history « Kenny Smith | A remarkable thing happens …

history

I just won’t move fast

Got a bit of back lockup syndrome. I’ve been fighting shoulder aches and muscle spasms for about two weeks. It’s been the try a different way to sleep sort of thing. A get a household massage every other day sort of thing. A take a muscle relaxer and try to sleep it off sort of thing. Only, now, moving things around the house, it’s become a sit very still sort of thing.

It’ll pass in good time.

Fortunately, I can still do this. A little. For a time.

We had a nice ride on Saturday. The first 18 miles were great!

But after that first hour, my shoulder started sending the familiar signals. And then my back started sending new information to the brain, too. And so I found myself slowing down.

This year, a new bit of information has been passing through the ol’ central nervous system. It involves the tip of the middle toe on my right foot. It’s a contact thing.

I googled this on all of the cycling sites. They suggest my equipment might be getting old, but there’s only 3,500 miles on these Specialized Torches, which I purchased in February of last year. (But do you see the big paint scrapes on that pedal arm? I may need a new bike.) They also suggested my shoes might be too tight, but I checked them before this Saturday ride, and they are not.

There’s not a clever punchline or wrap up to that story, which, I’m sure, means it comes down to technique.

We saw The Indigo Girls at the Union Gospel Tabernacle, the mother church of country music. The former home of the Opry. The Ryman Auditorium.

Somehow, this was my first time at The Ryman. And I have video. I’m going to stretch this out for a while. So, for today, here’s the opening act, Aaron Lee Tasjan and his band.

Some New York writer once said Aaron Lee Tasjan had a unique take on what the author called “indie folk grit.”

I don’t know what that means.

But I did see Arlo Guthrie in this performance. You will, too. And if you caught the whole act, there’s a modern day John Prine emerging in that act, too.

Opened in 1892, the Ryman was famously the home of the Grand Ole Opry from the 1940s to the 1970s. It was, by then, a building showing it’s age. The performers didn’t like it. The audiences were hard on the venue. And so the Opry moved to the amusement park. Roy Acuff, who had a big stake in Opryland, wanted to raze The Ryman. He probably imagined his hand on the plunger. A big public effort, though, kept the building alive. It got exterior renovations in 1989, the interior was lovingly improved in the early 1990s. In the late 90s the Opry came back for special events and for an early-winter schedule. (They’re still doing the legendary old show over at Opry Mills, even though the amusement park itself is now long gone.) More work was done on The Ryman in the teens. Last year they opened a Rock ‘n’ Roll wing, and so all of this is fitting, to me.

I think I can get about two weeks of videos out of what I recorded at this show. It was great. But we’ll get into that.

Here’s a very quick installment from the Re-Listening project. Regular readers know I’m listening to all of my old CDs in the order in which I acquired them. We’re in 1999 right now. This is a soundtrack, and to a show I never watched or liked. If I say I’ve watched five complete episodes of South Park I’ve come in high. But the Chef songs were, at the time, kind of funny.

Problem is, what was kind of funny to me then is sub-sophomoric now. This thing went four-times platinum in Australia, and was also certified platinum in New Zealand, Canada, the UK and here in the States. It ended 1999 at number 65 on the year-end U.S. Billboard 200, so I’m willing to accept I have the minority opinion. You’ll just have to accept that I’m correct.

The songs that aren’t dated and insincere comedy, by and large, just don’t appeal to me. This is the only song I looked forward to.

Tomorrow, there’s no Re-Listening project. We’re all caught up! But there will be a great Indigo Girls song and some other almost equally amazing content. Also, my back will feel better.

family / history / memories / photo / Tuesday — Comments Off
30
May 23

A photo in tin

I didn’t know this photo existed, but when we stopped by to see my grandfather, who is always full of surprises, he fished this image out of a stack. There were a handful of photos of him as a little boy, posing in a studio with his beautiful mother, and even some of his grandmother, who I knew.

Think of it. I have real memories of a great-great-grandmother who died, at 92, when I was in high school. I also had a great-grandmother who died when I was in college, and another great-grandmother who lived until I was 28. But this isn’t about those remarkable people. This is about this new-to-me photograph.

These people are my mother’s mother’s parents, my maternal-maternal great-grandparents. She died when I was three, but I don’t have any memory of her. He died when I was five, and I have a few glimpses of him in my mind’s eye.

Here, he’s holding my great-aunt. We estimate she’s about three years old in that photo, putting him at about 24 and his wife at about 21. She’s holding a great-uncle I never knew. But look how young!

My great-grandmother here looks like my grandmother. And from a few photos of this young woman I can see traits of most every woman in my family.

Earlier this month my mom texted me a photo of when she was a child, some four decades after the picture here. It looks like a vacation photo. She’s in oversized glasses, with her parents and her grandparents, the ones pictures here. Behind my mother is her grandmother, a mid-century grandma out of central casting. Her daughter, my grandmother, looks impossibly young in that way that never makes sense when you’re only accustomed to seeing someone in a different stage of their life. My grandfather is there, short sleeve button down, shiny watch, comical shorts (though I never knew him, I never think of him wearing shorts) and shin high dark socks. Now, except for those socks, it all works, because he has the mod haircut of the time and he’s wearing the best sunglasses 1960s technology had to offer.

Behind them all is my great-grandfather, my mother’s grandpa. That guy above. Long pants, long-sleeved shirt with a large windowpane print, with a neat little banded fedora on top of his head. He’s holding a cup with a straw in his left hand. They all look like they’re posing for a serious rock band photo, or as if something important has happened in front of them just as the photo was taken. They weren’t ready for a modern posed photograph, except for my great-grandfather, who is smiling just a bit.

He’s probably, let’s say, mid-early-60s in the image I just described. I remember him as an even older man, of course. Here he is, with two of his great-grandchildren. (He’d have 15 or so great-grandkids, but he wouldn’t get to meet the all. The best one is standing to his left, anyway.) He’s sitting in a creaky old lawn chair in his daughter’s lawn. I remember those chairs, and I spent a lot of time in that grass, beneath the kitchen window, around the little well building, and in front of the giant shop building.

He’s been posed in front a big building for both of those photos. It’s rather poetically symmetric in a way.

Trying to find a way to wrap up this post, I looked up some of that young woman’s lineage. With a few clicks, I was able to trace my great-great grandmother’s ancestors back five more generations, to when her great-great-great grandfather immigrated to South Carolina from Ireland aboard a vessel called the Lord Dunluce in 1772. He was 17-ish, came over alone, and had 100 acres coming to him, somehow. He got married, at 19, in 1774. He died in 1808, and is buried in South Carolina. Another part of her family, the Internet tells me, came from North Carolina after crossing the Atlantic at some point in the middle of the 18th century. That branch can be traced back, with no effort on my part, to the 16th and 17th century and places like Aarau and Zurich, Switzerland. Still others came over to Massachusetts, seemingly from England, in the early part of the 17th century.

But I’m going to wrap it up this way. My great-grandmother, in that first photo above, was picking cotton one morning. She was full-term, and, the story goes, delivered one of her children around midday. In the afternoon, she was back out in the field picking cotton again.

history / IU / photo / Thursday — Comments Off
27
Apr 23

Some notes from Franklin Hall

This evening was my last late night on campus this semester. Students were producing a comedy show. The main character had a psychotic break of some sort. There was hypnosis, which didn’t work, and so they proceeded directly to lobotomy.

This is how the universe provides inspiration. The lobotomy bit was a simple go-home gag. Someone had a first aid kit, and produced some gauze.

I was sitting in another part of the studio typing away on this or that and I heard someone say “If only we had some blood, or a blood-like substance.”

Well. Earlier that same day, there had been an end-of-the-semester party in the commons. Wings for sports bros. Someone did a halfhearted job cleaning up afterward and there was a table loaded down with those ketchup packets. Someone went to grab a few of those, and suddenly there were special effects and makeup.

I hope someone added that to their LinkedIn.

Earlier this week I went into what I think is the one public space of our building I’ve never visited. I had a chance encounter with a delivery man. He had a shipment of paper. On the paperwork was a name no one recognized. Someone assumed this mysterious man might somehow work with the Board of Trustees. On the top floor of our building the Board of Trustees have a small set of offices. So I went up there to ask if anyone there knew the name.

They did not know the name. But they did have a few nice photos of the building. This is the laying of the cornerstone of Franklin Hall, originally the campus library, circa 1906.

The university’s archives say John William Cravens is at center wearing a bow tie and skimmer. Cravens founded a newspaper at 20 years old. He moved to Bloomington at 21, became a school superintendent, clerk of the circuit court, founded and ran for 13 years, a local paper, The Bloomington World, which is the ancestor of the current struggling rag. While he was doing some of these things he was also going to college, and was named university Registrar, as a student. (Different times, I tell ya.) He stayed on as Registrar for 41 years. In the background, hatless and wearing a white shirt is famed classical historian Harold Whetstone Johnston. Six years later, he killed himself on a train. William Lowe Bryan is standing at the right corner of the building wearing a skimmer.

Bryan is important. He finished his bachelor degree in 1884 and named an English instructor. A few months later, he joined the faculty of the Greek Department. The next year, he was named an associate professor. (Different times, I tell ya.) In the next few years, he became renowned for his work on the study of children, and was a charter member of the American Psychological Association. He became a VP of the university and then, in 1902, just 18 years after graduating, he was named president of IU. He was at the helm for 35 years, boom times, when he oversaw the beginning of the schools of medicine, education, nursing, business, music, and dentistry, many graduate programs and several satellite campuses, and, of course, this building, the library.

The Board’s office also has this print on the wall. This is just before the original construction was completed, so 1907. The archives hold this photo as a donation from the photograph albums of Floy Underwood, which I believe is a woman named Flora Underwood. I can’t find out much more about her, though.

If you follow the building into the background you can see the area where my office would eventually appear. If you want to see more Franklin Hall, here are the archives, which features some of those early days, a mid-century renovation, the fire in the 1960s, a few postcards and background shots. And then, just at that moment in history when cameras became ubiquitous and digital photography got cheap … the collection ends in 2003. Nothing about this, the third version of Franklin Hall’s life, which is wild. If you want, then, to see the promotional video we produced at the beginning of this incarnation of the building, go here.

I’ll be back there tomorrow, the last day of classes of the spring term. I’ll have two different productions running in two different studios. One of them will wrap up a multi-year project. The other will wrap IUSTV’s production run for the year. Big Friday.

history / music / Re-Listening / Thursday / video — Comments Off
6
Apr 23

Some days peak early

Eaaaarly this morning there was a car chase in Los Angeles, where it was still late in the evening. All of the local television stations put their helicopters in the air. The want was for a stolen car, suspect armed and dangerous. The driver stayed on the surface streets, stayed within an eight-block-or-so radius.

Car chases come with a set of truisms. The person involved isn’t making their best choices. And they are all amazing drivers, until they aren’t. Sometimes, these things are amazing advertisements for the durability of cars. And they can be oddly, voyeuristically entertaining, until they sometimes become terrifying. Which is why all of those media sorts were orbiting this guy.

The driver paused, and two people emerged. The passengers skittering away under the police chopper’s big light. They ran spike strips out in front of the car, those big metal set ups that are designed to be driven over, top puncture the tires of the stolen car, and then an officer yanks them away so that the tires of his colleagues’ cruisers are unscathed. To do this, you have to know where the driver is going, the road has to be open, and you’ve got to get there with the gear before the driver, and get him to actually drive over the giant metal spike strips. Sometimes the driver is wise to this, and swerves around them, but, also, see the first truism above.

This guy got spike strips at least three times, which meant he was utterly predictable, and that he couldn’t figure this out. See, again, the first truism.

The first two people who got out of the car, one of them was apprehended right away. The other a short time later, as the chase continued. After a time, the driver paused and another person exited the car. That person gave themselves up quickly as the driver sped on. More laps, more helicopters, more cruisers, more spike strips.

When the tires flatten, you can still drive. The car is noisy, and difficult to control. Now the driver is fishtailing. The driver can’t hold a straight line, because he’s lost three tires. And, eventually, the wasted rubber of the tires gives away, and the car, still going, but slower, has even less control, because the car is down to the rims.

And this guy was going Back to the Future.

Finally, he stopped. And, as is often the case, the stop seemed both delayed and abrupt. It was entirely unsurprising and, like so many of these things, anticlimactic.

The ones that have a climactic ending really, really make you question why you’re watching.

Why I watch is because of these poor news anchors and the interactions with the long-suffering helicopter reporters, how loose and rigid they are with their language and ideals, how there is seldom any followup, even if they’ve ginned up any given chase into something compelling, and how they prove, like me, to be poor play-by-play commentators.

Whoever was on the desk of the station I was watching tonight had a great way of rephrasing, without at all reframing, what had just been said by her colleagues not 45 seconds earlier. The whole thing is parody not beyond satire.

So there I was — watching this not good driver, make not-the-best choices, as the driver and a fifth person were taken into custody — wondering why I was watching this eaaaarly this morning while it was still late in the evening in Los Angeles.

I’ll watch the next one too.

Ron Burgundy knew what he was doing.

More music, because that’s the theme around here as we labor to catch up on the Re-Listening project. It’s every CD I own, in the order in which I picked them up. These aren’t reviews, anything but!

Imagine, in your early post-adolescence, discovering Keb’ Mo’. Invite some friends over, you put on “Just Like You”, his third album, for which he won a Grammy for Best Contemporary Blues Album — an honor he’s won twice more, and been nominated for seven times, total — and you are suddenly musically erudite. (From jazz to contemporary blues within one page of this book of CDs!)

He released this in the summer of 1994. I got my copy in … let’s say the end of 1998 or the very beginning of 1999. Someone gave this to me, or it was a work freebie, or something like that. I don’t have the liner notes, never did. But I have that drum and that harmonica, starting off a whole record. Musically erudite, I tell you.

Jackson Browne and Bonnie Raitt, two people who shape all of modern blues-pop if you ask me, appear on the title track. You can’t do better than that for supporting vocals.

This record just cracked the U.S. Billboard 200 in 1997, staying on that chart for just one week.

Is there a Robert Johnson cover? There is a Robert Johnson cover.

How the man that influenced everything ever done in blues (and most of rock ‘n’ roll post-1961) did it.

Also in 1997, Keb’ Mo’ portrayed Robert Johnson in a documentary.

Never mind that Johnson died at 27 and Keb’ Mo’ was 45 or 46 at the time. Keb’ Mo’ has 19 records out there now, with all of those Grammy awards, and he’s still touring at 71. He has two shows next week in Australia, and then begins a 25-date U.S. tour later this month.

And we are now just two (much less musically erudite) CDs behind on the Re-Listening project.

adventures / history / photo / Spain / Thursday — Comments Off
16
Mar 23

Visiting Santa Maria de Montserrat Abbey

On the drive down from Andorra, through the clear skies of the Pyrenees, the soon-to-be verdant scenery of rural southwest France, and the quietude of Catalonia as an entrance into the Iberian peninsula. We saw a hazy vision of the Catalan Pre-Coastal Range pop up onto the horizon. There’s Sant Jeroni, Montgrós and Miranda de les Agulles, with peaks ranging from 2,962 to 4,055 feet above sea level. From a distance, they’re jagged and ragged and they struck me as the sort of thing I would put to paper if you asked me to draw a mountain.

Imagine going up there, The Yankee said. We were still a good distance away and I said no one drives up there.

This was “Montserrat,” a Catalan word which means means “serrated (like the common handsaw) mountain” — a precise name for a rugged place — and as we got closer, following the general trend of the road, we realized we were going up there. And so we did.

Montserrat is the highest point of the Catalan lowlands, with commanding views of the countryside. The road up is five miles, moderately steep grade and some lovely hairpin switchbacks to give it all a bit of character. And when you get up there, into the peaks, you find yourself on a flat spot, but still looking up.

Just below these peaks, you’ll find Santa Maria de Montserrat Abbey, founded in the 11th century and still an active monastery, where more than 70 monks live today.

Here we are standing in the courtyard of the abbey, which was burned and looted twice during the Napoleon’s invasion of Spain. During the Spanish Civil War in the 1930s 22 monks who lived here were murdered. The Germans visited here quite often a decade later and, since World War II this site has been a prominent symbol of Catalonian nationalism, and has long been an important feature of the local culture. This is a post WW2 facade.

The origin is a bit murky. In the ninth century an important statue was found here, according to legend. More certainly, in the 11th century a monk was sent from one monastery to another and from the subsequent church politics the monastery of Santa Maria was born. That venerated statue is an important part of the place, and I’ve now unsuccessfully reduced a millennia into two sentences.

In 1881 Pope Leo XIII gave this place the status of a minor basilica. The Plateresque Revival facade was built in 1901, by the architect Francisco de Paula del Villar y Carmona, who was completing his father’s work. It’s quite something to take in. Small courtyard, with an imposing, yet not overwhelming style. It came from a time that blends things that feel old and modern to our contemporary eyes. It’s neat and tidy, feels quite collegial, and they built all of this making great concessions to topography.

I used the term collegial on purpose, since so much of this place has a wonderful, peaceful campus feel. I spend too much time on a college campus, of course, but I’m sure, in places like this, that the college campuses that get it right were all moved by kernels of inspiration from places like this.

It is even in the walls.

The basilica’s origins date to the 16th century and was rebuilt for the first time in 1811, after the Peninsular War. The new facade was built between 1942 and 1968, after the destruction brought about during the Spanish Civil War. There are reliefs featuring prominent members of church, and monastery history. On one frieze there’s the phrase “Catalonia will be Christian or it will not be,” which is a quote attributed to an early 20th century bishop, and from there you can see how this place is important to the region on down the mountain.

The church is of a single nave, some 220 feet long and 108 feet high. The roof is supported by central wooden columns representing Isaiah, Jeremiah, Ezekiel and Daniel. The main altar features enamel decorations of the Last Supper, the Multiplication of Loaves and Fishes and other biblical stories. The 15th century cross is the work of Lorenzo Ghiberti, an Italian Renaissance sculptor, a key figure in the Early Renaissance.

We visited the room of the Virgin, which is full of beautiful mosaic walls and paintings. This is one of those places where a knowledgable guide could point to everything you see, and make you dizzy with its historical weight, it’s spiritual importance and the craftsmanship of generations past. Most people wander aimlessly, or chit chat their way through the place.

And if not for the chit chatters, one small group placed conveniently behind us, you’d be hard pressed to find a more quiet and solemn indoor space.

Back outside, in the abbey’s courtyard, I took a little panorama. Click to embiggen.

And we stood there just long enough to see the sun slice through the mountain’s peak. I wonder what monks, what guests, what spiritual seekers, have stood there over the centuries and what they must have thought about seeing this same view.

And then we did the thing where I take a photo of The Yankee striking a sculpture’s pose.

The museum was, sadly, closed for some renovation work. Inside, though is one of Spain’s most significant collections. Caravaggio, Dali, Picasso, Monet, Degas, El Greco, Renoir, Sean Scully, Vaccaro and a collection of ancient world archeology would be on display. I hate that we missed that. We’ll have to go back.

More on the legend of Our Lady of Montserrat.

This evening we completed the drive back to Barcelona. We are staying at an airport hotel. The hotel is right on the beach. We had dinner at a snooty place, got a gelato, dropped off the rental car and we’re now reshuffling things in luggage. Tomorrow we’ll fly back. Spain was brief, but fun. We’ll come back to Barcelona one day, I’m sure. Andorra we loved, and I bet we’ll be back there, as well.

How does next week sound?