Wednesday, December 10, 2014

here comes the bride or o tannenbaum

Here's how to play my new game 'Here Comes the Bride' or 'O Tannenbaum'?:

• Whistle or sing the first four notes of (your choice) "Here Comes the Bride" or "O Tannenbaum."
• The other person guesses which one it is.
• Then you tell them whether they guessed right.

EXAMPLE
---------------
Barry: ♩♩♪♩
Cate: ... "Here Comes the Bride?"
Barry: Wrong again. It's O Tannenbaum.
Cate: Dang it!

Saturday, December 6, 2014

empathic power and politics

Salon, as part of a series in which notable women share their wisdom, ran a piece by Anne Lamott, a favorite writer of mine, favorite partially because she doesn't hide her demons — the very subject that she hits on in the piece.

The whole thing is really about forgiveness. It's wonderful, but there's one phrase she uses that works like a bell tied to a preacher's wrist whose sound completely overtakes the sermon. Doesn't drown out the message — it's just than no one's going to really pay attention to it.

Almost no one: her close audience is made up of people who share most of her political views and they won't even hear the bell. They'll just hear a penetrating sermon on forgiveness, with real wisdom and insight. Others will hear a very marred piece; others will only hear what they perceive as a gratuitous and unnecessary political potshot that undoes the piece.

I don't think she intended it as a potshot. The "as told to" nature of this series means she was speaking extemporaneously or nearly so, and probably we just have an example of her ideology leaking out. Naturally, the editors put it in the headline.

That leak, and the thought process it revealed (that Tea Party people are the most hateful on earth), and the reaction it's gotten, from liberals and conservatives and centrists, got me to thinking about empathy. Not sympathy, the ability to see a person's problems, but empathy, the ability to share for a moment a person's point of view and feelings. When you do that, you can begin to see that there can be another point of view, another way to feel about whatever's going on.

The ability to imagine a different set of conclusions from the evidence the world gives you turns out to be one of the keys to life — and we're all guilty of inability in that area to various degrees.

Liberals often can't imagine why you'd ever want to restrict the rights of women and take away the measures that have helped minorities and make laws that burden the poor unless you are simply hateful and bigoted and repressive.

That leaves them unable to understand someone who wants to protect fetuses and have a meritocratic level playing ground and let the free market reign.

Meanwhile, conservatives often can't imagine why you'd ever want to snuff out the lives of the unborn and give minority students better grades than they deserve and restrict the trade that brings prosperity to all, unless you are simply hateful and repressive and don't care for human life.

That leaves them unable to understand someone who wants to lessen the instance of abortion by measure rather than fiat and give some people the academic and professional tailwind that others have always had and put reasonable harnesses on forces that tend to destroy if unharnessed.

When people have such different reverences, they begin accusing each other of opposite blasphemies, and then very little dialogue can actually take place at all.

One giant step we could take would be to make it so that, politically, we need each other a bit more: the scourge of gerrymandering, in which people from both parties have spent generations carving us up into like-minded districts where primaries and their purity tests matter more than actual elections, is a massive contributor to this talking-past-each-other effect, and, if reversed, could contribute greatly to a healing process in the way we try to appeal to and persuade each other.

Wednesday, December 3, 2014

when and how to start piano lessons

Being an expert in all things musical (or at least perceived that way), I often get questions when it's piano-lesson time for people's kids. I've accepted that I'm not really a great teacher, but I can steer kids toward good ones, and give some advice based on my experience.

A friend writes:
When did you begin piano lessons? And knowing how musically gifted your family is in general, was it a requirement for you, or did you just naturally gravitate toward it (i.e., were you a modern day Mozart)? I would love for my boy to learn, but I don't want to introduce it too soon (or too late).
     And I don't know if it's better for parents to push kids to practice or to hope they will want to intrinsically. I had a couple of years of lessons as a kid, but most all of that knowledge has vanished and now I wish my mom had pushed.... And — last question — is it too ludicrous for me to contemplate taking lessons again at my age?
Piano: was it a requirement or did I naturally gravitate? Hm — both. All three of us took lessons, and it was very much a requirement. Just part of a good upbringing because everyone should learn to play an instrument. (We also had to play on the softball and basketball teams. Less of a triumph for me, but Paul and Rich took to it.)

Allow me to set your mind at ease about when to do it. You pretty much can't mess that up unless you somehow prevent your child from taking. It's not too soon or too late. Naturally, if the kid is 4 or 5 there's going to be a different approach, but by the time school starts a moderate amount of school-like discipline and the idea of practicing aren't that foreign. I recall that we had to practice 30 minutes a day. Had to, had to, had to — non-negotiable.

That said, I had two older brothers who took lessons, so I saw them playing and wanted to play myself. I got up on the bench and started farting around with notes and melodies. That interest, coupled with a natural talent, convinced my parents that I could start lessons at 5 rather than 6, which is when my brothers began.

I've got to say I wasn't a great student. I ended up practicing far more than 30 minutes a day — in Jr Hi and High School more than an hour usually — but hardly any of it was on the stuff I was supposed to be doing. Instead I just did what I felt like and what I was drawn to. So my teacher always thought I wasn't quite living up to my potential; nevertheless, the skills did build up one way or another and I was gigging professionally by fourteen.

All of which is to say that if your kid really takes to it there's not much you can do to stop him. (Think of the phenomenon of the 10th-grader who shuts himself in his room and plays the same Jimi Hendrix tune for 9 hours, till he can nail it.) And even if he doesn't take to it that way he'll still be learning valuable stuff that, we now know, is like learning a new language, along with mathematical and systematic brainstretching, a sense of accomplishment, comfort in getting up in front of a crowd, hand-eye coordination, pleasure in being able to do something pleasing — on and on! Good things come when you learn an instrument.

As far as taking lessons yourself, my guess is it would all come flooding back. You should do it! I have fond memories of standing there watching my mom play through Chopin books and "100 Piano Favorites" books when I was a kid. Really cool to see her calling forth such sounds from the piano, and easy to assume that I would someday do the same.

Thursday, November 27, 2014

"I don't understand," she said mondegreenly


Just got through with a hilarious conversation about Taylor Swift's song "Blank Space," in which she sings "Got a long list of ex-lovers; they'll tell you I'm insane," but tons of people hear something like "All the lonely Starbucks lovers...."

Haha!! There have been a couple of articles about it. They only give us half-baked ruminations on mondegreens. But they don't really tell you why you misheard the lyric.

The main reason is that she disobeys the laws of English lyric-writing. A pop song should rhyme and scan seemingly effortlessly. When you have to put THE acCENT on THE wrong sylLABle in order to make it fit the musical phrase, you'll always murder the phrase.

For instance, if she were to write a boppy melody that goes, with a steady BOM baBOM BOM baBOM BOMba, "GOT a LONG LIST of EX LOVers," the exact same phrase would be perfectly understood.

Or, conversely, if she kept the same melody and rhythm but changed the lyrics to "Got a longish list of exes" (admittedly a terrible line), then the scansion of the music would match the natural accents of the phrase and you'd understand it.

As it stands, she's constrained herself to say "Gotta long lst-OV-x-LOV-rs"— English is especially strict because of our tendency to assign any non-stressed syllable a schwa sound (that "eh" or "uh") rather than the vowel's normal value. So, speaking it, you'd say "LONG LIST əv EX LOVərs," something very different from the song's "LONG ləst OV əx LOVərs".

Yeouch! "LONG ləst OV əx LOVərs"?!?! Madness!!

That is why your brain goes to the trochaic "Lonely Starbucks." It's the closest thing you can land on.

So, in the language of scansion, the melody, which goes "badaBAAdump BAAdump BAAdump," asks for four trochaic feet in a row (or a pyrrhic and three trochees), but her lyric, "Got a long list of ex-lovers," consists of a pyrrhic, a spondee, an iamb, and a trochee.

got a | LONG LIST | of EX | LOV ers.

Catherine suggests replacing my awkward suggestion with "Got a longish list of lovers." PERFECT!!

got a | LONG ish | LIST of | LOV ers

Swift is pretty much a pop genius, but even pop geniuses can have off days. The best pop songs just pop right out of your mouth, with the spoken inflection matched perfectly by the rhythm and melody. Most "mondegreens" in modern pop result from the songwriter's failure to do that.

Also bothersome: the Nashville girl suddenly goes Cockney with "They'll tell you oim insane." Where on earth did she get that??

My experience tells me some misguided enunciation coach (called, wrongly, "diction coaches" for some reason), heard her "ahm" on the first take and told her to fix it. That's doubly funny because one of the nudgy things that nudges our ears toward "Starbucks" is the long history of r-dropping in American pop music, which is strongly influenced by singers from r-dropping areas, who also "ahh" out our "i" sounds. Ironic!

Sunday, November 23, 2014

a remarkable spaniard


This week, a true original died. Thursday, the Duchess of Alba gave in to pneumonia at the age of 88, in her 14th-century castle in Seville. Her full name was María del Rosario Cayetana Paloma Alfonsa Victoria Eugenia Fernanda Teresa Francisca de Paula Lourdes Antonia Josefa Fausta Rita Castor Dorotea Santa Esperanza Fitz-James Stuart, Silva, Falcó y Gurtubay. No wonder people just called her Cayetana, the Duchess of Alba.

But she wasn't just that. She was also the 15th Duchess of Aliaga, the 4th Duchess of Arjona, the 11th Duchess of Berwick, the 17th Duchess of Híjar, the 11th Duchess of Liria and Jérica, the 11th Duchess of Montoro, the 12th Countess-Duchess of Olivares, the 17th Marquise of the Carpio, the 10th Marquise of San Vicente del Barco, the 16th Marquise of La Algaba, the 16th Marquise of Almenara, the 18th Marquise of Barcarrota, the 10th Marquise of Castañeda, the 23rd Marquise of Coria, the 14th Marquise of Eliche, the 16th Marquise of Mirallo, the 20th Marquise of la Mota, the 20th Marquise of Moya, the 17th Marquise of Orani, the 12th Marquise of Osera, the 14th Marquise of San Leonardo, the 19th Marquise of Sarria, the 12th Marquise of Tarazona, the 15th Marquise of Valdunquillo, the 18th Marquise of Villanueva del Fresno, the 17th Marquise of Villanueva del Río, the 27th Countess of Aranda, the 22nd Countess of Lemos, the 20th Countess of Lerín, Constabless of Navarre, the 20th Countess of Miranda del Castañar, the 16th Countess of Monterrey, the 20th Countess of Osorno, the 18th Countess of Palma del Río, the 12th Countess of Salvatierra, the 22nd Countess of Siruela, the 19th Countess of Andrade, the 14th Countess of Ayala, the 16th Countess of Casarrubios del Monte, the 16th Countess of Fuentes de Valdepero, the 11th Countess of Fuentidueña, the 17th Countess of Galve, the 18th Countess of Gelves, the 16th Countess of Guimerá, the 21st Countess of Modica, the 24th Countess of Ribadeo, the 25th Countess of San Esteban de Gormaz, the 12th Countess of Santa Cruz de la Sierra, the 20th Countess of Villalba, the 12th Viscountess of la Calzada, and the 29th Lady of Moguer.

All that makes her not only the grandest grandee in the world (with more titles recognized by an existing government than any other person on earth), but one of its great landowners: if you planned it out the right way, you could walk from Spain's eastern border to its western one without ever stepping off her property.

Her marriage to a (lesser) noble in the 40s was Spain's last great feudal wedding, and one of the century's most dazzling — her jewelry alone was worth 15 million in today's dollars. But, for such a pedigreed figure, she was unbound by the restrictive rules of her class and time. After her first husband died, she married her confessor, a defrocked Jesuit priest; more scandalous, he himself was an ilegítimo, a bastard, having entered the priesthood in the first place by the old path of having been left on the church doorstep. The public was shocked; Cayetana, no respecter of persons, went right ahead. When he died, and she planned to marry a civil servant 25 years her junior, her family rebelled, no doubt concerned that he was in it to rob them. Her response was to simply sign over all their inheritances to them early, and marry the man. At the wedding, the 85-year-old countess/duchess/grandee kicked off her shoes and commenced to dance flamenco.

She loved dancing; she owned Christopher Columbus's first map of the Americas; she wore giant floppy hats, bright hippieish dresses, and fishnet stockings. By dint of various aristocratic fine-print, she was free to enter Seville Cathedral on horseback with impunity, didn't have to kneel before the Pope, and, whenever she ran into the Queen of England, the Queen had to curtsy to her.

No doubt a flawed human being, she nonetheless got the answers right again and again. Under that resolutely frizzy crown of hair was a brain that understood that her power and privilege could buy her the freedoms that few women of her place and time could enjoy, but which we should all aspire to — not the puny freedoms of riches and leisure that we too often settle for, but the real freedoms of the human spirit: to see people for who they are and love them and associate with them regardless of what others think, to recognize love when it comes your way, to do a stomping dance when you feel like it (and to put in the work so that you're in shape to do it).

When you preserve the Glory of Spain by gathering it in such concentration and then squandering it so happily, there's a name for it: kenosis.

Farewell, Cayetana, nobody's duchess, a spirit as free as ours were all created to be.

My favorite story? When she was 62, a lifetime of rebellion against society's rules found its peak: she curtsied to the Queen.

Friday, November 14, 2014

meat and buns and supply and demand



If you want to be thoroughly confused about the free market, consider the strange case of Kim Kardashian. There is, after all, hardly a shortage of pictures of women's naked backsides on the internet. How on earth does she get this kind of attention for something with which the market is so glutted?

I feel the same way about Sports Illustrated every year: it's nothing other than marketing genius that somehow makes a legion of people wait in eager anticipation for the release of ... a magazine with pictures of models in swimsuits.

With the McRib, McDonald's is basically a commodities trader: whenever pork prices fall below a certain margin, they roll it out and make money, benefitting additionally from the scarcity. No mystery there. But imagine a situation in which every year McDonald's introduced ... a hamburger, and people went nuts, even though they and every other hamburger place paper our world with hamburgers. We could only conclude that it's some sort of sorcery that's overriding the usual laws of supply and demand.

All this makes me hungry for Girl Scout cookies. Dang it! It's not February! How in the world will I get hold of the exact same mint chocolate cookies that are always available everywhere in every grocery store? Oh well, I'll just have to wait.


Monday, November 10, 2014

i loved your kids

I worked with teens at our church from my own teen years until almost the age of 40. I'd love to gather all their parents somehow and say, "I loved your kids! And, whatever your experience with them was, I feel fortunate because I suspect I got their best. As an adult who had no temporal authority over them, I got their deepest and truest thoughts, their most uninhibited laughter, their fresh insight. I loved every minute of it."

I got probing questions about the big-brush issues like how we know there even is a God at all, and the most fine-point issues like whether the Salmanticenses were heretical, and all in between. I got the most direct please-help-me pleas like "I've started doing drugs and I'm not sure my parents know but I'm not sure I can quit," and roundabout inquiries about whether this or that constitutes rape or whether I think smoking marijuana is a sin. (I derived great pleasure from dispensing guidance that, if followed, would lead kids toward a long, healthy, Christ-loving future with no baggage, without ever nagging or resorting to because-I-said-so.)

Most of all, I just got to see them being themselves, trying on different selves to be, and interacting with each other.

God designed these people to be choosing careers and getting married and establishing households and bearing children during their teen years; we have placed a near-impossible burden on teens by denying and delaying those steps. Nearly every clucked-over pathology attributed to teens can be traced to the frustration of those very real — biologically-mandated — urges to live in one's own space and deal with the opposite sex and take care of babies and make one's own decisions.

Merely respecting them, respecting the fact that they are fully people, respecting their interests, respecting this burden society has placed on them, will buy us all much. I always tried to do so with the kids I worked with, and, goodness, I hope I can remember to with my own children, which as we all know isn't guaranteed.

Meanwhile, I cherish those generations of kids, now adults with their own kids. I loved getting up early in the morning for them, staying out late with them, ingesting probably half a ton of semi-good food with them at EZs and Alamo Cafe, studying and studying to bring solid and memorable teaching to them. Most of all, I loved your kids. I saw many of them at their best, and I loved them.

Friday, September 26, 2014

a star wars epiphany

Wow. A thought just crossed my mind. I was thinking about how the best Star Wars movies were the ones where Lucas remained in charge but left the screenwriting and directing to others (The Empire Strikes Back, Return of the Jedi) — and it hit me.

If there are lucky stars out there, thank them profusely that George Lucas wasn't an amateur composer.

Tuesday, September 23, 2014

hairstyles

This summer I went into a completely new salon, introduced myself to a stylist, and said, "Do something stylish." I do this every so often, just to stay fresh (with mixed results). I didn't even tell her how I normally do it. She ended up giving me a sweep-back slickish cut that made me look like a character on "Suits"... plenty dashing, but then after a week or so Catherine said I looked like a televangelist.

So then I went to another new person and said I wanted something stylish. This one gave me a shorter, spikier look that befits a musician (it's what you'd expect of the contemporary worship guy at, uh, St Thomas Episcopal, for instance). Nice middlingly stylish cut. She said, "This makes you look like a very handsome older man, who looks young." Hey I'll take it.


"Suits":




Televangelist:




It's New, It's Now:

Friday, September 19, 2014

hugo energise



The past couple of days I've been wearing Hugo Energise, a several-year-old fragrance from Hugo Boss. Apparently, experts and critics think it's ho-hum, but I think I like it. Nice peppery and fruity smell right up front, and then it mellows to a warm spicy, slightly chocolaty smell. After a few minutes, though, there's a powdery thing to it that's extremely synthetic and industrial-smelling. Hm. Don't like that. But it doesn't stay that way.

Overall, very pleasantly manly, just off-center enough to be non-cliché, probably very good for fall and winter.

Monday, September 15, 2014

busy beaver

Greta gets numbers. I think she'll end up being like her mother that way. She's like me, too, in that she gets the poetry of numbers, even if she doesn't quite understand them natively yet.

She debuted a song that she wrote the other day, called "Busy Beaver." Yep — a reference to the busy beaver, a "Turing machine," really a theoretical way of producing mind-bogglingly high numbers. Greta just can't get over the mind-bogglingness of busy beaver numbers, and regularly tries to compare them to real-life sizes and distances.

So, a new song that brings together her love of God, her love of music (listen to that nice pop melody! when she sings it, she does a very pop-music dropped "r," so that it's "Busy Bea-vehhh"), and her love of numbers, all in one place.

Click to enlarge.

Sunday, September 7, 2014

eau de lacoste L.12.12 blanc



Recently I'm wearing Eau de Lacoste L.12.12 Blanc. When it first goes on it smells very typically guy-ish, that sporty citrusy smell that dominates dorms across the land (though it's on the grapefruity side, so that helps). But after a few hours it mellows into a sweet woody smell with just a tinge of something distantly flowery that makes it fairly distinctive — but only fairly.

I'm not sure it passes the distinctiveness test, which is really my only test for a fragrance. Sure is nice and clean and pleasant, though. If L.12.12 Blanc went to high school with you it would be that guy on the tennis team who's athletic and "popular" but also actually popular — nice to everyone and pretty smart and fun and great to hang around with. Terrific August fragrance.

Thursday, September 4, 2014

that's one happy marriage

Thursday, August 21, 2014

the tongue p

Stick out your tongue and then use it to make something like a "p" sound. Is there a name for that sound? It's not really a "t" or a "th" or a "p." It's a whole separate thing. Surely *some* language uses it, right? 

Greta came up to me and said a new word in an unspecified foreign language (as is her custom); "Wun-∞a."

"Wun-tha?," you ask.

No! "Wun-∞a."

"Wun-pa?"

NOO!! "Wun-∞a."

Friday, August 15, 2014

a huge gift

Over the years, I've been the beneficiary a couple of times when a longtime musician retires. Yesterday I was honored to be bequeathed the massive music library of Loretta Cormier, who's moving to a smaller place — complete collections of many of the greats: Harry Warren, Sammy Cahn, Yip Harburg, Irving Berlin, Porter, Kern. Wow! All those back numbers to go through!

Thursday, August 7, 2014

solace/fernando



A flashback from my childhood: I remember sitting in Ms Goodenough's class in 4th grade, listening to two songs at once in my head. We had the soundtrack to The Sting at home, which included my favorite Joplin, then and now, "Solace." Abba's song "Fernando" was on the radio, meanwhile, and I realized that their choruses had exactly the same chord structure and the same faux-Spanish sound. I'd sit there with both songs going on in my head, listening to how they collided and danced. I've still never heard it done physically, but I just now enjoyed the same modern motet all over again.

No doubt school wasn't entirely worthless, but I did and do tend to grade my classes based on how much opportunity they gave me for that kind of reflection — which, after all, is what helped give me the skills I use today.

Questions for discussion among teachers:
1. Was I goofing off, in a daze, or hard at work?

Friday, July 4, 2014

on a patriotic mood


God shed His grace on thee. What are you saying when you say that? If you're quoting the song "America the Beautiful," then you're not saying that God did shed His grace on America. Nope: you're praying that God will shed His grace on America. That phrase is in the subjunctive mood.

The fact that "shed" [subjunctive] is the same as "shed" [indicative] can be confusing. So confusing that many people mistakenly go on to the next line to sing ...and crowned Thy good with brotherhood. But that's not how it goes. It's "crown," not "crowned." So, the whole statement is
America! America! God shed His grace on thee,
And crown thy good with brotherhood
From sea to shining sea.
Interesting, right? The key there is really the "crown," which has to be subjunctive. Like many such statements — "God bless you," "Peace be with you" — the telltale may is missing. It's understood: "May God bless you," "May peace be with you." Except that may has been missing for so long we sometimes don't even hear it.

"Goodbye" is subjunctive, then. It's a shortened way to say "God be with ye," which is a shortened way to say "May God be with ye."

The may does show up in later verses, though, just to reassure us: May God thy gold refine.

My July 4th wish? May we always remember that that line is subjunctive.

Friday, June 13, 2014

political people of the people


I just read an article about Hillary Clinton and her money that frustrated me because neither of the quoted team opinions got the issue right. The various facts are that the Clintons didn't start off super-rich, and that they now are, and that they entered the White House after a long period of government service and law practice, and that they didn't have much in savings or investments, and that from November of 92 on it was certain that they'd eventually make millions from book deals and speaking engagements, and that they had tons of legal fees and didn't actually own a house, and on and on — a goulash of extremes that typifies many people's experiences in today's public life. Those extremes in no way typify my life or, probably, yours, but then we're ordinary.

I hate these attempts to seem "ordinary" by emphasizing money problems — just as I hate the modern attempts to smear candidates for not being "ordinary."

There was a time when we wanted our politicians to be people at the top of their game. Rich lawyers are in fact what we need in government. Law is the language of all three branches of government, and expert lawyers make lots of money, in government or out of it.

We should be proud of the country that produced the Bush family, a generations-long dynasty of super-rich people who have a family ethic of public service; and that produced the Clintons, born into middle-class and lower-class obscurity but with hard work and drive made it to the the top. People on Team Red and Team Blue have a great time deriding one or the other — and often switching opinions to fit team jersey as candidates (humble-origin Nixon and Reagan, landed gentry Carter, poor-smart-kid Obama, patrician Bushes, married-into-money McCain and Kerry) come in and out — but that derision only hurts us, I think.

It would be great to get rid of the corruption and collusion that so damages our commonwealth, and it would be great to get rid of opportunistic politicians who go through phony put-on antics every election season. But it would also be great for us, the voters, to be big enough to get past team jersey and be thrilled that America has produced such a variety of success stories.


Tuesday, June 10, 2014

instinct and wind instruments


Clara is trying to play my melodica. First, I blow into the mouthpiece and encourage her to play the notes. They toot in little random toots. Then, inevitably, she goes for the intriguing mouthpiece and tries to blow into it herself.

Once or twice, she succeeds — at first. Then, very soon after that, she stops blowing and starts vocalizing, "uh... uh... uh... uuuuuh...," into it, with the mouthpiece just sitting in her open mouth.

I was puzzled at how this development went backward, and has done so a few times, until now all she does is the vocal sounds. Then I remembered the pigs.

A while back, when places had window displays, a bank thought it would be cool to have one with live pigs depositing money into piggy banks. They trained the piggies the way you train piggies: by rewarding them with food. Every time they deposited coins, some food was released. (At a rate of tuppence a bag, I'm guessing?)

This worked for a while, but then eventually the piggies started just nuzzling the coins. A puzzlement, until figured out that the piggies were rooting at the coins. They were digging at them, the way they dig for food. So, the training that gets them to associate food with depositing those coins properly eventually goes so deep that they associate the coins themselves with food and promptly start rooting uselessly at them.

Thus the question of instinct versus culture is answered. (Partially.)

So, I figure this is what's happening with Clara. She knows how to blow, and she blows and gets sound, and then, associating the making of sounds with one's mouth so strongly with vocal sounds — the sounds she's best at producing — she just starts singing.


(Not really Clara. No Brake kid would ever have hair that long.)

Wednesday, June 4, 2014

an american original: chester nez

Just days before D-Day, one of the most fascinating stories of the war comes to an end.

In 1942, Chester Nez was a 10th grader in boarding school. 6 weeks later, he was serving. His first message: "Japanese machine gun on your right flank. Destroy."

When Nez was a kid, the US government took Native American children off reservations and put them into boarding schools, where they were forbidden to speak their native languages, and were abused severely if caught. But, being five percenters, they still whispered Navajo to each other, keeping the language alive — which later benefited that same government, and all of us, by forming the basis of the only unbroken oral code in modern warfare.

The Navajo Code Talkers took part in every Marine assault in the Pacific war, flawlessly.

His mission was secret. Even his family and fellow Navajo didn't know what he did, because the mission wasn't declassified for over two decades. Only in 1968 did the truth come out.

At age 90, he wrote a bestseller. At 91, he completed his Bachelor of Fine Arts degree. Just today, he died, the last of the original Navajo Code Talkers. Thank you, Mr. Nez, for a remarkable life and example.

Saturday, May 31, 2014

someone's daughter

I just read that "As the father of a daughter" thing that's been going around — one thing got under my skin till I named it.

"As the father of a daughter, I promise ... to remember that all women are someone's daughter, and to be brave enough to remind others of that when they need reminding." 

It seems to me that this good man who doesn't want to be part of the problem still is. Really, he can't see a woman's worth unless he remembers that it resides in the man she belongs to? This line of thinking has always bothered me, but I'm just now putting my brain around it: "Think about it: she's someone's daughter, someone's sister, someone's ... — she's *someone's*." That's the problem, right?

May I suggest: "She's someone."

Monday, May 26, 2014

a salute


You I'm thinking of today, who gave so much of selves unseen, do you know the power of your sacrifice?

Some of you signed up, knowing it was against regulations for our military forces to enlist men or women like you. You signed up anyway, defying the rules to defend American soil or American allies. You served and died in 1775, and 1861, and from then to now.

In World War II and Korea, you died before you had the chance to be dishonorably discharged. You never knew that your brothers and sisters in arms were not only discharged but reported to their local draft boards, and thus revealed to their entire communities — communities they sometimes couldn't then return to. Many stayed in the cities they landed in, groups of unmoored veterans gathering in New York's Greenwich Village or the San Francisco Castro, the army of the banished, forming gay ghettos where you could have lived less hidden, if not entirely free, had you lived. Those communities have lasted to this day. People who speak dismissively of them may not realize how they got started.

Jesus of Nazareth said there is no greater love than to lay down your life for your friends; you laid down your life for those who never accepted you, and who would have drummed you out of service if they'd known. Many would have cruelly mocked you, and did, and worse. But they owe you their gratitude, as do we all.

Soldiers who survived returned to embrace their loved ones as a grateful public looked on — but not the ones like you. Other servicemen and women retired and received pensions that are every soldier's due — but not the ones who got dishonorably discharged for being gay, and struggled for the rest of their lives, some even today.

But you never faced those later-in-life things. You fought, and died, and now you lie beneath the earth. We who remain must remember.

You may never have been saluted in life by anyone who fully knew who you were and what you gave to serve. Today let us, at last, salute you.


Thursday, May 22, 2014

it happened last summer


I look over at my watch and the face is fogged up on the inside. I live a July afternoon all over again. I was keeping an eye on Greta, getting some cleaning done, checking to see her play on the back porch every 30 seconds or so. I looked out and didn't see Greta on the patio. I looked to the pool: the water was moving. My next memory is that I was right there at the edge of the pool; I'd moved out there to see Greta in the pool, no safety suit on, bobbing right at the foot of the steps, nose and mouth just going above and below the water. I couldn't tell what look she had on her face, but her eyes were a bit wide. It didn't look like full-on distress, though.

I had, however, read up on the whole thing, and knew that she was drowning. This was exactly how it looks: the arms out, the bobbing up and down, the lack of screaming and flailing. I asked firmly whether she was OK: no response at all, just the bobbing. As I'd done in imagination a hundred times, I took my phone out of my pocket and laid it at the side of the pool (gotta do that before impulsively jumping in, because you need to be able to call 911), and then plunged in and in one swoop she was in my arms, well above water, crying and sputtering. I assured her that she was OK, and that everything was going to be alright. Now that she was out of survival mode, she was able to relax into being very upset and scared. She called for her Mama, she cried, she held onto me. Ron came out, Linda came out, Catherine came out. It was all OK.

Later, Linda asked me if my adrenaline had surged. Nope: the whole experience was calm and clear and, though it all took split seconds, each decision and action felt like it existed in a space of its own. I wouldn't say I was shaken, but I'd say I was, and am, haunted. What if even one thing had gone differently? This July afternoon could have been a disaster written on my heart for the rest of my days. It's not like I felt my Parent Alarm tingling or anything: I just looked out, she wasn't there, the water was troubled, I went, I got her out. What if I hadn't looked out just to check? Ah, but I did. Never experienced any change in heart rate, but man. That whole day I occasionally stopped and just let out a sigh — one of those sighs that says everything from what-if to thank-God to whew.

Parents often talk about being flooded with panic and fear when they lose track of their kid at the store. But, face it, when you lose your kid at the store you'll find your kid, 999,999 times out of 1,000,000. This, on the other hand, is the leading cause of accidental death among children between 1 and 4 years old, and the third leading cause of death among children period.

So now my watch occasionally fogs up, and I allow myself to stop and let out a sigh. Whew.


***

But not just "Whew." Action as well: we got Greta and Clara into a safety swimming course. It doesn't teach anything about recreational or competitive swimming — just how to be in the water and not drown.


Greta is now 3, almost 4. Clara is 16 months. I watched yesterday as a woman held Clara over the deep pool water and let go. Plop, she just dropped right in, but instead of flailing, or sinking straight to the bottom, this little baby who still can't speak a word calmly held her breath, floated to the top, rested her head back on the water with her face out, and breathed, while occasionally uttering a miserable moan. (Miserable, but alive and well.) She can do this fully clothed.


Clara can float till someone gets her; Greta is learning to flip over and swim to safety. How nice to know that a very real source of death, injury, and sorrow is no longer the threat it once was to our girls.

Tuesday, May 20, 2014

a universal principle of sport and art?

Here's a video that perfectly expresses why people who like the Spurs like the Spurs. The main thing is that they play basketball: no hotdogging, no showoffy grandstanding — the American cult of the individual, elsewhere threatening to capsize sports, is replaced here by the American values of teamwork and patience.

At one point, a person says watching the Spurs is "like listening to Mozart." I think the person meant it in the sense of a gentle, perfectly working machine that's endlessly pleasing. But there's something more there. It's like listening to Mozart because in fact Mozart often withholds the resolution to a phrase, and then withholds it again, then again, then again, and then boom! it lands. Just watch play after play here, where, instead of just going for a basket, the player passes it, then instead of going for a basket, that player passes. Pass after pass after pass, until the shot is inevitable. What makes for great music makes for great basketball as well.

Thursday, May 15, 2014

my response to 40 questions

Some time ago, a fellow by the name of Thomas Swan posted a list of 40 questions for atheists and agnostics to ask Christians. The goal was to get beyond the simple thinking and name-calling that happens from both sides and instead get people of faith to dig in a bit and give solid reason for their belief. (The goal was also to get those people to question their own faith if they hadn't ever done so.)

Here are my answers to the 40 questions, submitted to Mr. Swan and you, and anyone else, to consider.

I'd be interested to hear your thoughts.

Friday, May 2, 2014

composer hopkins

Did you know that Sir Anthony Hopkins is also a composer? Here's a waltz he composed several decades ago, performed by the entertaining showboat André Rieu and his orchestra, with Hopkins himself in the audience.

I'm glad to say that I know first-hand what a great experience it is to sit in an audience and hear your own music coming from a symphony orchestra. I'd like to hear more from this composer, too: it's likely that he'll be known in future years mainly for pieces like this, while his acting will be forgotten. Weird to think it, but that's how history goes.

Monday, April 21, 2014

easter egg hunt

Saturday, March 22, 2014

a surprising portrait

The Jazz Protagonists got through recording a live show at the home of Scott and Jennifer Rose — a yearly tradition. This particular evening they were celebrating Scott's birthday. On the wall above the piano was a painting hanging, wrapped in birthday wrapping paper.

Partway through, Scott tore open the present: a portrait of the Jazz Protagonists that they will now hang on their wall. What an honor!!


Monday, March 17, 2014

trocolatey goodness

A linguistic landmark: today, Greta used the word "trocolate." ... sounds just like a kid funny, but listen to what's going on in her brain — not only putting together language rules, but pulling apart slurs she hears in casual pronunciation.

Greta hears palatalizations like "chruck" for "truck" all the time. When saying "trouble," some people don't just make a 't' sound followed by an 'r' sound at the beginning — they make something more like a 'ch' sound: "chrouble." For "Tuesday," lots of Brits say "Choose-day" while most Americans say "Toos-day" or "Tyoos-day."

Greta, like most Brakes, is being reared for radio-ready pronunciation. She hears people say "ch-rouble" and "ch-ruck" and knows that the "real" way to say it is "t-rouble" and "t-ruck" — and then overgeneralizes, so that she suspects that "chocolate" is actually "trocolate."

You can hear this same process when Southerners and Texans refer to the Jaguar car brand as "Jag-wire." They're overcorrecting. "You're a *liar* if you said you set a *Jaguar* on *fire*" sounds like three rhyming things around here (lahrr, fahrr): so when you decide to say it in the un-Texas/South accent, you just might "correct" all three to rhyme with "choir."

So, it's all pretty fascinating: she's very obviously creating a set of language rules in her brain, not just sounds as words tied to some meaning, but actual *structures* with a system behind them. When your kid says "mouses," it doesn't show stupidity at all; it shows smarts. The kid simply hasn't learned all the exceptions, but has — amazingly really! — put together complex rules of how words are formed, and is applying them all over.

It's so deep; it's so wide, your inside!

Saturday, February 22, 2014

watching a frozen form develop

Do you use the Ngram viewer much? It does word searches for every word in every book in its database, which is by now most books between 1800 and today. It's only books, so it doesn't give you the roiling world of newspapers and magazines, but it's still addictively enlightening, and I find it a great way to put hard numbers to my questions. Last night I came up with a very interesting couple of results.

Someone mentioned a profession that had "a stigma attached to it," which always jars me — how do scars attach? It's the classic sign of a frozen form to use a word that way. That is, a word goes out of use except for being frozen into a certain phrase, and you're not really in control of the metaphor because you just think of it as a phrase. ("One fell swoop": what exactly does "fell" mean? Swift? Angry? Destructive? Amazing? Wicked? If you had to bet would you win? Actually, it means something like "ferociously evil and deadly.")

I looked it up in Ngram, and discovered that you can see it happen in front of your eyes: as we lose the meaning of the word "stigma," our use of it as a metaphor changes. The decline of the term "stigma on" very neatly precedes the rise of "stigma attached."



It's especially interesting to note that it actually gets to a low before the frozen form rises. As long as the mental image of a scar is ... attached ... to the word "stigma," it acts as an antibody, a protection against weird uses of the word. When the antibodies die out, only then does the virus have room to grow.

I tried to think of other frozen forms in which there's a stock phrase that actually gets the meaning of the word wrong like this. Hmmmm — I finally hit on "shambles." You often hear people say something is "in shambles," instead of "a shambles."

In fact, "a shambles" acts as a stepping-stone. Look at how our use of the term "a shambles" ("this place is a shambles") rises just as the phrase "the shambles" ("go down to the shambles to get some meat") is falling. Then, once the literal meaning has died, its uneducated cousin "in shambles" has room to rise.



Not as dramatic a dip as with "stigma," but it's definitely there. This way, using the stepping-stone, we never stop using the word "shambles," and it retains its usefulness smoothly as its meat-market meaning fades. (The combined number stays near 0.0000300% for nearly a century before World War II apparently gives us more reason to reach for this word.)

Friday, February 14, 2014

meditation on love



We're reading an article on the book "From Shame To Sin," which traces attitudes toward sex in the late Roman Empire as it Christianized. It mentions 6th-century prostitution conversion narratives, and that got us to talking about Massenet's opera Thaïs, whose conversion scene is the wordless "Meditation" that is Massenet's most popular work to this day.

I mention that it's one of the most beautiful melodies I can think of, to which Catherine responds, "You should write it."

Ahhhh, my woman understands composers too well!! As Valentine's Day enters, I think of the great Paul Buchanan line that is one of the most romantic of any love song: "I will understand you."


Tuesday, February 11, 2014

new lingo creates new meanings


The sentence "Cray was the blues guitarist" can now either be read as a straightforward identifier or as a blend of a very old and a very new way of saying things.

Sunday, February 9, 2014

practicing my scales

In the past few days I've been shedding a little bit on some octatonic scales. I've been very conversant with the octatonic scale since college, and found myself easily able to improvise on it — something that enabled me to spin off beautiful modern-classical pieces on a whim.

But my fingers only got conversant with one octatonic scale. The other two I understand and can do, but never fooled around with enough. What! — that's like a musician knowing only the white-key scales. Crazy!

You've put it together by now that "octatonic" refers to an eight-note scale. When Maria von Trapp sings "do-re-mi-fa-so-la-ti-do!!!," that's definitely an eight-note phrase, but notice that the first and last are the same.


No.




Yes. Thank you.


We humans, who have a duple heartbeat and two walkin' legs, love for things to be in 4/4 time, and on top of that we just can't leave that leading tone (ti) hanging without resolving to the home-base of do. That means our usual scales are seven-note scales. The usual pattern for those seven-note scales we call "diatonic." All the typical scales and modes are diatonic: they could be transposed to play on only white keys. (I've gone into that — fascinatingly!! — here and here.) To make an eight-note scale, you have to go outside the bounds of diatonic harmony.

But — here's the kicker — not too far. You could think of an octatonic scale as a way of wandering through a diminished seventh chord. That's the kind of chord that, played by itself, sounds like the villain in a silent movie:  LISTEN 


"You'll never defeat me! Can you not hear that fully-diminished chord?" 
"Maybe it's compensating for your fully-diminished sword."

So, if you just arpeggiate up the chord, then go stepwise between, you've got yourself a scale:  LISTEN  What you wind up with is a scale whose intervals are very systematic: whole-step, half-step, whole-step, half-step, and so on. This is why the ancient Persians called it the "string of pearls" scale, by analogy to the way they used to string pearls of alternating size.




Technically speaking, there are lots of octatonic scales, because you can pick any eight notes within an octave. Most of the time, though, people are referring to these intriguing, oddly symmetrical scales — and, if you do a little number-crunching, you'll see that there can only be three different ones. Think about it this way: those four notes that outline a diminished-seventh are filled in by four other notes, which, therefore, also outline a different diminished-seventh.


There's two villains in this here scale!


In other words, really, this scale is made up of two interlocking dim7 chords. That leaves only four of the twelve tones left, and they form a third, unused, dim7.

So, really, there are only three dim7 chords in the world, and we just stack them in different inversions and call them different names. While other pairs of chords (like C-major and A-minor) have notes in common, those dim7s have all their notes in common. Classical composers from Vivaldi to Wagner utilized this symmetry to create a kind of harmonic Wood-Between-the-Worlds. (More on that later.) For instance, a C dim7 is spelled C-Eb-Gb-Bbb. That's the music-grammar-nerd spelling, though. Most folks have an easier time conceptualizing the same notes as C-Eb-F#-A.


What's the matter, double-flat-user? Can't take it?


Meanwhile, an E-flat dim7 is spelled Eb-F#-A-C, an F-sharp dim7 is spelled F#-A-C-Eb, and an A dim7 is spelled A-C-Eb-F#.

And there's more: a lot more. All those conjunctions and overlaps and symmetries make these scales really useful for classical and jazz musicians. It's a great way to sound exotic and fresh without sounding alienating. Each octatonic scale contains no less than 8 standard-sounding chords you can use.


So, the scale is filled with major and minor chords that sound quite stable, but the way they're put together sounds just a little off from the way you're used to hearing them. The effect can seem richly enchanting.

In this video, you can hear and see Franz Liszt using it to quite good effect, sprinkling little magical-sounding downward-spiraling figures starting in measure 7 (I love videos that show you the music!):



Now skip ahead a couple of generations and listen to this eerie landscape by Ravel, in his Rapsodie Espagnole, the first couple of minutes of which are fully and gorgeously octatonic.



Cool, right? Sounds classical, and yet Mozart has definitely left the building. You can hear how the Persians dug that scale before we did. It's got a fantastical incense to it — beguiling to a late-19th-century crowd. Rimsky-Korsakov used it all over, and so did Stravinsky in a very 20th-century way. And, as I mentioned, jazzers use these scales all the time in scaffolding their improvisations.

If you're John Williams, and you're writing the music for the Indiana Jones movies, the main theme is a cinch: bright major key, march tempo, upwardly projecting brass figure. But now you come to the part where Indy is in some cave and a secret door opens, revealing some ancient wonder. What music to write? Spangly jewels often call for a high-register piano figure. But a major chord is way too square:  LISTEN  A minor chord is no good either, is it?  LISTEN  Even if you do a more complex diatonic chord, it still doesn't quite fit the bill:  LISTEN  Working from a whole-tone scale sounds sort of magical, but too dreamy:  LISTEN 

By now, though, you know the answer. Gotta be octatonic, baby!  LISTEN  Perfect. Sounds very John Williamsy and very Indiana Jonesy. Of course, part of that is because that's the way Williams did write for those movies. But part of it is that he wrote it that way because that sound was exactly what he needed.


Maybe, but if you gimme one more double-flat I'm pulling out my gun.


All of which is to say that I've been shedding some on my octatonic scales, getting them all down the way I have a few down, so I can plug them in much more easily when needed. And now you know a bit more about an important tool in the musician's toolbox.

Sunday, January 26, 2014

science, faith, and both

Most people would say that they want their children to be scientifically literate, and to have a chance at a career using science. Most people would say they want to raise children with the best attributes of faith, believing in something more than a purely material existence. Most people want their children to learn respect for other people, even those who are very different from them. It's possible to have all three. But right now....

Read every word of this article by Tim Stafford.

Monday, January 20, 2014

playing ink

An old friend called me to play piano for the pit of a high school musical, something I don't usually do. I'll be the professional anchor for the group. Today was the first run-through.

Broadway scores are so weird: you're very rarely playing anything other than standard patterns of the various pop styles — but instead of just saying "G-minor salsa, 12 bars," they actually write out every note for you, and sometimes don't even put the chord symbols in. (I have yet to discover the guiding principle for including and excluding chord symbols in Broadway piano scores.) The result is a score that takes up huge amounts of manuscript real-estate, meaning that one song can be 30 or 40 pages, which you have to furiously flip and flip while playing with both hands.

On the other hand, you can treat it as a discipline, a way of forcing oneself to be a better reader of ink. "Ink" is a term that musicians often use in referring to notation, as opposed to simple charts or chord symbols or lead sheets. So, you'll find someone at a rehearsal asking the director something like, "Should we comp here or do you want us to play ink?" Depending on your background, playing ink may be a completely foreign concept, or it may be all you know. Classical players are regularly impressed (and somewhat mystified) by the ability of jazzers to spin florid minutes out of a few simple instructions; jazzers are regularly impressed (and somewhat mystified) by classical players' ability to sight-read through pages and pages of sixteenth-notes with barely a clam.

Of course, the fun thing is to be able to do both. While my abilities place me firmly on the side of the jazzers, I'm looking forward to the experience of spending a couple of weeks buried in ink.

Thursday, January 16, 2014

a word about an offensive word



It's with a mix of feelings that I read about the latest change to Pittsburgh's branding.

I must say that as a person of Oceanic Redistributor origin, I strongly object to the offensive name "Pirates." Oceanic Redistributors are part of the rich cultural fabric of humanity's history, and to reduce them to a cultural stereotype with eyepatches and strong rhotic articulation is demeaning and insensitive.

Monday, January 13, 2014

music partners

Friday, January 10, 2014

dance move needed

The other day I did a song called "The Floating Fairy." What we need here is a simple dance move that a preschooler could do.

For example, in my literary masterpiece "Spinaround Kid," whose lyrics consist entirely of the words "spinaround" and "kid," the key dance move, intuited by every single preschooler who's ever heard it, is to spin around. It's a fun song.

So, all that's needed now is a simple move, to be called, inventively, "The Floating Fairy." Describe it in the comments!

Here's the song, which came about when I was playing with Greta and Clara, and stumbled onto this. It caught my attention so nicely, with its Debussian riff and direct poetry, that I had the good sense to grab the laptop and record it.

Tuesday, January 7, 2014

today's music fact

Know the semi-reggae Blondie song "The Tide Is High?" The horn section is from Doc Severinson's Tonight Show band.

Saturday, January 4, 2014

to train a citizen

From G. K. Chesterton's All Is Grist:

"To train a citizen is to train a critic. The whole point of education is that it should give a man abstract and eternal standards, by which he can judge material and fugitive conditions. If the citizen is to be a reformer, he must start with some ideal which he does not obtain merely by gazing reverently at the unreformed institutions. And if any one asks, as so many are asking: 'What is the use of my son learning all about ancient Athens and remote China and medieval guilds and monasteries, and all sorts of dead or distant things, when he is going to be a superior scientific plumber in Pimlico?' the answer is obvious enough. 'The use of it is that he may have some power of comparison, which will not only prevent him from supposing that Pimlico covers the whole planet, but also enable him, while doing full credit to the beauties and virtues of Pimlico, to point out that, here and there, as revealed by alternative experiments, even Pimlico may conceal somewhere a defect.' "