Wednesday, January 26, 2022

Online: the absence of transfiguration


It’s been odd, to say the least, teaching from home, laptop in hand, trying to do via Zoom and the web what is normally done in a classroom. These days, it is difficult, if not impossible, for me to attain a sense of the class
the students of the course—and students seem to make no effort to view me, their instructor, as a person who wants to improve them in some way. I seem to be a theoretical entity to them or perhaps a mere functionary or bureaucrat, an inessential conveyer of factoids.

That’s not good. 

In conversation—I haven’t actually seen her for two years!—Rebel Girl occasionally opines that our current crop of students are a special sort, namely, students who have never experienced the college classroom and who are, therefore, essentially the same unimproved creatures who populate today’s high schools with their notoriously low standards and evident indifference to discipline or excellence. RG isn’t quite so negative as I am, but that is the gist of her observation. 

(A few years ago, I briefly substituted for an instructor teaching at a local high school; I was stunned to find that the default state for these high schoolers is enthusiastic, incessant chatter. As soon as my presentation dipped into the less-than-forceful, these kids inevitably and immediately toggled to their default state, an abandonment of seriousness, an embrace of aimless, swirling "Tower of Babel" blather, a routine and familiar condition not easily overcome by any outside force.) 

Normally, such students, upon at long last experiencing the actual college classroom, are somehow osmotically influenced to shut-the-fuck up and get serious, at least to a degree, for that classroom is typically controlled by a forceful and earnest person who is in some sense an intellectual with a rich sense of the possibilities of learning and awareness and a conviction that what they have to offer is important. A good college instructor gets in his or her students' faces.

But that precious process doesn’t seem to be occurring these days, and the new normal among students is horrible. Unmodified and unimproved by the routine college classroom "get serious" transfiguration, many students instead further entrench in a dullard's concept of academic conscientiousness, focusing intently on an enumeration of the course “information” factoids and the identity of the specific subset of factoids that will appear on the next test or quiz. "What's the information for the test?" they ask, unashamedly. "What's the material?"

“Information”—I favor banning the concept from all things academic—is a horribly inadequate word for what many of us attempt to convey or teach in the college classroom, which is a rich and multi-faceted “form of life,” to use Wittgenstein’s phrase (for a way of being and living); it is a way of life, not a box of discrete knowledge nuggets, smallish verbal bytes that can be expressed as mottos or slogans and that can be embraced or rejected at whim. I deliberately come to the classroom manifestly interested in, and even excited about, all sorts of endeavors and phenomena about which most students seem clueless: the history of ideas and the relevance of that history, the constant need (among the rational) for justification, the imperfection of human thought and artifice, the particularity (not universality) of our world view, the unfairness and cruelties of the world, the glories (and horrors) of past thinkers and movements, the random emergence of genius, the awesome cosmos, the endless, imminent availability of catastrophe, and so on. My strategy, as a teacher, is to model someone enthusiastically working on a lifetime project of attainment of “understanding” about all this. I assume that at least some among my charges will catch the bug of intellectualism, that hunger for understanding about science, philosophy, and art. And, in my experience, I have always found that some do always catch that bug, not only because of me but because of the many instructors, in various fields, who endeavor to lay out that richer and wider conception of understanding and attainment to which students have simply not been exposed. Indeed, they have been counter-exposed, and often continue to be thus cloistered, even as they trudge indifferently through years of college instruction. 

It’s hard to model enthusiasm and wonderment over the possibilities of thinking and living even in the best of times; imagine attempting so fine a thing when one’s “online” audience seems to take every opportunity to behave badly (cheating via novel online tools) or simply to drop the ball: attending fewer and fewer lectures, failing ever to concentrate or to think, always aware that, at any moment, they can simply turn off that suspect "college" thing and tap back into familiar and comfortable uncritical mindlessness. As an instructor I think: better to be there, in the room immediately before them, looking straight into their eyes, demanding attention. It’s a subtle thing, this power we normally have over students and their attention, in the classroom. And that subtle thing is now largely absent. 

Don’t look now, but, in higher education, we’re going to hell in a hand basket. Let us return to the classroom asap (i.e., when safe)!

"I'd love t0 turn you on": remembering John Lennon (1967)

The Kinks, 1970: I've always loved Dave's harmony singing to Ray's lead. This song always makes me sad somehow. Love it.

1971: An uber-cool rocker. From the start, Ray saw our brave, new world and found much to object to

1968: Another great Kinks song: simple and wonderful about now and back then and the residue of our long-ago past

And it rocks

Friday, January 21, 2022

The Bottle Rockets: Insert with Care

Like an intelligent Lynyrd Skynyrd but with a punk-like attack.

One of my all-time favorite "undeservedly unknown" bands, the Bottle Rockets:

 

Festus, Missouri's Bottle Rockets became one of the leading lights of the 1990s roots rock/alt-country revival, thanks to a sound that bypassed the punk heritage proudly upheld by most of the band's contemporaries in favor of a full-bodied fusion of Southern boogie, country-folk, and crunching rock & roll. (AllMusic)

If Neil Young had played guitar and written songs with Lynyrd Skynyrd, it might've come out something like the (1993) eponymous debut by Festus, MO's own Bottle Rockets. Raw and spirited, with a guitar attack that burns furiously, this record was recorded and mixed in a couple of days. (AllMusic)

Sometimes I wonder if we could go back
I guess it's just too late for that
There's not much left to hold on to
These days my heart's better than broken
Not as good as new

For about two years in the mid-'90, it looked like the Bottle Rockets were going to break out of the alt country underground and take their ragged-but-right Dixie-fried hard rock to the larger audience they deserved. But after Atlantic Records dropped the promotional ball.... (AllMusic)

Brian Henneman (born July 17, 1961) is an American musician best known as the frontman of the alt-country/roots rock band the Bottle Rockets, with whom he has been active as lead singer, guitarist and songwriter. Artists such as John PrineNeil Young and Merle Haggard have influenced his songwriting style. Henneman began his musical career in the mid-1980s with the bands The Blue Moons and Chicken Truck, and also spent time as guitar tech/additional musician with peers Uncle Tupelo from 1990 before forming the Bottle Rockets in late 1992 (Wikipedia)

A documentary:

A concert:

Check out the band doing Neil Young’s “Cortez the Killer” in Germany. 

Then there's “If Walls Could Talk,” which deserves to be a country classic.

Wednesday, January 19, 2022

Wednesday evening comin' down

1970: John Lee Hooker

 

"At the age of 14, Hooker ran away from home, reportedly never seeing his mother or stepfather again. In the mid-1930s, he lived in Memphis, Tennessee, where he performed on Beale Street, at the New Daisy Theatre and occasionally at house parties.

He worked in factories in various cities during World War II, eventually getting a job with the Ford Motor Company in Detroit in 1943. He frequented the blues clubs and bars on Hastings Street, the heart of the black entertainment district, on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Hooker's popularity grew quickly as he performed in Detroit clubs, and, seeking an instrument louder than his acoustic guitar, he bought his first electric guitar." (Wikipedia)


1964: Robert Nighthawk


"Nighthawk never achieved the success of his more celebrated pupils, Muddy Waters and Earl Hooker, finding himself to be much happier to be working one nighters in taverns and the Maxwell Street [Chicago] open market on Sundays.... 
Recorded by Norman Dayron live on [Maxwell] [S]treet (you can actually hear cars driving by!) in 1964 with just Robert Whitehead on drums and Johnny Young on rhythm guitar, Robert Nighthawk's slide playing (and single-string soloing, for that matter) are nothing short of elegant and explosive. ..Nighthawk sounds cool as a cucumber, presiding over everything with an almost genial charm while laying the toughest sounds imaginable." (AllMusic)


2020: Jack White


"[A]nd on the show-stopping "Ball and Biscuit," seven flat-out seductive minutes of preening, boasting, and amazing guitar prowess that ranks as one the band's [White Stripes'] most traditionally bluesy (not to mention sexy) songs." (AllMusic)


1969: Jimi Hendrix


"Are You Experienced was an astonishing debut, particularly from a young R&B veteran who had rarely sung, and apparently never written his own material before the Experience formed. What caught most people's attention at first was his virtuosic guitar playing, which employed an arsenal of devices, including wah-wah pedals, buzzing feedback solos, crunching, distorted riffs, and lightning, liquid runs up and down the scales. But Hendrix was also a first-rate songwriter, melding cosmic imagery with some surprisingly pop-savvy hooks and tender sentiments. He was also an excellent blues interpreter and a passionate, engaging singer...." (AllMusic)


1970: Peter Green



"
Peter Green was regarded by some fans as the greatest white blues guitarist ever, Eric Clapton notwithstanding. Born Peter Greenbaum but calling himself Peter Green by the age of 15, he grew up in London's working-class East End. ... When [Peter] Green left [John] Mayall in 1967, he took [John] McVie and [Mick] Fleetwood with him to found Peter Green's Fleetwood Mac. Jeremy Spencer and Danny Kirwan joined shortly afterward, giving Fleetwood Mac an unusual three-guitar front line. Green was at his peak for the albums Mr. WonderfulEnglish RoseThen Play On, and a live Boston Tea Party recording. His instrumental "Albatross" was the band's first British number one single and "Black Magic Woman" was later a huge hit for Carlos Santana. But Green had been experimenting with acid and his behavior became increasingly irrational, especially after he disappeared for three days of rampant drug use in Munich. He became very religious, appearing on-stage wearing crucifixes and flowing robes. His bandmates resisted his suggestion to donate most of their money to charity, and he left in mid-1970 after writing a harrowing biographical tune called 'The Green Manalishi.'" (AllMusic)


1936: Robert Johnson



"As success came with live performances and phonograph recordings, 
Johnson remained tormented, constantly haunted by nightmares of hellhounds on his trail, his pain and mental anguish finding release only in the writing and performing of his music. Just as he was to be brought to Carnegie Hall to perform in John Hammond's first Spirituals to Swing concert [1938], the news had come from Mississippi; Robert Johnson was dead, poisoned by a jealous girlfriend while playing a jook joint. Those who were there swear he was last seen alive foaming at the mouth, crawling around on all fours, hissing and snapping at onlookers like a mad dog. His dying words (either spoken or written on a piece of scrap paper) were, "I pray that my redeemer will come and take me from my grave." He was buried in a pine box in an unmarked grave, his deal with the Devil at an end." (AllMusic)

See also Johnson's magnificent "Love in Vain" & "Crossroads"

2009: Susan Tedeschi
[My favorite living female blues singer. —RB]


"...Eventually Tedeschi was opening for John MellencampB.B. KingBuddy GuyThe Allman Brothers BandTaj Mahal and Bob Dylan. In 2000, Just Won't Burn (1998) reached Gold record status for sales of 500,000 in the United States, rare for a blues production. She recorded two tracks with Double Trouble band members Chris Layton and Tommy Shannon for their album.

She opened for The Rolling Stones in 2003 and played in huge venues, gaining national exposure. Somewhat surprisingly, the gig wasn't financially lucrative. According to Tedeschi, 'They pay, but it's not great. I don't make any money 'cause I've got to pay all my sidemen. I'll be lucky if I break even.'" (Wikipedia)


And some plain fun:


A cover of the great Joe Tex hit (1967)


A song from Susan's first album


A cover of the great Sam Cooke hit (1962).

Sunday, January 16, 2022

Watch out! Citric Acid has arrived!


There's a certain time in most English majors' lives when they fall in love with little magazines and journals, those publications that give new writers their starts and sustain more established scribes. The history is illustrious: The Dial. Poetry. Paris Review. New Directions Review. The North American Review. The Iowa Review. So many reviews, so many quarterlies. Some last for years, decades, while others are fleeting. Some are afliliated with institutions, like UCI's Faultline and IVC's own Ear (poised to celebrate its 40th birthday this year!) while others publish independently. To the writers and readers, the contents of such journals are precious, whether handmade and stapled or perfect bound or, increasingly these days, published online..

Orange County is now home to a new journal. Welcome to Citric Acid!  The quarterly is the brainchild of Red Emma who has more time to do more good works now that he has retired. And the welcome has been warm.

This Sunday's LA Times featured a write-up from Gabriel San Román: 

"New ‘Citric Acid’ quarterly journal gives O.C. some literary tart"

He writes: 
Tonkovich is...readying the launch of “Citric Acid,” a new online literary journal debuting this weekend. Its inauguration is a highly curated assemblage of the county’s contemporary scribes ready to kick off the publication’s mission one quarterly issue at a time.

“I’d like it to be a cultural clearinghouse that introduces the best of Orange County,” Tonkovich said. “It’s very much a DIY project that explores multiple genres, but I like to keep the adjective ‘literary’ in there to distinguish us from more journalistic sources. ‘Literary’ is an affectation, but it’s a helpful word. It attracts a certain variety of readers.”

Don Leach's photo features Red and managing editor Jaime Campbell posed in the charming messy backdrop of Red and Rebel Girl's living room:
 


It's a nice way to start the challenging new year.

Regular readers of this blog should enjoy the round-up of prose and poetry, art and humor.

The first issue opens with the three writers of the newly published A People's Guide to Orange County (UC Press): Elaine Lewinnek (CSU Fullerton), Thuy Vo Dang (UCI) and Gustavo Arellano (LA Times, and who knows, may one of these days, IVC's commencemnet speaker. A girl can hope). In "Pulling Back the Orange Curtain: The Authors of A People's Guide to Orange County Reflect on Their Process," the trio does just that. Other contributors include OC's new poet laureates, Natalie Graham and Tina Mai, IVC alum Mary Camarillo and Laguna Beach College of the Arts professor Grant Hier. Rebel Girl also contributes "False Flag," a short story about last year's insurrection, with an O.C. angle. Other writers include Victoria Patterson writing about four uncomfortable family meals at iconic Newport Beach restuarants and Fullerton Observer's Jesse La Tour, Grant Hoskins' comic and Red's own appreciation of CSULB's Peter Carr, artist and poet.

Check out the first issue by clicking here

And subscribe! It's free.

And please, encourage Roy to write up his epic on the Shooting Star which would be the perfect OC mystery crime serial!







Saturday, January 15, 2022

It's Friday, it's late, an' I'm crazy 'bout a Mercury

 

Well if I had money 

I'd tell you what I'd do 

I go downtown buy a Mercury or two 

Crazy 'bout a Mercury 

Lord I'm crazy 'bout a Mercury 

I'm gonna buy me a Mercury & cruise it up & down the road

We last saw Warren Zevon a couple of weeks ago: Werewolves of London

This is a recent film depiction of the Turtles on the Sunset Strip; they're one of my favorite 60s bands. Great song: "Outside Chance," by a young Warren Zevon (1967).

'49 Mercury "Lead Sled"—a kind of hot rod
(Pretty much the only Merc anyone's ever been crazy about.)

Wednesday, January 12, 2022

Ry Cooder is a national treasure

AllMusic bio: Ry Cooder 
 
"Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooder's chameleon-like fretted instrument virtuosity, songwriting, and choice of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. In addition to his American music bona fides, Cooder is an unofficial American cultural ambassador: He was partially responsible for bringing together the Cuban musicians known globally as the Buena Vista Social Club, recording with Ali Farka Toure, Vishwa Mohan Bhatt, and Manuel Galban, to name a few. During the '80s and '90s, he was a celebrated film composer, scoring works such as Walter Hill's The Long Riders, Wim Wenders' Paris, Texas and The End of Violence, and Tony Richardson's The Border. Since 1989, he has won six Grammy Awards and been nominated for many more in genres ranging from children's music and folk, to Latin (pop and traditional), Americana, and world music. Among his most notable albums in the 21st century are the conceptual Chavez Ravine, about an L.A. neighborhood bulldozed to make way for bringing the Dodgers baseball team to Los Angeles, and San Patricio with the Chieftains, about a band of immigrant Irish soldiers who deserted the American Army during the Mexican-American War to fight for the other side...."


 



--That's Ry playing with Jim Keltner, John Hiatt, and Nick Lowe back in 1987.
—And here he is, a teenager in 1967, playing with Captain Beefheart. Very cool indeed.

Wednesday, January 5, 2022

"I think it's the hill to die on." Part 2


Found on the street in Berkeley.
Rebel Girl is on the road, wearing her K-95 mask everywhere and showing her vaccination credentials to anyone who asks. She and Red Emma dropped off their offspring at UC Santa Cruz (Go Banana Slugs!) and kept driving north. It's a Judy Chicago and Joan Mitchell art tour, a little of the world before the Spring semester starts. She is now holed up her favorite Berkeley dive hotel, grading late student work (Radical flexibility! Redemption is possible!) and re-planning the Spring semester (Online 'til early February...!)

Meanwhile she is keeping up on the news coming out of O.C., especially those alarming infection numbers. It takes a lot to shock Rebel Girl, after all, she is now 60, but the news this week of the COVID-caused death of Kelly Ernby, truly shocked her. Ernby was last seen in this blog at the side of Supervisor Don Wagner just a month ago at the December 4 anti-vaxx mandate rally at Irvine City Hall.  See "I think it's the hill to die on."  The deputy D.A. and former candidate for Assembly, a "rising star" of the OC GOP, was 46 and, according to her husband, unvaccinated. 

Rebel Girl first found the story via the LA Times which broke the story with the excellent comprehensive coverage by Gabriel San Roman: 

Kelly Ernby, former Orange County GOP state Assembly candidate and deputy D.A., dies of COVID-19

Wagner and Ernby.

Rebel Girl had looked forward to returning to the classroom because hey, two years of computer-mediated teaching and learning is just not the same, no matter what anyone says. It isn't. So little joy. Such limited learning. We are losing so many students in so many ways. 

But is the danger real? It is. 

And the likelihood of returning continues to jeopardized by the kind of hollow leadership pictured above. 

The Register reports that Supervisor Wagner declared his intention to "continue if invited, speaking out against the mandates, and also saying that my choice is to get vaccinated and I believe it should be the choice most people make, absent a genuine health concern or absent a religious objection."

1964: The light I gave to you

 1964: the Jelly Beans, "I Wanna Love Him So Bad"  

 1964: The Shangri-Las, "Remember (Walkin' In The Sand)"  

Note the allusion to military service: boyfriend got drafted?

 1964: Dusty Springfield, "Wishin and Hopin'"
This is the second Bacharach/David tune recently, the other being "My Little Red Book," performed by Love.

 1964: The Drifters, "Under the Boardwalk"

     MEANWHILE: Monday night, I found that neither my phone nor my internet wifi worked, and since I don't have a cell phone (not one that works in these hills), that's pretty serious. The semester is about to begin and, well, being incommunicado isn't helpful.
     The next day, I called AT&T and tried to get them out here to fix the lines. The best I could do was a window of 8:00 a.m. to noon today. 
     They never showed up. They did not communicate with me using the ways I gave them (my sister's land line, etc.).
     I called again. They said they'd try to get someone out there by 6:00. But again, they were a no show.
     I've been trying to call AT&T in the last hour, but they're overwhelmed and said to call back later.
     Naturally, I've been through this before. On occasion, I've been forced to wait weeks while they get their freakin' acts together.
     The world ain't what it used to be. Sheesh.
     UPDATE [Thursday night]: The AT&T guy is supposed to show up between 8 and 12 Friday morning. We'll see.
     UPDATE [Friday night]: they never showed this morning. Eventually, I guy showed mid-afternoon and couldn't fix it. He'll be back tomorrow afternoon, I guess.
     UPDATE 1-8: still have no service. Technician won't call back.
     UPDATE 1-9: at long last, the lines are repaired—but the problem seemed to be something other than the causes earlier claimed. —Whatever; I'm once again connected to the world.

 1964: The Beach Boys, "Don't Worry Baby"
Inspired by the Ronnettes' "Be My Baby," which was a hit a year earlier. Some consider this the Beach Boys' finest recording and Brian's finest vocal. It's my fave.

Roy's obituary in LA Times and Register: "we were lucky to have you while we did"

  This ran in the Sunday December 24, 2023 edition of the Los Angeles Times and the Orange County Register : July 14, 1955 - November 20, 2...