The Sacred and the Profane

One of the most iconic, resplendent buildings in DC turns 100 years old in 2007.

I went to the Washington National Cathedral this past weekend. We attended the Advent Lessons and Carols service. I was excited to visit again for a number of reasons, one of which is I'm about to read Ken Follet's World Without End, the recent sequel to his historical novel The Pillars of the Earth.

Later that same day, I saw not the first but arguably the most memorable country music outlaw: David Allan Coe. He was at the State Theatre in Falls Church. Despite its being a cold, rainy night, the faithful as well as curious onlookers like myself turned out to see ole' DAC.

The former "Masked Rhinestone Cowboy", who once lived in a hearse and later in a cave, didn't surge onstage astride his Harley-Davidson motorcycle, spewing volcanic obscenities at his fans. No, this time, he instead shambled on and launched into "Jack Daniels, if you please" to raucous hoots and hollers. Sound system was a little rough, but it was a kick to watch him perform Kris Kristofferson's "Sunday Mornin' Comin' Down," popularized by Johnny Cash, the latter whom Coe was friendly with in the 1970s.

Perpetuating his undeniable redneck pedigree, Coe has walked his talk for decades. Cartoonish and crude, he's nevertheless a talented songwriter and performer of country standards. And how many folks can claim they wrote the immortal "Take This Job and Shove It"? Exactly one. And if that ain't country, I'll kiss your ass.

[Update: I just read in the Washington Post that Coe apparently split the gig five minutes after I did . (I was in line behind the author of this review at the State's ticket window, by the way. We both showed up a little after eight o'clock.) Good thing I finally saw him live, cause I bet he's never in this town again. ]

And speaking of country, here's my old friend Early Cuyler, whom I used to swim around with back in my hell-raising days. Very blue collar, working class Cephalopod.