Traditional MFYLBS Paul Simon's week or two on the MLBS bandwagon: IN OCTOBER, MORE THAN TWO MONTHS BEFORE Howard, Simon takes a break from promoting Graceland and flies to London to produce an album by Ladysmith Black Mambazo. He then goes to New York to sing the national anthem at game six of the World Series, an invitation he accepted in part because it offended him to watch George Bush throw out the first ball at the Astrodome during the play-offs (“Bush—he's not from Texas, he's from Connecticut. He's from CIA. And excuse me, but he throws like a girl”). After this performance—“if you could call that singing”—he flies to Los Angeles for a two-day errand, a long-standing date at the First Presbyterian Church of Hollywood. Today and tomorrow the First Presbyterian Church is in show business—the rehearsal and taping of a gospel special for Cinemax. The singers' stage will be an expanded chancel, and audience members will be invited to the filmed show. The Mighty Clouds of Joy, the Edwin Hawkins Singers, Andrae Crouch, and other black gospel stars have agreed to sing; Luther Vandross and Jennifer Holliday will also appear, as will the Oak Ridge Boys, a white group. Paul Simon is hosting the program, and three of his songs—“Gone at Last,” “Bridge Over Troubled Water,” and “Slip Slidin' Away”—will be sung on the show. This morning, before rehearsals begin, he stands inside the church with Ian Hoblyn, the handsome, efficient Englishman who is his manager, talking very quietly and watching two men polish the piano. Simon wears round, thin-rimmed glasses, a blue T-shirt, sport coat, jeans. On his head is a Mets cap and in his lapel, a Mets pin. https://classic.esquire.com/article/1987/6/1/the-apostle-of-angsthttps://classic.esquire.com/article/1987/6/1/the-apostle-of-angst