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27
Feb 25

Go enjoy it again

I’ve got nothing much, and we’re woefully behind on the CDs, so guess what? If you don’t like this you should come over and do some grading for me so I can do something more fun, that’s what.

We are 13 albums behind in the Re-Listening project. This is the one where I’m listening to all of my CDs in the car, and in the order (more or less) in which I acquired them. More or less because all of them are in CD books. Remember those? And I recently discovered that I got two of the books out of order. None of this matters.

This is the second time I’ve written about Memory Dean in the Re-Listening project. The first time was in 2022, which was just at the beginning of this silly exercise. It hasn’t been a regular feature here, but it has been fun. Memory Dean, their independent album that they were selling out of the back of their trunk in 1993. The obscure “In My Father’s House There Are Many Mansions” album was half studio production and half live shows. And, in truth, was probably originally a cassette. I got it because a college buddy of mine knew the band, introduced me and gave me that one in the rare disc trade. Memory Dean is a group from Georgia, where my buddy was from, so he could get more copies. He liked a CD I had that really only had one good song on it, by a band that was local to me, a band who’s name I can’t even remember, so we swapped.

In 1997, “So Complicated” came out, their third release, their first as a full band, having added a rhythm section. And they were finally on a small, independent label, Capricorn Records, originally out of Macon, but by then a Warner Brothers imprint running in Nashville. Somewhere around that time I picked it up.

Here’s the title track, which, on the basis of this driving power, they released as a single.

That’s much different than what Memory Dean had sounded like for years in all the little venues across the Southland. It was too guys and two guitars and some good times and singalongs. And there’s some of that on “So Complicated,” too. The problem, for us, is that almost nothing from this album is online. Go figure.

But here’s a demo of track six, which probably should have been the lead off track for all that it signaled about this record.

Despite the new direction, there are some re-orchestrated versions of stuff that had been on their first two releases. “Ghost,” for instance, came out on their previous effort, and it’s in the classic format.

The only thing missing is the Bubba Riff.

Similarly, “Dying to Live” made it on here, too. And it’s a better title than anything else.

Their last release, according to Discogs, was 2001, which is about right. They still played, and then they played sporadically. From what I can tell it was probably special appearances or venues with historical or otherwise convenient ties. It looks like they haven’t played together since 2021. Shame, really. They had a good niche and a fanbase to go with it.

Then there’s this other, even better niche. I don’t recall when I got this, but it was probably in a bargain bin, and it was an absolute steal. When I got it, I probably thought something like “Everyone needs a little Otis.” My apologies for not clearly remembering my inner dialog from more than a quarter of a century ago. I’d like to distract you from that failing with Mr. Dock of the Bay himself.

That’s straight out of the Stax catalog, and there’s nothing wrong with that. This album comes to us from 1968, is still timeless and remains one of the best records ever pressed into any format. Otis Redding’s seventh studio album, and one of the many many posthumously released titles. The last stuff he laid down for this were recorded two days before the plane crash that killed him in December of 1967.

A lot of the tracks collected here some B-sides or things that, by now, are well known to us. “Glory of Love” was basically a standard, and it became a top 20 hit in 1968, four decades into its life here, but I did not know, until just this moment, that Redding had a video for this one, and it is almost 60 years old now. And, aside from a little problem of warbly tape degradation that was sneaking into this before it was digitized, I might prefer this version.

The guy just looks so effortlessly cool there, that even back then in what have to some of the earliest days of what we think of now as a music video, there’s just two shots. I assume the cutaway in the middle is to cover a lip syncing flub.

The Huckle-Buck came to us from Tin Pan Alley (and so I really am curious about the song selection here now) and this is what a crossover hit sounded like after it had crossed back and forth a few times since the 1940s.

Here’s the original, which topped the R&B charts for 14 weeks, if you want to get really historical. And if you hear rock ‘n’ roll here, from 1949, you’re not the only one.

Proving once again that I need someone to create the living breathing flow chart of music, what a site to see that would be. (Music history of the 20th century would be, probably, my fourth interesting area to study, if I could keep all of it straight in my head, or if someone developed that chart. I imagine it like a family tree.)

Speaking of sites to see, this song and the dance craze that came with it mainstreamed enough to make it onto The Honeymooners.

The Tin Pan Alley aspect of the song comes in with the lyrics, of course. Roy Milton sang it first, and he drove the song to the number five spot on the R&B charts.

Frank Sinatra did it soon after and could only push it to 10.

But you wanted a blues standard, I heard you say? Otis Redding is your man. Here he’s got a post World War I vaudeville-style piece that has aged remarkably well, for now being more than a century old.

Remember, I said I got this because I figured everyone needed a little Otis Redding. But what you get out of this album is an education. There’s music from all over the country and spanning three or four decades of the best American art forms, 11 tracks in all, and 10 of them are spectacular. It closes with one of Redding’s own B-sides, a soul-infused blues track that probably is due a remaster, but only so you can study every integral part of the thing.

Wikipedia tells us that “Ole Man Trouble” helped Redding capture the growing white blues/soul market. No citation was needed. Every time this song, or anything on this album plays, I feel like there’s a new sense of discovery going on between my ears. It’s not an ole man trouble, but a young man’s appreciation.

It will never not surprise me to remember that he died before this record was released, and he was just 26 years old.

And that’s 1,200 words on music you weren’t expecting today, but if you made it this far I know you found something you enjoyed. Go enjoy it again.

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25
Feb 25

The tease of not-spring

Here’s a lovely video I shot from the front porch on a recent evening and forgot to share here. Hey, the colors were nice, OK? I sped it up just a bit, to add some whimsy.

It was a beautiful day today, so much so that I spent a solid hour doing yard work. And by yard work, I mean picking up and breaking branches. I have an impressive little tower growing in the backyard just now. The top half of it is what I did today.

All of this will go in the fire pit, eventually. If you look in the foreground you can see some thicker branches also waiting for that bit of ambience. Not pictures is a bunch of firewood. The first problem is that it has been, paradoxically, too cold to start a fire.

And now, suddenly, and briefly, it is not.

On the other hand, it is much too windy. But, eventually, we’ll get the right set of conditions. On that day, we’ll start by burning all of these leaves and light lawn litter that is in the fire pit.

It’s a rite of spring, or something. Now if spring would just hurry up and arrive. But, friends, it was a lovely and almost warm day today.

After my break in the yard this afternoon it was back inside and grading once again. Students were reading this piece, from my colleague, Dr. Angela Cirucci.

Facebook is forthcoming about what happens with our posts and the related meta-data (e.g., tags, locations, and sharing permissions) that we have intentionally provided (the chopped carrots). These are the data, as Mr. Zuckerberg notes above, that we can download. However, Facebook is much less forthcoming about the data they assume we have unintentionally provided (the fingerprints) and the data that Facebook itself derives from our contributions (the registry).

One of the main strategies that Facebook uses to side-step this topic is to focus only on notions of social privacy, rather than institutional privacy. While your social privacy includes which of your content other internet users are privy to, your institutional privacy has to do with what Facebook themselves can see, and what new content they ultimately derive.

In fact, Mr. Zuckerberg’s definition of privacy is an outdated notion of privacy that only includes social considerations. If, for instance, we set the permission, what Facebook calls the “audience,” of a post to “Only Me,” we expect that coworkers, family, and the public will not be able to view it. However, what about Mr. Zuckerberg himself? Or members of a Facebook research team? Or a new data analysis tool developed by Facebook? How would we ever know? Suddenly “Only Me” seems potentially misleading.

That’s from 2018 and Facebook has only gotten more concerning, I’m sorry to say.

This is a moment in that class, though, where students (most of whom are dismissive of Facebook as something that Boomers use) start to really consider the implications of all of our social media platforms. It’s an eye-opening read, and we would all do well to give careful consideration what we use, and how. And, in this go around, this batch of students seems intent on doing just that, which is gratifying in its own way.

And that’s what I’m reading about today. And probably all of Thursday, too.

photo / Rowan / Thursday / video — Comments Off
20
Feb 25

Type type type all day long

Let me tell you about last Thursday. I went to campus with my lovely bride. She had to teach. I had lunch with the provost. He does these occasional sit downs with various groups of faculty and you get invited once every three or four years. So you take advantage of it, for the delicious sandwich wraps, and some chit chat.

We went around the room, introducing ourselves, which is no less painful than when you did it on the first day of school, no matter how old you are. The provost said a few things, and then opened the floor to questions. One of our colleagues asked about the NIH cuts on grants and what effect that would have on the university. The provost answered that question, a long, thoughtful, encouraging answer. He and his office had put a lot of thought into this, which is great, since it is so new and, as he said, there’s still a lot we don’t know. (Which is one of the points.)

Then someone else asked a similar kind of question, getting into the nuts and bolts of that. What precisely the grants mean, how this overhead concept works, and so on. Not everyone is involved in this process on a daily basis, and so it was a good question, and he answered it well.

Then I asked a question about addressing students in the face of all of this uncertainty.

That took up most of the rest of the lunch hour, because there is a lot of that answer to still work on.

The provost is a sharp man, an engineer by training and trade. He believes in the university’s vitality in an easy, contagious, kind of way. We had a pleasant talk, and then he and I talked again after the lunch was over.

And then I went home and got back on this writing project. There was a draft of it due by Friday night. The draft of a project meant to describe my first year. It’ll be about 30 pages. To be fair to me, I’m really writing about four months, and not a whole year. But I’ll drag that out for tomorrow’s post.

Here are some geese I saw last Thursday during a work break.

Today, it was more grading, grinding my way through that Hogan reading I mentioned the other day. Bernie Hogan’s The Presentation of Self, that is. The abstract:

Presentation of self (via Goffman) is becoming increasingly popular as a means for explaining differences in meaning and activity of online participation. This article argues that self-presentation can be split into performances, which take place in synchronous “situations,” and artifacts, which take place in asynchronous “exhibitions.” Goffman’s dramaturgical approach (including the notions of front and back stage) focuses on situations. Social media, on the other hand, frequently employs exhibitions, such as lists of status updates and sets of photos, alongside situational activities, such as chatting. A key difference in exhibitions is the virtual “curator” that manages and redistributes this digital content. This article introduces the exhibitional approach and the curator and suggests ways in which this approach can extend present work concerning online presentation of self. It introduces a theory of “lowest common denominator” culture employing the exhibitional approach.

It is an interesting paper, and an interesting thing is happening with the students. When I taught it last semester I saved a file with all of my notes thinking I might recycle them in some future class. I write to the students about specific questions they think up while reading the paper. This crop of students, however, have asked entirely different kinds of questions. So I have about eight pages of notes that are no good. Meaning I have to write all new answers.

It’s a hard life.

I haven’t been able to ride my bike enough lately. Too many real world intrusions. But I got in a quick hour this evening. And I included a few miles in the quantum realm.

Zwift put in these extra features a year or two ago. They call them climbing portals, where the point is just going up, which I did. I assume, or I read and I’ve forgotten it, that the idea was to give additional climbs without spending all the development time of building the background decoration of the surrounding world. This also means they could alter these relatively easily or quickly. I don’t know if they will, or maybe they have. But I doubt both. Everything you perceive in the quantum realm is weird.

For example, in that photo, I’m actually headed back out and on the descent, bot that you can tell. But, believe me, the legs notice all these differences. Everything in the quantum realm is weird.

Except the one thing. I was going slowly.

cycling / Friday / video — Comments Off
7
Feb 25

See you in a week

I went to campus three days this week. And if that sounds like a complaint, it is not. Looking ahead, I’ll be on campus every day next week. That’s not a complaint, either. I’ll still have to find to do a full week’s worth of work away from campus, as well. It’s going to be a busy one.

I think I’ll take the week off from the site, just to get in all of the grading and the writing and the other stuff I’ll be doing just to keep my nose above water.

So, sadly, this post will be the placeholder for the next week.

Look! Here’s a shot from today’s 20-mile ride.

Just another month or two of riding in the basement. I’m over riding in the basement.

At lunchtime today, I heard them. And then the sky darkened. The light literally, actually, dimmed. And when I got outside …

They flew from the fields to the southwest, over the house, across the road, did a giant loop over Joe The Elder’s place, and then came back for more.

They come and they go, and then they don’t come back the rest of the day. The ideal way to enjoy a noisy, noisy air show.

Catch you on the flip side. (If the birds don’t get me.)

memories / Rowan / video / Wednesday — Comments Off
5
Feb 25

Tomato soup in a bread bowl

On this date last year, we stumbled upon a video that The Daily Show had recirculated from, I believe, 2013 or 2014. It’s a classic bit of satirical comedy now, and so much of what TDS and it’s descendants do is on display here. Plus, there’s Jon Stewart’s pronounced cheesy New York accent. It kills me.

I know this was a year ago because, for some one-off joke about ordering a pizza, I made a gif about how he wants a real pizza, with the gestures and the over-enunciation. It still cracks me up.

I mention it here because there’s not much to the day. Ten years ago today I was still trying to catch up from a trip. Five years ago today, in 2020, was just another typical day … we had about five more weeks of those before everything got atypical, of course. Too much time in the television studio. I miss the people involved, the students, but not the rest of everything else that came with those long days and longer nights.

So it’s Jon Stewart thundering away about “an above ground marinara swimming pool for rats.”

Seriously, it’s a tight 10 minutes. Give it a look.

On campus today we talked about media and culture, and that’s the last day we’ll discuss that. It’s interesting, but it doesn’t hold the students all that much, I don’t think. Probably my fault. Next week we’ll start talking about different forms of media. Which, once we get beyond print, I’m sure they’ll start to think to is much more compelling.

Today, though, we talked about how we view other places through what we learn about them in our media exposure. And I mentioned the Super Bowl so I could bring this back up again Monday, when I’ll ask, “What does the world take see in us when they watch one of our largest spectacles?”

Today I asked them, “Does the globalization of media undermine national cultures?”

After that we had an afternoon-long meeting discussing the pressing issues of the day. Some of them about curriculum and university stuff. Some on national matters. Rather than the whole faculty and a formal meeting, it’s just whoever is around. And putting in the face time is good, so I make sure to be around for these more casual sit downs. Plus someone brings snacks. And I got to talk about the difference between administrative and judicial warrants. That’s not something I would have predicted last year, when watching that pizza video.

Here’s the A-block of last night’s episode. Desi Lydic is on the desk this week, and she’s been great there since they started this rotating panel process in 2023. I’d like them to go back to skewering media, since the strength of the show was always being media satire, but since no one else is covering the news, they’re doing more and more of that. It’s better in small doses. But there’s a lot of news these days, and, again, someone has to do it.

Lydic’s first turn at the desk was one of those magical weeks where the content gods smiled upon the show. She had four fantastic episodes, and she made it seem obvious: after 27 years and three hosts, our most prominent satirical news show, finally, at long last, a strong female voice, particularly post-Dobbs. I’m so glad she’s still doing this. If they ever lock in a host she should get an opportunity.

She’s apparently from Louisville. I wonder what her feelings on deep dish pizza are.