she was pregnant with twins, she made an appointment to get an abortion in North Carolina, since Georgia law prohibited abortion.
Question: Before you continue, what is Georgia’s abortion law?
Answer: Similar to Iowa’s, banning abortion at the point the fetal heartbeat is detected (as soon as 6 weeks). Limited exceptions are allowed for cases of medical emergency which threatens the mother’s life, rape, incest, and when the fetus isn’t expected to survive.
Question: Okay, so what happened to Ms. Thurman?
Answer: She missed the appointment, so the NC clinic prescribed the abortion pill regimen of mifepristone and misoprostol 9 weeks into her pregnancy.
Soon thereafter, she developed sepsis and sought a dilation and curettage (D & C) procedure at a Georgia hospital. She had to wait for about 20 hours before being admitted to the operating room and died soon after.
Responsibility
Question: So, who bears responsibility for this tragedy from ProPublica’s perspective?
Answer: The Supreme Court for its Dobbs decision which overturned Roe v Wade; and the Georgia Legislature for passing a fetal heartbeat law in 2022. From their perspective, this court decision and state law introduced complexity, uncertainty, and legal peril in the Georgia medical community at the expense of appropriate medical care for women. In other words, they suggest doctors are so afraid of being sued by the state that they’ll let their patients die first.
Question: Did ProPublica quote doctors involved in this case to shine light on what happened?
Answer: No. They acknowledged that “Doctors and a nurse involved in Thurman’s care declined to explain their thinking and did not respond to questions from ProPublica. Communications staff from the hospital did not respond to multiple requests for comment.”
Question: Still, isn’t ProPublica’s position at least plausible, that doctors may be gun shy at running afoul of the law in a complex case like Amber Thurman’s?
Answer: No, because the law is spelled out clearly, succinctly defining abortion as “using, prescribing, or administering any instrument, substance, device, or other means with the purpose to terminate a pregnancy with knowledge that termination will, with reasonable likelihood, cause the death of an unborn child.”
Even more, it unambiguously states what is NOT an abortion, that “any such act shall not be considered an abortion if the act is performed with the purpose of: (A) Removing a dead unborn child caused by spontaneous abortion; or (B) Removing an ectopic pregnancy.”
SBA Pro-Life America reacted to this case by clarifying that “under EVERY pro-life law, doctors MUST intervene to save women’s lives.” [Emphasis ours.] Even more, “no state law, including Georgia’s, prevents a hospital from treating a woman in a medical emergency. A D&C to remove an unborn child that has died, or dead pregnancy tissue, is NOT an abortion (let alone a ‘felony’ or ‘criminalized’) in Georgia or anywhere.”
The real story
Question: So, what is Pulse’s takeaway of ProPublica’s Pulitzer?
Answer: Pulse executive director, Maggie DeWitte, responds: “ProPublica missed the real story here, that abortion drugs are dangerous to women as well as their babies. They’ve missed the real story, that the FDA approved a dangerous drug that sends one in 25 women to the emergency room. It’s obvious that ProPublica had an agenda and cherry-picked facts in an unsuccessful attempt to make their case. We hope this article clarifies to at-risk women just how risky taking the abortion pill really is.”
[Question: How do you support the pro-life movement? Answer: Donate to Pulse right now.]
By Tom Quiner
“All I Ask of You” is a soaring operatic pop love song that explores a different aspect of love than the previous songs on my list of the ’52 Greatest Love Songs Ever.’ It talks about our desire to be safe. Its robust lyrics demonstrate that a loving relationship provides a harbor from the storms of life that besiege us at times.
“All I Ask of You” is the dramatic Act One closing song from Andrew Lloyd Webster’s musical, “Phantom of the Opera.” Younger readers of this blog may not be familiar with this 1986 musical. It won a bucketful of awards, and to this day is the longest-running Broadway show in history.
I’m embarrassed to say that when my wife and I saw it performed on Broadway, we slept through much of the first act. That was no reflection on the show itself, but rather the sumptuous meal (with wine) which preceded it, not to mention the toasty warm balcony seats in which we sat.
Charles Hart and Richard Stilgoe added the lyrics that elevate Webber’s melody into the stratosphere:
“No more talk of darkness,
Forget these wide-eyed fears,
I’m here, nothing can harm you,
My words will warm and calm you.”
These words invoke Saint John Paul the Great’s quote:
“Darkness can only be scattered by light, and hatred can only be conquered by love.”
We live in darkness when we sin, blocking out love. By contrast, romantic love between a man and a woman bathes us in light and reveals the wonderful possibilities of life: marriage, family, commitment, safety, security. Marriage is one of the keys to reducing abortion, as the overwhelming number of abortions occur outside of marriage.
True love is truthful
“All I Ask of You” addresses this, a cornerstone of a solid marriage, in these wonderful lyrics:
“Promise me that all you say is true,
That’s all I ask of you.”
Yes! What a great love song.
Not everyone is a fan of opera. Lloyd-Webber writes great musicals that could be described as opera-lite. Many opera aficionados turn their nose up at musical theater, but rank-and-file music lovers find the pop-opera sound quite accessible, and in particular, “All I Ask of You.”
The video at the top of the page showcases the song from the 2004 movie version of the stage play, with Emmy Rossum (Christine) and Patrick Wilson (Raoul) in the roles as the lovers. (Gerard Butler lurks in the background in the role of the Phantom.)
Sarah Brightman, the former Mrs. Andrew Lloyd Weber, and original Christine when ‘Phantom’ premiered, knocks it out of the park in this great performance with Michael Ball:
Sarah Brightman sings “All I Ask of You”
I really appreciate the depth of these lyrics:
“Then say you’ll share with me,
One love, one lifetime.”
What a breathtaking rebuke to the hook-up culture. Do you understand how counter-cultural this message is? Do you understand how important this message is for the salvation of Western Civilization? Abortion advocates reading this post would surely roll their eyes at the last statement. As a rule, they disparage chastity and commitment, as well as the dignity of unborn human beings.
“One love, one lifetime”
‘One love, one lifetime’ is an idea that has fallen out of fashion. But it is the best way, because it’s God’s way. End. Of. Story.
Modern so-called love songs treat women as sex objects. For some reason, modern feminists let rap artists get away with it. “All I Ask of You” acknowledges that “nothing can harm you” when your life is wrapped in the arms of a Godly love affair.
I have now presented you with fifteen incredible love songs. If this series were to end right now, I truly believe your life will have been enriched by being exposed to such beautiful music and lyrics. Amazingly, it just keeps getting better. Next week, we’ll bask ourselves in the glow of a love song written 102 years ago by an American song-writing legend. See you then!
Be sure to encourage your friends to subscribe to our blog. We’re counting down the ’52 Greatest Love Songs Ever’ a week at a time. Why? Because love is the greatest antidote to abortion. Thanks for checking in. See you next week!
[Keep the love coming! Support Pulse Life Advocate’s with your gift now.]
By Tom Quiner
I’m not a big fan of the notion of ‘love at first sight.’ ‘Like’ at first sight … or ‘infatuation’ at first sight, that makes sense. Love is more than emotion alone, because emotions change. But the song, “The First Time Ever I Saw Your Face,” tenderly captures the emotion of the first blush of love.
The song was written by one of the few communist songwriters, Ewan MacColl, (maybe the only?) to make my list. Born James Henry Miller in England, he adopted the stage name, Ewan MacColl, as he pursued a career as a folk singer/songwriter and labour activist.
He composed “The First Time Ever I Saw Your Face” in 1957 for his lover and future third wife, Peggy Seeger (Pete Seeger’s sister). It was a bust. Here is an early recording of the song by the folk group, Peter, Paul, and Mary:
Peter, Paul & Mary
The song found a new audience and tremendous success when Clint Eastwood used a recording by Roberta Flack (top of page) in his movie, “Play Misty For Me.” It topped Billboard’s Year-End Hot 100 singles chart of 1972 and made Flack a star.
Interestingly, she actually recorded it in 1968. When Eastwood heard it, he called Ms. Flack and asked if he could use it in his movie:
“’I’d like to use your song in this movie…about a disc jockey [with] a lot of music in it. I’d use it in the only part of the movie where there’s absolute love.’
That’s what the song conveys. Audiences everywhere feel it. Contrast Flack’s version with Peter, Paul, and Mary’s. She slowed it down dramatically, doubling the length of the song. In fact, Flack told Eastwood she wanted to re-record the song, as she felt it was too slow. Eastwood said no, it was perfect, and the rest is history.
The lyrics are tender and pure:
I thought the sun rose in your eyes,
And the moon and the stars
Were the gifts you gave,
To the dark, and the endless skies.”
These lyrics take you for ride. They soften your heart. If you’re old, they remind you of the that wonderful glow of young love you might have once experienced. If you’re young, they encourage you to seek the most beautiful thing the world has to offer, and that is love. The song continues,
“And I knew our joy
Would fill the earth, and last ’til the end of time.”
Beautiful. Amazing that someone who revered Joseph Stalin, one of the most prolific mass murderers in history, could write such a tender text!
Celine Dion sings “The First Time Ever I Saw Your Face”
Celine Dion sings it beautifully, as you would expect. But there is something about Roberta Flack’s interpretation of “The First Time Ever I Saw Your Face” that moves me more than any other.
One more thing. Two models of romance compete with each other in this age. One is the soul-mate model; the other is the family-first model of marriage.
Soul-mate or Family-first?
Senior Fellow at The Institute for Family Studies, W. Bradford Wilcox, compares the two:
“The soul mate model—trumpeted in books like Elizabeth Gilbert’s “Eat, Pray, Love,” not to mention countless songs and rom-coms—is the idea that marriage is primarily about an intense emotional and romantic connection between two people and should last only so long as that connection remains happy and fulfilling for both parties. This self-centered model gained in popularity for many Americans starting in the 1970s, the “Me Decade. But feelings are a fragile foundation for marriage.
A recent YouGov survey indicates that married people in California who hold this view of marriage are about 60% more likely to think their marriage might end in divorce, compared with those who have a more family-first model of marriage, believing that “Marriage is about romance but also the kids, money, raising a family together.”
Wilcox refers to songs in his analysis, and “The First Time Ever I Saw Your Face” surely taps into our deepest feelings, to which he refers. This blogger views the song as a beautiful prelude to the family-first model, where love is more than a feeling, it’s a choice, it’s a decision, it is a commitment, it’s for life. Love songs help us keep the romance alive. Let us keep listening … and singing along with them!
About next week: I know what you’re thinking. How in the world could we possibly top any of the songs already discussed in my list of the “52 Greatest Love Songs Ever?” Well, we’re going to do it with one that I can only describe as high drama. You won’t want to miss it!
Be sure to encourage your friends to subscribe to our blog. Seriously. We’re counting down the ’52 Greatest Love Songs Ever’ a week at a time. Why? Because love is the greatest antidote to abortion. Thanks for checking in. See you next week!
[If you like this blogpost, be sure to share it. Then donate to help spread pro-life love.]
Screenshot
If you missed Pulse Life Advocate’s “Evening of Glory” event on May 2nd, you can still support our pro-life student scholarship fund.
To recap the evening, we assembled a diverse group of Catholic musicians from greater Des Moines, beginning with St. Augustin’s music director, Dr. Marion Scott and family.
Dr. Scott, his wife, Rosa, and daughters Marianne Rose and Faith Eugenia, dazzled the audience with a set of classical music.
Sacred Heart’s Nate Sparks reimagined three well-known Catholic hymns with jazz piano stylings.
St. Francis and St. Boniface musicians in the Living Water group led us in a set of uplifting praise music.
Holy Trinity’s Tom Quiner & Friends performed four new hymns composed by Mr. Quiner.
The Catholic Youth Choir closed the performance with three breathtaking choral pieces seemingly sung by a choir of angels. The result was a thunderous standing ovation!
All of these talented musicians came together to uplift us through the beauty of music, and to raise money for our new Pro-Life Student Scholarship Fund.
If you missed the event, you can STILL support our fund with your gift today.
More detail on the pro-life student scholarship fund
Board member, Ben Robey, described the fund in more detail:
“Pulse has always been at the forefront of creating pro-life leaders in many ways, from the contingents of youth we organize to attend the March for Life in Washington DC, to ensuring those future pro-life leaders have the opportunity to be born in the first place.
While reviewing all our different activities, we realized we were missing a valuable opportunity to promote and empower pro-life leaders at the collegiate level. Thru much prayer and deliberation, we decided now was the time to create the Pulse Essay Scholarship fund.
Sizable scholarship!
Now, make no mistake, this isn’t a small award that will be given away freely. We understand that college tuition continues to soar and the days of working summers to cover books, room, and board are long gone. Thru the generosity of you all gathered here tonite, we intend to make this THE preeminent pro-life scholarship award in the nation.
I don’t want to give away all the details just yet – you’ll have to attend our Gala in November to find out more – but applicants who are Juniors or Seniors in High School and will be attending a higher education institution will be required to write an essay in response to a prompt.
The winning response will likely touch on philosophical, moral, and legal ideology, and will challenge the applicant to think in ways they haven’t previously.
The toughest challenge
From there, finalists will be tasked with the toughest challenge yet- an interview with the Board of Directors and Maggie Dewitte! The student awarded this scholarship will find themselves receiving what we hope to be a profound amount of money to go towards their studies, and will exemplify what it means to be a pro-life young adult.
But as I said before, we can’t do this without your generosity here tonite. Pulse has always relied on the selflessness of the pro-life faithful to continue the mission, and this is no exception.
The creation of this endowment fund will ensure we can make a significant impact in someone’s life not just in 2026, but in following years as well.
We will unveil the entire program at our Gala in November, where we will share the award amount, detailed requirements for application, and the essay prompt.
Applications will be open for entry immediately following the Gala, and the scholarship will be awarded in Spring 2026, early enough to announce at graduation ceremonies and parties.
I speak on behalf of the entire board and staff in saying that we are very excited to start this process, and we can’t wait to see what impact this will have on this pro-life movement going forward. Thank you very much for attending tonite!”
Make difference. Support our Scholarship fund for pro-life students today.
By Tom Quiner
What’s the difference between Nat King Cole’s rendition of “L-O-V-E” and Olivia Rodriguez’s song of the same title? Cole’s is still being sung 59 years since its 1965 debut. And it’ll be around another 59 years from now.
Ms. Rodriguez’s song won’t.
It’s the difference between a standard and disposable music. Younger readers of this series will bristle at my apparent put-down of one of their generation’s top talents.
Listen to Rodriguez’s song. Then listen to Nat King Cole sing “L-O-V-E” (above), with music written by Bert Kaempfert and lyrics by Milt Gabler. You’ll hear why the latter comes in #40 on my list of the ’52 Top Love Songs Ever.’
L-O-V-E by Olivia Rodrigo
The Kaempfert/Gabler collaboration shines with one of the catchiest melodies you’ll ever want to hear. The spare lyric is simply delightful. And few people have ever sung a love song better than Nat King Cole.
This blogger appreciates the talent and potential of Ms. Rodriguez. Her song has a decent enough melody. But the lyrics don’t flow. You can hear how she has to cram words together. The lyrics lack craftsmanship, and they’re lightweight.
Generations clash on music
Of course I remember back to when to when I was close in age to Olivia Rodriguez and I was digging Joni Mitchell’s “For the Roses ” album, released in 1972. A member of my dad’s generation heard me playing it and noted that he couldn’t whistle any of Joni’s tunes. Ouch.
One thing’s for sure, everyone can whistle the tune of “L-O-V-E” as sung by Nat King Cole. The jazzy arrangement swings. The trumpet solo by Bobby Bryant flirts with the melody and vocals in a dance of pure romance. Gabler’s opening line sucks you in:
“L is for the way you look at me.”
How could anyone stop listening at that point! This is a happy love song, a nice counterpoint to last week’s “I’ve Got it Bad (and that ain’t good).”
Michael Bublé sings L-O-V-E
If you’re a Gen Xer, Millennial, Gen Zer … or whatever, you may very well have taken umbrage at my crack about Olivia Rodrigo. I hope you do. It is your right. Much of my generation’s music was certainly put down by our elders.
But here’s the reality: very few songs last. At his peak, Elton John (a Baby Boomer) acknowledged that most pop music is ‘disposable.’ The songwriter’s dream is to write a ‘standard.’ Elton wrote a few, although none made my list (even though I’m a big Elton fan).
If the world lasts another hundred years, most of the songs on my list will still be performed. Very few of the songs being written today will last because they just aren’t very good. Note that I said ‘few.’ Every generation produces some gems.
From my perspective, two decades stand out for producing a lot of good songs: the 1920s and 1960s. I’ll explain why in future posts.
In the meantime, savor this delightful song, “L-O-V-E.” Next week, we shift gears once again with a tender song that was a bust when it first came out. I am so grateful it got a second chance, because this is a love song that touches your soul
Be sure to encourage your friends to subscribe to our blog. We’re counting down the ’52 Greatest Love Songs Ever’ a week at a time. Why? Because love is the greatest antidote to abortion. Thanks for checking in. See you next week!
[If you like this blogpost, be sure to share it. Then donate to help spread pro-life love.]
The Catholic Youth Choir sings at “An Evening of Glory”
This life is so beautiful.
Yes, we know all about war, disease, abortion and man’s inhumanity and apathy regarding his fellow man.
We also know of courageous heroes who risked life and limb saving others during great conflagrations.
We know of brilliant thinkers who cured disease, and loving families who opened their homes to unwanted babies.
And we know of saints, dead and alive, who lived (or are living) lives of sacrificial love because that’s what Jesus did.
Why focus on the ugly alone when life is so beautiful? The great Russian writer, Fyodor Dostoevsky, coined the provocative phrase above in his novel, “The Idiot.” Beauty transforms the world and leads people to God.
An atheist sees the light
You may have heard of writer Ayaan Hirsi Ali. Born in Somali. Now Dutch-American. Former Muslim. Former Atheist. Guess what drew her to Christianity? Beauty.
A British philosopher, Roger Scruton, offered her some simple advice:
“If you don’t believe in God, at least believe in beauty. The greatest works of art have been inspired by some connection to God.”
Ali was in a bad place. She coped with longterm depression. She turned to alcohol, shrinks, and medication. Nothing worked. Atheism sure didn’t. She said she “ultimately found life without any spiritual solace unendurable.”
Taking Scruton’s advice, she turned to Mozart, opera and church hymns. In other words, she turned to the wonder and awe of beauty, which eventually led her to Christianity.
“I once was lost, and now I’m found.”
This life is so beautiful.
Give babies a re-brand?
Those of us in the pro-life movement have to be careful. We’re exposed to the horror of abortion day in and day out. Big Abortion and their media allies portray US as the whacky evil ones! It’s a real burden. We have to take a deep breath and really focus on the beauty of our movement, and especially the beauty of our unborn brothers and sisters.
Writer Peachy Keenan offers some delightful advice for us. She said, let’s give babies a rebrand:
”After all, babies are designed cleverly by their creator to be as cute as can be. Their entire physical appearance is engineered on purpose to trigger an overwhelming dopamine response in their mothers and, in fact, in most normal people. If babies were not adorable, they’d have a much lower chance of surviving this cruel world. Their toothless grins, their chubby cheeks, those huge eyes in proportion to their heads, those tiny hands. The sweet new baby smell! It’s all a clever magic trick very intentionally perpetrated to help the baby survive.”
This life is so beautiful.
Pulse spreads the beauty
Pulse Life Advocates does what it can to spread beauty, knowing that beauty is a reflection of God, and that God IS Love, which means beauty spreads love! That’s why we hosted “An Evening of Glory” last Friday night at St. Boniface Catholic Church. To spread the beauty. We immersed the audience in a program that included classical, jazz, praise, and choral music. Something for everyone.
Pulse has played key roles in advancing pro-life legislation at the Statehouse, including the recently passed Prenatal Human Development Education Bill.
We’re in a culture war
But, here’s the thing: We’re really engaged in a cultural war more than a political war. If no one wants to get an abortion, then it doesn’t matter what the laws are.
Pulse fights for just, humane laws that protect our posterity, just as we use our platform to promote a compassionate culture that embraces beauty.
That’s why we’re involved in the culture war as much as the political war.
A few years ago, we produced and presented a thought-provoking play called A Clash of Creeds performed throughout Central Iowa.
We’ve put on Christmas Galas featuring beautiful music as well as ‘Women of Worth’ events that celebrate historic women of stature and virtue.
Love is the antidote to abortion
We’re in the midst of a yearlong countdown of the 52 Greatest Love Songs Ever, because love is the antidote to abortion. Be sure to subscribe to our blog to get each week’s song delivered to your in box.
Perhaps the larger reason is to make our coarse culture a little less coarse.
Exquisite music, as performed last Friday night, draws us deeper into the mystery of our faith.
It can melt a heart made of stone and open up our souls to the beauty of God’s creation, which begins with the unborn at the instant of fertilization.
Indeed, the world will be won by beauty.
[Would you like a weekly dose of beauty? Subscribe to our blog & join our countdown of the 52 Greatest Love songs Ever.]
By Tom Quiner
Love isn’t always pretty. Duke Ellington’s “I’ve Got It Bad (and That Ain’t Good)” is our second ‘torch song’ in our list of “52 Greatest Love Songs Ever.” “Stormy Weather” was our first.
Paul Francis Webster added the lyrics to elevate Ellington’s imitable melody into the stratosphere. Some of you reading this may relate to his text. It tells the story of someone who loves someone dearly, but he (she) doesn’t treat them very well.
Love can be one-sided. Lovers can break your heart, especially when you’ve “got it bad.”
This song is usually sung by women, but Frank Sinatra croons it well, reminding us that women can sometimes be the source of great hurt in relationships, too.
Sinatra sings “I’ve Got It Bad (and that ain’t good)
Torch songs shine a light on the darkness of unhealthy love affairs. They tell stories that bind us together in our shared hurt. Love is so utterly beautiful, that it challenges us to dare greatly to find it, savor it, and blossom in its potential.
But there are bumps along the road, as Ellington and Webster convey in this jazz classic.
“I’ve Got It Bad (and That Ain’t Good)” is the Duke’s second entry on my list of great love songs. (His first was “In a Sentimental Mood,” #44 on my list). Ellington is the polar opposite of today’s manufactured, copy-cat music.
He wrote countless, exquisite short, instrumental pieces of three minutes or less for his big band, because that was as long as a 78rpm record could accommodate in that era.
His songs were Black, jazzy, and sophisticated. Lyrics were a secondary consideration, added down the road over the years. His lyricists were some of the greats, partnering to create a body of work that elevates Mr. Ellington into the ranks of the Gershwins, Cole Porter, and Irving Berlin in terms of writing elegantly crafted love songs.
In later years, he wrote long form compositions, including serious works, such as his Concert of Sacred Music,” which explored his Christian roots.
Ellington’s melody’s are clean and pure, but enriched by mature chords which are so out of vogue with today’s pop songwriters. On “I’ve Got It Bad (and That Ain’t Good)”, Grammy and Oscar winning lyricist, Paul Francis Webster, adds a sophisticated lyric that connects with his listeners immediately:
“Never treats me sweet and gentle, the way he should,
I got it bad, and that ain’t good.”
So how good is this song? It’s so good that serious artists down through the generations, from Louis Armstrong to Weather Report, have covered it. I like to post a few versions in this blog series, but it was tough to do because there are so many good ones. Ella’s version (top of page) includes the verse, which is so often excluded by most artists. Sinatra sings his version with a vintage Nelson Riddle arrangement.
Carly Simon sings it
I’ve always been a sucker for Carly Simon’s voice, and love her interpretation on her excellent 10th studio album, “Torch.” Enjoy these top artists as they bring “I’ve Got It Bad (and That Ain’t Good)” to life in their own respective styles.
Next week, we are going to radically shift gears with one of the catchiest love songs on this list, sung by one of the greatest singers of love songs ever.
In the meantime, be sure to encourage your friends to subscribe to our blog. We’re counting down the ’52 Greatest Love Songs Ever’ a week at a time. Why? Because love is the greatest antidote to abortion. Thanks for checking in. See you next week! Oh, and don’t forget to attend “An Evening of Glory” tonight at St. Boniface Catholic Church in Waukee, Iowa.
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The legislature just passed the Prenatal Human Development Education bill. Now it moves on to Governor Reynolds to sign into law!
This bill provides that fetal development related to pregnancy be taught in the human growth and development curriculum for all schools in Iowa in grades 5th through 12th grade.
This education includes human biology related to pregnancy, human development inside the womb, a high-definition ultrasound video showing the development of the brain, heart, sex organs, and other vital organs in early fetal development.
It also requires a high-quality, computer-generated rendering or animation showing the process of fertilization and every stage of human development inside the uterus, noting significant markers in cell growth and organ development for every significant marker of pregnancy until birth.
This is a significant victory for Iowa and for our children.
According to a PEW Research survey in 2024, 76% of young people ages 18-29 say abortion should be legal in all or most cases. It is vital that children learn at an early age the beauty of life in the womb and how unique each of us is created.
Thank you to our pro-life legislators that have passed this important bill!