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Starts, and ends, all classy-like

I was very classy today, which is to say I was full of class. Which is to say I was in class all day. If six hours is close enough to “all day” for you.

It was close enough for me.

It was a fun class, we discussed shot compositions and camera movements. I did this twice in different classes. And then I set the eager young people out to shoot video of some things. Next week we’ll look at all of their work, and then the class will get just a bit more technical.

My lovely bride had an afternoon full of classes, as well, similar schedule, but in a different building. So we share the Thursday drive, and this evening we had a nice sunset.

I have to grade some things for a while, so please take in the grandeur of this photograph. I call it “A Meditation On Being Near Corn.” It is a profound statement on how we let the world beyond us impact us, and the ways that, perhaps, it should and should not. It is a commentary on the environment closer to you, and the passage of time you might not see up close if you look too far afield.

It’s certainly provocative, no? I thought so, too. I hope you enjoyed that while I finished today’s grading. I got all of that in just after dinner, and now I can take a day or so and re-calibrate the ol’ noggin for a different sort of class on Monday. We won’t be talking about camera motion, but McLuhan, not composition but Kendi. I’m sure it will be a lot of fun.

We’re back to the Re-Listening project, and my trip back in time is going even farther back in time. I’m listening to all of my old CDs in the car, as you might know, and I am doing so in the order in which I acquired them. From what’s surrounding them in this particular CD book, I know we are somewhere between June of 2003 and February of 2004. What we’re looking at today, however, is older still. The product of visiting a used record store or two.

Why buy things when they are released, after all, when you can wait 10 year or so and get them much, much cheaper, when you the songs you liked might feel fresh again, or you won’t mind if you pick up something and only really like the single?

And that’s exactly what we’re dealing with here, 1991’s “Pocket Full of Kryptonite” got so out of hand that the band came to resent it for a while. They organically sold some 60,000 copies before radio ever put it on the air, but then “Little Miss Can’t Be Wrong” and “Two Princes” went to the top spot of the Billboard Heatseekers chart, and number three on the Billboard 200 charts. Those singles helped the record go platinum five times in the U.S. Everything got a little crazy for a while somewhere in there. Chris Barron, the Spin Doctors’ lead singer, said it got to the point where he couldn’t go to the mall to buy new socks without being swarmed by people.

And despite all of that air play and success, “Pocket Full of Kryptonite” still finished 1993 ranked number seven on the end of year Billboard 200. (Incidentally, I wrote about their third album, “You’ve Got To Believe in Something,” last year.)

How, you might ask yourself, could six other records have landed higher than that one? And what, you might naturally continue, were they? So glad you asked.

1. Whitney Houston – The Bodyguard
2. Kenny G – Breathless
3. Eric Clapton – Unplugged
4. Janet Jackson – Janet.
5. Billy Ray Cyrus – Some Gave All
6. Dr. Dre – The Chronic
7. Spin Doctors – Pocket Full of Kryptonite
8. Pearl Jam – Ten
9. Garth Brooks – The Chase
10. Stone Temple Pilots – Core

You did ask, didn’t you?

I suppose you could say it most years with the lever of time as perspective, but if you peer into that top 10 long enough, you can almost see an event horizon of our most mainstream music. Cyrus was the last male country singer, aside from Brooks, to finish a year in the top 10 of record sales for a decade. Shania Twain and The Dixie Chicks show up a few times. Rap and hip hop, having become hugely successful genres already, were clearly in an ascendancy. Janet Jackson and Whitney Houston held the door open, too. Women — solo artists, groups or groups fronted by women — would occupy almost 40 of the top spots over the coming decade.

But I digress.

“Pocket Full of Kryptonite” comes from a lyric found in the first track, “Jimmy Olsen’s Blues.” And here’s the band playing that song, via Zoom, in 2020.

And though we’re shunning the smash hits, there was a surprisingly poignant ballad that they released late in the album’s first life cycle. And dig that classic early 1990s music video style.

Spin Doctors were a jam band that enjoyed some monstrous pop success. And there’s no greater indicator than the last track, a 12-minute almost-epic that also features John Popper.

In 2011 they released a two-disc anniversary edition, marking 20 years since their debut record. And they’re touring the United States right now. It’s been a decade since they last recorded a record, but their fans still come out.

The next album up in the Re-Listening Project is another used store find. I probably paid two or three bucks for it, thinking the single was worth it. It was and is, though the rest of Jon Secada’s “Heart, Soul & a Voice” doesn’t do much for me. It was his second English-language record, it went platinum largely on the strength of “If You Go.” The song holds up, the video feels a compelling 1994 argument for the silliness of music videos as a genre.

It peaked at number 10 on the US Billboard Hot 100, Secada’s last top-10 single in the U.S. This track topped the charts in Canada. He released “Si Te Vas,” that same year, most of the same songs as this record, in Spanish. So these were his third and fourth records. He’s put out 15 records, all told, the most recent in 2017. He’s sold 20 million records, has three Grammy awards and worked Broadway and is a noted humanitarian. He’s doing the occasional “intimate evening” venues lately. Pretty great career.

And that’s a good place to finish the day.

adventures / cycling / history / markers / music / photo / video / We Learn Wednesdays / Wednesday — No Comments
20
Sep 23

Of bricks and cannons

It was just 26 miles. No big deal.

This morning’s bike ride was in no way remarkable. No big speeds, no new PRs, no new roads, but the weather was perfect and the colors of this mini season are dazzling.

It was only remarkable in its unremarkableness. The ability, and the opportunity, to set off for a mid-morning bike ride is not to be underappreciated. I mean, I was still working out some lecture material in my head as I rode — because that never turns off, not really, apparently — but it was a wonderful day for a bike ride, and I was happy we could take advantage of it.

After which I, of course, sat down and went over notes and prepped my slides and figured out how to pace some things out for classes tomorrow.

Then I took a break. I pulled in some tomatoes. I tied up a few tomato vines that have been running wild all summer. I enjoyed a few tomatoes. (They were delicious.) Somehow, this kept work out of my noggin for a bit.

Oh, and then there was the evening’s ironing session. Nothing was percolating in my brain during my de-wrinkling chores.

But now I am back to it. So while I spend doing some class work, please enjoy these videos from Tuesday night’s concert with Pink.

Her daughter, Willow, came out to sing. Pretty great in front of a big crowd.

And here’s the big finish. The stage was in center field of the park, and they had a rigging set in the infield and then some more mounted somewhere above and behind everyone, which allowed all of this fanciness to happen.

It was a good show, though it wouldn’t have been my first choice, but I’m glad I went. The wire act and the aerials and the trampolines were all fun enough; I would have liked to seen more of the act without the over-the-top performance, to see how good it could be. Though I don’t think anyone there minded what they saw from the summer carnival.

Time now for the eighth installment of We Learn Wednesdays, where I ride my bike to find all of the local historical markers. I’m seeking them out by bike because it’s a great wayis one good way to go a little slower, see more things and learn some roads I wouldn’t otherwise try. Counting today’ to discover new places, and at a better pace. Counting the two you’ll see here I have now visited 17 of the 115 markers found in the Historical Marker Database.

To find our first location you had to go down a quiet country road, and then turn onto an even more quiet country road. Every little click and noise you could make sounded like an interruption of nature. And then, you round a little curve and you find yourself at the Dickinson House.

The Marker wasn’t up the day I visited, but the database tells us what it said.

Dickinson House – The most ornate of early glazed brick patterns decorate the west wall of this house, built in 1754 by John Dickinson

It’s a one-of-a-kind pre-Revolutionary War-era home, then, and it is still a home today. This is what makes the place singular. This county was the home of patterned brick houses, a style you didn’t find in great numbers or intricacy anywhere else in America. There are about 20 of them that survive (they numbered 43 at the end of the 18th century).

Those bricks get that distinctive color by a firing process akin to vitirification. Extreme heat turns them from red to shiny blue. Usually, you’ll apparently see them installed as dates or initials, but the intricate designs here are something special. The owner thinks that this wall was an advertisement for the builder, John Dickinson. The letters are the initials of the Dickinsons, the original owners.

The house has four fireplaces. One of the original hearths is apparently at the state museum.

About seven miles away on the modern roads, you can see the Pole Tavern Cannon. The marker has been removed, but it said …

The Cannon Il Lugano which was forged in Naples in 1763 weighs 800 Pounds. Il Lugano was used in battle against the Austrians. Napoleon who visited Italy once in 1796 and again in 1800 dragged the cannon over the Alps and Eventually back to France. Napoleon then sent the cannon to his brother Joseph who was the ruler of Spain. In 1808 the Duke of Wellington’s Troops captured the cannon from Joseph and returned it to England. It was then used in Canada during the war of 1812 when American colonists captured it in 1814 in Plattsburg, New York. After the war was over the cannon was declared surplus by the United States Government, and sold to Salem County to Supply the county militia. During the Civil War (1861-1865) the cannon was used by the Pole Tavern Militia in preparation for battle. Since 1913 the cannon has been in the Pole Tavern Area.

The Cannon was restored in 1986 by Jay Williams and David Harvey with tremendous pride in their accomplishment.

This building was constructed in 1994 by Nicholas Hutchinson and fellow Scouts, to house and protect this historic cannon. Nicolas chose this project as a requirement to achieve Eagle Scout which he proudly received in 1995.

The canon, which has city in this small town’s main intersection for ages, was bought by that local militia along with three others, and 287 muskets.

Napoleon, since he’s mentioned by the marker, had also been fighting the British, of course, but he’d abdicated earlier that same year. That allowed more experienced British fighters to be shipped to the new world, and some of the key officers, too. But the Battle of Plattsburg, in August and September of 1814, when the cannon finally fell into American hands in 1814, becomes an important moment in the War of 1812. A combined land and naval engagement, it brought to an end the invasion of the northern states by the British, when the New Yorkers and Vermont men held Lake Champlain. (Having sat out much of the conflict, Vermont came into the fight here was a key piece of the timing.) The British commander knew he would be cut off from re-supply without the lake, so he ordered a retreat to Canada. They were to destroy everything they couldn’t haul back with them, a standard tactic, but there was no follow through. The British left under cover of darkness and, somewhere in all of that, Il Lugano was captured once again.

Three months later the peace treaty was signed, though that battle probably didn’t influence the mood among the delegates at those meetings in United Netherlands.

In May of 1889, veterans from another small town came up and stole the cannon for their Independence Day celebrations. The cannon then somehow wound up in the state capital, where it stayed for almost a quarter of a century, before finding it’s way back to its current location. It was displayed in the town hall, but that building burned soon after, in 1914. So the cannon, apparently, was outside for several decades. That (really great) little building that houses it is almost 30 years old, and is showing its own age.

You might think that the good people of that little town are proud to watch their cannon grow older each year — 270 years old this time around the sun! — but they trot it out now and then. They did so in 2016, when they fired it as part of a festival and parade. I found two different clips, but neither have audio. So I found something better: the time Il Lugano was heard in 1991.

If they keep to that schedule the Pole Tavern Cannon will be about 288 when it roars again.

Miss some of the markers? You can see them all right here.

adventures / music / Tuesday / video — No Comments
19
Sep 23

Went to a variety show and a concert broke out

Did some work this morning, enjoyed a lovely mild afternoon outside. This evening we crossed the river once more, this time, on a different bridge.

For on the other side of the river, was a big pop music show. Brandi Carlile, who can musically do no wrong, opened the show at the baseball park.

We’re sitting over third base, watching a musician with 25 Grammy nominations and nine Grammy awards, talk about how they’re just a bar band, and they can’t believe their in this great big place. And then, for about 45 minutes, she changed the name of Citizen’s Bank Park to Whatever Brandi Wants To Call It.

That’s “The Story,” from her second album, the one that broke her into a wide audience in a rather storybook sort of way. And she’s somehow better live than she is recorded-in-studio.

Then Pink came on, and promptly renamed the place again. She’s the headliner, and she’s every bit a star, of course. And this was a good show, as you’d imagine. There was also a little Sinead O’Connor interlude.

I wondered how this inevitable duet would come off. Nate Reuss isn’t just following Pink around, of course. But through the miracles of modern technology …

That song sat atop four American Billboard charts, and sat atop 19 other charts, international. It finished in the top seven of four domestic charts for 2013.

How is it a decade old, already, though?

This was a fun show, even though it isn’t one I would have picked for myself. But this whole circus is touring North American through mid-November. If you like Pink, you’ll love it.

Late night, longish, lovely, day. More tomorrow, when we’ll see two more videos from the concert.

adventures / cycling / Monday / photo / video — Comments Off
18
Sep 23

Welcome to Week 38

Busy, full day here, so let’s get right to it, so I can get back to it. (Class prep, I tell you. I hope at least some of it is going well. It’s been going on since Saturday, so hopefully I’ve done well enough to fill an hour or so with good and useful information. But, hey, the class is this evening, so there at least won’t be much longer to have to worry about it.)

Back to the getting to it. Let us first perform the site’s most popular weekly feature, checking in on the kitties.

Phoebe has lately taken an interest in the dining room table. This comes as my lovely bride rotated the table 90-degrees last week. Presumably this new angle fits with her sense of feng shui.

I took the next photo on this very day. And the joke I delight in telling to The Yankee goes like this.

We have a house. And inside that house there are hardwood floors. On one of those floors is a high quality rug. On top of that rug is a still-new overstuffed sofa. On top of that sofa is a pillow. And top of that pillow is your cat.

Because, you see, the sofa isn’t comfortable enough.

Meanwhile, if you have a moment, could you stop by and plug this cat in?

He simply could not go any farther. You understand why, he was forced to travel up several stairs and across a few feet from his afternoon napping perch.

I like that photo because I managed to keep the two if-I-fits-I-sits boxes in the background. They should be coming back into their rotation any day now.

Saturday was beautiful and I took a break from class prep for a quick bike ride. The last time I did a random ride I turned right at a particular T-intersection. So, this time, I went to the same road and turned left. Soon after, I saw this sign, which was great and, presumably, accurate enough.

I love rides like this. On the last random ride, when I turned right at that T, it was purely a ride of discovery. All new roads, the first one, I specifically wanted to see where it went. And when it ended, I had to improvise. This time, I my route after that same intersection. This should make it easier, but it just makes it more difficult.

Here’s a post office I ran across. My hypothesis has long been that you can tell a lot about a town by their post office(s). And this one looks lovely, but it needs a coat of paint.

There are two — count ’em, one, two — parking spaces out front. And the office sits right there on Main Street, which is a collection of a handful of houses and a fire company.

I got turned around twice. And, of course, this matters because there’s now a route to follow. And all of the blue lines in life must be followed. Some of them should be, anyway. Elsewhere that evening, a college buddy of mine also uploaded a workout to Strava. He titled his “I’m convinced that the only reason why cyclists cover so much distance is because they always get lost. I tested this myself.”

I didn’t get lost. The first time, I just turned left when I should have stayed straight. The second time I took another turn too early, had to stop to consult my map, and then modified my route.

Does that sound like I was lost? Sure, I stopped to check the map. That’s not especially fun, but maybe I did it just to level out the great joy of a free ride with no purpose or schedule. Mostly, I was just trying to insure that I beat the sunset back.

On the parts of that route I’d been on before, the parts nearest the house, I set four new PRs on Strava. All of those PRs were on the segments near the end of the ride, which is encouraging.

Last night we went across the river to Wilmington. We saw Tig Notaro at The Grand Opera.

The Opera House has been home to some of the world’s most gifted artists for over 130 years. As historic as it is aesthetic, the 1,140 seat theater represents both the physical and symbolic heart of The Grand.

They have this beautiful ceiling, but nothing written about it on the site, so it can’t have a long lineage, surely.

Tig said no pictures, and I honored that request for once. But I did make this mock up of what it was like to finally see Tig on stage.

I discovered her on Netflix in the teens, in the long office overnights. I think this was the first work of hers I’d seen. She traveled the country and played people’s homes. Clearly, it was a docu-special designed for late night viewing.

And I was hooked straightaway. Her comedy is precious, her timing is perfect and, as time marches on, her story is impossible to ignore.

Anyway, last night, she opened with a version of this joke.

And she closed with a much longer, Tig-length version of this story, while sitting at a grand piano, and recreating the moment, just as she describes here, milking the premise for every giggle it is worth and then finding some more besides.

As she’s doing this, she reminds us all, that when she did this, Adele was in the room. The theater’s sound guy pipes in “Hello” and Tig noodles around on this beautiful piano and signs along. And she does not play the piano. And she can’t sing.

She can’t sing so badly that it’s difficult to imagine that anyone sings that poorly. Surely it is a put-on, but it was hilarious, and self-deprecating, and charming and awkward and yet never cringe. Just more perfect Tig Notaro. We were fortunate to get to see her show.

She’s recording a special in New York this fall. Maybe some of the material we saw last night will be in the program when it’s released. You’re gonna want that coconut water.

memories / music / photo / Rowan / Thursday / video — Comments Off
14
Sep 23

Thursdays are the full days

We had a man from the electric company scheduled to come out this morning and do electric company things. You know the deal, you spend hours on the phone with people and machines and hold music and finally you get someone scheduled in a two hour window on the busiest day of your week. My lovely bride has been handling all of the phone stuff. We were both scheduled to be here to meet the fellow.

You can tell where this is going already, can’t you? Guy never showed up. She called the company again.

“What’s the deal? When is he coming out?”

The person on the other end of the line was all What did he say?

“He never showed up.”

What does the paperwork he gave you say?

“He wasn’t here. He brought no paper, or himself.”

At least the lights come on when you flip the switch. You wonder how, sometimes.

But, hey, it gave me more time to iron. No wrinkles on me for class today.

And how’s that going? I’m doing so well I have even ironed clothes for Monday night’s class.

Unless you meant class. How are my classes going? Just great. Two of them today. One was better than the other, but only because they both can’t be equally awesome. And because I probably did a better job in one than the other.

After two in a row, though, and almost six hours of prattling on, I am quite talked out by the end of the day. It’s been, probably a few decades since I’ve done continual talk and projection. At least it’s just one day a week.

We talked about pre-production, post-production, sampling rates and quantization. We also discussed frame rates and aspect ratios. In the next class, they’ll be pointing cameras at subjects and shooting video. It’ll get pretty fun from there.

What’s really fun is, after a full day of classes and dinner, you can start handling the inbox, and the grading. This will take a few minutes.

Let’s dive back into the Re-Listening project. You know this feature. I’m listening to all of my old CDs in the car, in the order in which I acquired them. It’s fun; a few trips down memory lane, some singalongs, and I get to write a little bit about it here. So let’s dive in.

It’s 2003, though this CD was released in 1998. That means I probably bought it in bulk at a used record store. I can’t say which one specifically, but I am guessing this is from a little downtown shop in New Albany, Indiana. We used to go there for the fall festival and that store sat on the corner and, every year, I’d come out with a handful of discs. That’s just a guess, because I have no memory of buying this, but it makes sense considering the discs that surround it in my little collection.

Most assuredly, though, I bought it on the strength of the moderately successful alt radio single, track one, “Pensacola.” It takes a second or two, but it builds nicely.

The contemporary Washington Post review is humorous.

Country-flavored new-wave rock would be the correct guess. As indicated by song titles like “Pensacola” and “Pull the Weight, Virginia (Innocent Lucille),” this North Carolina quintet is heavily into poetic Americana, but its “In the Gloaming” sounds less like the Band or Son Volt than REM. (Indeed, the disc’s guest musicians include ex-d.B. Peter Holsapple, who used to supplement REM’s guitar sound on tour.)

It’s not that Jolene never gets earthy or gloomy. Even when it does, though, the group retains an early-’80s-rock sense of dynamics: Songs like “16c” and “So Sleepless You” contrast brooding verses with bombastic choruses or bridges. More common are such brisk tunes as “Wave to the Worrying” and “Star Town,” which feature jaunty rhythms and rippling guitars. It’s not a style that Jolene can make sound fresh, but the band plays it with skill and assurance.

That’s a lot of styles to throw in one column, into one band, or especially one record.

This is the band’s second record, and there’s some atmosphere in the instrumentation, but for the quality mixing and mastering, there’s just … something … missing overall.

It’s pretty clear, from the liner notes alone what they’re after here. Blurry photos, oddly mismatched fonts showing snippets of whoa deep lyrics, deliberately poor kerning. These guys were trying to ride the alt movement for all they worth. And, in 1998, they were just on the backside of that wave.

By the time I got this in 2003, it was probably just something I listened to for that one single. When I played the whole thing this time through I was looking for a second song to like. Sometimes, though, it’s difficult to get past something’s texture to enjoy its taste.

By the time I picked up “In The Gloaming” the band was spent. They’d parted ways in 2001, having produced five records on three small labels and supporting some pretty substantial bands.

This is the song I’ll play while trying to find out what’s become of the five members of the group.

One of the guys, Rodney Lanier, died young. He’d been diagnosed with cancer, and though this band hadn’t played together for years, they all came back together for one more show with their old friend.

Mike Mitschele is a front man in Alternative Champs. You might also hear his music in The Righteous Gemstones. Dave Burris played in a few other bands, and has since turned to film making and been a producer of reality television. John Crooke is doing marketing out west, released a few solo projects and is still playing, from the looks of things. Mike Kenerley was the drummer in Jolene. It looks like he continued on and played with a lot of notable bands over the years.

Up next in the Re-Listening project is Wyclef Jean’s “The Carnival.” People have written scholarly articles, more than a few, about this record. It’s difficult to say something new about such a widely well-received record that’s now 26 years old.

So I’ll just say this. With the exception of the comedy bits, so familiar in the 1990s, this album holds up better than almost anything in the Re-Listening project

It is solid, throughout. Better than “The Score” in several respects, “The Carnival” debuted at number 16 sixteen on the US Billboard 200. Certified as double platinum in the U.S. in just over a year. Funkmaster Flex is on here. Lauryn Hill and John Forté, of course, but also the Neville Brothers and the New York Philharmonic Orchestra. There was a coming together on this project.

I remember we used to play this song on our campus radio station before anyone had an idea that it’d be a single.

Critics loved the record, while also writing a bit dismissively about the samples. Released in 1997, people were still trying to figure out how they felt about samples, I suppose. (Look who won, right?) It’s funny in retrospect, I suppose, but the answer to that question was always in the lead single.

The Bee Gees didn’t care for the finished product, but Jean’s audience did. It climbed to 45 on the Hot 100, number three on the Hot Rap Songs chart. This song, and the album, often landed on those “Top of the Decade/All Time” lists that people compile.

And The Fugees are still playing. Right now they’re supporting on the 25th anniversary of “The Miseducation of Lauryn Hill.” Don’t know how long Pras Michel can be on this tour, though …

OK, back to the grading.