I pinned this to the wall behind the front door today. It’ll be there until I will be obliged to take it down. Why there? Just a passing whim. I was tired of it lying around my office. It’s a plastic bag and a relic of the 1970s or the ’80s at the latest. Not only that, a souvenir from San Antonio. At one time, Record Hole was a local chain of record stores in that city. Or so I believe.
The brand is long gone, and so far I’ve found only one trace of it online — a passing mention in an article about a different and surviving record store, as of 2016. Not that I’ve looked very hard. But Record Hole is so obscure that it didn’t even make in on this list of defunct retailers, which includes Record Bar, Record Town and Record World.
Some time ago, I picked up the bag at my mother’s house — again on a whim — and brought it back home. She’d been using it to store odds and ends. I might well have bought a record at a Record Hole and left it with her 40-odd years ago. I didn’t buy many records, but I did buy a few. Or maybe my brother Jim bought something there.
At one time, Record Hole was established enough to air local TV ads. I vaguely remember them, because they featured a primitive animated version of ’70s-record-listening dude.
Who was sitting on a record on a turntable. Trippy, man. The store’s motto, which is also on the bag but upsidedown and backwards in my picture: Whatever music plays in your head, we can put in your hand.
Plastic bags, though they may last for centuries in landfills, are notoriously ephemeral when it comes to being saved elsewhere. Sure, it’s still worthless now, but some happy descendant of mine might make a fortune off the bag in, say, the 23rd century, when the notion of plastic bags and records are historic curiosities that excite collector interest.
Winter temps have kicked in, but at least Monday’s drizzle and mist didn’t become ice. Now we have dry subfreezing conditions. Tolerable.
Meandering around online recently — often the best way to find anything interesting — I came across “Put a Light in Every Country Window.” A song about rural electrification in Australia. Can’t say I’ve ever heard one of those before.
Put a light in every country window, High-speed pumps where now the windmills stand. Get in and lay the cable so that one day we’ll be able To have electricity all over this wide land.
Catchy tune. Wasn’t long before I found the liner notes of Folk Songs & Ballads of Australia, recorded in 1964 by Gary Shearston, a star of the Australian folk revival (another thing I didn’t know about).
“A song from the pen of Don Henderson, one of Australia’s best and most prolific contemporary songwriters, who has travelled and written throughout the Eastern States,” the notes say. “This song was written three years ago after a journey through the area of the giant Snowy Hydro-Electric Scheme.”
Of course it isn’t the only song about rural electrification. Surely Woody Gutherie’s “Roll on Columbia” counts as one, and maybe “Grand Coulee Dam” does indirectly. Considering how many songs Gutherie wrote, there are probably others too.
There’s also this recent oddity about Rural Electric Cooperatives, to the tune of “The Battle of New Orleans.” It’s interesting, but a little hard to listen to.
Not long ago, I dug up a letter I wrote in Japan, dated December 8, 1991. At the time I was preparing to travel to summertime Australia. I’m impressed by the references to obsolete things: VHS, travelers cheques, international land-line calls that need to be scheduled.
The other day, in an unusually listless moment, I decided to watch the Space Ghost tape you sent. As I mentioned, I only had the vaguest memories of that cartoon, and none at all of Dino Boy. There’s nothing especially remarkable about either… SG seems like it was a pretty minor effort, slapped together without regard to originality, a sense of humor, or more than the rudiments of the art of animation. In short, dreck. Ditto for DB.
Today I was off, and some of the time I was at home, cleaning up and re-arranging the furniture a little. I went to the grocery store early in the morning and rode my bicycle around the park late in the afternoon. The day was cool and cloudy. Almost pleasant. This time of the year in Chicago would already be down-coat weather most days, but Osaka makes up for the fierceness of its summers during its mild winters.
I can’t remember that I’ve told you about the upcoming trip. The ticket and visa are squared away, and the itinerary is as complete as I care to make it. I bought some Australian dollars the other day. Some Australian travelers cheques, actually.
I’ll call you from Australia on Saturday, Dec. 28 your time. It may be a little earlier or later than usual, owing to differences in time zones, and my location on that day. I might be on the west coast by then (Perth), or maybe not. This time of the year, the east coast (Sydney) is 17 hours ahead of U.S. Central. They have daylight savings too. I believe Western Australia doesn’t have DST, so that would put Perth only 14 hours ahead of Central. Regardless of my place, I will try to time the call to fall between 8 to 10 your time. It is possible that I will be in transit at that time, in which case I will call 24 hours later.
I’ll also try to get a letter to you in the mail, perhaps after Christmas. And a few postcards from various places. If you have anything to mail to me, remember that Dec. 20 is the last day I’ll pick it up in Osaka for three weeks.
I was pretty hard on Space Ghost. That was before his revival in Space Ghost Coast to Coast, which I’ve only heard about, never seen, but which seemed to give him a new fan base. At least, that’s what I assumed when I saw a reveler decked out as Space Ghost at the Greenwich Village Halloween Parade in 2006.
I don’t care. It was still a substandard cartoon, product of the ’60s Hanna-Barbera cartoon mill.
A classic November day outside my window today. Slate gray sky, rain in the morning, chilly but not freezing, gusts of wind pushing leaves around. At least week’s ice and snow are gone. They’ll be back. A brown Christmas would suit me fine, but I can’t count on it.
Back to posting after Thanksgiving, around December 1, after a week-long holiday from posting, but not from work this year. Still, being off on Thursday and Friday — which will include no special consumer activity on my part — ought to be pretty sweet, as always.
We will probably hit the grocery store on Tuesday or Wednesday evening. Meat, carbohydrates, sweets, etc. Exact menu to be determined in conference with the rest of my family in the near future.
Here’s Phil Ochs’ adaption of Poe’s “The Bells.” Didn’t know about it until recently. Nice.
I have a big book of Poe’s work from the library that I’ve been grazing lately. Read “The Bells” again, among other things, after many years. I’d forgotten most of it. Somehow I didn’t notice when I was younger that the poem progresses from silver to gold to brass (brazen) to iron bells — from merriment to happiness to alarm to death, or at least what I take for death in poem, though not the song:
They are Ghouls: And their king it is who tolls; And he rolls, rolls, rolls, Rolls A pæan from the bells!
Last night I read “Hop-Frog,” which I hadn’t before. A neat little revenge story, like “The Cask of the Amontillado,” though not quite in the same horrifying league. I guessed the ending — what violence Hop-Frog was planning. No matter. Poe’s usually worth a read. The influence of even that minor story seems to turn up in odd places.
Usually one visit to the city per weekend is enough. On Saturday, the trip to see TheMerchant of Venice involved a drive to a part of town where parking is easy and an El stop is nearby, so we could ride the rest of the way to a neighborhood with far more difficult parking.
Not long ago, I found out that the Hot Sardines were going to be in town the same weekend — but on Sunday — so I decided that I wanted to see them, too. At least driving all the way was an option, since the band was playing at the Old Town School of Folk Music in Lincoln Square. We parked a half a block away.
The only reason I know about the Hot Sardines is YouTube. To be more exact, YouTube algorithms that suggest one thing and another. When it comes to music, that’s almost always very little outside a narrow range, but occasionally something unusual gets through. Probably listening to electroswing a few years ago made the bots suggest the Hot Sardines’ to-the-ceiling-lively version of “Bei Mir Bist Du Schoen.”
They’re just as lively in person. Hot is fitting. Hot jazz and lots of it, in a roughly two-hour show with no intermission and two encores, with frontwoman Elizabeth Bougerol and bandleader Evan Palazzo each hopping their jive — peppy vocals and animated piano, respectively. Other band members jammed on trombone, trumpet, bass, tenor saxophone, clarinet and drums, sometimes including conga. Often enough each of them had solos in which to shine, and shine they did, every jack jazzman of them.
There was also a fellow on stage with no instruments. Sitting in a chair in his fancy duds and fine hat. (Of course, they all wore fancy duds — Bougerol in gold lame and Palazzo in powder blue.) As soon as the first number started, his feet started tapping, and you noticed the taps on his shoes. He was the band tap dancer. Did he ever move, sometimes just sitting down, but often on his feet, moving all over the stage, tap-tap-tap-tap-tap with arms and legs moving every which way, adding his distinctive rhythm to the band. Who thought of adding him? (A.C. Lincoln by name.) What an inspiration.
Some tunes were more familiar, some less, all good. Among others, the Hot Sardines played “Some of These Days,” a Sophie Tucker number, “Bill Bailey Won’t You Please Come Home,” “Lulu’s Back in Town” and “Caravan” (take note of A.C. Lincoln doing his thing in that last video). “Bei Mir Bist Du Schoen” was the first encore.
As we entered the theater, I noticed a few small signs here and there explaining that the show was partly sponsored by the European Union. Odd, I thought, then forgot about it.
About mid-way through, Bougerol, who had a pretty good between-song patter, mentioned it. “Seems like one of our sponsors is the European Union,” she said, making a gesture that told us, How strange.
“Must be because I’m a French national,” she said.
Listening to her speak or sing in perfectly idiomatic and unaccented English, you’d have no clue. Apparently she was born in Neuilly-sur-Seine near Paris, but spent time in Ivory Coast and Canada while growing up — as well she might, since her grandfather was a Canadian jazzman named Bobby Gimby, who wrote a song I might have sung as a six-year-old had I lived in Ontario instead of Texas.
Bougerol did four or five of songs in French — just as jazzy as anything in English — but the only one whose title I know was “I Wanna Be Like You,” or whatever the French equivalent is. She said she knew it from watching the French version of Disney’s Jungle Book as a child.
The band lineup is a little different in this video, but the tune and lyrics are the same.
She also told the amusing story of how the band formed. Namely, the beginning of the musical collaboration between her and Palazzo, who met by answering the same Craigslist ad for a jazz jam. They discovered they both knew a relatively obscure Fats Waller song, “Feet’s Too Big,” and played it at the jam.
Then they played it for us in the audience.
Now that’s a fun song. Fats Waller’s recording of it is here.
On Saturday Ann and I went to the North Side of Chicago to the Pride Arts Center to see The Merchant of Venice as performed on a small stage by Invictus Theatre Co., which did a first-rate job.
Besides enjoying the steady stream Shakespearean turns of phrase — as with any of his works — by seeing that play, we were also dipping our toes into the unending argument about how to interpret the play and especially Shylock.
The modern urge is to want Shylock to be sympathetic, and he is sometimes, such as in his righteous anger. Yet sometimes he’s not, as when he bemoans not his lost daughter, but the money she took with her. I doubt that Elizabethan audiences concerned themselves much with understanding Shylock, however nuanced Shakespeare made him. They just were looking to be entertained, and probably booing and hissing at Shylock was fully part of that.
But we bring centuries of further history with us when we see the play. Invictus referenced this explicitly by setting the action in Fascist Italy, with costumes specific to that period — including the stylish dresses of upper-class women of the time, but also blackshirts. The setting added an extra layer of menace to the situation Shylock found himself in, making him easier to sympathize with.
Also emphasized: Shylock as an outsider. Joseph Beal, who did a fine turn with the part, played it with a Yiddish accent, which might not have meant anything to Venetians of 1600 or even 1938, but which marks him apart from the rest of the cast to our ears.
There are comic elements in the play, of course, some of which actually were funny, especially when Portia’s suitors mulled which box to pick to win her hand. A young actor named Jack Morsovillo briefly stole the show as the comic Arragon in that scene. Though it wasn’t all that funny, the play also featured the comic conceit of two men unable to recognize their wives simply because they were pretending to be men.
In this production, a silent addition marked the end of the play. Jessica, the daughter who abandoned Shylock, emerges on one side of the stage, looking miserably torn about the decision she’s made. Shylock emerges on the other side of the stage, looking at her. Are they going to reconcile? Quarrel? Before anything is said, two blackshirts come from behind Shylock, grab him and take him away.
Quite an ending, even if appended for a modern audience, for a play that’s technically a comedy. So the production was squarely in this new(ish) tradition — since the 19th century, I believe — of making Shylock more victim than monster, but hardly all victim. Well done, Invictus.
We went to see Once Upon a Time in Hollywood not long ago. Been a while since I’d seen a new movie, or a Quentin Tarantino movie, for that matter. Come to think of it, I don’t think I’d ever seen one of his movies in the theater — everything’s been on tape or DVD or demand, to list formats chronologically.
I left Once Upon a Time wondering how old Tarantino is. I knew next to nothing about him, except for his fondness for putting ultraviolence in his movies. From the way he depicted the period of the movie, 1969, I got the sense that he remembered it, but not as an adult. Like me.
Sure enough, he was born in 1963. That makes us contemporaries. Later he must have filled in some of the gaps his own memory might not have retained, as one does. I can’t imagine, for instance, that a six-year-old would have paid much attention to Sharon Tate or any of the movies she was in, least of all a bomb like The Wrecking Crew. (Matt Helm movies are best forgotten.) On the other hand, Tarantino probably saw old TV westerns on reruns or shows like the FBI or Mannix in the early ’70s, just as I did.
Yuriko came away baffled by many of the references. She’d come to see Brad Pitt, whom she enjoyed seeing — he had a good part — but it isn’t a past she shares. Neither of our daughters went, but come to think of it, most of the references probably would have been strange to them as well.
Despite including the Manson family and some other unsavory aspects of the period, the movie was an exercise in nostalgia — of a kid who watched American movies and TV beginning in the late 1960s. For a time when Americans watched roughly the same TV shows and movies, because options were much more limited than they are now.
What will be the basis of pop-culture nostalgia for the 2010s in 50 years, if there’s any? I’d think it would be as fractured as entertainment is now. Well, so what? Can’t say that I care. Not my circus, not my monkeys.
Pitt, as stuntman Cliff Booth, had my favorite line in the movie. In a flashback, Booth was on the set of The Green Hornet with Bruce Lee, who is characterized as a preening, vain fellow, and they’re rehearsing a fight scene.
Bruce Lee: My hands are registered as lethal weapons. We get into a fight, I accidentally kill you? I go to jail.
Cliff Booth: Anybody accidentally kills anybody in a fight, they go to jail. It’s called manslaughter.
Been a while since I visited Archive.org, which I remember from the early days of the Internet. Or at least my early days on the Internet, back in 199-something. According to the site, the archive now holds 330 billion web pages, 20 million books and other texts, 4.5 million audio recordings, 4 million videos, 3 million images and 200,000 software programs.
Maybe not the Library of Babel, or even the Library of Alexandria — or the existing Library of Congress, with its 168 million items — but impressive all the same. A fine place to wander around. When I did so the other day, I came across digitized versions of Captain Billy’s Whiz Bang, the juvenile humor mag whose heyday was nearly 100 years ago.
I downloaded a cover. It’s public domain now. The explosion of pedigreed bunk belongs to all humanity.
Naturally I spent some time reading some of the jokes. They were anachronistically mentioned by Prof. Harold Hill, after all: “Is there a nicotine stain on his index finger? A dime novel hidden in the corncrib? Is he starting to memorize jokes from Captain Billy’s Whiz Bang?”
This is what I have to say about it: juvenile humor has a short shelf life. Also worth noting: 25 cents wasn’t exactly cheap in the 1920s for a kid. A quarter in 1922 had the purchasing power of about $3.80 now.
Speaking of juvenile humor, I ran across this article the other day. Interesting that the writer, or maybe the editor, expects readers to get the visual reference to Alfred E. Neuman. So, apparently, do the editors of Der Spiegel, at least their English-speaking audience.
Found this tucked away in an envelope the other day, a relic of my Nashville days — post-college days, that is.
I went to one. I think it was the August 19 party, but I’m not sure. They were held on land not far from town that included a barn. I don’t know who organized them or how I knew about it, though I did go with some of my Nashville friends.
People showed up and sang and played their fiddles and mandolins and banjos and whatnot. Being Nashville, the music was good. No admission, but I think hats were passed around; someone had to pay for the schedule cards and the July 4 fireworks. It was a hoedown. Or a shindig. Or my own favorite of these words, a hootenanny.
That’s more a folk music term, but never mind. I like the word so much I’m going to use it: As a young man in Nashville, I went to a hootenanny. Recommended.
The other day I learned that Donald Ault died in April at 76. Sad to hear it. Among my college professors, he was one of the more interesting.
Besides being a William Blake scholar of renowned, Ault also had an early academic interest in comics, especially the work of the talented Carl Barks. Most of the rest of the VU English Department didn’t think much of that — comics (and balloons) is for kiddie-winkies, after all — and a few years after I took his class, Donald Ault was off to the University of Florida. That was a better fit for him than Vanderbilt, where he had come to from Berkeley.
Ault said so himself in a short memoir republished by the International Journal of Comic Art blog. An appreciation for Ault by another former VU student is here, better than anything I can write about him.
Ault taught the last English class I took at Vanderbilt, in the spring of 1983, whose formal title I don’t remember. But I do remember an assignment for that class that had me write an interpretation of a Carl Barks’ Donald Duck story. Out of a number of ideologies to choose from in doing the paper, I picked a Marxist interpretation. I don’t remember what I wrote, but I do remember having fun with it.
We also watched some videos — items in those pre-Internet days that were hard to find. One in particular was J-Men Forever, an insane romp of a thing put together by a couple of members of Firesign Theatre. As it happened, I’d heard of Firesign because a couple of their records were floating around my freshman dorm hall, but I’d never heard of J-Men Forever.
It’s a plastic bag and a relic of the 1970s or the ’80s at the latest. Not only that, a souvenir from San Antonio. At one time, Record Hole was a local chain of record stores in that city. Or so I believe.
Who was sitting on a record on a turntable. Trippy, man. The store’s motto, which is also on the bag but upsidedown and backwards in my picture: Whatever music plays in your head, we can put in your hand.
