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Thursday, December 10th, 2009
John was over this evening -- we're going to play the open mic at Summit Unitarian Church on Saturday, looks like our set list will be "Louisville Burglar" and "California Stars" for our primary 2 songs, and "Prodigal Son" (which turns out to sound much better in E than in D) and "Meet Me in the Morning", if we get a chance to play more than 2 songs. We mostly went over stuff we have played before; the new songs we tried out: - "Somewhere East of West Berlin" (Stonewall Jackson) -- Cold War Country/Western.
- "The Growling Old Man and the Growling Old Woman" -- French Canadian fiddle tune; I've been working on this a fair amount the past few days, using my metronome technique. It sounded very nice.
- "Uncle Pen" -- I did not know this tune at all, it was kind of tough to catch the tune. But worth working on.
We also played "Jockey Full of Bourbon" in A minor (instead of E minor) -- I'm finally getting to work out a good fiddle part for that.
Someone who found my site by searching for "Louisville Burglar" sent me a link to this magnificent version of it, by John Specker: Grassroots Festival, 1996.
 (John reminds me, we also played Neil Young's "I am a Child", and "Ophelia" by The Band.)
posted evening of December 10th, 2009: Respond
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Sunday, December 6th, 2009
Saramago addresses a new post to the Italians who marched in protest of Berlusconi's regime yesterday.
Si Cicerón todavÃa viviera entre vosotros, italianos, no dirÃa "¿Hasta cuando, Catilina, abusarás de nuestra paciencia?" y sÃ: "¿Hasta cuando, Berlusconi, atentarás contra nuestra democracia?". De eso se trata. Con su peculiar idea sobre la razón de ser y el significado de la institución democrática, Berlusconi ha transformado en pocos años a Italia en una sombra grotesca de paÃs y a una gran parte de los italianos en una multitud de tÃteres que lo siguen aborregadamente sin darse cuenta de que caminan hacia el abismo de la dimisión cÃvica definitiva, hacia el descrédito internacional, hacia el ridÃculo absoluto.
Con su historia, con su cultura, con su innegable grandeza, Italia no merece el destino que Berlusconi le ha trazado con frialdad canalla y sin el menor vestigio de pudor polÃtico, sin el más elemental sentimiento de vergüenza. Quiero pensar que la gigantesca manifestación contra la "cosa" Berlusconi, donde serán leÃdas estas palabras, se convertirá en el primer paso para la libertad y la regeneración de Italia. Para eso no son necesarias armas, bastan los votos. En vosotros deposito mi confianza.
If Cicero still lived among you, O Italians, he would not say, "How long, O Catiline, will you abuse our patience?" but rather: "How long, Berlusconi, will you transgress against our democracy?" This is how it is. With his unusual ideas about the basis and significance of the democratic institution, Berlusconi has in a few years transformed Italy into a grotesque shadow of a country; a great part of the Italian people, into a mob of puppets who go on, ovine, without understanding that they're marching toward the abyss of definitive civic resignation, towards international discredit, towards absolute ridicule.With her history, with her culture, with her undeniable grandeur, Italy does not deserve the destiny which Berlusconi has mapped out, with brutal coldness and without the least vestige of political modesty, without the most elemental sentiment of shame. I want to believe that the massive demonstration against the Berlusconi "thing", where these words will be read, will become the first step for liberty and for the regeneration of Italy. For this arms are not necessary; votes will suffice. In you I place my confidence.
posted evening of December 6th, 2009: Respond
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Something new is opening up for me musically as I start using the metronome -- I was able tonight to learn a new tune in about an hour, where it usually takes me weeks before I can think of a song as something I feel comfortable with. I learned "Boys of Blue Hill" -- which is a vaguely familiar tune from my youth but I have not listened to consciously in a long time -- from sheet music; starting with a very slow metronome (80 or so) I played the notes to rhythm, adhering to the metronome's time even when I stumble on the melody. Play it through a few times until the slowness begins to feel like a drag, and speed the tick up to 108, which is the very slowest I can play most reel or jig type of fiddle tunes and have them sound anything like a song. And repeat; keep playing until the slowness feels like a drag, and raise the speed a bit, for a few iterations, until the speed has begun to feel right; only then do I start thinking about really learning the notes by heart -- and by then I have played them enough times that they are already fairly solid! I tried this with a second tune, "Harvest Home" -- which is much less familiar, which a lot of YouTube fiddlers seem to like to make a medley of with "Boys of Blue Hill" -- and spent about half an hour on it, not getting nearly as close to knowing it as I feel with the other song, but still making palpable progress with it. I made a recording of "Boys of Blue Hill" which I will post if I can get my browser to coöperate in uploading it to a host.
 Update -- got my browser walking on the straight and narrow again. The "Boys of Blue Hill".
posted evening of December 6th, 2009: Respond
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 Some nice imagery from the opening of Juan Goytisolo's story "Making the Rounds" from Para Vivir Aquà (I am really enjoying these stories about traveling in the south -- Goytisolo is from Barcelona and I think he was still living there when he wrote these stories):
Viniendo por la nacional 332, más allá de la base hidronaval de Los Alcázares, se atraviesa una tierra llana, de arbolado escaso, jalonada, a trechos, por las siluetas aspadas de numerosos molinos de viento. Uno se cree arrebatado de los aguafuertes de una edición del Quixote o a una postal gris, y algo marchita, de Holanda. La brisa sople dÃa y noche en aquella zona y las velas de los molinos giran con un crujido sordo. Se dirÃa las helices de un ventilador, las alas de un gigantesco insecto. Cuando pasamos atardecÃa y el cielo estaba teñido de rojo.
Coming down N-332, past the hydro-naval base at Los Alcázares, you cross a flat landscape, with little forestation, marked at intervals by the cruciform outlines of windmills. One believes oneself transfixed in the etchings of an edition of the Quixote or in an old gray postcard from Holland, a bit faded. The breeze blows day and night in this region, and the windmills' sails turn with a muffled creaking. They bespeak the blades of a fan, the wings of a giant insect. When we passed through there it was getting late; the sky was stained with red.
 This is kind of cool: Google Maps has streetview for Murcia. Here is a view along N-332 heading south, midway between Los Alcázares and Cartagena:
posted morning of December 6th, 2009: Respond
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Saturday, December 5th, 2009
Last April in Vienna, Claus Guth staged a remarkable interpretation of Handel's Messiah. Dusan Bogdanovic explains the storyline in comments at mostly opera...: For me it was very clearly a more or less straight forward story of a guy committing suicide, not being able to withstand the burdens poised by demands and pressures of the world in which we are all living. The only person knowing that this was suicide is a priest, who stages it like a murder, so that the guy can be at least properly buried. And the question arises whether this can be understood and whether there could be redemption for such a deed. The answer comes from an angel like figure, though speaking to us in a sign language. (Basically God speaking to us and us being â??blind and deafâ? or not open enough to understand his words). I found the scenes in which only the sign-language-speaking character is "singing" especially weird. The whole performance is well worth watching and listening to.
Many clips from this performance are on YouTube -- I have not figured out the correct order yet or I would make a playlist.
Aha! No need: carosaxone already did it. Handel's Messiah, as staged by Guth.
posted evening of December 5th, 2009: Respond
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 Some thoughts about using a metronome when practicing music:
- I have to devote a fair amount of attention to the metronome, to really benefit from its clicking -- possibly not as much attention as I need to pay to a musician I am jamming with, but it is unexpected -- my impulse is to think well it's a machine, let it click away on its own.
- If I do pay attention and really think about where the click is supposed to come in relation to the notes I'm playing, it makes me sound a lot better -- my rhythm can range from fairly sloppy to quite crisp, but to be crisp I need to be thinking about it. The main purpose I see in using the metronome is learning how to think about that.
- So that's what I'm hoping will carry over into my jamming with other musicians, is the understanding of precisely where my notes should start and end in relationship to the song's meter.
This evening I played five songs with the metronome, moving progressively to slower songs. "Whisky Before Breakfast" was at 160; "Bonaparte Crossing the Rhine" at 140; "Old Joe Clark" and "Napoleon Crossing the Rocky Mountains" at 120; and "My Grandfather's Clock" at 108. I have never played that last one before, at least not as a serious song -- just sort of a clichéed musical joke to fill in space at a jam. But it's a song where rhythm is really vital -- the ticking of the clock is the backbone of the song -- and it actually has a pretty nice sound. The others I have been playing a lot of over the past few weeks, I'm actually working on developing a repertoire! Had been meaning to work on that for a while now...
posted evening of December 5th, 2009: Respond
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(Every book in the world is out there waiting to be read by me.) Today at MobyLives, Tom McCartan has written the first installment of their series on Roberto Bolaño's reading habits -- this one is about Nicanor Parra, Chilean anti-poet of my dreams. Bolaño believed that Parra's poetry will "endure... along with the poetry of Borges, of Vallejo, of Cernuda and a few others.... But this, we have to say it, doesn't matter too much."Gives me a nice opening to mention that I read the opening pages of The Savage Detectives in a book shop this morning, and it moved several spots up on my priority list of what to read next -- just a hilarious book.
posted evening of December 5th, 2009: Respond
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Thursday, December third, 2009
 Turns out there is a name for the genre to which Codex Seraphinianus and the Voynich Manuscript belong; it is called "asemic writing", writing without semantic content.
Two resources: The New Post-Literate is an asemic blog, a gallery of asemic work by various artists, maintained by Michael Jacobson. (Thanks for the link, Edmond!) Have not looked around there a whole lot yet -- there seems to be a lot of interesting visuals but little in the way of links for further investigation of the images. And ASEMIC is an Australia-based magazine of asemic writing. The first three issues are available in electronic form for free, the more ambitious fourth issue you have to pay for.
posted evening of December third, 2009: Respond
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Sunday, November 29th, 2009
 Ellen's project for the last couple of months has been organizing with the South Orange/Maplewood Bicycle Coalition -- the goal is to make our towns a better, friendlier place for riding. The group hosted its first community ride today, from Meadowbrook Park in South Orange to Maplewood town center, and it went off without a hitch.
Turnout was huge, about twice as many people as expected -- Ellen thinks there were at least 50 people riding. It was a real kick to be riding down the street in such a big pack. This should definitely get us noticed -- time to push for more bike lanes!
posted afternoon of November 29th, 2009: Respond
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Saturday, November 28th, 2009
Jim Cross and family were in town today; I brought a guitar for him to play over to Antonio's house and we played with Bob, Janis and Greg. Some of the songs were just great, sounding like we had been playing together for all this time -- like the thread of practice was unbroken. Song list below the fold.
- I Know You Rider
- Old Joe Clark
- Country Roads
- Saint James Infirmary
- I Threw it All Away
- Girl from the North Country
- How Long (Hot Tuna) -- I had never heard this song before; it would be a great one to work on. Sounded pretty nice just playing whatever I could come up with on the spot.
- Long Black Veil -- We batted this one around for a while but eventually could not agree on how to play it.
- Death Don't Have No Mercy/ West Texas Cowboys
- Mama Tried -- we played this straight, and then played a bluesy version Jim has come up with, then jammed from that into "Heart & Soul" and made a stab at playing "People Get Ready".
- Teardrops Will Fall -- another song I have never heard.
- Bonaparte's Retreat
↻...done
posted evening of November 28th, 2009: Respond
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