A lot of musicians have recorded “Children, Go Where I Send Thee,” such as the Weavers, where I first probably heard it, or Odetta, just to name two.
But for joy and sheer verve, I haven’t heard a rendition to match this one.
Johnny Cash, members of the Carter family, Carl Perkins, the Statler Brothers and the Tennessee Three, in 1971 in Denmark and in their prime. Solid camera work, too. Somehow or other I never saw this wonderful clip until the other day.
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.
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 The Merchant 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.
Halloween snow today. Mid-morning.
Mid-afternoon. Of course, it will melt in a day or two.
I’ve spent a fair number of Halloweens in the North; this is the first time snow has fallen. Cold rain, sometimes, but no snow. Sometimes warm fall days or blustery cool ones, like the Halloween of 2001, when Lilly was so unnerved by the dark and the strong winds while out trick-or-treating that she insisted that I carry her home. She wasn’t quite four, so it was possible — but tiring.
Speaking of Halloween, I’ve been listening to “Danse Macabre” lately.
In high school, I made the mistake of calling the piece “Halloween music” in front of my band director. He let me have it. It’s a tone poem! It’s serious music from France! It’s blah blah blah. Know what, Mr. W? I was right. It can be all those other things and Halloween music as well. Halloween as in spirits roaming our world before All Hallow’s, not the candy-gathering custom.
The last place we visited during the recent Virginia trip was the Edgar Allan Poe Museum in the Shockoe Bottom neighborhood of Richmond.
A small, specialized museum not in a house that Poe lived in — one of the places he lived was a few blocks away, long demolished — but including a building that is suitably old. In fact, according to a plaque on the wall, the oldest house still standing in Richmond, the Ege House.
All in all, an interesting little museum. Ann thought so too. I found out things I didn’t know, such as that Poe was a gifted athlete at the University of Virginia. Also heard more about things I did know, such as that after Poe died, his enemy Rufus Griswold wrote damning and largely false accounts of the author — vestiges of which still cling to Poe.
The museum is essentially three rooms: Poe’s early life, which was haunted by Death; Poe’s literary career, which was informed by Death; and Poe’s early and mysterious death, which was literally about Death. Some of the artifacts were owned by Poe or his family, or were portraits of them. Other items evoked his life and literature.
Such as this marble-and-bronze memorial to Poe.
The sign says, “… Edwin Booth, on behalf of the actors of New York, presented this monument to the Metropolitan Museum of Art in 1885 in memory of Poe…” Eventually, I guess, the Met got tired of it, and it ended up in Richmond.
Or this bust of Pallas, a copy of a Roman sculpture. Can’t call yourself a Poe museum without that, though a depiction of Night’s Plutonian Shore would be good as well.
Poe himself in stone out in the garden.
The garden is a pretty little space. People get married there, apparently.
My own favorite item.
I haven’t seen The Raven, but a movie with Vincent Price and Peter Lorre and Boris Karloff and Jack Nicholson, directed by Roger Corman, who did a lot of Poe-inspired movies, has to be worth a look.
We arrived behind the Rotunda of the University of Virginia at about 4 pm on October 13. Under cloudy skies, but the day was warm and good for walking around the picturesque campus. Even parking had been relatively painless, and at no cost, on a street a few blocks away.
We walked down Rugby Road to get to the Rotunda. At one point, we crossed a bridge over railroad tracks. A specific message had been painted on the inside of one of the safety walls.
There was evidence of repeated painting.
Later, as we walked back to the car, I got a good look at the other side of the bridge.
Local tradition. I figured it had to be. Didn’t take long to find an article about the bridge — Beta Bridge — in UVA Today.
“For instance, one of the most notable landmarks on Grounds, Beta Bridge, has been at the center of its own tradition since just the latter half of the 20th century.
“Often brightly colored with hand-lettered messages spanning its length, the bridge carrying Rugby Road over the C&O Railroad tracks over the years has become the place for paintbrush-wielding students to express themselves.”
I don’t know whether Riley accepted or declined the proposal, or even if it was serious, but I was able to look up the unfortunate fate of Henry McDavid Reed. He was a UVA student who died of brain cancer in August.
That’s not all I found out about Rugby Road, which has a number of frat houses on it, and passes by the university’s art museum and architecture school, among other things. It’s also the title of a UVA drinking song, mostly sung to the tune of Charles Ives’ “Son of a Gambolier.”
Its first verse no doubt includes some of the cleaner lyrics:
From Rugby Road to Vinegar Hill, we’re gonna get drunk tonight.
The faculty’s afraid of us, they know we’re in the right,
So fill your cups, your loving cups, as full as full can be.
And as long as love and liquor last, we’ll drink to the U. of V.
The version on YouTube also has a verse that I suspect is left out these days.
All you girls from Mary Washington and RMWC,
Never let a Virginia man an inch above your knee.
He’ll take you to his fraternity house and fill you full of beer,
And soon you’ll be the mother of a bastard Cavalier!
RMWC would be Randolph-Macon Woman’s College in Lynchburg, which is now simply Randolph College. Mary Washington is the University of Mary Washington in Fredericksburg, Virginia.
If I’d thought about collegiate drinking songs when I was in college, I probably would have considered them hopelessly old fashioned — and that was 40 years ago. Maybe I didn’t hang out with the right crowd. Or the wrong crowd, take your pick.
Congratulations to Geof Huth, who will be a grandfather come 2020. The latest of my contemporaries to do so, but hardly the last, I bet. Who are my contemporaries? People who could have gone to high school with me. An idiosyncratic definition, but I’m sticking with it.
News items pop up on my phone — misnamed, isn’t it? — my communications-information-time sucker gizmo, the work of bots and algorithms that are as mysterious as the Sibylline Books. Usually, it offers nothing I want to read, since the ways of bots and algorithms may be mysterious, but they’re still pretty dimwitted.
Sometimes, though, the offering is just downright bizarre. Recently the phone told me that one Susan Kristofferson had died. Given the name, I thought she was some relation of the singer of that name. I was just curious enough to check (on my laptop), and no — nothing to do with the singer. Nothing to do with me, either. Neither friend nor relative nor even nodding acquaintance.
So why did the phone tell me about her? Only the bots and algorithms know, and they aren’t telling.
Looks like Tom’s Diner in Denver, whose 1973 atmosphere I enjoyed in 2017, will soon be no more. Too bad to see a good diner go, Googie or not.
Late last year, I groused about a Chicago joint that serves $8 slices of pie, a price that compares unfavorably even to Manhattan. In Lansing, Michigan, recently, I paid about $8 for creme pie — but for that price we got two slices that we shared.
Tasty pie. Served by the Grand Traverse Pie Co., with 15 locations, all of which are in Michigan, except for an oddball in Terra Heute, Indiana. Sure, it’s cheaper to operate in a small city, but that alone can’t account for the difference between $4 and $8 slices.
Until recently, I hadn’t heard “Step Right Up” by Tom Waits in years. You might call it advert-scat. It’s funny.
I first heard it in college, because my friend Dan had some Tom Waits records, most memorably Small Change. Listening to it now, it occurs to me that some of the phrases have mostly passed from common use in the advertising world, such as please allow 30 days for delivery or the heartbreak of psoriasis or no salesman will visit your home.
So in 100 years, will the song mostly be 20th-century gibberish? Maybe. Still, with a light beat, steady bass and driving sax, I’d listen to Tom Waits sing gibberish.
An unusual string of chilly days here in mid-June. As in, lower than 70 degrees F. even during the day. But at least it hasn’t been this cold, as the Weather Underground claimed it to be on the evening of May 26 in northern Illinois.
It was fairly chilly that night, but I believe 52 F. was correct.
Toward the end of May, I visited Navy Pier in Chicago for a short while after dark. Unfortunately not on an evening with fireworks. But the area is alive with people well into the evening, many of them giddy and dressed to the nines after disembarking from party boats.
The new Ferris wheel on the pier (installed in 2016) is pretty by night.
“Both the 1995 and the 2016 wheels were manufactured by Dutch Wheels,” the Chicago Architecture Center says, referring to the two wheels that have been on the site since the redevelopment of Navy Pier in the mid-90s.
“Known as the Centennial Wheel, the new attraction measures 196 feet in height and has 42 gondolas. While this Ferris wheel won’t contend for the ‘world’s tallest’ title, it is currently the sixth-tallest wheel in the United States.”
The world’s tallest Ferris wheel would be…? The High Roller in Las Vegas, according to Wiki, since its development in 2014. You’d think it would a Chinese wheel, but no. Some functionary in the Chinese government hasn’t been doing his job, which is making sure that mindless giantism expresses itself in highly noticeable public structures. Too bad for him, the tallest one is in this country. USA! USA!
Spotted in I don’t remember which store recently.
The product might or might not be effective for pest control, but I know one thing: I ain’t gonna work on Maggie’s Farm no more.
For some reason, we had a 45 of that song around the house when I was a kid, though I don’t recall either of my brothers being Dylan fans. I had a certain fascination with it, especially imagining a literal window made of bricks in a room surrounded by National Guardsmen.
Curiously, Dylan saw fit recently to put the song on YouTube, along with others of similar vintage.
In case you’re wondering what the Alabama Coat of Arms looks like, wonder no more.
Found between a pair of elevator doors at the Alabama State Capitol. The Latin reads, We dare to defend our rights, which happens to be the state motto, adopted in 1939 due to the efforts of Marie Bankhead Owen, a ladylike white supremacist who also happened to be Tallulah Bankhead’s aunt. The ship is the Badine, which first brought Jean-Baptiste Le Moyne de Bienville and Pierre Le Moyne d’Iberville to the future Alabama, where they founded Mobile.
Time for a spring break. Later than the standard breaks taken by students, but it’s been a long time since I could call myself that. Back again around May 21.
Congratulations to my nephew Sam and his wife Emily, whose second child, Georgiana, was born healthy late last week. Nothing like having a daughter. I liked the experience so much I did it twice.
It’s a sobering thought to realize that she and her brother could well live to see the 22nd century.
Closer to home, spring can’t decide whether to be warm or cool, as usual. But there has been rain in quantity when there hasn’t been snow.
I tried to start my lawnmower last week during one of the cool days, while it was still in the garage. Nothing doing. So I anticipated draining its gas tank of old fuel, something I forgot to do in the fall.
On Saturday, when it was very much warmer, I parked the mower outside for a while and let it warm up in the sun. Then I tried to start it and voilà, it woke from its hibernation, ready to trim the grass in its noisy way.
During our recent visit to UIUC, we wandered past Davenport Hall.
From the looks of it, an ag building. But not any more. These days, it houses the university’s geography and anthropology departments. Dating from 1899, it’s one of the older buildings on campus. Nice facade. Reminds me of Texas A&M.
Not far from campus, an all together different kind of building. And yet a building. That’s a broad concept, after all. A bit of local color usually not acknowledged as such.
Some music for spring. Electroswing. Seems fitting somehow.
The first number, “Zoot Suit Riot,” released in the late ’90s, seems vaguely inspired by the incident in early ’40s Los Angeles. The quality of the video is poor, but with the crisp audio that doesn’t matter.
A more recent swing, dating from this decade, though in the case of “Bei Mir Bist Du Schoen,” with a helping of “Diga-Diga-Doo,” the songs are original swing vintage. I’m fond of other versions as well, such as Max Raabe’s, which I saw him do.
Also recent, the lively “Gimme That Swing” and its kinetic, or maybe frenetic, video.
Speaking of music, I’ve picked one more biography to read, now that I’m done with Alexander Hamilton. A genius of a different sort: Cole Porter.